BydrodoFieddy

Markm, the software in question is already capable (and built specifically) to handle multi-camera setups! And, like I said, I would never try to be a competitor to Black Magic...they are a fine company with a good product. But getting one is very difficult, and will be for quite a time, I think. Plus this camera can delete clips in camera, as well as format a drive. As far as I know, the BMCC cannot surf vimeo, or post to twitter, either :P

I mentioned that I turned to the dark side and purchased the 1DC.  I have been losing alot of sleep due to testing the crap out of the camera - I'm a slow learner and make alot of mistakes.   I noticed some guys (not me) posted a quick comparison to some Red Epic (shot in 5K) vs the the Canon 1DC (these guys only used Canon glass).  From my experience so far with the 1DC, it is quite incredible.  The link follows.  
 
http://vimeo.com/groups/eos1dc/videos/60140775

First Question: Will FCP X convert the 30fps to 24fps if FCP X is editing as a FCP timeline?

Also, has anyone tried to slow down the visual slightly in FCP X and do they have any samples of it? I'm doing shots of a person walking up the street and shooting in 120 or 240 fps will alias some parts and I don't need extreme slow motion visuals for this shot, just half the speed of what I'm shooting (ie: 60 fps)

Also, final question, does S&Q degrade the quality just like shooting Super Slow Motion does? I heard up to 60 fps, it will stay the same resolution as if shooting in 24 fps is this true?

To be noted :
 
On my post about Bayer and 4:2:2. All I wrote is valid in 1:1 Bayer resolution to final resolution, meaning a 1920x1080 Bayer for a 1080 final resolution.
 
If you have higher resolution Bayer this change. Ideally, a bayer sensor should double (or quadruple) the final resolution, eg. 3840x2160 for a 1080 video. From there, you could get a nice 4:4:4 (slighlty oversampled in the green.)

Oh, sh%$t :)  I think I missed that in your review.  I thought it did output 24p via HDMI and bought the camera yesterday :)  No big deal, I will test it out and see how it looks along side my hacked GH2.  Or can return it.  But thought I'd buy Blackmagic Shuttle and record 1080P24 ProRes to it...  Oh well.  I keep looking for the holy grail affordable camera that shoots great photos and great videos.  
 
Thanks for your reply Andrew

Novo Digital Camera have created a custom housing for GoPro 3 that lets you fit C-Mount lenses and even disable auto exposure using a custom CPU!
 
Pretty cool huh?
 
Apparently it's pretty complex (and thus we can assume expensive to make) so it won't be a product to buy, but they will be hiring them out. 
 
Just goes to show how far you can go with a mod if you have the expertise...

 
More info here: http://www.viewfactor.net/blog/?p=331

If they did switch it off before release I hope they also lowered the price.

"A lot of people make the mistake of thinking low ISO means low noise. Low ISO means the noise starts showing up further into the shadows, but if your image is darker because you are using a too low an ISO, it will still have more noise. In most cases with cameras with hardware gain like the FS700, for example if you use 1stop higher ISO, your whole signal will be boosted by one stop and your noise might start showing up half a stop higher in the shadows, but that means you may have brought 1/2 a stop of your shadows out of the noise. This is a bit of a simplistic description, but you get the idea. The actual tradeoff will depend on the design of the sensor, but for hardware gain (up to a certain point, and some other cameras use software gain past that point) increasing ISO will usually give you less noise for the same scene, right up to the point when its too high an exposure and you have to stop increasing ISO to save your highlights.

Really high ISOs are noisier because they are used to shoot scenes with very low lighting. Noise is worst when you have too little light or when you underexpose your images, but those are not the same thing, since you can have too little light, but you will only make the situation worse by shooting at a very low exposure by setting too low of an ISO value. This is why we have ISO/gain..."
 
----
 
I saw that posting on a board and it raised some questions....
 
Let's say I'm shooting on a cloudy day (exteriors only) and I put my ISO from 500 up lets say 1000, and I put the ND filters down, will I have less noise than if I shoot with the 500 ISO? Thoughts?

I have decided to start developing a series of taking lenses for users of anamorphic lenses, in particular they add a rawness to footage shot with the sometimes 'over clinical' Iscorama, Schneider 35mm Projection lenses, and the high performance Kowas.

I have always wanted the sharpness from this type of anamorphot, but wanted the feel of an 8mm anamorphot which seems to add a certain raw and natural quality (see Seb Farges 'Baby Hypergonar' stuff for examples of what I mean). The little lenses might struggle in low light, and sometimes dont match the big boys for sharpness, but they add a real lovely overall aesthetic which I think is lost when you upgrade to an Iscorama.

Anyway, I have been compiling some sample footage of flare characteristics and will be adding more as i go. I am currently shooting samples with a 8mm anamorphot and a century 16:9 converter. For now please see the footage shot with Iscorama 36, and in non anamorphic too.

Iscorama 36= http://www.vimeo.com/60022405

Iscorama 36 Flares= http://www.vimeo.com/59961537

Century 1.33x Flares= http://www.vimeo.com/60036048

Cinevision 8mm 1.5x Flares= http://www.vimeo.com/60038931


The second link has some information about the lenses. I will be selling these to people who want them. And can customise the characteristics to suit your particular style. I'll probably sell them via ebay. Feel free to make suggestions as to what you might want to see... :)

Century and 8MM 1.5x anamorphot flare samples coming up!

Anyone field test this yet? Opinions?

I have been looking for some LED lights to invest in for my camera shoots. I am pretty mobile, mainly shooting bands but also screenplays/short films. Through some research I have found these portable ones
 
http://www.ebay.com/itm/4X-96-LED-Video-Light-for-DV-Camcorder-HDV-Z96-F135-/300546751509?pt=LH_DefaultDomain_0&hash=item45f9fb7c15
 
But I was wondering your thoughts if it was better to invest in something less portable and more stable like these,
 
http://www.amazon.com/ePhoto-Photography-Lighting-Balanced-ePhotoINC/dp/B003QRBAIA/ref=sr_1_33?ie=UTF8&qid=1360461706&sr=8-33&keywords=LED+500+with+stand
 
 

I'm working out my Picture Profiles for my feature and I had a few questions:
 
Which Cinegamma is best for cloudy days, and alongside the best Cinegamma for cloudy/overcast days, what are the best settings after selection Cinegamma for the best, least noise visuals? Obviously shooting in overcast, against darker colors like black, grays, buildings, grays, etc I'd like to have the least amount of video noise/grain, so I'd like to know what settings such as black level, gamma, knee, color mode, color level, color phase, etc are best for least to little to no noise?
 
I ask this because I am doing out of state shoots (8 hours away) for a documentary segment which will be on cloudy/overcast days (for that dark, brooding atmospheric feeling) next weekend and I wanted to really get the best picture profile that I can for an over-cast/cloudy day.
 
I will say that I like the flat profile look for color grading (most dynamic range), but perhaps there's a better option that I don't know about that someone can answer for me?

From what I understand the only image stabilization with the GH3 is through the lenses, specifically lenses made by Panasonic. 
 
Assuming this is true, I'm curious how people have fared with the GH3 when using legacy glass and/or non Panasonic lenses in regards to image stabilization.
 
 
 
Just curious what people thought was wise/reasonable in how to maximize a stable image when shooting with the GH3. Obviously a tripod helps but was looking to see if anyone had thoughts on this issue.
 
 
 

New in this update
 
Robocop 2 Sony FS100 Isco 2x anamorphic with support system for 15mm rails Optex 1.33x anamorphic lens http://www.eoshd.com/content/2777/rare-ebay-finds-eoshds-latest-picks

Nikon, Leica R and lenses for larger formats (medium format etc).

Is there anything I can get away with in a Nikon mount? I want to avoid investing in M4/3 glass...
 
If I have no choice, is the 14mm Panasonic good enough for documentary work?
 
Thanks!

I was pleasantly surprised to find this documentary broadcast on SBS Television Australia.....at first I did not know anything about the production.....and then I found myself immersed in the content and Mark Cousins' presentation.......it runs for 15 hours :)
 
In the unlikely event you've not heard about this extraordinary documentary here is a link to the trailer.
 
http://www.youtube.com/watch?v=jAQNc6aQtO0

http://vimeo.com/58252561

Johnnie Behiri has a Canon 1D C on loan at the moment as do quite a few other people. I've been watching the various footage and here's my view of how it performs...
 

Having uploaded a few of my videos to the free version of Vimeo they still lose far more than I see in other peoples uploads. And thats including the free version of Vimeo as well.
 
If I use the Vimeo HD preset on PE 10 it gives me H264  1280 x 720 29.97 frame rate NTCS. When I go into advance and change it to PAL 25fps it changes the frame size to 720 x 576!! Why should that be?
 
Currently I am using my own profile of H264 1280 x 720 25fps PAL. In all cases the pixel aspect ratio is square pixels.
 
When saved and viewed on my PC it looks and sounds fine. Once uploaded to vimeo and further compressed you get brief patches of blocky pixels in the picture, and in my latest upload a jerky feel to any rotating motion. Also there is a brief audio glitch out of the blue as well! I understand that going to the paid version of Vimeo would give better results but I have certainly seen some excellent results of GH2 footage using the free account. Any tips on how to get the best out of the footage?
 
I have just added the latest small video to the screening room. This was mainly shot to test out a 50mm f1.2 rangefinder Canon lens on the GH2.    

Never had a problem with my R1MX... Guess I'm lucky. lol
 
But seriously after a day of shooting I'm happy with the BMCC. I've seen folks talking highly about this cam and it deserves it! For me, it's not a red, but c'mon, it's really cheap for what it delivers.
 
My only complain is actually the cinemaDNG format. it's so damn heavy! They really should invest in some codec like redcode or cineform. It'll be hard to keep the storage ok. We backup all our raw footage and right now, for us cinemaDNG is not an option. We're teanscoding everything to cineform but not ideal.

Seems that aliasing is the main culprit here in Super Slow Motion due to frame rate being high and the camera not being able to handle it, which is fine, but I wanted to get your thoughts on the do's and don't for Super Slow Motion with the FS700. I have complied a list and am curious if anyone wants to add anything:
 
Do's:
Do shoot the following, especially in macro (based off of my test shoots so far) - the closeups seem to be the best for Super Slow Motion such as: Water from a faucet, Glasses Filled with Liquid/Bubbles both the top and the side, Blurred out of focus shots (for dreamy type of visuals and transitions).  
Do know your limitations.
 
Dont's:
 
Don't shoot sharp lines, etc like the following:
Shirts up close (the threads will alias), long thin hair, in-focus images against the sun (sharp images like in focus branches, greenery), sharp thin areas like wooden fences with lines, knives, building roof tops with lines, brick walls, etc.

 

 

Above: the Epic with anamorphic lens

In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.

Can anybody testify that the Zeiss Distagon's are some of the best for HD vs. Canon or Nikkor?  Been really thinking of getting a cine kit of the PrimeCircle's.  The Zeiss cine CP.2's cover Full Frame and the extra blades offer a smoother oval bokeh...however, significantly more expensive than the modded Distagon's.
 
Eventually Full Frame (HD+) video will get better with DSLR's.  So the glass investment is worth it imo.  Hard to decide on the Distagon's vs. the CP2s.  Any links?

The torchLED works great on stands. It comes with a ball head with hotshoe and 1/4 20. B&h sells one that also comes with a high capacity battery and charger for free. From what you said earlier, I gathered this would be a good tool for you - just a little something extra to add some fill, a background light, or hair light... It is also very small and can fit in your bag with little fuss.

You should be thinking of this light as something to either augment existing light, or be aided by it.

Bought a Nikon D5200 yesterday - This thing is really surprising me... appears the new Toshiba sensor in the Nikon D5200 fixes moire. There's nothing like the problems here that plague the D600 and D800 full frame sensors. There's still a tiny bit of aliasing but no more than on the GH2. It is giving really nice Canon C300 approaching detail in 1080p, all on a $800 DSLR. You can dial it down really flat in-camera too, though I prefer to shoot graded in camera with a standard picture profile.
 
In producing footage for the review I have found it to be in the same league as the mighty GH3 for video so far. Here's a 100% crop of a 1080p frame grab shot in 25p mode. The picture profile on the GH3 was slightly flatter in-camera so ignore the contrast difference, just look at the detail. Really nice!