mtheory

EF 17-40 L is a great landscape lens.

Great article, Andrew, this the beginning of BMCC's rebirth. If the EF booster comes out before my BM4K order ships, I might just switch to a BMCC+SB combo instead.

P.S - Does Speed Booster leave IS functionality intact?

Okay, let me rephrase the question for a less scientific discussion, what aesthetic do you as an artist prefer for your ( not client's ) work? For your film. Thing is, I've always preferred Glidecam, but after trying the FigRig my shots seem so much more...human. I'm actually really enjoying the aesthetic...it's smoother than handheld, jerkier than glidecam...but in a way that I like. I'm easily pulling of walking handheld shots like in The Wrestler. Love it!

I'm aware that FigRig and Glidecam produce slightly different results, but if you had to pick one over the other for your general purpose run'n'gun shoot, which would you prefer and why? 

Thanks.

I remember watching "Public Enemies" and thinking how a bad camera ruined an excellent movie with Johnny Depp and Christian Bale.

Still waiting for IS support.

Why do you need to rename the files? Just drag the raw files ( spanned or not ) from the CF card to RAW Magic and it will extract everything to individual folders.

Both BMCC and BMPC are hipster products, while 5D is a pro cinema workhorse with a bunch of theatrical features under its belt. BM4K will be BM's first real entry into the pro cinema market and a first true successor to 5D, so I will reserve the judgement till then. For now, 5D is untouchable in affordable pro category.

As for the consumer video market, - GoPro and iPhone already own it, so neither Canon or BM has much chance there anymore, no matter how many Powershots, Rebels, EOS M's they throw at it .

'Professional product at consumer prices' is the only real market left. That's why the next 7D will most likely be Canon's re-entry into that market. If not, BM cameras will be on every single 7D and 5D owner's upgrade list from now on.

Unfortunately, no matter how much extra quality they can squeeze out their cameras, it will be the marketing people overriding this guy to make the final call...

I really hope they don't screw up the RAW on the 4K camera...

What is the significance of this in relation to green screen vs blue screen work? 

Their forum is down. Nothing in the twitter feed. Do you have a screenshot from the email?

I'm excited because Canon has no choice but to continue improving the 7D hardware. ML will take care of the rest. That means we will be getting massive feature improvements unless they find some ingenious way to stop ML, which I doubt.

Just want to keep this thread as rumours of the next 7D are heating up. What we know so far is that 7D will definitely move into the pro territory with a weather-sealed body, 1D auto-focus system, a low light sensor at least as good as 5D3, biggest LCD on the whole EOS lineup and of course 2x Digic 5+ processors.

Personally, I'm hoping to see an edge-to-edge widescreen LCD and 120fps slow-mo on it, as 7D has always been the pioneer in adopting higher frame rates. Latest hardware + RAW capability could truly push this camera into a pro S35mm camera.

Canon really has a chance to get a major hit on their hands with this release, bigger than the 5D lines, which will significantly increase their stake in the independent cinema market.

Will they let Blackmagic take over the indie market, or will they release the Kraken and dominate the indie world again, that's the question.

Is there any news about the 4K Production Camera? 

They updated the site with "Coming in Q4".

I think the future of ML will be strongly influenced by the next 7D2 release.

If Canon does not cripple it, we might get a true S35 RAW camera for $2000, it could seriously become THE most popular indie cinema camera and ML will thrive on that wave. 

The announcement of 7D2 is scheduled for March 2014.

Time will tell...

Personally, I recommend waiting a bit more and getting 5D3 in addition to 5D2. Having two full-frame cameras with RAW support and single stable of lenses would be my choice.

Canon execs got drunk with 5D's success, but they will be sobered up by the declining profits soon. As those bad quarters pile up, the execs will eventually be replaced. I expect to see changes in product strategy only after news of major reshuffling. Fucking suits.

1DC hardware does about 400 MB/sec, right? That should be more than enough to enable 4K RAW on it, and lack of compression would tax the cpu a lot less. A hacked 1DX would kill 1DC overnight.

Yep, it's called Nokia Refocus. I believe it uses a burst mode to shoot a multi-focus sequence, so it probably won't work well in low light yet. Fast forward a few years and someone will figure out how to do that with video....

Andy, your 4:2:0 camera worked well because you used it on a commercial production with a perfectly-lit stage and crew, which the OP doesn't have budget for. A better codec is about the only thing he has to even out the equation. Don't push the kid into fire, man. 

A Nokia engineer announced that RAW photo support is coming to Nokia 1520 and 1020 with Lightroom processing and etc.

https://twitter.com/Partinen/status/392596490289307648

At this rate of pro feature adoption by mobile phones, I'm starting to wonder if Canon should start making pro lenses for mobile phones instead of focusing on point and shoots...

BMCC is 4:4:4. I have keyed 4:2:0 footage successfully ( 5D2 H264 ), but it takes me about 3x times longer, plus some shots got spoilt because my DOF was too shallow and the edges of actors were too blurry. With BMCC, the sensor is much smaller and your actors' contours will always be very sharp. You can always add DOF in post, but taking it out is impossible. Plus, with 4:4:4 you will be able to adjust exposure and the 2.5k will provide a better pixel sensitivity for your keyer. 

In fact, if you absolutely, definitively want the best key in the world, shoot your actor in portrait mode...that should give you an equivalent of a 4K RAW 4:4:4 vertical resolution...the absolute top notch image for keying and compositing into something else.

For perfect green screen work you can't find a better camera at the moment than BMCC with an ultra wide angle lens, it's $2k and its small sensor will ensure that your image will be sharp. 4:4:4 is the best possible solution for keying.

People complain about EXTRA pro features? Amazing...