mtheory

Let's remember that BM has been repeating one point over and over, - they have a warehouse of BMCC/BMPC bodies ready and waiting for a sensor to be dropped in. Most of the assembly work has already been done.

Wait for 7D2 this year.

Kineraw is 11.5 stops, no EF IS, no on-board display, no 4K, no global shutter. They have to go $2k if they want to survive.

The perfect example of excessive sharpness for me is The Hobbit.

 

Then you're gonna hate 'Oblivion' just as much as I just did. Expensive, over-produced plastic-looking garbage of a movie shot on Sony F65. ( At least 'Hobbit' had some trees. )

Good write-up by Cinema5D, but one thing that concerns me in the article is this:

 

"Not ideal for run and gun shooting, but the realtime debayering and backup into cineform (compressed) on a laptop was recommended by the manufacturer as a workflow."

 

Why would they recommend tethering a laptop on their light, portable camera? Could it be that the camera drops frames on its uncompressed RAW? I may be reading between the lines here, but it seems odd for them to recommend backup workflow when the camera has internal SSD recording.

Nice, man, thanks for the calculation. Now a subjective question about lens selection for this crop factor, - is it safe to use wide angle lenses like 35mm for close-ups in order to avoid unflattering distortion of the subject's face or should I stick to 50mm? It's just that I like to work close to the subject, but don't want any clown faces. What's the widest "safe" focal range for close-ups for S35 for those who are used to full frame optics?

Ok, so that's clear, now how about the exact crop factor? This from John Bawley, 

 

In the same form factor as the BMCC, they now put a near super 35 4K sensor. Not only that but the global shutter, eliminates rolling shutter, something many found irritating to work with. The active image area is 21.12mm x 11.88mm. Super 35 @ 1.78 is 24.89 mm × 14mm. By way of comparison the Sony F5 is 22.6 x 12.7mm and they get to call theirs Super 35.

 

Ok, so it is slightly less than true Super 35mm. Does it mean that crop factor will be slightly higher than 1.6x? 

I'd love to know more about Kineraw Mini, wish those guys would send a model over to Andrew for review. Definitely outclassed by Blackmagic now, but still a strong entry with uncompressed CinemaDNG RAW for $3K and a beautiful gradable image too. 

 

They'd have a better chance in this post-BMPC-announcement market if they dropped the price to $2K, - we'd have a $2K for 2K RAW camera with S35 sensor and no global shutter as a good lower-end option below the BMPC, - this way they could be part of the affordable RAW revolution. 

DPX is a highend VFX image sequence format that supports 16-bit and retains maximum color information once exported from camera. It's like a digital negative.

Yes. Get ready for 4K cats in shallow DOF.

 

I assume if they are dealing with a different sensor manufacturer there shouldn't be delays. If I were them, it would be the first clause in the contract for any new vendor.

This made me laugh, just the image of standing surrounded by Blackmagic cameras and pulling your hair out! WHAT DO I DO?!?!

 

Actually I'm the same. I'm on preorder for 4K, but quite tempted to switch the the little S16 cos it's so tiny and a LOT cheaper... but then I'd need more lenses for the smaller sensor... but with the BMD I need external battery and SSDs aRgH!

 

What's your ranking on the pre-order list at CVP? I pre-ordered shortly after you did, but can't check because I used a guest account.

I'm looking forward to BMPC as a greenscreen camera, but this woman from BM forum is giving a very strange and uncertain answer about how well the BMPC compressed RAW footage will key.

 

Q: For compressed raw, does it also shoot non compressed DNG. Is the quality the same, and can it be keyed or would it have the same blocking issues as Prores or avid dnxhd.

 

A: It's visually lossless, a very slight compression. Should be keyable.

 

She should be saying "You will get rock solid keys", not "should be keyable".

 

Is this a cause for concern?

I had been hankering for an Ikonoskop, but put a deposit down on the pocket cinema camera as soon as I was told it was on CVP.  #4 on the CVP waiting list!  Whoop!

 

I can't seem to find where my ranking on the waiting list is ( I pre-ordered with a guest account ), where exactly is it displayed?

I preordered the S35 one at CVP. Having seen how long it took people to get theirs, I figure it's best to stick the order in and just cancel if I change my mind! You have about a year-long cooling off period ;)

 

Just pre-ordered mine too.

Indeed.

But shit just got even more real for the big players in this industry...IF Blackmagic have sorted out their production problems.

I'm hoping the situation is that they simply made a decision last year to not bother to ramp up production on the original cinema camera, because they knew they had two cameras in the making that made the original irrelevant. If they're still experiencing the same difficulties in getting cameras out there, this is all just a big tease.

 

They will probably provide a service to convert BMCC preorders to BMPC with a priority queue, which will delay any BMPC orders for new customers. They would've known that demand is going to explode even more, let's hope they have been ramping up the production line.

On behalf of the whole forum...

 

Sony's 16-bit RAW codec on either of these cameras will be cool. The hexagonal design reminds me of Kineraw S35, perhaps they want to enter this market.

 

 

I think there's two things going on here, the MoVi thing, and Laforet's "short", one is awesome, the other is incredibly terrible.

This thing obviously has a lot of potential, it's a novelty and they're charging for that, realistically this thing could be sold for well under $5k. But they were the first to provide it at this level of completion and useability, so let them milk it while they can.

Laforet's short however seems to me like a terrible demo. Most people have mentioned the out of focus and poorly framed shots, bad editing and poor filmmaking in general, most shots are totally unmotivated, and worse of all, there's nothing here in terms of camera movement that I haven't seen before. Watch a film like Hannah and and you'll find plenty of fluid steady shots, much better shot, so he missed his chance of showin off the specific skills this thing might have.

 

I think he was going for a "Black Swan" look, which can backfire if you are not Darren Aronofsky.

They should do a Movi Lite with 2-axis stabilization and no remote controls, this would significantly affect DSLR productions and cut down on image stabilization in post. Not having to use AE's warp stabilizer ever again and not being locked into IS lenses would be great.

 

One a completely unrelated note, I just saw "The Place Beyond The Pines", I think it had a bunch of long steady-cam shots but I am not sure because I was too engrossed in the story, I love when films do this. The movie is a massive slow burn though, so head into the theatre with a good dose of patience, which will be rewarded.

 

http://www.youtube.com/watch?v=G07pSbHLXgg

You didn't develop the emotional tension for that reuniting scene to be powerful. When she opens the door we have only a few seconds to process so much information, - that they have been estranged, that she is his daughter, and that they are now reuniting.

 

You should've built up to this moment more gradually, for example when the old man is at home, we could've seen photographs of his daughter, returned letters, perhaps an message on the answering machine from several years ago from her that says "Stay away from me" etc that he plays incessantly. We would've realized his feelings of shame and guilt, and that doorbell scene would've been alot more tense because we'd know ahead of time what is at stake.

 

Good direction, needs good writing.

Great product, but they basically priced themselves out of real success. For $15k ( and even $7.5k ) they will only get highend customers who are a very small market and can afford steadycam rental anyway. 

 

If they went for the 5D/7D shooters and lowered their margins they would've become millionaires. This thing needed to cost $3k to be a game-changer and a true 'companion to DSLR revolution'.

 

I'm sure this will become a niche product for action/stunt work in cramped environments and will be used on big budget movies in a shot or two and popular with the rental houses. But they missed the DSLR train, high volume sales ( "to own" customers ) and the chance to truly change the game.

 

Next.

10 years? Once Avatar II and III hit theatres the media industry will go into a 3D frenzy again, especially if James Cameron tops Avatar's current box office record.

 

Expect the same for 4K if Apple releases RETINA TELEVISION, - high dpi tv seems the only logical way to go from here. So perhaps a few years from now on we will still be exporting 1080p for distribution, except it will be a high-resolution 1080p stream that will require a 4K acquisition format.

 

If Apple makes high dpi video a sexy new trend for consumers then expect to switch to 4K sooner rather than later...

Content consumption is rapidly moving to mobile, so instead of 3D/4K we need better bandwidth optimization and streaming technologies to make current content delivery faster and easier. The current 480p/720p/1080p system works very well with these varying bandwidth/data package/speed factors.

 

I'm more excited about H.265