mtheory

Interesting, only a day after Sony releases its competitor to C series someone drops a hint of a possible C EOS update at photokina. If it's true, Canon could be trying to splash some cold water on those FS7 pre-orders with this leak...hmm... http://www.canonrumors.com/2014/09/a-surprise-cinema-eos-announcement-for-photokina-cr1/

Welcome to the forum. What issues did you have with Speedbooster adapter?

Great stuff, and are you recording sound in RAW too for auto-sync or doing the old fashioned clapper board sync?

Many of my pro friends are jumping ship to Nikon ( photo ) and A7S ( video ) primarily because of superior low light. I still have big hopes for 7D2 ( basically, I want it to be a low light king without A7S's rolling shutter issues and RAW capability ) , but if Canon disappoints again I will just move over to Sony with all my Canon lenses, - my 5D with RAW will still last as a great B cam for years, while my A cam will probably be 4K.

Great work, thaigor. Which ISO(s) did you use on this shoot?

Considering the accomplishments of GH4 and A7S, not including 4K ( internal or external ) in 7D2 would be suicidal at this point. Given that we can now easily migrate Canon lenses to other systems like Sony/Panasonic, cutting edge body specs are more important than ever. Canon is on thin ice here.

Damn, 5D2 is like a veteran who just keeps on fighting.

I liked Fellowship, but I've never thought Jackson was particularly talented or original, certainly not in the same league as Cameron, Scott or Fincher. Hell, even Bay was able to put FX aside and do something original with Pain&Gain.

All I want is 5D3 RAW with an S35 sensor. If MagicLantern brigade manages this with 7D2 by December it will be one hell of a Christmas this year.

Impressive, you have the skills, now you need a budget. I recommend you do a Kickstarter/IndieGoGo campaign for your next film and I'll gladly contribute.

FxGuide did tests with the EPIC and also recommended overexposing for better keys. Were you shooting at -1 stop or normal when you got into this issue with Alexa? Also, how is the rolling shutter at KineMINI 4K ? Do you ever get issues tracking handheld shots?

Natural lighting with the sun is actually a more complicated process that requires more craftsmanship, experience and patience than lighting with artificial lights, often with superior results. The amateurs you mentioned are using neither the sun, nor artificial lights, they are simply relying on low light sensor without any regard to light at all. Big difference.

Ever since the BM4K release I wanted to wait till the RAW update to make up my mind about the camera, and today I finally got a chance to grade the compressed DNG files. Wow, was I disappointed. There is significantly less exposure range in these files than in either Kineraw or 5DRaw, and much more noise. In my personal view, the current king of affordable RAW is Kinemini4K. My hat's off to these guys.

Faster CPU = Faster Export. Faster GPU = Faster Workflow.

When the EF speedbooster comes for the original BMCC it will be a very very good all-around camera. That should be next on their plate.

Origin of term Forum - 1460, "place of assembly in ancient Rome," from L. forum "marketplace" apparently akin to foris, foras"out of doors, outside." Sense of "assembly, place for public discussion" first recorded 1690. A marketplace is supposed to be a bit messy and chaotic. Don't worry about your reputation and say what you think, just don't throw rotten tomatoes. ;)

I disagree. I think his videos wouldn't look substantially worse without RAW. I think it is indeed Canon that should be mainly credited for making a hardware product that allows you complete freedom in almost any lighting environment due to low light sensor, battery life that simply lets you work and not miss shots, ruggedness of body and a stable of lenses that can achieve any look without breaking your bank. The best tool is the one you don't notice. Canon achieved this better than anybody else so far. I may hate their marketing department, but God bless their engineers for giving us an amazing creative new cinema tool and jump-starting the DSLR Cinema industry.

7D2 will probably have 4K to compete with GH4, and 5D4 will probably have super-low light to compete with A7s. But the only feature I care about is MLRAW...really, really hope they don't plug the hole in the new gen of bodies.

There is no crop factor, this is at full frame.

The best way to learn filmmaking is to watch and observe films, develop a taste, then experiment and eventually arrive at your own techniques. It worked for Quentin Tarantino, and it will work for you.

5D2 can do RAW audio/video continuously at 1728x972 resolution, and higher resolutions at non 16:9 ratios.

Criticism is not condemnation, - it's analysis, often driven by deep curiosity and affection for its subject.

To be honest, nothing could save Salt from sucking, the story, the stunts, the acting and the lighting ( in this scene especially ) were really bland, but the smooth editing at least doesn't leave you confused. In Dark Knight, for example, the shot from above where we see police column encounter a burning blockade, that was a very poor establishing shot...first, we very briefly see something burning as it enters the shot, but its not clear enough....then, for almost an eternity we see the cop's reaction to it....so he is already reacting to something we haven't had a chance to process yet......and only then, briefly, in the next shot do we get a closer look at what he was looking at...but by then we have to mentally re-edit in context to understand the cop's reaction...that is annoying because it takes you out of the movie when you should be IN IT. One movie I think that had the right to be confusing and nauseating was Gaspar Noe's "Irreversible"...it was part of the point of the film, and was effective. In fact, Nolan himself did it even better in Memento with reversing the chronology...but Memento was still a masterpiece of precision...in every scene individually you were always extremely spatially aware...for example, there was a repetition of an establishing shot of Teddy's murder scene in BW and Color..Nolan was extremely careful to orient us properly. I think he was probably not very confident in directing action ( it is one of those things that you either got, or you don't, no matter how great of a storyteller you are otherwise ), hence the lack of precision in that Dark Knight action scene. Take a look at James Cameron directing a very similar but much better truck-chase-in-a-tunnel scene in T2 and see how amazingly clear the cuts are, this lets us as an audience to feel the action without having to think "Wtf is going on". Every damn shot here picks up the motion from the previous one and passes it on smoothly into the next one. Beautiful.

Nolan is a master of big strokes, but he is sometimes sloppy and imprecise. To say cinema is not about audience following wtf is going on in the scene is like Kanye West saying that leather jogging pants are not about comfort, because fashion is about style. That is precisely my definition of bullshit.