mtheory

FYI, the Kineraw cameras do not support IS on EF lenses.

Andrew thanks again for your great coverage. Your blog is such an incredible source of independent practical advise!

i am bored of these overrated japanse paied Magic Lantern critics (Read Laforet) that are just as ridiculous in their opinions as it is Canon with such piloted pricing and specs policy.

The fact is that even if I am very happy of the raw I am getting now on the 5D Mark III , I feel the strange paradox of having at the same time lost all my respect for Canon.

Here we go again with more Cinema EOS propaganda from peederj. You're heading to the door, because I am frankly SICK of reading it.
 
All sensors output raw data at various video frame rates even your iPhone. What the Magic Lantern project proves is that Compact Flash cards and cheap consumer electronics are capable of writing that data internally, without an external recorder.
 
Yet the $25,000 C500 cannot do this, and doesn't even have an SSD slot. It's a failed product design. A version 0.5 camera.
 
Needless to say, I'm not targeting EOSHD at people who have money to burn on a C500.
 
It's very simple...
 
I'm interested in what gives me the most cinematic image for under $6000, as an ownership prospect not rental.
 
That isn't the C100 I'm afraid.
 
C500 isn't a sensible ownership prospect nor does it have a good specs sheet. I was renting I'd go F55 or Epic.

Personally, I don't really care about the top-end-gear-to-price arguments. I'm VERY low-end but my 4 year old DSLR camera shoots raw 14bit video! That's all I need to say :)

[URL=http://www.eoshd.com/comments/gallery/image/525-bm/][/URL]
 
:)

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.

Graded as closely to match as possible - Download the frames as JPEGs - http://we.tl/0DYPaHNkUG
 
Colour certainly a huge leap from the others on the 5D Mark III at this ISO.
 
White balance and tint vary wildly between the three.

I really wanted the Kineraw to succeed. But between BMPC and 5D3 they have rather little room to maneuver now, unless they can drop their price down to $2K.

It's funny that we could have had raw video on DSLRs in 2008.
 
You have to wonder - do Canon want to make money or not!?

Although I have general antipathy toward Blackmagic because of the way they overhyped and underdelivered the original BMCC, I have to admit their new 4K camera does look somewhat promising. The pocket camera and the small sensor originals are worthless doorstops. I would rather have even the hacked GH2 and much rather have the hacked 5D3.
 
The main problems with the 4K offering are the ergonomics still are ridiculous (how many cameras other than the iPhone don't have replaceable batteries ffs?) and I understand the dynamic range of that sensor is disappointing in practice. 12 stops may be a stretch to claim (we need independent tests). But the resolution should be good (if not true 4K...it should have more distinguishable pixels than 1080p at least...again we need tests) and it's better to be able to record ProRes onto commodity SSD than RAW onto CF. And maybe they will finally have more EF lenses working properly and firmware that lets you do absolute basics like review and erase and reformat the drives. And not suffer dropped frames, moire, etc. etc. that their earlier crude attempts at making a camera suffered from.
 
But Super35 global shutter 4K direct to ProRes on commodity media is a nice set of checkmarks for $4000, with a full version of Resolve in the tin. It's a competitor to the 5D3 RAW if it works well in practice and actually ships in quantity sometime this decade. The lack of jello and onboard ProRes makes it a worthy competitor to the KineRAW for those on the bleeding edge. But for those who can only afford one body the hacked 5D3 offers terrific stills, timelapse, SLR ergonomics, Canon professional build and service, mature ecosystem, etc. And it's here now.

That's the thing, though... it's NOT free. Not everyone owns the 5D. Most I would say actually don't. And if it's a choice between buying a $3,000 camera that shoots a few seconds of unstable raw and buying a $2,995 or $3,995 camera that shoots stable raw at a higher resolution, I'd say that Blackmagic still wins when presented to undecided customers.
 
If anything, I'm still tempted to buy the Blackmagic Pocket over this. 1080p raw for $999. Take the two grand you've saved over the 5D and go out and buy some nice m43 glass to go with it.
 
I agree this is a nice treat for folks who already have a 5D, but I still don't believe the raw abilities of this camera as it currently stands warrants a $3,000 purchase.
 
But again, if Magic Lantern can actually make this stable and eliminate those image-tearing motion and vertical line issues (that I notice Andrew keeps conveniently ignoring) AND gives us TRUE continuous recording that last for several minutes before dropping frames (which by the way should absolutely make it a total dealbreaker) then I'd be happy to drop the money and buy it.   
 
It's getting there, but it's not quite revolutionary yet. 

Here it is. It's lighter than some SLRs because it's such hollow plastic. The batteries are like 8 inches long.
 
We have it so good nowadays...

Well, it was graded.  People uploading flat looking "raw" files that look no better than ungraded normal DSLR footage proves nothing either. The thing is, why doubt the shadow detail knowing this is 5D footage?  It's pretty clean well above 800ISO and this would have been like 200 max maybe.  Its DR is skewed to the lower end.  It's already a done deal that the BMCC has a DR advantage, at every stage from capture to bits hitting disc, but its own DR is skewed to the high end.

Turmoil! Disaster! Drama! Raw for free.
 
What a hardship. Better image quality than a $15,000 camera on your $3000 DSLR and the first ever full frame camera to record uncompressed raw internally to compact flash card.
 
FOR FREE.
 
I don't call that turmoil I call it a miracle.
 
You're trying to justify a preconceived purchasing decisions I'm afraid. The Blackmagic cameras whole selling point - ONLY selling point - was the image and raw workflow. Nobody bought a Blackmagic for the smaller sensor, heavy body, poor ergonomics and slipped delivery dates. We held out for the image. Now we have it in a DSLR, along with a ton of other important features - stills, better physical controls, HDMI, full frame sensor, low light performance and all else offered by Magic Lantern aside from raw like peaking, high frame rates, zebra, manual audio, etc.
 
Magic Lantern is reliable. I can shoot all day at 1080p to my fastest CF cards without a hitch. Battery run times are similar to when shooting H.264! The rig is much lighter than my Blackmagic with external battery.
 
I own both. I cannot for the life of me keeping the BMCC EF.
 
Blackmagic still have unique selling points for me though.
 
A) The Micro Four Thirds mount camera
B) 4K and global shutter on the Production Camera
C) Super 16mm sensor on the Pocket Cinema Camera
D) Resolve 10
 
But as for the BMCC EF - it's been nice. It's been lovely. But show's over.

The fact that the mkiii is in the same conversation as the F35 is pretty scary. The F35 is not even raw, lol. And the doesn't handle low light well. And it is huge and unwieldy compared to the mkiiii. And it's old and obsolete. And it probably costs 10k to have it repaired. Give me the mkiii with raw ALL day long if the image is comparable in any way.

Its funny that everyone screams "workflow" problems from the get-go.  Not too long ago we were capturing everything in real-time from tape... remember??  My film-school experience was that we shot on 16mm - had to get it processed overnight (while praying that your exposure readings were actually OK so you wouldn't have messed up footage) and then we edited on pre-final cut pro systems... meaning Steinbeck machines with white gloves and scotch tape and razor blades... And I'm not even old!!
 
In 2006 we were so impressed when we began producing tv with a big production company that had a TERABYTE!! of storage.
 
In my estimation - the color on this footage is BEAUTIFUL! - A drastic, marked difference that any non-pro can easily see.  Honestly, this stuff makes me want to buy a 5D3.  An option I would absolutely not have considered two weeks ago.  

Funny you should say that, but after i upgraded the graphics card for Premiere, I could run Crysis maxed out. YEAH! BRO GRAPHICS!  :ph34r:

No offense dude but that looks awful imo!

If you want to have a big laptop i would rather go with something like this: http://powernotebooks.com/Sager-NP9370-gaming-laptops-notebooks-sys-5373.html

Looks like this is gonna be the new "But can it run Crysis?" of the film scene. :D

Looks like this is gonna be the new "But can it run Crysis?" of the film scene. :D