mtheory

lol, I guess all i have now is one more stop of DR!  It really does make me wonder if Canon might be behind this, They were finally feeling the heat from the BMCC, and maybe they decided to finally unleash the beast on the 5D3.  I wonder what they will say about this publicly. 
 
This is great. Can we call it the 5D-C now?

If this comes in a crop mode to MKII, you know, 1920x1080... lol
 
imagine that!! A camera from 2008 now doing raw! lol!!!!! This will be the most amazing thing in years to happen!!!
 
A full kick muay thai style in canon's face!
 
lol

Somebody has to say it, so i'll go first.
 
2012: BMCC (Black Magic Cinema camera)
2013: MLCC (Magic Lantern Cracked camera)

Poor Andrew, he gets so much shite for being a Canon hater, when deep down he really wanted to love the 5D3 for video. He's going all out, trying to save the 5D line from the evil engineers at Canon.
 
It's like watching someone perform CPR even though they know the patient is already dead.

I already have BMPC on pre-order, but the hackability of 5D is probably the most fascinating case study of consumer self-empowerment I have ever witnessed, so I'm curious how far the tech can be pushed regardless.

Luke Neumann commented on the Nofilmschool article that he thinks there's roughly two stops more exposure latitude possible with the DNG files. Crazy stuff.

This has to be the funniest comment since started doing research about camera and film. If you think you got it bad I would like to invite you to come to the FS700 forum at DVX. We are up in arm as to what Sony promise us from the beginning. With the upgrade to our camera to get 4K. It is going to cost more then the actual camera and have you seen the size of those thing hehe.
 

That top video is the first and only FS700 footage I think I've seen that didn't have almost immediate give-aways that it's digital video.  It was just pretty and obviously meticulously shot and crafted.   Pretty much all of the other footage I've seen, including some commercials I worked on, had what I'd typically expect from a Sony camera in the highlights.  Shooting into the sun is a really good way to bring this out and a BMCC wouldn't look like that.  You can shoot into the sun but please don't.
 
FYI, SyFy puts the most awful garbage on air, I wouldn't go bragging about how much they like anything.   I mean, gratz on the work but they're not a network of quality and never have been.  That said, it's not hard to imagine you or anyone who actually cares about their work could impress them.  They keep The Asylum in business, after all.

Correct, I meant to say "optical distortion" instead of "optical image" in that sentence.
 

Those 4 center squares at the bottom are the sweet spot with least distortion, so an S35 will naturally take advantage of that.
 
Question is, will it make much difference visually? Only the eye will tell, I have an old Canon 20D lying around with a 1.6x factor, will have to make my own test sometime.

Correct, I meant to say "optical distortion" instead of "optical image" in that sentence.
 

Those 4 center squares at the bottom are the sweet spot with least distortion, so an S35 will naturally take advantage of that.
 
Question is, will it make much difference visually? Only the eye will tell, I have an old Canon 20D lying around with a 1.6x factor, will have to make my own test sometime.

They don't look "fine" they look distorted and it's just that some directors like that.  They do not, however, look like what you get when you use a lens designed explicitly for close-up or portrait style photography.  They are a choice (one would hope).
 
There isn't an equivalency here.  Using a wide angle lens for close-up is either a stylistic choice or a lazy/ignorant choice.  If you don't make a choice at all, the result falls to the later.  If you don't know why it's a choice, it falls to the later.  But there is no equivalency here.

The exact cropfactor is 1.70x.
 
(If the sensor size is 21.12mm x 11.88mm, the diagonal is 24,23mm. The diagonal of 16:9 fullframe is 41,3mm.
ivide 24,23mm by 41,3mm).
 
So it sits in between the GH2, the F5 and canon aps-c (roughly 1.6x, Nikon is 1.5x).
 
Panasonic GH3: 2x
Panasonic GH2: 1.86x
BMCC 4K: 1.70x
Sony F5: 1.59x

That said I do have sympathy with early customers.
 
Blackmagic and Digital Bolex are putting them through some real misery.
 
If you funded the DB Kickstarter to the tune of a camera and if you pre-ordered the Blackmagic Cinema Camera at the last NAB, and haven't shot with either yet, just be safe in the knowledge that you're supporting the revolution if not actually able to televise it!

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

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

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

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

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.
 
 
She should be saying "You will get rock solid keys", not "should be keyable".
 
Is this a cause for concern?

Let's hope he's right.
 
Where did you find the info on the website ? Looked everywhere, was not able to find anything. The only hint I get is the VISUALLY lossless wording they using on the BMPC and not for the other camera - this is pure marketing wording.
 
Christine Peterson from Blackmagic on the forums : It's visually lossless, a very slight compression.
 
So right now, I prefer believing Adobe specs on DNG than Blackmagic wording - and the only "visually lossless" compression that is not lossless is the 8bit JPEG.
 
So like I said, there could always be some new specs that could be published soon with a 12bit log "visually lossless" compression. Right now, there is not.
 
Like I wrote on the Adobe forum 6 months ago,  I really hope that Adobe would update the specs to include something better than 8bit Jpeg and that was before the BMPC. I now hope even more that Adobe will do it.