squig

I got a reply from vimeo

http://www.magiclantern.fm/forum/index.php?topic=14460.msg161758#msg161758 http://www.magiclantern.fm/forum/index.php?topic=16332.msg158705#msg158705 I've never had a problem with the 64Gb 1066x Lexars or 1066x Toshibas.

Just cancelled my plus membership auto renew. Not happy vimeo.

Emailing support monkeys is generally a complete waste of time. I sent vimeo a tweet instead: My plus account subscription is due. My wallet's not feeling any love for vimeo.

I've got 2 1.5x Iscoramas. I shoot with an 1856x1114 crop on the 5D Mk3 with Magic Lantern which ends up as 2k 2.39:1 with a slight crop in resolve. Magic lantern and the smallHD 501 both have 1.5x desqueeze so all good. With a 55mm lens I get about the equivalent of a 35mm wide. So Brian how wide can you go with this adapter?

Given that you can buy cages for most cameras, why not just shoot in portrait mode with a 2x anamorphic lens and crop? Get a monitor with image flip and desqueeze and you're all set. 1080p becomes 2k and UHD becomes 4k. Better still; use the old Jedi mind trick on someone at Blackmagic to enable anamorphic crops on all their cameras. If Magic Lantern can do it I don't see why camera companies can't.

Sonys look great on paper.

No c-log = 1Dc MKII at NAB. Given that it will have a C-Fast slot and cost almost twice as much, maybe it will record raw video?

Now everybody pray the U-boats don't sink the February shipment too.

$6000+ is a lot of coin for an 8bit camera in 2016. Looks like it could cost another $5000 for the c-log upgrade (1Dc MKII). A BMMCC, 5D with ML, or D500 with prores recorder would be better options.

Unless some unforeseen issue emerges, I'm going to be replacing my 5D mk3 raw z-finder smallHD AC7 combo with a Blackmagic micro cinema camera, speed booster, mosaic filter, and smallHD 501/sidefinder. Magic Lantern has been fairly stable for me, I've never lost any footage, just the occasional crash usually due to random button pressing. Reasons for upgrading: +2 stops dynamic range; global shutter; 1080p 60p; better low light capability (in real shooting scenarios); and of course stability. Because I've been shooting raw for the past couple of years the workflow is almost identical. The Magic Lantern/5D image looks great, but I think the BMMCC will look even better, and most importantly I'll be able to shoot scenes that are beyond the capabilities of the 5D.

I'm going with the wooden camera micro cage because the speed booster support foot is an essential accessory for me. Solid lens mount for focus pulling and fast gimbal flying.

60p raw is welcome news. Going handheld with a Pocket or a DSLR with comparable rolling shutter is something I would never even contemplate. My impression looking at the footage is that the BMMCC has a faster sensor read time than the Pocket, but I can't be certain until somebody does a rolling shutter test.

Anyone notice there's no micro jitters in those handheld shots? Global shutter; I want, I want! Unexpected environment? I intend to shoot a feature with it; because why wouldn't I? I've got a Tokina 11-16 but I hate the ugly bokeh. I getting a Samyang 16mm; real creamy bokeh, sharp, and fast. The Sigma 18-35 f/1.8 with a Nikon mount speedbooster is on my BMMCC shopping list too. Has anyone had any problems using the Samyang 16mm on a BMPCC with a mosaic filter and speed booster?

Okay so maybe I'll hold off on that Pocket for a couple more weeks.

I've been keen on the micro since NAB, but I didn't pre-order because why torture myself? I've seen people still waiting for their pre-orders when I could find a camera in stock in the past. I'm going to have to get a pocket in the next couple of weeks to shoot a crowdfunding trailer for my film. Its going to suck if a micro's sitting in a shop a week later, but such is life.

My mantra to noobs: Know thy shit; OR as they used to say back in the olden days: its not the size, its what you do with it; OR: practice makes perfect. Gear porn is addictive. I've bought and spent a lot of time testing cameras that I shouldn't have bothered with. The A7s is one example: great for photos, but for filmmaking there's a bunch of better options for the money. Every camera has its limitations: try helmet mounting an Alexa. A good rule of thumb is you should be testing a camera for a film for as least as long as you'll be shooting the film.

I think there's a pretty good chance of 2nd gen Pocket at NAB; shipping in May (2019).

Thankfully there's companies like Arri and Blackmagic, and groups like Magic Lantern and Axiom who are striving to create the best cinematic digital images instead of milking old tech. The 5D raw and BMPCC meet my baseline 2k resolution requirements for theatrical release. Color science, dynamic range, and 12/14 bit raw trump 4k every time. 4k delivery is an unreasonable demand on independent filmmakers. People still listen to crappy 16bit audio, and a lot of it is heavily compressed!

Film on heavily compressed 4k or uprezzed 1080p, heavily compress and stream it to the masses, only a tiny percentage of whom have 4k TVs who won't experience any discernible IQ improvement over 1080p sitting on their lounge 10 feet away from the screen. But hey, they still have the 4k sticker on their TVs to impress their friends.

4k streaming is so dumb. Yeah white balance on the A7s is weird, raw photos you can correct, but video: forget about it; it's just not worth the hassle. After getting a taste of raw video, I'm never going back.

So this happened. I know I know, they do this every month but if you can get people to believe in an invisible man in the sky you can get them to believe anything.

4k is just a big wank; Japanese consumer electronic marketing hype to sell TVs and camcorders to plebs who don't need new TVs and camcorders. Mad Max Fury Road scenes shot on BMCC, OMD, and 5D https://www.blackmagicdesign.com/community/story/mad-max-michelle

Yeah, a loupe/LCD tends to be in a spot only a yogi can reach. I picked up a Nyrius aries prime for the Ronin m, helmet POV monitoring, and any other awkward spot I can think of. The full size HDMI port is a godsend too.

Na. I'm gonna be using a smallHD 501 with mine. An LCD needs a loupe to be usable, and is useless on a gimbal, drone, or POV helmet mount. Even with the 501/sidefinder it's still lighter and more compact than a 5D with a zfinder.