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Everything posted by squig

  1. This really sold me on the low light ability of the pocket https://vimeo.com/80348441 The other thing I didn't mention is dynamic range. @ 800 ISO you've got 13 stops to play with on the pocket/micro cine. Matching DOF on the 5DMK3 (vs speedboosted pocket/micro cine) you've got about 9 stops of latitude (raw 6400 ISO). @Don Kotlos Yeah, when you take the 2 stop DOF difference and speedbooster (1 & 2/3 stops) into account, 800 ISO on the pocket/micro cine @ f/2.8 is the equivalent of 10,000 ISO on a full frame camera @ f/5.6. And 800 ISO on the pocket is a hell of a lot cleaner than 10,000 ISO is on a 5dMK3 raw or an A7s (with more latitude). Shoot at f/2 and you're matching 20,000 ISO full frame @ f/4. I didn't consider the pocket when it came out because it didn't shoot raw initially, it had aliasing/moire issues, and the small sensor meant investing in a bunch of fast M4/3 lenses. Now with the speedbooster, mosaic filter, LUTs (smallHD 501), and raw recording, the pocket/micro cine look like THE DSLR replacement.
  2. I was merely responding to an insulting post in kind; I'm not Jesus, I don't always have patience for trolls. I stand by everything I've said, and when I get my hands on the micro cine the test results will speak for themselves. I'd appreciate it if you didn't repost my quotes out of context.
  3. I reckon SmallHD will redesign the sidefinder to fix the ghosting issue, which would make the 501/502 a great EVF for the micro cine too Given that BMD are busy rolling out the Ursa mini 4.6k, and Australians spend most of January at the beach; I don't think we're gonna see the micro cine for at least another month or three. They haven't enabled the global shutter on the 4.6k yet; global shutter firmware bugs could be holding up both cameras. Better that BMD take the time to get it right than turn us into a crash test zombie horde.
  4. Huge difference in DOF between BMD prod at @ f/2.8 and 5D @ f/1.4. Well without a Speedbooster you'd still shoot at f/2.8 to match DOF, but you'd have to shoot at 1600 ISO because you wouldn't have the extra 1 & 2/3 stops light advantage of the Speedbooster. As soon as I get my hands on the BM micro cine I'll do some low light tests vs the 5DMK3 and A7s.
  5. If you think that's a ridiculous comparison chances are you don't know WTF you're talking about. Name one scene from a feature film shot full frame at f/1.4? No focus puller is that good, & no cinematographer is that crazy. About the only time I'd shoot at f/1.4 is a wide establishing shot at night. ONE SHOT! Troll harder.
  6. This whole idea that the pocket/micro cine isn't good in low light is misconceived. The 5DMK3 is widely known for being a good low light camera but in reality it's no better than the BM cameras. The highest usable ISO on the 5D raw is 6400 (and you must ETTR) digital gain kicks in @ 1600 ISO and noise will be a problem beyond that if you're not careful. To get a good filmic DOF I normally set the aperture to f/5.6. To get the same shot on a pocket/micro cine with a speedbooster I'd be shooting at f/2.8 to match DOF and I'd gain 1 and 2/3 stops of light from the speedbooster which means I could get the shot with the pocket/micro set at 800 ISO. The noise on the BM cameras @ 800 ISO looks a lot more filmic than the ugly chroma fixed pattern noise on the 5D @ 6400 ISO. Having not shot with the BMs this is theoretical but the math suggests the BMs have a low light advantage over the 5D in most shooting scenarios. The A7s/II is widely considered to be the best low light camera but the reality is in post it's no better than the 5D raw @ 6400 ISO. You can shoot at higher ISOs with the A7s/II but if you don't ETTR it gets really ugly.
  7. I haven't pre-ordered but I'm gonna pick one up as soon as I can. The only concern I have is fan noise. No mosaic filter Zak?
  8. After a year with the A7s and 5DMK3 raw I concur; 8bit is a gyp. I spend at least twice as long working with the Sony files to make them look half as good as the ML raw. I'm only holding onto it to shoot production stills. The A7sII does look a little better but for twice the resale value of an A7s I'll pass. Got my eye on the Blackmagic Micro Cinema camera.
  9. If you shoot magic lantern with 2.35:1 aspect ratio the rolling shutter on the 5DMK3 is under 14ms. I shoot 2.35:1 and crop to 2.39:1 because there's a a couple of dodgy lines at the top and bottom of the frame.
  10. You still got the 5D jcs? Would be interesting to see how magic lantern stacks up against the C300 II.
  11. 8bit in cameras that can shoot 4k with 13 stops of dynamic range is a joke. An A7sII costs double the resale value of an A7s in Aus. Is it twice the camera? No way, you can't even accurately focus manually, lulz. I'm hanging for the Blackmagic micro cinema camera, 8bit and rolling shutter is so 2007. In the meantime magic lantern delivers. Yeah s-log is a real pain in the arse to grade, that's where film convert comes in really handy. Nailing exposure with s-log is critical, raw is more forgiving. Andrew try film convert Arri log c profile on the s-log 3 shots. Worked well on your first shot of the couple standing next to the pole with some minor tweaking. Is the banding just as bad in 1080p mode and 4k pro res?
  12. It didn't cause a total or even partial eclipse on the A7s but it's the same kind of sensor/processing issue. Try shooting a dimmable light and see if you can figure out how much illumination triggers the black hole. The edge highlight aliasing occurs in 24p and 25p modes on the A7s. I pointed the A7s (25p) at a few thousand lux just to be sure. The only black spots are the ones I burned into my retinas.
  13. Looks like the same blue/black highlight aliasing issue I discovered on the A7s. Sony don't consider it a problem apparently. There's no way around it on the A7s, it occurs in every shooting mode and with external recorders. It doesn't occur shooting raw stills on the A7s.
  14. I get the 4k obsession, but film is screened at 2k, and TV at 1080p. An honest 1000 lines of resolution is ample for film and broadcast delivery. The Alexa still rules because 4k isn't a deciding factor for most productions. If the 5D IV has another 2 stops of dynamic range, 1 or 2 stops better sensitivity, lower rolling shutter, and is Magic Lantern hackable, it could be a beast. 4k internally downsampled to 1080p would be very nice. I expect it will have 4k because Canon has to match Sony and Panasonic to stay in the game, but it wouldn't surprise me if it only does 1080p.
  15. Good choice. I'm pairing my 5DMKIII raw with a Blackmagic Micro Cinema cam for narrative work and looking at getting the Ursa mini 4.6k next year. 13.5 stops (with global shutter) and internal raw is the bomb. My A7s has been relegated to stills, I might even downgrade to the next Sony APS-C mirrorless body for stills. I can't go back to 8bit compressed codecs.
  16. In a time of universal deceit.... I wasn't banned, I'm just stalking Ed. I've been a member here for ages but I haven't been active on any forum for a while because I've been focusing on making my feature. We had a Red one at film school, I never touched it, shot everything on a 5DMKII. Thx E.
  17. US DSLR sales are around 15% of worldwide sales and US market share has been shrinking year on year. US mirrorless market share is even less. Camera companies are focused on emerging markets.
  18. http://www.eoshd.com/2014/09/market-dslrs-shrinking-dramatically-canon-nikon-blame/ Those figures came out before the 2nd generation A7 cameras were released. I know a lot of people who've ditched their Canons for a Sony. I reckon Sony's well on track to closing the mirrorless vs mirror box gap in 2016. Canon tech is old and tired; Sony raised the prices on the 2nd gen A7 range because they know everybody wants one, and there's a really tasty selection of e-mount lenses on (and coming to) the market. Canon could pay dearly for its hubris. If I was shooting stills professionally I'd drop the 5D for an A7rII, and if Magic Lantern didn't exist I'd shoot video on an A7sII. Who's going to spend over $10,000 on a 1DcMKII if it doesn't do raw video?
  19. http://www.reuters.com/article/2014/10/27/canon-results-idUSL4N0SM25K20141027 "The consumer shift to smartphones for casual photo taking has pummelled demand for compact cameras, while the growing popularity of lighter mirrorless cameras has taken away market share from higher margin single-lens reflex cameras." Hardly surprising; Canon hasn't done much to improve its DSLRs since the 5DMKII came out in 2007, & if it wasn't for the demand for feature improvements from filmmakers & videographers, Canon would've lost even more of its market share sooner. We've had a lot of debates on the forums over the years about whether we were a niche market; I think the A7s, A7sII, and GH4 are evidence that we're not. It was pretty obvious back in 2007 that the video DSLR market would take off. Canon put all of its eggs in the 'professional' market with the C series cameras and totally dropped the ball with the DSLR market. If it wasn't for Magic Lantern I couldn't see any reason why anyone would want to use a Canon DSLR now when Sony, Panasonic and Nikon are making cameras with much better video specs. Canon are way behind in the dynamic range & IQ stakes (leaving the pricey 1DC out of the equation). So what can Canon do to compete? It's staring them right in the face: Magic Lantern. It's like Canon's forgotten what happened when they brought out the 5D 24p update. It's pretty basic business theory really: if you wanna be successful you have to stay ahead of the curve; Canon could do raw video tomorrow. This idea that people don't want raw is ridiculous, it's like saying people don't want raw stills. My 5DMKIII with Magic Lantern destroys my A7s in every test I've put them through, but no hack is 100% stable 100% of the time. Mine's been pretty solid but I still carry the A7s just in case the 5D dies on me. Canon are now looking at sourcing sensors from other manufacturers http://www.canonrumors.com/canon-actively-testing-third-party-sensors-cr2/, a smart move considering how far ahead Sony is in sensor development. If Blackmagic can source 15 stop sensors (13.5 with global shutter) Canon surely could too. If Canon can't make a good enough EVF they should source one of those too & ditch the optical viewfinder; I much prefer the A7s to the 5DMKIII for stills shooting because of the EVF. If the next 5D has another optical viewfinder and records a 4k compressed codec Canon won't regain any market share. The 2 biggest issues with DSLRs are the 8bit compressed codecs and the rolling shutter, and they're the 2 things Canon should be focusing on. 2k raw is a lot more production worthy than 4k 8bit compressed, why not have both as an option? We know from Magic Lantern that raw 2k recording works on now outdated tech, 4k is doable in camera too with faster media. Will Canon get smart? probably not, historically Canon have been knuckledraggers, but if another company or hacker enables raw video on a more advanced DSLR Canon are screwed. I reckon we will see a new DSLR record raw video within 12 months, Nikonhacker are close, and the A7sII looks very hack worthy. In the meantime I'm eyeing the Blackmagic Micro Cinema Camera and the Ursa Mini 4.6k. End rant. Filmed on a 5DMKIII (Magic Lantern H.264 pre-raw)
  20. Andrew I've had the 5DMK3 & A7s together for a year now and I can say without any doubt the A7s is no match for the 5D raw in any situation I've shot in. The A7s has been a real pain in the arse to work with compared to the luxury of raw. Skin is my number one priority and the A7s is crap with skin, s-gamut is the worst, movie and cinema are a little better. The A7sII does appear to render much nicer skin but it's still no match for the 5D raw files. Believe me I'd love to chuck the 5D and replace it with something better but the A7sII ain't it. IBIS is great but 30ms rolling shutter is pretty hideous. I've been sticking to APS-C mode with a speedbooster on the A7s to make the rolling shutter workable. I think the A7sII will be really useful in certain situations and a lotta people will probably like it and shoot nice stuff with it, but like every other stock standard DSLR to date there's a lotta compromises, and those Sony prick teasers are holding back raw and global shutters for as long as they can until they run out of other incremental bullshit. Fingers crossed the lads will hack the shit out of the A7sII. Imagine 14bit raw 2k 2.39:1 with around 15ms rolling shutter and 2-3 stops more dynamic range than the 5D. Remember people we only got 24p recording on the 5DMK2 because we pushed for it. Keep pushing.
  21. WTF!? I was a mod at cinema5D, you'd be one of the last guys I'd ever think I'd have to ban. Some mods can be real fascists, totally devoid of any sense of humor or proportion. We had a good crew at cinema5D, banning was taken really seriously and the mods conferred before we made a decision to ban.
  22. Anyone who thinks workers aren't exploited is living in a hypnotic state. I've been exploited in every job I ever I had. Capitalism is by design a system of exploitation.
  23. I've not seen anything like that. It's a raw file, there is no compression.
  24. I had a chat with Philip about it the other day, his main concern is the workflow and it's a valid concern especially for the kinda fast turnaround work he does. RAW means a big investment in CF cards, raid arrays, and fast computers. I'm looking at a $10,000 investment and change to cut a RAW feature.
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