Nikkor

Same sensor again with double pixel focus? No thanks...

Get the Blackmagics into that list...

Canon is offering owners of its Cinema EOS C100 the chance to add Dual Pixel AF to this video-centric camera. This will enable continuous autofocus during recording with all Canon EF lenses, and double one-shot AF speed with 104 fully-supported lenses. Interestingly the upgrade doesn't involve a change of sensor, but instead enables a hitherto-unused hardware capability. However it will require the camera to be sent to a Canon service centre, and in the US will cost $500. Canon USA's press release about this update is decidedly opaque, leading to some reports suggesting that the process involves a sensor swap. However Canon Europe is much more explicit about what's going on, so we've reproduced its press release below.   http://***URL removed***/news/2013/11/06/canon-offers-dual-pixel-af-upgrade-for-cinema-eos-c100-camera?utm_campaign=internal-link&utm_source=news-list&utm_medium=text&ref=title_0_0   It would be nice if magic lantern would hack this and make the camera record all the pixels, the c100 would become the ultimate anamorphic camera, no more ugly noise streching and incredible resolution. Anyway, I'm not shure if the pixels are really full pixels.

Nikon is targeting it's classic FF market,one of the few markets they have left but also one of the best they got: old retired white men with cash and nothing to do. Men who don't want video and who don't know that putting video into a camera doesn't take extra place or makes other things worse. (this is the only way to explain dpreview comments of the last 5 years) The price point is perfect, they get a lot of cash out of a cheap camera and people will still buy it, I guess the D4 sales are low (the other retirement camera), and this one will take all those old men who can't carry a D4, don't have cash, still have a D3, or have a D4 and want to use their very old lenses or just want the classic dials. This is a bread and butter camera, for the good old segment. Nikon could be making 4K raw video monsters and they still would make this one because retired white male are the majority of the society with spare cash. The article looses the point completle.

I think they talk about small sensors need wider apertures to get shallower depth of field. To get the same image as a 50mm f2 lens on full frame you will need 24 f0.95 on a micro four thrids. But since the pocket has an even smaller you would need an 16.66mm f 0.66 to get the same bokeh, but anyway I think your images look superb, if you want more bokeh you can always get a speed booster.

Yo no tengo Mac y así que mejor que preguntes en Inglés porque me parece que no hay Españoles por aquí.

the best place to ask for help on this topic would be the magic lantern forums.

Maybe it's time for them to sell the cameras with a lens that actually gives good quality, I think 80% of the people who buy an entry level dslr never get another lens (maybe the cheap tele lens every brand has) I mean, these 18-55 1:3.5-4.5 lenses are so shitty you can't justify 600$. Some will just stay with the iphone/droid others will take a m43 which will be even better suited for these kind of people. I can see these hipster girls and bald british/german/dutch tourists everyday walking around with their 18-55, and I can't stop thinking to myself ,why do you even bother to carry that shitty bulk?

Looks like no ND = high shutter speed.

Crop mode is amazing, and with long lenses+big aperture WOW. Nice finding, looks better than a lot of 4K stuff I've seen.

I would certainly enjoy more 4k content with a 4k projector. I have a 1080p projector and the screendoor sucks, also on a 150" 1080p looks pretty bad (and no, I don't sit 3 meters away from the screen, its something about smoothness)

Anamorphic days are over in digital the same way it was in film long ago, but people still use it because it has an obvious strength. Personally i love to have twice shallow depth of field with oval bokeh. Obviously you don't need that always, but when it fits, it fits really great.

I wouldn't use that on my cameras, if the frequency of the vibration coincides with the fundamental frequency of some structure inside you will break it.

If it works with stills (it does) it will work with 4K.

Nice "review", it shows all the benefits, specially the ones people seem to forget like the choppy motion blur which makes you nauseous, this one is a no-go for me with h264, when I look at motion blur in raw videos it looks almost like film to me, the rule about 6 seconds panning from one to another side doesn't apply with raw video (from my little understanding) even if it is taken at 24fps it still lacks that choppyness from h264 video files.   ML raw is great, and the extra cards are only a problem if you have to shoot a lot of takes in a short amount of time, but with this at least you have the choice: "almost RED quality" for a fraction but with extra hassle or just go BMPCC for the other situations. (once they release RAW)    One suggestion.Andrew, the color comparsion where the RAW appears all yellow and the h264 looks about right, I would put another example matched to the h264 to show how you have controll and how much better it looks. I guess it's obvious but some people might get confused.

I don't agree on the nvidia 680, it's good for games but for cuda stuff I think it's slower than the 580.

I think internet streaming is not up the task (will be some day), if watching 1080 on youtube can be a pain in the ass, 4K will be... But anyway, 4K is the way to go. This camera will be great.

Anamorphic single focus range finder, sounds like a lot of fun.

It also improves noise performance a lot.

Same shit as always, as it seems. ^^

If you want to use ETTR keep in mind that you should always try to achieve it first lowering your ND filter (if you don't want to change your shutter speed or shutter angle if you wan't to call it that way). Changing ISO depends on your camera, and what they call "sensor limited zone" where you start to loose Dynamic range in which case ETTR by boosting ISO above that value doesn't improve performance and you'd rather do it in post because you are loosing latitude. I don't know which value it is for the bmcc, maybe there is no gain going on in the converters so you should stay at base iso all the time. Does someone has the data?

Look at the prices!!! Wow, they just killed Nikon... I'm going to sell my d800 and get the A7R.

When you change ISO on a digital camera you are not changing sensitivity.

  I remind you that you have chosen to run a public site, if you don't have the education to engage a public discussion hire someone to do so, because honestly you are making a fool out of yourself.    The files posted at the beginning of this thread are interpreted the same way in ACR as they are in Resolve when you tell to readout the metadata.   I also invite you to learn about the way cameras handle ISO, in fact I can't believe you don't know. The same way I can't believe you are taking the gh2 into this conversation.

You are so smart Andrew, a daylight shot with a good sensor doesn't need any noise reduction, maybe these samples are just at some ISO they are not meant to be. The ship is definitely not a silhouette area, it's not shot against the sun altough it is in the "shadow", it's shot 90º off the sun with a lot of ambient light, looking east (if that is australia) at mid day, there should be no fucking noise at all.  But hey, for vimeo videos, who cares... Let's wait for some lowlight samples, and the ETTR mystery solved.