IronFilm

Can anyone point me to a trusted source/online how-to for doing the post RAW process on an 5DII?  Not looking for anything generic, something you've used that you've relied on and has served you well; made things relatively easy during the post.
Never really had a desire to give it a go, but as cards and computers have changed, might as well see what's up.

I have been a little swayed by this post (I secretly believe Andrew must be a mastermind behind some sort of black market, used camera syndicate) but is it true that there is a noticeable difference (analogue vs. digital) between the Mark II and Mark III?

I remember having an argument a few years ago late in a bar about how film would never be suplanted by digital. I said: just look at Once Upon a Time in Anatolia if you don't believe me. The next day I checked and discovered it was shot on the F35. 
 

Actually I think the BM Micro CC sounds really good with the option of Global Shutter as well as 60fps with rolling shutter. In combination with using LP-E6 batteries it's an amazing upgrade over the BMPCC when anyway using external monitoring. But the BMD release behaviour and zero communication makes this one nothing to count on. By the moment they halfway fixed the firmware problems there is already a successor announced. If the BMMCC would even have been designed with the 2.5k sensor to help with end-resolution and stabilizing, etc. I think it would have been a great thing, it's probably an amazing camera for gimbal work if it ever gets released.
Edit: on the other hand I guess most people would usually rather shoot ProRes than Raw and then the 2.5k sensor probably has no advantage over the current 1080p anymore

I'd probably have the FS700 / O7Q combo in there too.... When you think what it offers up, it is very underrated and the raw image can be very beautiful. I saw a kit for sale for under $4k recently... 4K/120fps/raw for $4k, genuine bargain.

And who can forget Ed Davids epic Red One MX vs Sony F35 test. Its private but just google "red one mx f35" and click the video tab. First hit still works.

For 99% of us here, what the D5 can or can not do specifically does not matter to us. Because I won't be buying one any time soon, or even in the next 5yrs (maybe maybe by then it might have dropped in price low enough to buy one on a laugh. For instance I almost purchased a D2Hs for the hell of it recently).

Instead what is so very significant about the D5 announcement is what it represents for video from Nikon, that they're bringing out 4K video the masses. Unlike Canon there is no restricting it only to their ultra high priced C line up, instead *EVERY* pro sports/journalist/etc photographer with a D5 will also be able to do 4K clips. Same can't be said for the 1D X users.
Even more so, Nikon has added 4K video to their APS-C level camera. (could you see Canon doing that?? nah). Nikon hasn't been shy in putting better video into their lower end cameras than their models above it (remember the D5200 being a better choice than the D800? http://www.eoshd.com/2013/02/is-the-cheap-nikon-d5200-a-better-option-than-d800-for-video-no-moire-aliasing-and-good-detail/ ), so I wouldn't be surprised if the D7300/D5600 gets 4K as well. (maybe even the D3400?? Though maybe that is too low end... might need to wait for the D7x00/D5x00 to get it first). D620 could arrive this year with 4K as well.
And for the poor Canon fan boys this is good news as well, as just maybe maybe this might prompt Canon to finally add 4K to their line up DSLRs! (other than their C range)
Because no matter how many cameras Sony/Panasonic/Samsung add 4K to, well... Canon probably doesn't care too much (incorrectly so), as they don't recognise them as their direct competition. But Nikon is their direct competition, if anything will make Canon feel compelled to respond it is this, just like what happened when Nikon brought out the D90 and changed all our lives.
Thus we should all be quite excited by the D5/D500 announcement! As it will cause a ripple that will create a bigger impact than many of us expect.

Maybe I'm unique, but my must-haves were pretty simple for an affordable DSLR. I would have spent up to $2-$3k for:
APS-C/Super 35 sensor; At least 2k, pref. 4k (reframing for low-budget, 1 camera shoots and being able to pull great keys are huge for me); Ability to take a wide range of glass; Image with decent enough DR to be able to "light for the sensor" - I don't need 14 stops, I can light for 10. Audio meters, manual audio control, some sort of usable 1080 slowmo. I really wanted to love something from Black Magic, but those sensors meant Speedbooster, and the 2k cinema camera meant speedbooster and SDI monitoring. I really need at least 60p@ 1080, too. And freaking interchangeable batteries that last 45 minutes or so.
The NX1 really hit the sweet spots for me, and then some. I don't take a loupe to shoots anymore for chrissakes. Technically, the image is superior to the Nikons I've been shooting for client work. Aesthetically - my D7100 is still "prettier" in some ways, and it's got nothing on BMC at their best.
OK, find some tech guy to contact Samsung, license their tech, and create a reasonably priced cinema camera for pro, semi pro, corporate and enthusiast market. Give it Prores 422 to the card or an SSD, boost the DR and gives us some output options for raw or bit depth. 
There is a market - assuming it's Nikon or Canon's market is the big mistake forum posters here and otherwise make.
I live in Dallas, which has a lot of well-employed people. Not just the rich, but those with expendable income.
I'm really used to seeing the soccer-mom, the hipster dude, the dorky dad, the "I'm a big fan of live music" 20-something, all rocking nice cameras at shows or outdoor events. Look close and they have the mid-level zooms (not the 2.8 stuff but not the kit - fairly chunky F4 stuff in the $800 range). And the strap.
For this market, the strap is of vital importance and equal to the physical size of the lens. It absolutely must say Nikon or Canon. I don't recall ever seeing a Sony or Panny strap on those shoulders.
Can't tell you how many times I've chatted with such a camera owner - "Oh, I have that body" and you find they're shooting it 100% program/auto. They're getting the exact shots they'd get with a little mirrorless rig. But man, they look so legit!
This, and semi-pros concerned with lens ecosystem is likely what did Samsung in. I've yet to take a single still with the NX1, but on my third paying gig with it. I'm a drop in the bucket market-wise though.

Canon straps even say which model it is if it's a "better one" like 7D, 5D etc. I guess that automatically gives you the admiration factor from the Rebel using peasants and the right to tell them to get out of your way ;-)
I should use the "Minolta Dynax" strap that I currently have on the Nikon for the Samsung. Morituri te salutant!
But I agree with your post... my heart would rather part with the D750 than the NX1 at the moment just out of usability reasons, which is obviously a completely different motivation than what makes most people buy cameras. Just wondering now what to exchange my SmallHD field monitor for, I kinda don't want to let that go either but I have only 1% hope that they'll actually fix the problem.

If anyone is really interested I will sit down and find the article and point to it.

Yep that interview was also conveniently less than 3 min  

Keep in mind they also jump-started their ILC division by acquiring Konica-Minolta, thus gaining access to tech & people with decades of experience.

Sony's been remarkable in this regard. Their stills camera division was a distant third for a decade. They just kept chip chip chipping away, adding more features than the competition, iterating and modifying their designs radically until they found a way into the future (mirrorless). People who were paying attention switched a few years ago with the NEX-7 era. Now I see a huge sea change happening with a majority of filmmakers I know switching and lots of photographers taking Sony seriously as well. Nice to see the hard work and patient approach pay off.
Their consistency approach is smart, too. They built an array of product categories and packed each with category leading features, so you can confidently move between the levels. I can use my A7s, RX100 IV on most standard shoots, and rent the FS5/FS7 when I need something more capable, knowing I can shoot S Log on all and have a color matched solution. The idea of adding pro codecs on the RX100 IV especially, was genius. I've picked up B Roll for major shoots when I'm just walking around and pull it out of my pocket. to grab something in 4K S Log. 

Yes absolutely, they should have stuck it out. Good post.
They had NX on the market for about half a decade, trying to do what it took the rest the best part of half a century to achieve.

I think Samsung merely miscalculated how long it takes to break into a new market, especially one with products that are pricey. I wish they had sucked it up for another couple of years, came out with an NX2, an NX600, and a crap-ton more lenses, and they would've had a pretty good shot, especially if they had set up a pro support network. Half-hearted efforts won't cut it against competition like Canon, Nikon and Sony. Even Fuji & Olympus have made decades of experience in the field. It's the height of hubris to think they could just jump into the photo game and success in a short amount of time in anything other than the point-n-shoot part of the market. The deep end of the pool requires you to be able to swim and defend yourself against what else is in the water.

I was told at NAB last year that Sony is VERY carefully about who they sell their image sensors to and what cameras they are installed in.
He told me that Sony writes contractual limitations into the sale agreement. Sony demands these sensors will only be installed into a competitor's camera with specific X,Y and Z limitations. If the buyer doesn't agree, they don't get the Sony sensor. They can negotiate with Sony but will pay a higher price for it. Supposedly Sony is VERY agressive on these legal contracts. Sony doesnt want is own technology fighting toouch against their own cameras and camcorders.
I dont know if Nikon is buying Sony chips on this new model but if they are, this crippling stuff might not be their fault. They literally could have their hands tied on what they can give their customers and what they cant.
This could be another reason why there are Nikon/Samsung rumors going arround now. I'm certain Nikon wants to get away from Sony at all cost.
Nikon does not own a sensor plant so they MUST buy from a third party supplier. Anybody know if Nikon is buying Sony on this?

Yup, one of the more exciting things about this announcement is what it bodes for the future of other Nikon DSLRs!! :-S

And when it's half of that new price, and I've seen footage from it, then I might be interested. But at $3200 we are in A7rii, Ursa mini, A7sII price range and more than the NX1. Sorry, but any one of those is a much more solid pick. I could see $1500 with osmo handle thrown in. And that is only if the battery life on the osmo improves. I get about 20-40 minutes out of ours. Oh, and ditch the smartphone. It should have a dedicated screen.

I totally agree, I own and loooove the D800 for its capabilities and these images didn't really shined for me. 
But remember that when the D4 was released it had been really quickly outdated by the D650/D800/ D5500 for video. 
This release gives me the same feeling. D4 and D500 for stills with great capabilities, and video renewal and we'll have to wait a bit more for a more convicing use of 4k in a next nikon dslr with same amazing still capabilites, maybe in Full-frame, maybe also in dx much cheaper.

All three great cameras, just a bit pricy compared to the R1 (all more than twice the cost if bought new in Sweden, and no used once out yet).
And also I would probably never choose the Aja or Mini 4K over a dirt cheap fully rigged bmpc4k (same image). Which by the way will seriosly drop soon.
The Kinemini seems cool but I hear very mixed things, so one should as you say, look deep.
An me personally, if I had that kind of money, F35 all the way

Nice to have one less thing to think about during a shoot. ISO? Ah don't care. Very liberating
It's why the FS5 is nicer to use than the A7S II. You just stick it in S-LOG at the base ISO of 3200 and 1/50, then use the variable ND filter for all your exposure adjustments. One control suits all.

Honestly, I think film cameras are easier to shoot with than with the RED.  
I've never been particularly enamored when using one, as it's a fussy thing.  That slow boot up is so frustrating.
But, at that price, I'd buy it if I was going to make a certain type of short narrative film or a feature.
Because the thing demands light, it does force one to be more considerate.  I mean, you really have a narrow range of ISO.  That can be a plus, depending on what you're trying to do. 

Nice write up. And please, this is in no way a "defense", Im happy people don't like it. Thats why I could get is so cheap
But a few thoughts as answers to why I, even though I knew everything Ebrahim says before buying it, still went ahead.
All clips in my video are ISO +800 pushed. Doesn't look noisy to me. The number of stops depends on what you compare to. I have decided to rate the BMCC at 13. Which means the XC10 has 12. And the R1 has in my experience more than the Canon. I will do a side by side with the BMCC. But what Ive seen so far makes me guess 13. Anyway, will know tomorrow. Power isn't a problem for me. Its like any other camera to me and the way I shot. The codec is what finally made me buy it. I takes up almost no space/quality, is super easy to work with and I just like it. The fan is very quite. Feels nice compared to the noisy BMCC. ND, again, business as usua (ursa mini includedl. Regarding the URSA mini 4K, I didn't want it since its lower DR, not what I consider "filmic", twice as expensive, no red code and I just don't se it when a BMPC4K can be had for so much less. After the URSA 4.6K is out I suspect I can pick up a BMPC4K for just over 1K. And of course the no above iso400 zone. And here is what it all as usual comes down to. Taste. I agree, the F35 has more mojo. But I definitely put the R1 in the top together with the f35, Bolex, Ikonoskop and... ... Don't really know any more.
To me the R1 is the most filmic of all Reds so far. The BMCC has its color/DR but the Moire and the "digitalish" sharpening thing that happens in debayer is often needed to be fought imo. The URSA mini 4K needs a difusion so bad its crazy.
To give an example. As I write this my girlfriend started watching my Bluray copy of "The Hurt Locker". Its shot on the same 16mm Fuji stock I have sitting n my freezer. This image is to me the absolute bench mark. It is what I consider "best". The super sharp NX1, BMPC4K, any of the Sonys, you name it, can't touch it. Its the utopia. Not even 35mm looks as good imo.
So you can imagine why the R1 is a better choice for me.

(only time I didn't like the image in Hurt Locker so far was the massive moire from the digital Phantom during the first high speed footage. Where up at the Sniper scene now. Intense stuff... Love the long canon zoom lenses they used also. Thats why I shoot long on the BMPCC. Drifting of topic here....)
Also reason number 1 in my top 5 list was simply that its "fun" and "cool"
Again not ment as a defense or argument, just my thoughts. Im well aware that Ebrahim only speaks for himself and know as well as I do that every single camera has flaws, deal brakers and major let downs... depending on who you ask.
A heavy camera to one is stable to another. A GoPro kicks the Alexas ass for diving but falls short for feature. Both of them gets smashed by the Phantom in the slow department. The list can go on forever.
/M
 
 

I think the image looks great. You don't buy a Red One because you want to shoot in lowlight, above 800 ISO. And at that price, Mattias could shoot one side job with it and it would pay for the camera. But I assume he has other plans. 

The little 16-50 kit lens that comes with the a5100/6000 would be a great match for the FS5 and a small gimbal.