sudopera

They also changed their results to de-prioritize forums. Seems like every instructional search now I have to sift through all of the content marketers and brand bloggers all reading the same stupid book. They are all guest posting to increase their own domain authority which also drowns out the real blogs like EOSHD.

Dammit Google.

I think the reason for this is because for a few years now Google adjust their search results for every user differently according to their sites visit and searches in the past.
I'm not so thrilled about this because it can be very misleading.

That's correct about Google.

4k crop mode aimed at the sky.

Dude, I love your mission statement from the frontpage's 'about'-section:
That kinda continues in a philosophy that 'nobody should be blocked from participating in a community where they can learn and showcase their talent as a cinematographer or filmmaker due to a difference in opinion, skill level or approach to filmmaking'. You've also allowed and welcomed everyone who was willing to add somekind of positive contribution to the site. I remember even one guy losing his cool and asked to please be banned already, yet you didn't seem to really see the point in that, but did as he asked and told him to come back should he have a change of heart (which he did).
That's what I like about this place, just somewhere where free spirits can come together and share knowledge and opinions, without everyone having to follow strict directions and having to be on the same page. DPReview is a very practical site, but I wouldn't really want to 'hang out' there, sorta speak. I like opinions. I like your blog (I might not agree with everything you always say, but then again, why have an opinionated blog and open forum if there's nothing to discuss) or YouTube channels like TheCameraStoreTV with Jordan and Chris or DigitalREV with Kai and Lok. Because, unboxings and going through the specs is something everyone can do. I can't stand CNET reviews. I need someone to get down to the nitty gritty and not sugarcoat things. What is it really all about? What do you think?
I don't go over to other sites much, other than the rumor channels, because they don't understand fun, creativity and community that much. I feel pretty much at home here. You've created a nice atmosphere for people to speak their minds freely. I thank you for it and hope it continues on like that.

Pretty childish of them if you ask me.

Unfortunately I fell out with their 2 main guys, over disagreements with the direction their editorial was taking. I guess this is the result but it's still a nasty thing to do to their own forum users. I don't care so much about myself. But why punish their own readers and limit their knowledge of external resources?
It is a shame as I have met some of the DPR team in person and count them as friends - Lars and Richard in particular. Lars used to live in Berlin!
There's a bit more to the story as well... I began to be frustrated at every turn at how hard it was to get my articles past their main editor Barney and something else happened, something deeply disturbing, that I will not go into detail about.

Hell just give me a a D750 with 1080p 10 bit 422 and it would be an instant buy. I already love the color from the camera.

I just wanted to share a fun passion project I just finished for an artist named "Fleurie". We shot all this in my living room and I did all the VFX in Apple Motion 5. Shot 4k with a7SII but delivered HD (my computer wouldn't handle 4k 3d graphics well). Just thought I'd share! Let me know if you have any questions about it. I had fun making it
 

Not that these specs sound massively exciting by any means, but I'd be wary about making predictions like this. Back at the start of the year the 4K modes in the D5 and D500 were greeted with howls of derision by many on this forum, and predictions about how the still-to-be-announced A6300 would be a massive game-changer and render every similar camera (with the likely exception of the GH4) obsolete. The reality was... less clear-cut, to say the least.

I have a story for you all:

I work in a small non-profit independent movie theater. We saw a trailer for documentary on the economy that was well reviewed and booked it. Not thinking anything was amiss, just booking the documentary because it was well reviewed.
What followed was a certain political party in town going absolutely ballistic. Calls came in that they would boycott our theater, one of our employees walked out (they came back, but would only work for us, but would never see a movie in the theater again...way to hold to you principles.), the leader of the party said in a public email to all their members that we were in cahoots with the other political party, that we had talked to party leaders and we should have our non-profit status revoked.

Emergency board meeting was called, to give them credit, everyone on the board took a stand "Fuck em', show the film!" It was attended by every single board member and they told all their friends to go, it was the highest grossing documentary we have ever shown. It did far better than it would have if no fuss had been made. We threatened to take the party representative to court for slander unless he retracted his statement. They agreed, but only if we showed a political film from their side! During which a political candidate spent 20 minutes talking about the bad things the other party had done before the film started.
Now when people come in asking for documentaries that have even the slightest political ties (most requests come from this party) we tell them we are never showing political documentaries ever again. People are no longer rational about these things, cannot take critism, and have created a us vs. them mentality.

It's going to get really ugly before it gets better.

I hate talking politics because its a zero-sum game. Nobody wins. Every ideology is flawed, because we as humans are flawed.
A liberal management unchecked will exploit capitalism and everyone suffers when free trade consumes their daily bread - like Uber to taxi drivers and AirBnB to hotel workers, or China and Mexico to automobile factory workers.
A conservative management unchecked will end up exterminating... well anything that walks funny.
But everybody embodies both ideologies at different times and in different situations.
As a whole, people are stupid en-masse and selfish, but as Bronn said in Game of Thrones about Geofrey:
There is no cure for being a cun*

Sounds like the new firmware just changes the temperature at which warning/shut down occurs. Users have been reporting it runs until it's almost too hot to touch now. I wouldn't feel comfortable letting my camera get that hot

IMHO anything promoting the BMPCC [or BMMCC] over 4K 8-bit cameras is a good thing.
I know no camera is perfect (especially in the prosumer market), but in my experience the Pocket was the image & codec i'd been longing for ever since I had to take a hit & demote myself to using H264. It's not 4K, but when I saw the image quality and started working with ProRes (let alone RAW) I knew I'd finally come home - no more wasting time on dreaming about which camera to own next. Some people might say it's only 1080p, but with an anmorphic lens it ends up being way over the standard Cinema DCP 2K (2.39) & you end up squeezing the image down rather than up. I still have my 60d for taking pictures & that's why I bought a hybrid in the first place - the video mode was always going to get replaced with something better sooner or later and now I have the best of both worlds.
As far as marketing/advertising etc., of course one must always beware with these capitalists! But when they bring people's attention to something good, i'm more forgiving - at least for the time being.

I went to see the film last weekend, as I'm a BIG BOURNE fan I was very pleased with it , nice to see they are still using the TLS Nikon 80-200 that I keep banging on about - Nikons finest hour! their best lens .
Barry Ackroyd (one of my Favourite DPs and President of the BSC) takes over from DP Oliver Wood who shot the first 3 Bourne fims , Barry keeps the same style , all hand held Greengrass wobblecam ! the Athens sequence is intense!!
 
this months American Cinematographer magazine explains it all in great detail -Barry Ackroyd tells how it was made with Igor
Meglic second unit DP.
 
quote:
Second-unit cinematographer Igor
Meglic, ZFS — whose history with
Ackroyd began on the 2012 crime thriller
Contraband — added other cameras
beyond the Alexa. “The reason I usually
have to go to different cameras is because
we either need a lot of them or they’re in
harm’s way,” says Meglic. “Once you start
to bring in six or eight additional cameras,
it’s a cost thing.” Red Epic Dragon units
were used mainly for plate photography in
vehicles, with Canon’s Cinema EOS
C500 used for other vehicle and handheld
work. For applications requiring an ultralightweight
camera, such as helmet
mounting, Meglic opted for Blackmagic
Design’s Pocket Cinema Camera fitted
with Kowa 8.5mm glass. “It’s a pretty
amazing little camera,” he notes. “Weightwise,
it was little more than an iPhone!”
The 2nd unit often recorded
internally — particularly in the case of the
XT and Dragon — while external Codex
recorders were sometimes used for the
Dragon, C500 and Pocket Cinema
Camera. “When needed, we did it both
ways,” says Meglic. “We did vibration
tests, [and] I was a little nervous, but it
turned out we never had a problem.”
Vegas car chase, up to 28 camera bodies
were available for use — although that
many never rolled simultaneously —
predominantly fitted with the same kind
of lenses used by the main unit. Meglic
notes, “A couple of times [during the
London portion of the shoot] we did ask
if we could borrow a lens or two, and they
were always very nice about that!”
Given the chosen style, it’s perhaps
no surprise that Ackroyd describes
himself as “a zoom person.” He singles
out the “beautiful” Angenieux Optimo
24-290mm (T2.8) zoom, noting, “It’s
like my eye, my brain. When something
takes your interest from across the street,
you don’t see it in the same way as when
you’re close to something. You can
exclude things and concentrate.”
The extensive lens package also
included Angenieux’s Optimo 15-40mm
(T2.6) zoom; Fujinon’s 19-90mm (T2.9)
Cabrio zoom; True Lens Services’ 80-
200mm (T2.8) Morpheus, a rehoused
Nikon stills zoom; and Panavision’s
Primo 135-420mm (T2.8) zoom. The
35mm-format prime-lens package
comprised Arri/Zeiss Ultra Primes
ranging from 20mm up to 180mm (all
T1.9) as well as Zeiss Super Speeds from
18mm up to 85mm (all T1.3). The
production’s Super 16mm cameras were
paired with Canon 8-64mm (T2.4) and
11-165mm (T2.5) zooms.
Any concerns about matching the
various cameras and lenses were
subordinate to ease of handling, Ackroyd
says. “I’ve never been one to get too hung
up on the technical side of what the lens
may or may not do. Of course, if you were
making a movie that was highly glossy
and intentionally stylized, you’d have to
pay more attention to that.”
looks like they used Canons on Vehicles and BMs so its going to be hard to tell which is which ...

I've had some time to play with the DJI X5R and for the first time, put it knee deep into a professional shoot with lots of flashy stage lighting (the video is a high end "fake live" shoot for an international events band. 
So far, using this device is a very slow burner and I can't really make a judgement yet, but here's some things I've found. There are many negatives at first, however I'm trying to solve them and see what difference it makes in the long run. 
What I do know is that this combination has a lot of potential, however this camera needs quiet a few firmware updates to get there. ProRes on board would be great! 
I feel DJI didn't test this camera  enough before release. Had to deal with lots of annoying issues. 
Positives 
Footage in 4k and HD raw an be spectacular - very clean and detailed (but only if you shoot and light skilfully!).  Very intuitive to use, combining the Osmo and Inspire 1. DJI Go app responds and works very nicely.  Stabilisation and handling is very different to a normal 3-axis gimbal like the Ronin, however getting to know it's behaviour can yield some awesome moves.  Walking bounce can be eliminated if you know how to "do the walk". Some shooters online are just not trying at all, letting the vertical movement bounce everywhere. Walk as flat a possible, all is good.  Unit is small and light - no balancing required. No big bulky cases. Nice and portable.  Low light is better than expected. GH4 level really.  Battery extender is very useful, if you need long periods. (lasts about 2 hours 45 mins on constant with Inspire 1 TB48). Proxy files look decent in good light. Handy to have when raw isn't an option.  1080p is very sharp. 4k is ridiculous.  The gimbal lock on the Osmo is sweet. You can pull off some crazy dolly moves and pans.   
Negatives
Autofocus on the app isn't great. Takes two tries and it MUST be on something of high contrast to work well.  Aperture resets overtime you switch off the device. Bit annoying.  As phone is a monitor, you need a USB power bank. I strapped one on the back of the mobile phone holder. Phone (iPhone) lasts 45 mins otherwise.  iPhone monitor image breaks up sometimes and lags quite a bit. Annoying if you are trying to do a smooth movement or judge focus/exposure.  Changing settings such as aperture can be fiddly. It just won't let you choose what you want sometimes.  Sometimes the unit goes into sleep mode a few seconds after you switch it on. SSD fan noise is like a shit hoover.  The internal audio with the cheap mic add-on is absolutely garbage.  It's hard to hold the X5R on the Osmo with one hand, while using the thumb controller. Two hands is better.  The SSD card reader is shockingly temperamental with Mac. Sometimes it doesn't mount at all. Have to use USB keyboard input on Mac. Doesn't work on the normal USB inputs.  DJI Cinelight is rubbish. Transcoding is very slow and the tweaking options are very basic.  Memory fills very quickly. HD is about 2 hours per SSD, where 4k is about 25 mins per SSD.  For long shoots , another SSD is almost essential. Just very very pricey.  Focusing can be difficult on apertures between f1.7 and f5.6 using the app. Seems like the expensive follow focus would be ideal (not on your wallet).  Normal OSMO batteries last about 7 minutes.  D-LOG on proxy files is a HUGE HUGE no-no!! It looks and grades horribly on the teeny 60mbps codec.   
That's enough for now! More soon...... with images!! 
 

I generally agree with you on this but I don't quite understand where did you see such claims in this thread or in the linked article.
Some quotes from the article - reasons why DP chose BMs (image quality mattered to him it seems):
“One of the most important things when shooting action scenes for any movie is to stay consistent with the established look of the movie, so once you transition to an action scene, there’s no difference to the eye, and it feels like the same scene and style,” explained Meglic. “On ‘Bourne,’ it was especially important because of the particular visceral documentary style of the film.”
“We chose the Micro Cinema Cameras and Pocket Cinema Cameras because of the combination of size and performance they delivered, which in turn helped us match the look and style of the film. I haven’t found another camera that will deliver on those two things: being as light as they are while still delivering the image quality needed to blend in with the A cameras. I always try to extract as much as I can from a camera, so they are dealing with good footage in post, and the dynamic range on both cameras was very good.”

I really think it would be smart for BMD to make a series of real world tutorials and BTS from movie sets to show us what can be done with those great little cameras, how the pros rig them, what lenses they use etc. Probably most of us don't have access to big productions and sometimes you can research online until judgement day but simply there isn't any info out there.

Kipon has done it, for now only in Leica and Sony mounts:
http://www.sonyalpharumors.com/kipon-announces-worlds-first-medium-format-hasselblad-v-sony-e-mount-focal-length-reducer-adapter/
Looking forward to seeing samples.

As I mentioned 'Not saying that this is the case here' - meaning that I'm not countering claims in this thread, or particularly in the linked article but rather when circulated and discussed elsewhere - where the headlines often orientate around how crucial a particular 'affordable' camera model Is overstated in its use on a well known production, often with sponsor links to purchase said camera in a B&H link. It's all marketing that some people buy in to and before you know it, a regurgitated twisting of the facts pop up on forums as 'fact'. Act of Valor is a good case in point...the indie filmmaker buzz around the 5Dmkii use in that film was completely disproportionate to the use of celluloid.
In a nutshell, an article highlighting a product used on a film's production (during its marketing period) should be taken with a pinch of salt. It is most likely going to be a glowing review, when accompanied with promotional stills from said film.
The BM cameras are obviously a great fit for modern production use, especially since shooting compressed raw gives a very comparative quality to even the highest end cinema cameras. They can deliver fantastic images in the right hands. Saying that, at least one of the BM shots in the Bourne trailer sticks out like a sore thumb to my eyes.
Spotting differences in image (even when intercut quickly) is subjective however, if the story is engaging enough no viewer (no matter how camera savvy) should notice any difference...or even care if they do. If it works in concert with surrounding imagery/context...great! 
I love to read and hear about big budget productions using affordable or 'prosumer' gear in achieving creative results, I'm all for it...especially if it enables more dynamic stunts and effects to be captured 'in-camera' safely. But you almost only ever hear the positive quotes and accounts from DP's- which makes my cynical side presume marketing is at play. They should really be directly asking the poor guy or girl who has to match these cameras in the Di or the AC who lost a take due to corrupt media from a camera that was subjected to too much vibration.
But as stated earlier, it's getting a whole lot easier thanks to affordable compact cameras that can shoot raw like the BM models. To this point, the linked article is valid and fairly interesting, just wish more people read past the headlines a bit more and question why we even need to be told this anymore....most of us know that many modern 'prosumer' or 'affordable' cameras are being used in this way. Just as WW2 era wind-up 35mm Eymo's used to be the 'affordable' camera that could be used in dynamic ways, exactly as these modern digital cameras are being deployed.

http://www.provideocoalition.com/blackmagic-micro-cinema-cameras-used-on-jason-bourne/

It seems that Shogun Inferno could be the one to beat CD 7Q+, specs are almost the same but it has high brightness FHD screen(1500 nits) with an option to view footage in HDR.
https://www.atomos.com/inferno/
http://www.bhphotovideo.com/c/product/1247728-REG/atomos_atonfi001_shogun_inferno_7_4k.html
 

Everything I'm mentioning is what I thought I was told at NAB four years ago. Sorry for my mistake. Show me some of your work. Would love to see how it compares. C Log is more than worth it for me to go with 1DC as I work with other Canon Cine cameras on a daily basis. Fact is, 1DC makes the most beautiful cinema 4K I've ever seen off a Canon Cinema Camera and I've used them all with the exception of C500. 
The Canon Cine lens compatibility I was referring to was addressed in the most recent firmware update: https://www.usa.canon.com/internet/portal/us/home/explore/product-showcases/cameras-and-lenses/cinema-eos-firmware/1dc
1DC also has some other advantages over the original 1DX. Obviously doesn't relate to 1DX II fully but is a response to what DBounce has said:
"Compared with 1D X hardware, 1D C has a better heatsink, slightly overclocked DIGIC 5+ chip, a headphone jack instead of flash sync port and a locating pin hole at the bottom. 1D C is approximately 150g heavier than 1D X." http://www.dvxuser.com/V6/showthread.php?304245-Some-interesting-facts-about-Canon-1D-C-you-probably-don-t-know-about
although this article debates the heatsink difference: http://wolfcrow.com/blog/canon-1dc-vs-1dx/
Truth is....this camera is a freaking beast. Im not switching. I love it. You should rent them and see for yourself. I only use manual lenses so the autofocus doesnt matter to me and Canon Log is way too important for me too. Slow motion isnt an issue. I can get slow motion from other tools. This is a sexy image machine.

A couple screen grabs from a BTS video shoot, 1DC 4K C-log pixel summed to 2K, graded/texture-managed/re-grained.