sudopera

IMHO, most films are shot on ARRI (because people were making movies with ARRI cameras from a long time) or RED (because they "invented" RAW for video + high resolution and high fps). Panasonic is trying to enter this market from the top without ever succeeding. 
Maybe it would be easier to make a next-step camera for GH4 users, so trying to arrive to the top from building a base of users at the bottom. I would have gone from the 1200$ GH4, to a $5000 one, then this 18K$ and finally proposing a great all-out cinema camera. 
Hope my english is clear enough...

Hopefully many more iterations to follow such as AF100 replacement with same colour science, Prores and EF mount.  Have a GH4 with PCC Speed booster and an A7S II,  Still prefer GH4 as main camera,  wishing for a GH FF camera with same attributes so that i can get rid of A7S II.  

Interesting that it's EF mount as well. Does that mean Panasonic might make a Super 35 or FF camera with EF mount on the lower end. Maybe not GH series, but AF?

Here it is!
We recorded hdmi 8-bit 4:2:2 out of it and went to the odyssey
 
 
skin tones overall are nice!  and stabilization is amazing.
 The camera was interesting to use - especially considering that it's a 200 ASA camera and has moire and dynamic range challenges - sometimes this is interesting to have to maximize something with limitations. It's difficult, but I guess it disciplines you.

It has sony colors, I will stick to my eos rebel t1.

MJPEG is 8-bit DCT compressed frames, one after another. ProRes is 10-12 bit DCT compressed frames, one after another. Mathematically, they are very similar, both effectively providing JPG-like frames (with no interframe interpolation). ProRes has faster encoders/decoders, however they're not that fast compared to modern H.264 ALL-I codecs, which have both faster encode/decode (with HW) and are also more efficient.
As others have noted, the reason MJPEG is being used is likely cost, and perhaps to differentiate from the C line. Our C300 II does have a fan, however it can be set up to shut off during filming.
The fact that the NX1 can do 4K H.265 (without a fan?) means that perhaps some licensing would help with Canon's in-house tech deficit.

This one is phenomenal in my opinion: https://www.reddit.com/r/WritingPrompts/comments/39kbxv/wp_metaphorical_burns_can_now_cause_physical/

Speaking from my 1D C experience...
MJPEG is 500Mbit/s so the data rate for the CPU to handle is insane. Editing off an SSD or RAID 0 like I do the drives aren't a bottle neck, it's the CPU.
What compounds the problem is that MJPEG doesn't seem to be well supported with hardware acceleration.
The Mercury Engine in Premiere for instance seems to revert to software rather than hardware accelerated by Open CL or CUDA when it comes to MJPEG.
H.264 and H.265 may be more complex with the clever compression but it is hardware accelerated.
You will effectivly be editing MJPEG 4K 60fps at 800Mbit/s in software mode, on the CPU only. The effects will take ages to render too.
1D C 4K 24p is 500Mbit/s (same on 1D X Mark II)... this is tough enough, you really need to transcode to ProRes.
Again speaking from direct experience with the files, the H.264 4K from the GH4 and A7S II can be edited natively on my machine in Premiere with smooth playback especially at 1/2 res in the timeline monitor. MJPEG doesn't even play back smoothly when I reduce the playback res, which again points to the lack of proper support of such an old dated codec in a modern NLE.
Canon have made a mistake.

You're right Mattias.... Always something to cry about.
If it turns out to be true that the new cam has 4K/60p with an image quality potentially quite alot better than the 1DC, then transcoding the codec is a tiny price to pay, if that codec choice is what allows 4K/60p to be possible.
Dual pixel AF for video... That is great... Can't wait to see footage

Everyone and their mom have been screaming about 4k 60fps in a DSLR as long as 4K has been available. And when its here the codec is wrong..
Its at least a tiny bit funny imo
The reason is probably the same as always. Heat.
To shoot the 4K 422 the XC10 has a fan. And thats on a 1". I doubt many still photogs would want that. And by looking at the latest sales reports they are still the once in control. Canon still was at the top and I bet they want to stay there.
Personally I would just dump the 4K if I wanted the framerates that badly. HD upscale is still on par with 4K on youtube etc. TV is still 720p. Bla bla bla we know this already.
But it is true. 4K still is where 6K is today. Nice but not need.
 

elaborate please.  I thought it had a nice visual.
tbh I felt the trailer didn't do a very good job of informing me what subject the piece is really tackling.  Informing a widespread audience needs a more cohesive and direct trailer IMO. - particularly when asking for funding from said audience.   

I also think at least some parts are global shutter because it seems to me that he intentionally made some sudden movements with the camera to show it off.

Yes I hope they keep on announcing cameras then shipping then six months later over the other option of not announcing them at all! Looking forward to whatever crazy new cameras they announce at NAB 2016 that I wouldn't have even thought of before!

it's pretty irritating they gave it to a guy who goes right ahead and shoots the test in rolling shutter mode showing us exactly what we expected based on our experiences with the bmpcc.  isn;t it a given to use the global mode for a test of a camera who's key selling point over the previous model is the global shutter mode...
I'd have rather seen unscripted footage with lots of movement and a bright sky and lots of shadow so I can decipher whats going on with the global shutter enabled.  Come on BM give the camera to Andrew Reid next time and stop messing around.  

SPOLIERS
Which is my favorite changes all the time but KB1 has had the spot the most times and the longest. So that its nr1 now can be mostly because its the newest and "freshest". As time moves on it may or may not slip down.
But the reasons its competing in the top:
Message
Compared to many of his films its not a "saga" with a series of events that are entertaining. In this I felt a strong message.
It made me think a lot about the current situation in the US and why it is like it is.
That leads me to think about the goods and bads of my country and finding the historical events, situations, and times that formed my society. 
For me it was a movie about racism, life and death, justice, death penalty, gun control, value of a life, police brutality, etc.
All big topics right now. Maybe more in the US than other places but its definitely on the agenda here as well.
Feelings
Also I like movies that provoke all kinds of feelings. Not just laughter, sadness and scariness. But also disgust, rage and anxiety.
It was weird to route for some of them when they are all total murdering and hateful basterds that all deserves to get locked up.
And also in the absolute final scene, to feel that she didn't deserve it, even though she certainly deserved it more than the other two.. or did she?
I need to see it more times before I will ever be able to make that call. 
Mystery
Im a sucker for a good old fashioned murder mystery. "The killer is in this very room", love that sort of stuff. My copy of "Murder on the Orient Express" is one of my most watched films. I watch Midsumer Murders etc.
Its fun afterwards to finally connect dots and think, yeah that's what I suspected (Mexican guy and the chicken was enough to know he was lying) but not really getting the jelly bean (I thought it meant someone else was there, which was kinda true but not in the way I thought).
Cinematic
Ad to that, nice dialog, strong characters, awesome cinematography, great music, phasing etc and you have a movie at the top of my list. Some might say story is everything, I say no. A good story will not help a movie if you can barley pick up what they are saying and the DP left the lens cap on.
A great film has both.
Now that doesn't mean that a great movie needs 65mm and a huge budget. Imo The Hurt Locker has the best look of all films, Ingmar
Bergmans Seventh Seal is looking awesome and don't get me started on Noir

I have been a Nikon shooter all my life, the funny thing is that I intuitively turn it in the wrong direction many times, and there is no fucking way on fixing this in my brain, there has to be something about it.

I'm a Nikon shooter, they focus the right way round! ;-)

I don't care if they notice. I notice!!

I see comments like this a lot and it always reminds me of the revenge of the great camera shootout 2011 where they compared among other cameras an Iphone and G2 to an Alexa. They had an identical scene set up and the DP could modify it as needed by adding lights or adjusting intensity of the lights that were already there. Yes the G2 and even the Iphone to a degree where made to look pretty good and it showed that a good DP could make them look great. Some took away from that video that even the much cheaper DSLR's could be made to look almost as good as the Alexa, the camera tech doesn't matter it comes down to the talent of the DP.
While true I took a different lesson from it. If you watch the video the Alexa team says that they only adjusted the intensity of the lights that were there to add some contrast to the shot since the camera could handle the scene as it was just fine. The G2 team due to the limitations of the camera went through a long list of like 15-20 changes they made - adding lights, etc... Not to mention the extra time it takes in post as well. Now take that scene and multiply it by 100, all that extra time you spend dealing with the limitations or quirks of the camera. Yes you can make the image look great but it can take a lot of extra effort to do so. 
The big players use cameras like the Alexa because they are rock solid reliable with a flexible and fantastic image. They can spend their time being creative, not trying to over come the limitations of a camera. When you have millions of dollars on the line why risk it only to save some rental money on a quirky or unknown camera when you can use a tried and true proven work horse that you know will get the job done smoothly?

I thought I'd start a topic relating to The Hateful Eight.  I'll start with my opinions of the movie...  **I'll aim to not spoil the movie for those yet to view it. But please stop reading if you feel I start going too deep into things**
 
I watched the 4th screening on the first day of opening in the UK, at Leicester Square Odeon, London. - The only theatre screening in 70mm in the UK!  We were sat close to the optimum position - second row of the Royal Circle, 4 seats from the centre position.  The most expensive seats in the house. It cost me £25 for the ticket, £60 for the return train, and £70 for a bed in the hotel across the road from the theatre.  So to view the movie I paid a lot of hard earned cash.  I went in after 3 beers so was adequately lubricated and relaxed.
 
Plot - Basic and simple.  But I didn't feel it lacked anything in the way of entertainment.  
Characters - Very Very good indeed.  Every character was loveable (in a QT character type of way).  Each were given superb amounts of great dialogue.  The dialogue felt very theatrical.  The dark humour and dialogue drove the movie for the duration of the 3hours and I didn;t for one second start wondering when the movie would end.  The Goggins/Jackson building of friendship and trust throughout the movie stole the show for me.  
Aesthetic - Stunning.  IMO I felt that the overall resolution was somewhat limited.  It certainly felt as if the Panavision lenses weren't quite sharp enough to fully take advantage of the 65mm format.  I've seen 2.8k Alexa acquired movies projected digitally that felt higher resolution and more refined.  I felt the 65mm non anamorphic imagery from 'The Master', 'Interstellar' and '2001' totally outdoes the overall image from The Hateful Eight.  HOWEVER! - in no way did the perceived lack of sharpness affect the viewing experience.  if anything I think it added to the feel.  I expect if the film had been shot 65mm spherical and delivered in native 5perf/65mm 2.2:1 the overall image would have looked 'technically' superior.  
If anything I'd have liked to see a little more variation in the landscapes.  Visially the whole movie felt very much like a homage to John Carpenters 'The Thing'.  The isolation, the bleak and unvarying landscape, the small shooting quarters where most of the film takes place, the characters and the ending too.  The lack of trust between characters and in particular Goggins and Jackson dieing on the bed at the end was very similar to how Childs and MacReady go to sleep in the snow. 
Music - Ennio Morricone's music was superb - they even used one of the themes from his soundtrack to The Thing -and it felt so right!.  The way only a small amount of Ennio's music was used in a looping fashion felt a bit like Tarrantino had told Ennio that he was going for some type of humorous reference to the way John Carpenter only used limited material from the soundtrack Ennio wrote for The Thing.
Visual Effects - Practical.  Lifecasts of heads full of pig guts being blown up.  The gore effects were second to none.  
Dialogue - too much of the N word IMO.  I'd have liked to hear a bit more variation.  I'd have used c**t a few times to break things up a bit.  Goggins' friendly line to Jackson "I'm not dead yet you black bastard" was very funny.    
    
Comparison to Pulp Fiction - I know it wont have nearly as much rewatching potential as Pulp Fiction does.  My viewing made me come away knowing it was meant to be a theatrical type experience rather than a watch at home type of experience.  Pulp can be viewed on a pc monitor without the overall experience being harmed.
Comparison to Inglorious Basterds - Better characters but lacks the varied scenery and very very refined lighting of Inglorious.  If anything its a shame Inglorious wasnt shot in Ultra Panavision 70.  I felt budget of The Hateful Eight was consumed by the logistics of 65mm.  The need for way more light, the snowy locations, etc.  Some of the side-on shots of the stage coach going through the snow looked like they cost a fortune, but don't have the impact that some of the scenery from Inglorious has.
Comparison to Django - About on a par overall.  If I gave Django a 7.8/10 i'd give The Hateful Eight an 8.4.  I bloody love Christopher Waltz, but felt Tim Roth in some way filled the gap playing a role I feel Waltz would have filled very well.  
 
Intermission - Perfect.  without the intermission the movie would feel too long.  It was a refreshing change to be able to stretch legs, grab a fresh coca cola and talk about the movie.  
 
Overall - One of the best cinema experiences I've ever had.  On a par with my childhood/teen cinema experience of Jurassic Park, Independence Day and Titanic.
 
 
 
 
 

Shot on super 8 and seriously beautiful. Slow motion, highlight roll off, color. It's all there folks.

Yep that interview was also conveniently less than 3 min  

By then even RED will have an affordable cinema camera!!!

Hue... Very stupid choice BTW
No natural colors anymore... no sense at all