Volker Schmidt

BTW: To slow down the 5dIIraw euphoria a bit…

Moiré and Aliasing is unfortunately as bad as we know it from 5d-h264. 

The VAF Anti Aliasing Filter comes with the limitations that Andrew pointed out (a bit less overall sharpness, less sharp on the edges with wide angle lenses, focus point changes during zooming…anyway I would recommend it!).

Independently of this, the max. resolution with my 5d2raw setting is:1872x850 (aspect ratio 1:2,20).
So you have to upscale it to HD.
If you want to shoot in 16:9, the horizontal resolution is reduced even more.
 
Nevertheless I love the image quality, for several years.

Had a quick play today. It was -17C so I mostly stayed in. Got borred and played with the exposure of the R1. 
Its really not that heavy when striped down.
Did a quick comparison to the BMCC as well. Think the Blackmagic did alright besides the moire on Gunpowders cheek. 
 

Hey Andrew, what's going on...? Feels like: "The last will be the first":)
This is also a good example regarding color and skin tones, etc.
 

Yes, it´s usable with 1600 Iso. 
Here an example:
 

Here's what I posted on PV about the same fotage:
 
For a company that relies on preorders and direct sales as their sales model this type of slick polished video makes since. For others it is less/not important as they have a strong channel the will help sell their new product offering.
Personally, I don't trust these prerelease videos as representative of the way I shoot or post process. I do trust the community at large to show what the camera can do in the hands of the every man with the common tools and work flows I have access to.
My main discision making tool is the comparison videos after the product is released. I'm not Red's target audience because I'm not a Red believer who buys on spec and slick promo videos. That said, if it is truly a better product solution (including post processing requirements) and a reasonable value as compared to the competition, I am all in (once it is vetted by the community).
I am not the droid Red is looking for...

I have both: the Minolta MC 35mm 1:1.8 HH and the 28mm MD 1:2.
Both are great lenses: the 35mm is a kind of magic in terms of  sharpness and 3d rendering!
The 28mm MD is also very sharp, but better in case of colors...(in my opinion).

I do the conversion by myself, so that wasn´t expensive, but has cost a couple of hours - work.

Here is the 35mm 1:1,8 and the 50mm 1:1,4:
Minolta lenses are underrated!

I think it also make sense when we call our camera/sensor size:
I film in Full Format (5d) and after testing a lot of lenses, especially primes, I came back again to the Canon 24-70mm/2,8 L MKI as my main lens!
In the end it has beaten all of my other lenses in case of "character" and color rendition!

But under special circumstances I love several Minolta lenses, (modified to EF mount):
Minolta Rokkor MD 45mm 1:2 - a 30,-€ lens with a beautiful color - and 3d performance!
Also the Minolta MC 35mm 1,8 HH (excellent sharpness, very 3d-ish, but colors not as good as the 24-70, too blue, too magenta).
The Minolta MD 24mm 1:2,8 (Collaboration with Leica) - a ultra sharp and clean 24mm wide angle lens on FF!
Nikkor 85mm f2 ai - simply a nice, sharp and affordable lens.

Nikkor ai/ai-s lenses always surprised me. They innately deliver a very special cinematic image!
I want to have more of it, so I am looking forward to further recommendations...

Here a quick test of the Minolta 45mm (f2 is very ordinary, but from 2,8 it shines:)
 

 

I think it also make sense when we call our camera/sensor size:
I film in Full Format (5d) and after testing a lot of lenses, especially primes, I came back again to the Canon 24-70mm/2,8 L MKI as my main lens!
In the end it has beaten all of my other lenses in case of "character" and color rendition!

But under special circumstances I love several Minolta lenses, (modified to EF mount):
Minolta Rokkor MD 45mm 1:2 - a 30,-€ lens with a beautiful color - and 3d performance!
Also the Minolta MC 35mm 1,8 HH (excellent sharpness, very 3d-ish, but colors not as good as the 24-70, too blue, too magenta).
The Minolta MD 24mm 1:2,8 (Collaboration with Leica) - a ultra sharp and clean 24mm wide angle lens on FF!
Nikkor 85mm f2 ai - simply a nice, sharp and affordable lens.

Nikkor ai/ai-s lenses always surprised me. They innately deliver a very special cinematic image!
I want to have more of it, so I am looking forward to further recommendations...

Here a quick test of the Minolta 45mm (f2 is very ordinary, but from 2,8 it shines:)
 

 

I think it also make sense when we call our camera/sensor size:
I film in Full Format (5d) and after testing a lot of lenses, especially primes, I came back again to the Canon 24-70mm/2,8 L MKI as my main lens!
In the end it has beaten all of my other lenses in case of "character" and color rendition!

But under special circumstances I love several Minolta lenses, (modified to EF mount):
Minolta Rokkor MD 45mm 1:2 - a 30,-€ lens with a beautiful color - and 3d performance!
Also the Minolta MC 35mm 1,8 HH (excellent sharpness, very 3d-ish, but colors not as good as the 24-70, too blue, too magenta).
The Minolta MD 24mm 1:2,8 (Collaboration with Leica) - a ultra sharp and clean 24mm wide angle lens on FF!
Nikkor 85mm f2 ai - simply a nice, sharp and affordable lens.

Nikkor ai/ai-s lenses always surprised me. They innately deliver a very special cinematic image!
I want to have more of it, so I am looking forward to further recommendations...

Here a quick test of the Minolta 45mm (f2 is very ordinary, but from 2,8 it shines:)
 

 

I think it also make sense when we call our camera/sensor size:
I film in Full Format (5d) and after testing a lot of lenses, especially primes, I came back again to the Canon 24-70mm/2,8 L MKI as my main lens!
In the end it has beaten all of my other lenses in case of "character" and color rendition!

But under special circumstances I love several Minolta lenses, (modified to EF mount):
Minolta Rokkor MD 45mm 1:2 - a 30,-€ lens with a beautiful color - and 3d performance!
Also the Minolta MC 35mm 1,8 HH (excellent sharpness, very 3d-ish, but colors not as good as the 24-70, too blue, too magenta).
The Minolta MD 24mm 1:2,8 (Collaboration with Leica) - a ultra sharp and clean 24mm wide angle lens on FF!
Nikkor 85mm f2 ai - simply a nice, sharp and affordable lens.

Nikkor ai/ai-s lenses always surprised me. They innately deliver a very special cinematic image!
I want to have more of it, so I am looking forward to further recommendations...

Here a quick test of the Minolta 45mm (f2 is very ordinary, but from 2,8 it shines:)
 

 

Yes, very nice stills! I have V Log love, but no Panasonic cam:).
So far, it seems, the GH4 footage looks definietly more cinematic with V-log.
Found this link on slashcam.de:
http://www.provideocoalition.com/v-log-l-on-the-gh4-don-t-panic
Possibly interesting for GH4 users... haven´t read it.

Indeed. Or Shane Meadows. Good 1080p doesn't look soft when it is thrown at an epic cinema screen to an audience of 200... It only looks soft on a laptop screen with your eye 1mm away!
The D750 and BMPCC I rate as pretty good 1080p personally!!

I feel the same. I would like to like Sony so much. Specs/$ is amazing but the result isnt.
BMD, Bolex, Canon and lately Nikon delivers the footage I want. So Im done trying. Ive had 8 different Sony cameras. Feels enough

Yea, I'm at a point where I just completely dislike Sony colour now and hate grading it.... Some will say that you can get the colours great with the right amount of grading on any footage, I simply don't buy it (of course, sometimes Sony footage looks amazing, but sometimes isn't enough)... I have the luxury of time, I consider myself a good colourist... Yet Sony footage just leaves me cold when shooting outdoors. Even with the raw files from the FS700, it was still a little off.
If Ursa Mini were just a little smaller and lighter, with NDs... It would be a no brainer. Seems that no matter how my camera budget rises, compromises are always there! (I think the C500 mk II might be the first compromise free camera, for my shooting, if it has HFR and internal raw).

I used a Canon C300 on a shoot the other day, and now I'm back with the Sony's. It's evident how "empty" Sony colour science feels (in comparison). I think i'm getting bored of using Sony now, but er.. they have HFR. 
BMPCC has one of the best images I've worked with - what a little gem that thing is!
Still in the pre-order list for this URSA Mini 4.6k... I hope this means we get to see some footage soon!

Agreed.  I'd also say that unless you;re shooting on an external recorder, 100mbs simply aint enough for a log profile and the associated hassle.  With so many 'LUTs' being made by people with no understanding of what they're actually meant to do I see most s-log footage being 'lutted' to the point where the original dynamic range could have been 7 stops and the delivered result would look the same.  I don;t think I'd ever select one of the log profiles.  I;d rather shoot in Neutral with the contrast and sharpening dialled down and actually feed the in camera compression algorithm with something nearer the final result so more information is dedicated to detail that'll make it into a rec709 crush down. Let the zebras protect highlights and pull shadows up in post if required!:)
 
 

for me this is one of the most useful color grading videos I have seen - the amount of work he does in each scene is remarkable.
 
Basically he throws a lut on the end - even though it feels like it throws it on first - it's an output lut.  
then he makes the shot overall color, then tweaks the low, mids, and highs.  he adds power windows - brings down the window - lowers exposure on stuff you don't want to see - other than where the action is - and in these shots it's the person talking.
then he goes into the faces - he usually adds a power window to bring up the exposure on the face where he wants it.
then he isolates the skintones, gets those to look healthy, then he does secondary correction, like making the lips more red and adding some highlights to the head.
God, overall, as I say it again and again, as long as you are shooting with as much color information as you can on the camera you can get - the colorist does a ton of heavy lifting in addition to how well the DP can light the scene in the time alloted.
but the difference between hollywood and small films is usually in the grading, beyond good lighting, composition, etc - this is so often forgotten.
And this is why I go bonkers when I shoot something on the alexa and it comes out and looks bad.  I mean, I screwed up in how I shot it and lit it - I can't free myself of blame, but many times the piece goes to a colorist and I have no way to communicate with that person on style and look and it comes out screwbally.
I wish production and post worked together more.
But anyway I guess this is a weird way to learn about film worked since I have hardly shot anything on film.  Film hits the telecine since the 90s and is turned into a log called cineon and from there gets tweaked and then put out on an answer print - and back then they would simulate the answer print with a LUT.  
So I guess all this is part of how people have been shooting films for a while now.

REDUser threads are cringeworthy: 
1st page then stopped....
"Ursa just got URSED!" 
It's like some of them are in an army - "our country is better than yours" kinda vibes. It fits with the product naming scheme I guess. 
That said, RED cameras are awesome. 

Aside from the D810, best 1080p image money can buy. Great DR, very little RS, astounding low light, and amazing colors.

IMO, its the consumers that need to learn how it works.
They have done it 4 years in a row.
But still we have these never ending amount of posts and threads, "When?", "Im angry!", "If its not here by..", bla bla bla
It will ship when its done and all there is to do is wait or buy something else. Bumping or starting threads like this wont make shipp any faster or make Blackmagic change their way.
Its the price we pay for the best image produced by a CMOS in the world

Only company in the world thats ever wowed me with demo footage or pics are blackmagic.
I learned a long time ago not to judge gear until Ive used it and that my preference is just mine. Just because I dont understand/like a product I dont go all mad about it.
Recent example is the a7rii. You wont find me in any threads talking it down even though I was sceptical from day one and today cant think of one single reason to buy one. Because I get that others do, and thats all good.

Cheers for the feedback Volker, no worries. 
I can see why you think there is a lot of scary stuff with zombies and things. We do have a very offbeat, hyper-stylised way of doing things. That said, I do have  a lot of content that doesn't appear in this showreel which is very friendly and fun. 
Females in music videos eh? I'm glad I film hardly any R'n'B rap videos as the entire reel will be shaking asses!
I think next years reel will be much different as my work type is varying quite a bit at the moment!

BM in capable hands produce awesome results! It's a pity they harm themselves with this stupid way of presenting products when they are not ready! 

This point carries an incredible amount of weight. 
I was grading some XAVC-L files today for a corporate via FS7. They were well lit, framed nicely. Only thing is, I didn't like the image at all. It felt kinda plastic and sterile, no matter how much grading I'd put into it. But it certainly did the job it's supposed to do. 
CVP contacted me today regarding the URSA Mini 4.6k and other BM products regarding my pre-order status. They said : "We have no idea when these items will ship. We contact Blackmagic on a regular basis and they never reply. We are so sorry about their terrible conduct." Just so you know. 
So I'm in the market for a major camera purchase. Seems like I've got plenty of time to review this. 

Wow, such great response ! Thank you all  
It was indeed shot on a T3i, I still think this is an amazing camera if you put decent glass in front of it.
I agree with you, the blacks are dark grayish without detail (not enough DR), but it was an artistic choice, I just liked how it looked in the end.
Gear is important, but not as important as we think sometimes, its hard not to get "drunk" with all the gear talk, upgrades and all that, more DR, more resolution, more detail. Most of my gear is "beginnerish", and im glad it is, having quite a short selection of lenses (just the 24mm Samyang and the Canon 50mm f1.8) made me very comfortable with them and the FOV. 
Of course its a bit uncomfortable, when you get to a job and guests have better gear than you, but hey, what matters is the end product