Mattias Burling

​Ditto

I don't like FF as much as s35 and s16. So if what you say is true, it would be sad. Having to settle for the FFs crop factor. No tele, heavy ND and so on, no thanks. 
Btw, I doubt Steve Jobs is located inside his tombstone and there for not turning in it either ;)

I don't like FF as much as s35 and s16. So if what you say is true, it would be sad. Having to settle for the FFs crop factor. No tele, heavy ND and so on, no thanks. 
Btw, I doubt Steve Jobs is located inside his tombstone and there for not turning in it either ;)

I know
Thought it was pretty obvious so I didn't point it out.

Not exactly, but similar.  The breakout cable I posted includes an additional (2nd) cable, that provides 3.3v power to power the drive, directly from the CFAST card connection. The fellow who put together the C-Box seems to have only the single SATA data cable coming from the CFAST adapter, and instead, has chosen to power the unit via 5v adapter option.  My idea was not unique, only sought to put together a similar unit with an enclosed drive and existing tech, on the cheap.

Looking forward to that test. Do you have dslr, Gh4 or something to throw in as well?  

​MacGregor did this with this test - check it out!
 

​Well I do, I have the NX1 and A7S - but this is a test of RGB cameras - those cameras all output a limited 4:2:2 8 bit YUV or equilvilant and have bad rolliing shutter and are CMOS.
These cameras I want to test output 12 bit to 16 bit RGB and are CCD minus the Red One - the CMOS of the group.  But I do like the motion of the Red One over the Epic for some unknown reason - something about it feels right.  The KineRaw would be a nice camera to experiment with - but I'll wait till it's available stateside.  Also of course, the BMCC is nice as well - but I'm testing cameras I have right here.

So here are the lens test I did with my cheap C-Mount, m42 and C/Y today.
The lenses are:Zeiss Tevidon 10mm f2.0 C-MountComputar 12.5mm f1.8 C-MountZeiss Tevidon 16mm f1.8 C-MountTokina 24mm f2.8 m42-MountZeiss Jena 35/2.8 m42-MountZeiss Jena 50/2.8 C/Y-MountYashinon 50/1.9 m42-MountThey are all shot with identical aperture, ISO, ND, and WB.
They have all the exact same correction and grade.
So the differences is purely down to the lens.

BTW, The BTS was shot on one of them with another camera and is ungraded. Guess which lens?
 

So here are the lens test I did with my cheap C-Mount, m42 and C/Y today.
The lenses are:Zeiss Tevidon 10mm f2.0 C-MountComputar 12.5mm f1.8 C-MountZeiss Tevidon 16mm f1.8 C-MountTokina 24mm f2.8 m42-MountZeiss Jena 35/2.8 m42-MountZeiss Jena 50/2.8 C/Y-MountYashinon 50/1.9 m42-MountThey are all shot with identical aperture, ISO, ND, and WB.
They have all the exact same correction and grade.
So the differences is purely down to the lens.

BTW, The BTS was shot on one of them with another camera and is ungraded. Guess which lens?
 

So here are the lens test I did with my cheap C-Mount, m42 and C/Y today.
The lenses are:Zeiss Tevidon 10mm f2.0 C-MountComputar 12.5mm f1.8 C-MountZeiss Tevidon 16mm f1.8 C-MountTokina 24mm f2.8 m42-MountZeiss Jena 35/2.8 m42-MountZeiss Jena 50/2.8 C/Y-MountYashinon 50/1.9 m42-MountThey are all shot with identical aperture, ISO, ND, and WB.
They have all the exact same correction and grade.
So the differences is purely down to the lens.

BTW, The BTS was shot on one of them with another camera and is ungraded. Guess which lens?
 

​I have a Minolta mounted Zeiss 28/2.8 that didn't cost me much (40 bucks) but that won't fit a speed booster.
But one that would fit is my C/Y Tokina 24mm f2.8. Its fairly decent. Not Sigma ART sharp of course but gets the job done and it cost €30.
Best way to find one is to look for an "old camera" in the classifieds or on ebay.
​I have made a super booring lens test today that includes it. I wasn't going to post it anywhere but a discussion on FB lead me to decide to edit it together. Feels like there is a lack of tests from certain types of lenses. Specially on the D16.
I will post later if it gets done. 

If it was the codec, compression and display the motion from a global shutter shouldn't look better than a rolling on youtube. Which it imo absolutely does.
Same with CCD vs CMOS. 

​I tried to upload this before but it didn't work so here's the link. Jena 35mm 2.4f
https://www.flickr.com/photos/119977538@N08/13053572783/

After buying the Blackmagic Production a Global Shutter is my #1 priority. I can of course not always get it but I will trade it for Resolution and even DR at any given moment. 
After evaluation of what I missed in the Production Camera and what I wanted to add to the Pocket Camera it was clear as a summer morning. The D16 already had it all.
The Organic texture, the motion and the color combined is the most filmic looking stuff I ever shot.
Im actually going to start experimenting with how to get it to not look like film, in case I would need it.
​And spec wise it holds up very well. 5 hours internal battery, analog audio gain, 2h internal storage, above HD res, Raw, we all know the rest. Short story is that it's a serious piece of kit. 
Of course there is trade offs but so has every camera. Its just about figuring if one can deal with them. 
In the next firmware that's being tested right now is also background off load and last clip deletion. 

Firstly, I have no idea why j named the thread "Motion Cadencemo"... those last two letters just appeared! 
Next.... this is already a very interesting thread. By all means we can discuss why cameras differ and how we can get pleasing motion cadence from our tools - it is just more interesting when this is an emotional reaction rather than looking into algorithms and stuff. Do what you want really! 
Progressing the topic, I find it weird that so many people settle for this horrible fast motion on modern TV's. I see a friends TV set and I'm like "what on earth is wrong with your TV, this expensive film looks so cheap!". I correct it and it's like a revelation - they claim I'm really smart as though I've uncovered the meaning of life by realising the motion is wrong. 
I've held off the FS7 as a buy because of the URSA Mini, mainly just based on motion cadence. If I had the cash to spare, I'd buy a Digital Bolex on motion cadence alone. 
Just imagine it became a big selling point - "Blackmagic Cinema Camera 2 - 15 stops DR! Film emulated motion cadence!" 
Don't you think motion cadence should be a major attribute explored in cameras? The difference it makes on an image is far more staggering to me than DR and resolution. 

This is one of the first things I look for in a camera. It's almost as important to me as dynamic range. A crisp, pleasing motion cadence (similar to film at 24fps) helps induce that dreamlike state in an audience that maintains the suspension of disbelief so that the viewer can enter the story. It's one of the reasons why I'm drawn to Canon cameras over Sony, despite the inferior feature sets. Canon DSLRs and C-series cameras seem to have a more pleasant motion cadence over Sony F-series cameras. And it extends all the way up to the pro-series cameras. Every time I see a trailer for a movie shot on the F55, I can't help but feel that it looks videoish, rather than filmic. The F65 solves this problem via a mechanical shutter. Maybe the mechanical shutter seems to do a better job at providing a proper motion cadence than the electronic global shutter in the F55. That said, I have looked closely at footage from an Arri Alexa Plus (ultra-fast rolling shutter) and an Alexa Studio (mechanical shutter w/ spinning mirror) and I can't tell the difference in motion cadence. Maybe it all comes down to the way the processor reads the data coming off the sensor.
This is all part of what I call "mojo". It's the inexplicable subjective feeling that's completely divorced from things like spec sheets and bit rates. If a camera feels right to you, use it. Who the hell cares if it doesn't have 4K or high frame rates?
That said, I wish that CCDs would make a comeback. They always had fantastic motion cadence. I remember fondly the days of shooting on the HVX200 with a depth-of-field adapter. Even though it was a pain in the ass to use, the footage always had tremendous soul. The Canon XL2 will always be one of my favorite cameras. A CCD sensor is one of the reasons why the Digital Bolex actually feels more like Super 16 film than the BM Pocket Cinema Camera, despite the fact that they both have the same size sensor. And I would bet cold, hard currency that there are more Sony F35s being used out there right now than F65s, despite the fact that it's a dinosaur, an ancient relic from even before the Red One. A Super 35-sized CCD sensor = Mojo to the Max.

+1 for the Digital Bolex motion cadence.
Even slowed down to 18fps like an old film camera, you can tell it is different to the CMOS sensors.
And I have absolut​ely no idea why

Most likely they do. Checkout the C-mount on m4/3 group on FB. Lots of knowledge and potential buyers there. 

I just have to click the image, thought anybody could? But here it is: https://www.flickr.com/photos/116862472@N02/17106693237/

I agree with both sides - none of us wants to have a "preset" look define us - but they are good starting points - 
I am very guilty of using filmconvert and impulz luts for all my work - I have made a few custom luts - but it's good to have a jumping off point - in the end it's all the same - if you do it yourself or you use someone else's starting point. 
Whatever gets you to a look that feels right for that story, for that film, commercial, doc, etc.
There is no magic bullet.
And speaking of magic bullet - back when the magic bullet app was the only game in town for color grading done easily, man did some people do some really terrible "preset" looks and call it a day.
I think resolve is helping all of us discover more and more about color.
And yes it takes years and years to understand it all - hence why some colorists are paid I think over 10k a day.

great job guys - these all look really nice!  yes James loves to lift the blacks!  I enjoy the looks he gets on his footage very much.  tweak tweak tweak.  I like the digital bolex stuff you got a lot - great job!

Bought his LUT pack since I always liked his looks. And this is a quick run through of some of them. Cant wait for the new color panel in Premiere so it gets a bit more intuitive and streamlined when using them.