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Everything posted by Kino

  1. This stuff just writes itself . . .
  2. I love the URSA Mini Pro bodies and am delighted they chose to keep it. I never had the pleasure of owning one, but I would definitely purchase the shoulder mount and the EVF at some point. I hate shooting without an EVF in bright sunlight. Like the FS7, the UMP form factor reminds me of the days when we shot on film with 16mm cameras. All you get from RED/Kinefinity/ZCAM is a shoe box with an articulating screen on top. What am I supposed to do with that?
  3. Even Lok got one on "First Lok." Here, he shows why it is Canon's best vlog cam . . . until it gets too warm and you have to switch hands. https://www.youtube.com/watch?v=vbqtkR_yyjM
  4. I don't think it is going to win any DR contests, if that is what you mean. But if you keep the camera within its limits, it can generate some decent footage with no apparent noise: http://vimeo.com/428556668 http://www.youtube.com/watch?v=UskTIP40HTQ But, yes, overall the footage has been rather disappointing from a "filmic" perspective. Most of what we have seen demonstrates limited DR (around 10-11 stops) and a "thinning" of the color bit depth: Some of that poor quality probably has to do with user error or lack of proper gradin
  5. There are many things to consider beyond image quality and spec sheets if you have never owned a BM camera. I believe you mentioned on another thread that you owned a RED Helium previously and that you shoot 8K for display manufacturers. Well, this is different. You are leaving the castle and joining the peasants. Since we are talking about your livelihood, I would not purchase a $10K BM camera without an extended warranty of 3-5 years. Now if you are selling stock footage at 8K RAW, you may have a problem with selling BRAW as it has not enjoyed the universal adoption of R3D fil
  6. Yes, I agree. But it does even more than this. I believe Grant said RGB (444) output in 8K! That is far more than what Canon and Sony can offer you on their high end cameras with a similar RGB recording function.
  7. I think this is way beyond the RED Komodo, which is just an entry-level gimbal camera. It is aimed more at the Kinefinity, Sony and Canon cameras in that $10K segment along with the RED Helium 8K, which is more than double the price. The main issue is that it is a missed opportunity to offer FF. As it is, the URSA MINI PRO G2 has more DR and is also S35 with the same body (interchangeable lens mount, etc.), and it produces stunning footage in 4.6K RAW 60 fps and 4K RAW 120fps at $6500. That camera has a dual-gain architecture and has been nearly perfected over several iterations. The only majo
  8. I hope this engineer doesn't work for Sony, since he seems to get around these days . . .
  9. Kinefinity Terra 5K is "not finalized on shipping date," according to their website: http://www.kinefinity.com/shop/terra/?lang=en It is still a hypothetical camera not in release, despite promises of shipping so long ago. As for the 6K sensor, it's the same as the Kinefinity 6K and has the worst rolling shutter you have ever seen in a cinema camera. For those who want 6K resolution that debayers to proper 4K, there are only going to be two realistic choices: RED and the EVA1. I think Panasonic has done something amazing and noteworthy. It's a very ambitious camera and the
  10. Panasonic is now claiming 12 Bit RAW 5.7K output to Odyssey and Shogun using 6G-SDI output to CDNG files (up to 30fps) available in early 2018: I believe that if you already have an Odyssey RAW package, it will be included. I'm not sure if it's a free firmware upgrade on the Panasonic side of things. No mention of file sizes, but if previous experience with Odyssey and 4K RAW is any indication, they will be huge! I'm guessing around 400-500 MB/S or larger given the 17.25 megapixel sensor.
  11. Kino

    1DC Discontinued

    The 1DC produces a gorgeous image to rival any digital cinema camera. No doubt about it. You guys are lucky to have that camera! As for 10 bit, I don't think it would have been possible to do 4K 10 bit intraframe in a completely weather-sealed body as the 1D. There would be way too much heat generation. Unless, what you mean is that you prefer a 10 bit highly-compressed codec to MJPEG. The processing power was simply not there for such compression and Canon had not developed any internal 10 bit 4K codecs before the C300 II.
  12. Kino

    1DC Discontinued

    I would imagine that the 1DX and 1DC were designed together as part of one platform, but released in a staggered way so as to maximize profits for the same product. Even Sony has become the master of this! Moreover, this does not take away from the originality of the 1DC's approach to 4K intra-frame video using MJPEG. No other DSLR manufacturer offered internal intra-frame 4K in those early years. Combined with the 4:2:2 subsampling, large pixel pitch, and 1.3 crop factor, this accounts the 1DC/1DXII's superior image quality compared with other 8-bit DSLRs. And, just as you stated above,
  13. Kino

    1DC Discontinued

    I always thought the 1DC was way "beyond Canon's imagination" for 2012. Well, except for the $12K+ price, which is very much part of their unique "imagination." An 8K DSLR is possible for a price, but it will be more expensive than the original 1DC considering the current price of implementing such tech.
  14. Kino

    1DC Discontinued

    I agree that the 1DC is a truly special camera, but the C200's release means there won't be any 1DC II, at least not this year. It would be hard to sandwich a 1DC II between the 1DX II and C200 without undermining sales for those two cameras. As a result, Canon DSLR shooters will have to content themselves with the 5DIV or 1DXII in the meantime. The more interesting question is what they might do with the commercial release of their 8K sensor designed for their higher-end cinema EOS cameras. Last time in 2012, the 1DC and C500 were released within a few months of one another as Canon's fi
  15. I cannot wait for "Apprentice: White House Edition."
  16. Lovely cinematography as always Ed. The grade is similar to some of your very filmic MX footage (the Cuba one is particularly gorgeous, in case people here have not seen it): It's a different kind of look for the F65, as I don't see that type of desaturated look (in this case, with a heavy teal/blue modern grade) applied to this camera very often.
  17. Canon will typically impose minimum inventory/stock numbers on dealers when approving of any camera price drop. This means B&H had a certain number of 1DCs to sell at that price, as the minimum they would have to take from Canon would be something like 10 units at the very least for such a popular store. Once they sold out, the price went back up.
  18. Ed, you can watch the C500 in action in the current IMAX film, A Beautiful Planet, which was shot entirely on the C500 (and the 1DC for time-lapse): There is also an interesting article in American Cinematographer on why they chose the C500's uncompressed 4K RAW over other cinema cameras that they tested: http://www.theasc.com/site/wp-content/uploads/2016/06/AC-A-Beautiful-Planet.pdf
  19. Yes, ISO and WB are set or "baked-in" to a certain degree, as seen in Canon's white paper: Of course, WB can be easily manipulated in the RMF files in post as with any RAW format. As for ISO, like the Panasonic Varicam, the C500 employs analog gain control (as Policar already mentioned on page one of the thread). Combined with its noise performance, this allows for outstanding low-light abilities for a cinema camera. I'm not here to defend Canon's, Sony's, RED's or any other manufacturer's definition of "RAW." I would only point out that Canon's Cinema RAW offers some unique f
  20. I do not see the C500 support as particularly high on the Atomos agenda. I could be wrong, but the Inferno is simply the wrong device for capturing C500 footage in all its different output modes, even with the two SDI connectors. They may get there someday, but it's a huge gamble to assume that everything is coming in future upgrades. DVXuser is one place to look for how the C500 works or doesn't work with Atomos recorders. The Odyssey may be a bitter pill for some, but it is one you have to take to work with the C500. The extra fee for the RAW license is unfortunate, I agree. Of course,
  21. CinemaDNG is Adobe's RAW format (for example, the BMPC-4K records RAW using CDNG), but it is only promised in a future Atomos firmware update for the Inferno (as mentioned on their website). When it is released, you will be able to record up to 30fps from the C500 in CDNG on the Inferno. Nothing else has been specified regarding CDNG recording in the Inferno. For example, will it retain the 10 bit logarithmic RAW signal, which is crucial to unpacking Canon Cinema RAW in post? With RMF, you can process your files to ensure proper unpacking of the 10 bit log. I'm not sure how it will work with C
  22. While most people associate the C500 with famous American DPs like Hurlbut or Jeff Cronenweth, we should not forget to mention the C500 work shot by CML founder Geoff Boyle, BSC: It's impressive to read that this was all shot with EF glass. Here are some of Boyle's lens tests using the C500: http://www.cinematography.net/CML-CMIR-Lens-Tests.html His over and under exposure results as part of the 2015 CML camera tests are also available: http://www.cinematography.net/edited-pages/C500-uwe-2015.html There is a wealth of useful info there on the camera, especial
  23. No problem. I'm glad to help in any way I can. The C500's HD 120fps is output at 10 bit 4:2:2 YCC in DPX (uncompressed) and MOV formats that should be supported without the RAW upgrade. However, I would check with Mitch Gross or someone else at CG to make sure, as it seems important for you. From what I have read and seen, the RAW 4096 X 1080 is the best 120fps footage from the camera. This is different from 120fps "Half RAW" 4096 x 2160, which leads to a loss of vertical resolution.
  24. 4K RAW @ 60fps is recorded in a frame-interval system, where even frames go to one SSD while odd frames end up on the other. That's the only way for the C500 to record HFR in Canon's RMF (Raw Media Format), as it utilizes two 3G-SDI connectors to transfer the massive data rates I noted above. Recall that each 3G-SDI connector in the C500 is outputting 4 2K streams, which have to be recombined to create the 4K or 2K RMF file recorded by the Odyssey: At 60fps using frame-interval recording on dual SSDs, you have two sets of these 4x data streams. That would explain the insane 700 MB/s
  25. The C500 does 60fps in RAW DCI 4K (4096 x 2160), but it requires two SSDs and a data rate of over 700 MB/s! By comparison, that is 7x the 1DX II's 60fps data rate of 100 MB/s (800 Mbps). But at 120fps HRAW, indeed you are only getting half the vertical resolution at 4096 x 1080, with two options as to how you conform the material in post, as Andrew mentioned in his review: http://www.eoshd.com/2016/06/4k-raw-120fps-3k-say-hello-second-hand-canon-c500/ The problem with the Atomos recorders is that they only have one SSD. This means that they can't record the C500's 60fps RAW or 1
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