Jerome Chiu

Kinefinity Terra 4K can do 4K 125p and is definitely under $15000.

4000 very clean, barely any noise at all.
12,800 is fine. Better than the A7S II
25,600 is ok.
If all camera reviews had to wait for the A7S III, you would not be getting any reviews at all.
 

Shoot in 30p, but then conform it into 24p.  The subtle slow-mo of the image will make it look more cinematic.  Canon is just trying to help you become better filmmakers.

Its not funny. A Canon rep told there is a legitimate reason for no 24p. He said something about the way the sensor is read out. He said that Canon wants it to operate at a perfect temperature. It runs too cold at 24p, but is at an optimum temp at 30p. It was done for the benefit of the camera.

Just to clarify I was only kidding about it being in a new EOS-R.
It will of course be in the XC-20
 

You're wrong Tupp. John's wrong. Everyone's wrong Tupp.

"If it doesn't look good on an iPad, you screwed up"
                                                                  
                                                            – Orson Welles

To add to what @Michi just wrote... after spending some years reading this site, I think the most logical approach for many forum users here is to go and buy a cinema camera and use the right tool for the job. 

Nice piece.
Oh and the cheque is in the post for this plug

Mind you, I hope the notes he was taking were along the lines of "lets track this maverick down and license it" rather than "lets track this cheeky bastard down and sue him" !

So we should all rush out and but the camera with the best product market strategy!?
Doesn't seem like much fun to me.
Personally I will buy what works for me, preferably that which is well designed and innovative.

It’s funny the amount of contradictory remarks on this forum. I remember reading more than a few times that users are pleased that companies update their older products, even while new products are in the market. Yet it’s laughable by those sharing that same sentiment because of a fix that took a while to complete. 
I respect companies, big or small, that can provide continuous support for their users. It shows a level of commitment that creates brand loyalty and quality interactions, which brings better products to the market. These E1’s have been the most incredible supplementary cinema cameras in my tool box and I’m stoked that Z-Cam users still get the support for it!

That whole Alice metaphor at the beginning of the so-called review... well... not your best writing.

AAAAAAAAGGGHHHHH
 
Amount of BLUR is NOT repeat NOT, BOKEH!      Bokeh refers to the quality, not quantity for want of a better expression.
The Bokeh in that video is actually quite similar (as it should be since the shots are taken with the same lens, just at different stops).
Had he used different lenses giving different bokeh, even at the same f stops it would have been more relevant for what he was saying.
What he was comparing was simply looking at ONE lens, used at different apertures and looking at the subject/background and asking what people liked.
 

I am not impressed, Andrew. I was unable to see all the blemishes on people's faces. It is not sharp enough. ? 

Well done @Jerome Chiu @noone @MattH
Leica M9!
Close guess on the 50mm Summicron.
It's the "Japanese Summicron" - Canon 50mm F1.4 LTM (M39 thread to Leica M)
I am amazed such an old 10 years+ CCD sensor and a 60 year old lens gives this kind of image in 2018 - looks pretty modern doesn't it? High contrast. Superb colour and dynamic range. Hardly any noise.
If you have the chance to pick up either one - be it that lens or the Leica M9 - DO IT

I'd also go for the M9. If so, the lens is 61 years old, i.e. was produced in around 1957. A rigid 50mm Summicron?

Ok. My second go.  I forgot to look at the resolution of the large file.  I guess I assumed it would have been scaled down.  The horizontal resolution of 5212 is exactly the same as a M9 or M9-P, and there arent any other 18 megapixel full frame cameras i dont think.   And the 18 megapixel apsc canons only have a horizontal resolution of 5184 so they are out. 
So the lens was produced in 1957 if its the M9 and 1955 if its the M9-P.     I first thought it was 35mm but now I do think its 50mm.  So 50mm summicron seems correct.
It would have to be the 5cm screw mount colapsible summicron if it was 1955 so it is more likely An M9 with rigid 50mm Summicron as already guessed.     
So that was a nice run around the houses for no reason on my part.  At least I got the exercise I guess.
I presume it is wide open as the depth of field is shallow.  If so, its certainly sharp enough wide open.  I supose thats what this shows.

I'd also go for the M9. If so, the lens is 61 years old, i.e. was produced in around 1957. A rigid 50mm Summicron?

Oly has the 2 four thirds DSLR f2 zooms that can adapt to M43 14-35 f2 and 35-100 f2
Sigma has the 18-35 1.8 and 50-100 1.8 APSC lenses
Tokina has the 14-20 f2 APSC lens.
Sigma has the 24-35 f2 FF lens.

Been reading some of their reports, at times the writer seems quite clueless. (a pencil pushing bureaucrat perhaps? Or at least someone outdated and behind the times)

For instance:
"The camera achieves HD Tier 1 because the sensor size, while smaller than the preferred 1” size, is greater than the minimum-acceptable ⅔” size."
https://tech.ebu.ch/docs/tech/tech3335_s29.pdf

And he seems to be the master of the understatement, this is what he said about the Panasonic GH5S:

"The dynamic range is about 14.6 stops in HLG, a creditable performance"
"Noise levels are acceptable." 

Yes, he regards the GH5S itself as "acceptable" in lowlight. 

And because he fucks up the math (he mistakenly believes the GH5S is upscaling its image to be able to do 4K) he says:
"The camera cannot achieve Tier 1 or 2 for UHD broadcast or cinema because the sensor resolution is inadequate. However, the performance at UHD is probably adequate for use in productions provided it is not the prime camera."

Exactly; and it isn't only Cinema5D over Andrew Reid, it's also Cinema5D over Philip Bloom (who lives in London, AFAIK). We've known for ages that subscriber count doesn't count, nor does view count; what counts is the number of buyer decisions positively influenced by practitioners like Andrew Reid and Philip Bloom, who both have large and trusting followings. Both speak their minds, but that hasn't stopped, e.g., Kinefinity from asking Bloom to test their new cameras, and this has been key to Kinefinity's becoming a presence in this very competitive market.

andrew,
forget about that paycheck argument, and any "proof" about being a pro cinematographer or not. you can not measure this way.
i always worshipped your honest opinion, and an emotional outburst just proofs that there`s a human being behind all of this, that does not write reviews on his pocket calculator. admitting that you went a little over the top just underlines that.
another big plus for you.
the PR machinery has chewed up a lot of unbiased coverage these days and i never know wether all the praise was bought or is true. except on eoshd!
for me the latest canon coverage was the final nail in that coffin, how can anyone with a sound mind write something positive about this thing? well, you probably can if you`ve been to hawaii...
and what`s the use of that BM event (for us readers) without any attendee being allowed to shoot a single frame himself? what we as readers end up with is just a bunch of blog posts that basically read like the tec specs list of the camera, i could have gotten that info from BM`s website a lot easier... 
best,
 
wondo
 

Keep up the great work man. I've been following your site for years and the knowledge that you share is always appreciated. People love to get the best out of people cause they're bored. Don't let it bring you down. People like us keep tuning cause the work speaks for itself. Some of us who make a living and get paid to shoot and edit everyday and sometimes we get a little extra money. Not a lot, but we benefit from your knowledge and articles cause they'll steer us in the right direction and then show our support by buying a lut or two!
There's always a lot of noise and you know what, it freaking sucks that they didn't extend you the courtesy in your own backyard. They totally botched that and goes to show that they don't know who they need to cater to. I trust the folk in this group and you bet your ass that if the BMPCC 4K was worth it's weight in salt, I would invest in the system and upgrade to the big boy cam and their ecosystem. Given their history, they probably won't start shipping til next year... Keep on trucking and putting up the good fight!

Just keep doing you, man!
The level to which brainless, artless social media whores have taken over representing creativity online is truly horrifying. Beyond shameful brand and corporate alignment, these folks have rendered the pursuit of art into a series of meaningless life hacks that give uncreative consumers the illusion of creativity. Want to be a great photographer? Strive for bokeh! Take long exposures of shorelines! Orange and teal everything! Lift those shadows to a mid-tone gray and vintagize your images by 30%! Consider these five tricks to make your photos look like [insert useless Instagram celebrity]! HDR it!
As with many dreamers, I used to believe that the internet would democratize the publication of art by empowering artists. It has—technically—done that I suppose, but what few considered until it was too late (for art, journalism, hell—the truth!) is that it would cheapen and destroy creativity by putting a good-enough facsimile within reach of any slob with a phone without them needing to actually learn the craft.
The good news is that cultural shifts come in waves that are eventually met with backlash. The hyper-shilling is already showing cracks and it’s fairly young. People in my country are witnessing the fatal outcome of celebrity worship via our presidential nightmare. I think we’re nearing a tipping point where authenticity will be highly valued again and I want folks like you to be around to reap the rewards! 
 

You're right, this was one of the better vids released, but mostly because he used vintage glass & the whole thing shone.
I think the bigger question here is what were BM doing in Manchester? Well, we know that the BBC has it's main hub up there now & they are one of the most rigorous testers of cameras - they have a list of cameras you can & can't use to film with. There is no wriggle room whatsoever & if it doesn't make their list you are screwed! DSLR's are not allowed, only for timelapse or extreme location shooting. It's obvious that BM have gone the ENG style route for their other cameras & if you look at the link below, you can see the report for their URSA MIni 4.6K (tier 2, oops!):
https://tech.ebu.ch/camera_reports_tech3335
The conclusion makes for interesting reading (as does the whole thing & then read the Arri one!). It would be interesting to see who they invited, my guess anyone who could get them a break in the BBC market or even the BBC themselves. Small cameras like this could be good work horses for small BBC productions, but the BBC won't use RAW or Film mode - they want good quality & quick turnaround ("fix it in post" is not a phrase to be used, ever!).
The other thing to think about is that BM seem to have forgotten the UK - last time round the Pocket's came in in 2s or 3s (Asia & US got loads). I think the tipping point for Andrew was probably that Cinema 5D got a look in & they really don't deserve to. I think most people would have preferred Andrew to see what was what, but hey, the advertising people probably don't know shit. And yes, the somewhat sloppy/unprofessional nature of some of the videos does beg the question of why they gave them to some people - they do want people to buy this thing, don't they?
Anyway, read some of those reports - very interesting & informative if you ever want to be taken seriously.
(GH5 report is on there too!)