You can now run a script file from the SD card inside a Samsung NX1 and NX500 to enable extra features.
Above – EOSHD “raw rig” above is comprised of the Lanparte BMCC cage with 5D Mark III and LanParte follow focus / carbon matte box from HDVideoShop
Slashcam and I set out to test the 5D Mark III’s crop mode as precisely as possible using a chart – it is possible thanks to 100% accurate framing in crop mode with the black & white Magic Lantern live-view preview mode. Further optimisations to the buffer handling by Alex at Magic Lantern aims to make higher resolutions such as 2560 x 960 at 98MB/s sustainable for longer or even continuous.
Get the EOSHD Anamorphic Shooter’s Guide for a comprehensive guide to anamorphic lenses, which ones to use, how to get them and how to shoot
The spec sheet is impressive. 14bit linear bayer raw is sub-sampled from a 6K sensor, giving 1280 lines of extremely clean resolution with an anamorphic compliant 4:3 aspect ratio.
This is in a similar league to the image quality of the Sony F35 (Superman Returns, Tim Burton’s Alice In Wonderland) which cost $250,000 just 5 years ago.
Above: the Epic with anamorphic lens
In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.
Sony have published a study into 4K in theaters. Called “Does 4K really make a difference?”. The advice is aimed at cinema companies upgrading to digital projection, who are faced with the choice of either 2K or 4K projection systems.
It was a clear day and the results are just as stark. Download the full 2.5K shootout video. Here’s my verdict on which camera you should buy – based purely on image quality.
The following cameras are in this test:
- Blackmagic Cinema Camera (retail)
- Panasonic GH3 (pre-production v0.5)
- Panasonic GH2 (hacked)
- Sony FS100
- Canon 5D Mark III
- Sony NEX VG-900 (full frame E-mount camcorder)
(Important: on the Vimeo page for this clip, click download to get the 2.5K 80Mbit clip. Don’t bother watching it full screen from the stream as it is a pale imitation of the full 2.5k file)
I’ve been experimenting today with Blackmagic Cinema Camera workflows.
I use Adobe Premiere as my main NLE. I am not an FX guy so rarely use After Effects. But it comes in very handy here.
Premiere cannot yet edit the CinemaDNG files natively, performance is very limited, it interprets the footage at 1fps, requiring you to fix this for every clip and image quality suffers greatly, possibly because it doesn’t allow you to edit in glorious 12bit.
Here’s the solution that’s working best for me…
Above: my first go at grading the Blackmagic Cinema Camera raw output
John Brawley and Blackmagic Design today released the first raw DNG files from the camera.
Here’s my take on how the raw camera stands up.