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.