http://www.usa.canon.com/cusa/professional/products/professional_cameras/cinema_eos_cameras/eos_c100_mark_ii

PR

Canon U.S.A. Announces the Second-Generation EOS C100 Mark II Digital Video Camera Features MP4 and AVCHD 1080/60p Recording, Dual Pixel CMOS AF, Face-Detection Autofocus (AF), Redesigned Viewfinder and OLED Panel, Built-In Canon Log Look-Up Table, and Wireless File Transfer

MELVILLE, N.Y., October 21, 2014 - Canon U.S.A. Inc., a leader in digital imaging solutions, announced today the Canon EOS C100 Mark II Digital Video Camera, the latest edition to the Canon Cinema EOS line of professional Super 35mm 8.3 megapixel CMOS cameras and the second-generation version of the popular Canon EOS C100 Digital Video Camera.

Designed for economical film and video productions such as documentary and remote broadcast crews, wedding and event coverage, indie film productions, as well as film schools and business and government users, the new EOS C100 Mark II Digital Video Camera, features advanced image processing, AVCHD and MP4 1920x1080/60p recording, uncompressed YCbCr output from HDMI, and many other new and enhanced capabilities for improved picture quality, operability, and convenient handling. Delivering a cinematic look with shallow depth of field and high sensitivity in low-light environments, the new EOS C100 Mark II camera weighs just 2.5 lbs. and is compatible with over 103 Canon EF Series lenses, including STM models which can deliver smooth and silent autofocus during filmmaking.

"Canon's commitment to the advancement of tools for visual expression takes another major step forward with the introduction of the EOS C100 Mark II Digital Video Camera," said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. "Drawing on input from Canon's global community of Cinema EOS camera users and from digital filmmakers using Canon EF lenses - 100 million of which have now been produced worldwidei - the Company has added new capabilities to the EOS C100 Mark II from its predecessor that powerfully leverage our considerable expertise in optics, imaging, and digital signal processing. The result is an improved, affordable Super 35mm CMOS digital camera that is designed to provide outstanding HD image quality, operational performance, ergonomics, and workflow convenience." Design Enhancements

Optimized for one-person operation, the new EOS C100 Mark II camera has a mobile core design enabling users to choose their preferred style of shooting. The existing design has been enhanced to include a large-size detachable eyecup for the camera's large 68-degree tilting 0.45-inch 1.23 megapixel color EVF (electronic viewfinder). Clearly marked red trigger buttons on the camera body, top handle, grip, and a built-in mono microphone on the camera body — for times when the top handle is not attached — can be used to capture basic sound for audio notation or as an aid to audio syncing during post.

Another major redesign of the new EOS C100 Mark II over its predecessor is an innovatively hinged 3.5-inch 1.23 megapixel OLED display panel, delivering 100 percent field-of-view coverage, wide color range support, and improved viewing even in bright sunshine. The new hinge design — which folds the panel shut when stowed, protecting the OLED surface — opens 180 degrees to reveal function keys and a joystick. The panel can open even further to 270 degrees to deploy against the side of the camera to provide monitoring for directors and other production personnel. Additional design improvements on the camera body include 17 assignable recessed function buttons, dual SD card slots with a transparent cover, and a simplified battery insertion and removal release. Visual Expression

Previously available only as an optional upgrade for earlier Cinema EOS models, Dual Pixel CMOS AF is a standard feature on the new EOS C100 Mark II, providing enhanced autofocusing capability. The Dual Pixel CMOS AF technology helps provide smooth and consistent autofocus, so that focus transitions are natural looking and subjects can remain in focus even as they move off center. In addition, the compatibility of Dual Pixel CMOS AF with Canon EF autofocus lenses combines outstanding optical tools with a wide range of creative options. It's ideal for shooting sports, weddings and many more productions where focus pulling by a single operator is not feasible, such as when the video camera is attached to steadicams or drones. The EOS C100 Mark II Digital Video Camera also includes Face-Detection AFii, a first in the Cinema EOS camera line, which utilizes contrast detection AF to maintain focus across most of the image plane, an advantage in one-person electronic news gathering (ENG) situations. Imaging and Recording

Central to many of the new features of the new EOS C100 Mark II Digital Video Camera is its advanced Canon DIGIC DV4 image processor. The Canon DIGIC DV4 image processor separates the RGB output from the camera's 8.3 Megapixel CMOS imager into three individual 8 megapixel signals (as opposed to 2MB in the EOS C100) for noticeably improved image quality. The Canon DIGIC DV4 processor also includes a new debayering algorithm to help minimize moir‚ and reduce video noise even at high ISO speeds. (high-sensitivity recording on the camera ranges from ISO 320 to 80,000).

Another important benefit of the Canon DIGIC DV4 processor is Full HD recording in both the high-quality professional format AVCHD or the popular web-friendly MP4 format at a variety of bit rates (up to 28 Mbps and 35 Mbps, respectively), resolutions, and frame rates (up to the smooth look of 59.94p) to suit practically any production need.iii For special-effect requirements, slow and fast motion MP4 recording at up to 1920x1080/60p can also be performed.

Users can choose from multiple formats that support MP4 or AVCHD to suit a wide variety of production, post, and output needs. The EOS C100 Mark II camera's dual SD card slots can record in one or both formats simultaneouslyiv for back-up, or convert AVCHD and MP4 files into smaller MP4 files for web upload.v Extended clip times can be achieved by recording continuously from one card to the other without a break. In addition, a Data Import Utility application is included that can seamlessly join divided files to help reduce work during editing and to import video file data from an SD card inside the camera or a card reader.

As with the other cameras in Canon's Cinema EOS line, the new EOS C100 Mark II Digital Video Camera includes Canon Log as a recording choice, providing maximum dynamic range for post-production color grading. New, however, is the addition of a built-in LUT (look-up table), enabling users to view the camera's live video signal in Wide DR (dynamic range) or the BT.709 (TV standard) color space on the OLED or any external monitor connected to the camera's locking HDMI® output (this feature can be turned off in the menu). Uncompressed video output (with time code data and 2:3 pull-down markers superimposed) can be output via HDMI to an external recorder. Connectivity Innovations

The addition of wireless file-transfer capabilities further expands the versatility of the new EOS C100 Mark II camera for multiple production applications, including transferring time-critical news video or backing-up files. Utilizing dual 5 GHz and 2.4 GHz frequencies, the camera can transfer video files via FTP server for instant relay, or send MP4 video to the web browsers of laptops or tablets for viewing and storage (even on PC's lacking playback software). Remote control of the camera is also enabled via a compatible smartphone, tablet, or laptop. The new EOS C100 Mark II Digital Video Camera also includes compatibility with the optional multi-functional Canon RC-V100 Remote Controller, which can be used to adjust image quality and other important operations from a distance, a handy feature for shooting from a jib arm, drone, or other inaccessible location.

In addition, the optional Canon GP-E2 EOS GPS Receiver can be connected to the EOS C100 Mark II Digital Video Camera using a USB cable to record location and time information during shooting, a helpful feature for editing and archiving. Pricing and Availability

The Canon EOS C100 Mark II Digital Video Camera is scheduled to be available at the end of December 2014 for an estimated retail price of $5,499.00.

• 9.84Mp APS-C sensor with Dual Pixel CMOS AF (up to 8.85Mp actually used)
• 15 stops DR
• 2 x Digic DV5
• 4K at 4:2:2, 10bit, , but only up to 30fps
• FullHD at 4:4:4 up to 225Mbps, 120fps
• Canon Log2
• Can shoot in ITU-R BT.2020 colour gamut
• Price around $11300
• Available in 3rd or 4th quarter of 2015
• 1880g
• $16000
• EF - http://www.bhphotovideo.com/c/product/1134579-REG/canon_0635c002_eos_c300_mark_ii.html
• PL - http://www.bhphotovideo.com/c/product/1134580-REG/canon_0635c009_c300_markii_cinema_eos.html

PR

Canon has unveiled the EOS C300 Mark II, a new 4K Digital Cinema Camera allowing filmmakers and broadcast producers to realise their creative vision in stunning cinematic detail.

Building on the unprecedented success of the acclaimed EOS C300, the more rugged EOS C300 Mark II features an advanced imaging engine with Dual DIGIC DV5 processors, new professional codecs and outstanding dynamic range, making it the most capable, flexible and accessible Cinema EOS video camera to date.

SUPREME 4K IMAGE QUALITY AND VERSATILITY

With the ability to record 10-bit 4:2:2 files internally at up to 410Mbps in 4K, or 10/12-bit 4:4:4 files in 2K/Full HD, with up to 15 stops of dynamic range, the EOS C300 Mark II provides footage suitable for extensive post-production work, producing crisper images across the full colour spectrum with reduced “colour bleed”. The camera offers professional filmmakers and broadcasters alike the very best image quality, recording 4K in both broadcast (3840 x 2160) and DCI cinematic (4096 x 2160) resolutions.

The EOS C300 Mark II can record high bitrate 4K files internally to dual CFast 2.0™* media, while simultaneously recording 4K RAW files to an external recorder, offering the flexibility and universal appeal for production at the highest quality available today. Additionally, the ability to record 2K/Full HD Proxy files to an internal SD card, at the same time, further streamlines the production workflow process.

The EOS C300 Mark II features an all-new Super35mm CMOS sensor, designed by Canon, with a stunning ISO range of up to ISO 102,400. The new Canon-designed Super 35mm CMOS sensor and an increased ISO range up to ISO 102,400 deliver exceptional low light performance, allowing operators to capture low-noise footage across a variety of challenging environments without compromising on image quality.

To meet the requirements of a diverse range of shooting applications and lighting situations, the EOS C300 Mark II offers both full manual control, ideal for cinematic environments, as well as a variety of automatic modes. These include enhanced Dual Pixel CMOS AF (now covering approximately 80% vertical x 80% horizontal of the image display), Auto White Balance and Face Detection AF, all of which make it easier than ever before for independent news gatherers and documentary filmmakers to shoot on the go without having to worry about settings.

INSTANT INTEGRATION INTO PROFESSIONAL WORKFLOWS

Canon’s new range of XF-AVC H.264 codecs, designed to be compatible with industry standard Non-Linear Edit systems, makes integrating both 4K and 2K/Full HD footage into workflows effortless, while maintaining the highest image quality. The range features XF-AVC intra for 4K, and XF-AVC Long GOP and Proxy options for 2K/Full HD recording, both of which utilise H.264 codec, offering post production flexibility and ease of use. Filmmakers can select the resolution and codec type that best suits their production, with the EOS C300 Mark II capable of shooting at up to 30P in 4K or up to 120P in 2K/Full HD.

The EOS C300 Mark II offers support for a wide range of colour space options, including BT.2020, the Canon Cinema Gamut and DCI-P3. The camera is also the first Cinema EOS model to feature brand new Canon Log2 technology, which enables the 15-stops of dynamic range, significantly wider than previous Cinema EOS cameras. The camera offers new versatility for sound recording too, supporting 4-channel audio recording in 16- or 24-bit and 48 kHz

DESIGNED FOR VERSATILITY

The EOS C300 Mark II boasts the iconic Cinema EOS design DNA – a modular body that can be adapted to suit the needs of each shooter and filming situation, through the extensive range of compatible accessories. Internally, the EOS C300 Mark II also includes built-in electronically controlled glass ND (neutral density) filters, which reduces the amount of light reaching the sensor by up to 10 stops in expansion mode. Compatibility with the RC-V100 remote control and optional Wi-Fi control also enables ease of use in a wider range of locations.

A new modular body allows users to connect the EOS C300 Mark II to a host of professional accessories.
The camera’s sensor read-out speed is now twice as fast as the original EOS C300, and further reduces rolling shutter distortion, allowing for crisp image capture in a moving environment, making it perfectly suited for capturing action sequences.

Leveraging Canon’s rich heritage in lens design, the EOS C300 Mark II is compatible with more than 90 current EF and EF Cinema lenses allowing operators to use their existing EF mount lenses. In addition, the EOS C300 Mark II comes equipped with Canon Cine servo zoom lens support, delivering one of the most comprehensive selections of lens possibilities for movie and broadcast production available in the market today. For further flexibility, shooters can opt to change the lens mount from the default EF Mount, to EF Mount with Cinema Lock, or to the industry standard PL mount, as a service option.**

for nostalgic reasons, I want to produce a video with my beloved original BMPCC. Therefore I want to pair the camera with a JuicedLink BMC388 preamp. However, the manufacturer doesn't exist anymore and neither do the instructional videos on youtube. There are some tweaks that need to be done in order to make the BMPCC and BMC388 work flawlessly together. Audio meter calibration, input volume...

As all the manuals and instructional videos have vanished from the internet, maybe there's someone on this forum who is familiar with the procedure and can provide me with a short instruction?

I appreciate it! Thank you.

• EF mount
• S35mm sensor
• magnesium body
• 2 XLR audio inputs
• 24/25/30p and 50/60i (yep, no 50/60p)
• ND filters
• ISO 320 – 20.000
• Canon Cinema Log Gamma
• AVCHD only small bitrate codec
• 2 slots for SD-/SDHC-/SDXC- cards
• AF function is completely absent, could be added via FW in 2013
• Price $7,999

Available at:

• http://www.bhphotovideo.com/c/product/889545-REG/Canon_EOS_C100_EF_Cinema.html

PR

Canon U.S.A., Inc., a leader in digital imaging solutions, continues its commitment to the advancement of tools for visual expression and expand its contribution to cinematic culture with the introduction of the new EOS C500 4K Digital Cinema Camera* and the EOS C100 Digital Video Camera*. The C500 will take its place as the flagship camera model in Canon's Cinema EOS System while the C100 provides another option for beginning filmmakers working on a budget. The C500 is Canon's high-end professional 4K (4096 x 2160-pixel) cinema camera capable of originating uncompressed RAW output for external recording to meet the demands of premium cinematic productions and other top-quality production markets. The C100 digital video camera is a compact, affordable entry-level model delivering full 1920x1080 HD video and integrating the popular AVCHD codec for universal compatibility with laptop and desktop editing systems. The C500 will be available in both EF- and PL-mount versions; while the C100 will be offered in EF mount only and will be compatible with the more than 70 zoom and prime lenses in Canon's EF, EF-S and EF Cinema lens lineups. All products in the Canon Cinema EOS line are engineered to provide exceptional image creation capabilities for professionals in the motion picture, television, and other diverse high-resolution digital production industries.

"We developed the Cinema EOS C500 digital cinema camera to deliver the benefits of full 4K motion capture to Hollywood's premier filmmakers, while the C100 is designed for economical productions that need sophisticated HD capabilities and optical lens diversity. As we said in November of 2011, the C300 was just the beginning to our Cinema EOS system and we now offer a more complete system of imaging solutions with a range of cameras for every level of production," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A., Inc.

The EOS C500 4K digital cinema camera and EOS C100 digital video camera join Canon's Cinema EOS System which includes two other camera models, the EOS C300 digital cinema camera for mainstream HD production and the EOS-1D C 4K Digital SLR cinema camera for 4K and HD filmmakers favoring the SLR form factor. The Cinema EOS System also offers filmmakers optical diversity with seven EF Cinema lens models: the compact and lightweight CN-E15.5-47mm T2.8 L wide-angle cinema zoom and the CN-E30-105mm T2.8 L telephoto cinema zoom (available in EF and PL versions); the CN-E14.5-60mm T2.6 L wide-angle zoom and CN-E30-300mm T2.95-3.7 L telephoto zoom (also available in EF and PL versions); and the CN-E24mm T1.5 L, CN-E50mm T1.3 L, and CN-E85mm T1.3 L prime lenses for EF-mount cameras, in addition to the more than 60 lenses in Canon's EF and EF-S lens lines (which include macro, fisheye, telephoto, and tilt-shift models).

4K, 2K, and Full HD Image Quality

The Canon EOS C500 and C500 PL digital cinema cameras are designed to provide a versatile high-quality 4K imaging solution to high-end productions. High-quality 4K resolution imaging has become the new standard for advanced effects and is particularly important for big-budget motion pictures that include scenes compositing live-action cinematography with high-resolution computer-generated imagery. The C500 and C500 PL cameras output 4K resolution to external recorders as a 10-bit uncompressed RAW data stream, as well as offering the additional versatility of being able to output quad full-HD (3840 x 2160), 2K (2048 x 1080), full HD (1920 x 1080), and other imaging options. All of these digital image source formats fully conform to established SMPTE production standards. All 4K formats can be selected to operate from one to 60 frames per second. When shooting in 2K, the C500 and C500 PL cameras employ a 12-bit RGB 4:4:4 signal format from one to 60 frames-per-second (fps) as well. For high-speed shooting and slow motion capture the cameras can be set to a 10-bit YCrCb 4:2:2 mode, and can output 4K or 2K video up to 120 fps.

While outputting 4K or 2K video to an external recorder, the Canon EOS C500 and C500 PL digital cinema cameras simultaneously record a 50 Mbps Full HD video file in-camera to the user's choice of one or two CF cards. The 8-bit 4:2:2 in-camera recordings can be used as a proxy for offline editing of 4K projects, and they are also suitable for various projects that do not require 4K resolution. Equipped with Canon's exceptional Super 35mm 8.85-megapixel CMOS sensor, both C500 camera models are compatible with a wide range of interchangeable Canon lenses – the C500 is compatible with EF, EF-S and EF Cinema lenses for Canon SLR cameras, while the C500 PL is compatible with PL-mount EF Cinema lenses and other PL-mount lenses. Highly mobile and compact, the C500 digital cinema camera provides the same ergonomic features as the C300 model, with the exception of a fixed hand grip that incorporates a pair of 3G-SDI ports for 4K video output and another pair of video ports for monitoring purposes. Canon is working with several independent manufacturers of external video recorders to support smooth workflow options, and these recorders are expected to be available by the time the EOS C500 and C500 PL 4K digital cinema cameras ship to authorized dealers later this year.

One-Person Full HD With Automatic Functions

A cost-effective camera solution for a wide range of everyday users, the EOS C100 digital video camera is ideal for many full HD applications such as:

Low-budget television production and independent moviemaking Museums, galleries, and film schools that utilize Full HD video Wedding, corporate and event videography

The EOS C100 digital video camera is approximately 85% of the size of the EOS C300 model, for maximum mobility. Designed for professional operability, the C100 includes a push auto iris function, one-shot auto focus (or full manual focus and exposure control), a multi-angle 3.5-inch LCD control panel, a high-resolution electronic viewfinder (EVF), built-in ND filters, dual XLR inputs, and a locking HDMI output. These features combine with such advanced technologies as reduced rolling shutter artifacts in 60i mode, enhanced gamma modes (including Wide Dynamic Range (DR) Gamma and Canon Log Gamma), cinematic depth of field characteristics, and excellent low-light performance. The C100 records to dual SD cards contributing to the camera's reduced size and convenience.

Like its C300 sibling, the EOS C100 employs Canon's uniquely designed Super 35mm 16:9 CMOS sensor that captures individual R, G, and B channels for each full HD 1920 x 1080 frame. This high-sensitivity CMOS sensor provides creative depth of field capabilities for an excellent "bokeh" effect, and provides an ISO range of from 320 to 20,000, enabling the capture of images in low light with minimal picture noise. The Canon DIGIC DV III image processor in the C100 helps ensure high color fidelity and smooth color gradations. The camera's AVCHD codec utilizes MPEG-4 AVC/H.264 compression similar to the codec used in Canon's XA10 professional HD camcorder. AVCHD features a maximum recording bit rate of 24Mbps in full HD 1920 x 1080 and 4:2:0 color space for sharp, vivid images. Multiple recording modes, resolutions, and frame rates (including 24p) make the C100 creatively flexible for many production environments. The C100 also offers enhanced gamma modes (including Wide DR Gamma and Canon Log Gamma) for a peak dynamic range of 800% and the wide exposure latitude needed for creative post-production image processing, color correction, and contrast manipulation.

Designed for extensive operational versatility, the Canon EOS C100 digital video camera features a mobile core configuration that allows users to flexibly add accessory parts to the main camera body according to their production needs. A removable side-mounted rotating grip with start/stop button and miniature "joystick" menu control provides traditional SLR camera-style operation. A detachable handle unit connects to the top of the C100 and includes dual XLR connectors, a built-in stereo microphone, a bracket for an external microphone, audio-input level adjustments, and a tally light. The C100 records linear PCM two-channel audio or Dolby digital two-channel audio.

In addition to its ability to record to both SD cards simultaneously, or relay-record from one card to the other, the Canon C100 Cinema EOS camera can also output uncompressed digital HD to an external recording device via its locking HDMI connector. This HDMI output includes superimposed time code and 2:3 pull-down marker information. Additional outputs include a USB connector and stereo headphone jack.

Pricing and Availability

The Canon EOS C500 and C500 PL 4K Digital Cinema Cameras are scheduled to be available in October for an estimated list price of $30,000.

The Canon EOS C100 Digital Video Camera is scheduled to be available in November 2012 for an estimated list price of $7,999

https://www.kickstarter.com/projects/665053329/veydra-m4-3-cinema-lenses-for-gh4-and-bmpcc

What is Veydra?

Veydra is a premium cinema lens made specifically for filmmakers using Micro 4/3 cameras.

Veydra Mini Prime lenses all feature

• Resolution that exceeds 4K
• Cinema 0.8 module focus and iris gears
• Consistent front 80mm outside diameter & 77mm filter threading
• Similar length for quick lens changes
• Constant T2.2 aperture for easy lighting set ups
• Brass plated mounts for durability.

I guess it's a luxury problem. I've seen amazing stuff from both cameras!

• Internal 4K recording, 4:2:2
• MJPEG compression (8 bit, of course)
• ISO up to 25,600
• HDMI connector (Full HD, 4:2:2)
• Canon Log Gamma
• 4K only for 24p
• 24p, 25p, 30p, 50p and 60p in 1080p
• Fullframe and two crop options - APS-H, Super 35mm

The battle of 4k and RAW begins.

Info from - http://www.cinemaeos.usa.canon.com/products.php?type=Cameras

Available at:

• http://www.bhphotovideo.com/c/product/855962-REG/Canon_EOS_1D_C_EOS_1D_C_4K_Cinema.html

17+ steps DR range.

$80,000 for brand new camera body with this sensor

• Super 35mm CMOS Sensor
• Breech-Lock PL Mount
• Up to 15 Stops of Dynamic Range
• 4K up to 60 fps, 2K/HD up to 240 fps at up to 810Mbps
• Proxy Recording to SD Cards
• Selectable Gamma and Log Curves
• XF-AVC and ProRes Recording to CFast 2.0
• Intuitive User Interface
• Raw Recording Option
• Internal 10/12-bit XF-AVC or ProRes recording
• 3 versions, one with global shutter
• $28000 at https://www.bhphotovideo.com/c/product/1278096-REG/canon_1454c002_eos_c700_cinema_camera.html

Available for preorder at: https://www.bhphotovideo.com/c/product/1278222-REG/zeiss_2149_289_21_100mm_t2_9_3_9_lightweight_zoom.html

Specs:

• Focal length - 21-100mm
• Aperture range - 2.9 – 22, 11 blades
• Lens - 22 elements in 18 groups
• Close focus is 0,8m/ 2’8”
• Focus ring rotation angle (inf-MOD) - 294°
• Zoom rotation angle - 100°
• Aperture rotation angle - 48°
• Front diameter is 114mm/ 4.49”
• Length is 226mm/ 8.9”
• Weight - 2.0kg/ 4.4 lbs
• Sensor coverage - ANSI Super 35mm

Trailer:

I also used a 5D Mark III with Magic Lantern for some Glidecam shots.

Here is a NoFilmSchool BTS write-up from many moons ago (when it was called SLEEPWALKERS): http://nofilmschool.com/2013/12/ryan-lightbourn-shot-feature-on-red-scarlet-bmpcc-5d-mark-iii

GH2 and Tokina ATX Pro II with Iscorama 54

Tokina has a cinema line of zooms that come in MFT, but they are made for S35mm sensors. And JVC's LS300 can do their digital zoom in, but you need that specific camera. Panasonic's FZ2500 now has useable zoom motion w/ great range, but the lens is not constant aperture, nor is it fast enough, plus it's a 1 inch sensor. And yes there are plenty of broadcast zoom lenses, as well as C-mount zooms that can work with the right adapter & extender.

Something in the lines of 10-100mm, or 12-120mm with at least T2.1, has to be parfocal, but macro optional.
Kind of like the vintage 16mm zooms from Angenieux / Zeiss / Cooke.

I've been using the Olympus 12-40mm with gears for both zoom and focus, but it's not quite parfocal; was even dreaming of a full Duclos mod like their 11-16mm!

Global optics brand, Samyang Optics (http://www.samyanglensglobal.com) announce a new VDSLR 16mm T2.6 lens, designed specifically for video shooting with uncoupled gear rings with T numbers. This launch adds one more VDSLR cine lens to the existing 12 lenses for DSLR cameras.

Since 2012, Samyang Optics has released its VDSLR lenses based on the needs of professional videographers. Satisfied with the image quality of Samyang manual focus photo lenses, videographers required the brand to customize the lenses with uncoupled gear rings and T numbers for follow focus system and maintain the image quality. As a result of this new launch there is now a total of 19 video lenses: 13 for DSLR cameras and 6 for mirrorless cameras.

Inheriting the renowned image quality of Samyang’s wide-angle lenses, the new VDSLR 16mm T2.6 completes the VDSLR cine lens line-up. This angle of view is commonly used by directors of photography around the globe for its versatile usage for wide-angle, emotional scenes in film and videos. Along with the existing 14mm, 20mm and 24mm, this new 16mm lens will realize the delicate changes in the scenes.

The full range of Samyang VDSLR Cine Lenses for full frame sensors range from the 8mm fisheye through to a 135mm telephoto lens, for DSLR Cameras with APS-C sensor sizes lenses range from 8mm to a 50mm lens.

As a ‘Total Imaging Solution’ optics brand, Samyang Optics now offers 51 lenses: 2 premium XP photo lenses, 2 autofocus lenses, 19 manual focus photo lenses, 19 cine lenses and 9 professional video-cine lenses specifically under the XEEN brand.

Suggested retail price £529.00 inc VAT

Availability: June 2017

Not to be confused with a ‘Stylized Look LUT’ – I created the BozBMDFilm_to_Rec709 Utility LUT out of a need to make my own color grading life easier when dealing with the Blackmagic BMCC / BMPCC Cinema Camera Film LOG and RAW files. And now I'm making it available to you.

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

The LUT brings out the contrast and color values captured by the BMCC / BMPCC in Film or RAW mode and strives to preserve highlight and shadow detail [more examples can be found on the download page]

Though it's not free, I think the small asking price of £3.00GBP (approx $3.80USD) is enough to take a leap of faith on. Made a difference to my work flow as I’m sure it will with yours :)

Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

Thank you.

Links

http://www.cinemaeos.usa.canon.com/products.php?type=Camera-c500
http://cweb.canon.jp/cinema-eos/lineup/digitalcamera/c500/index.html

Because my English is poor, there may be many unclear things, but I do my best in some questions to answer enduringly.

Series1: http://www.personal-view.com/talks/discussion/2960/an-valkyrie-golgop3-13-gop3zilla-natural-freeze-less-reliable-all-round-gop3-settings-/p1

[The common feature of my settings]

For example, if some setting tries to use low qp with the frame size limited like Intra, many level lines of the high qp macroblocks will also appear in each frame pictures. Although it is unclear for appearance in looking with eyes, it means that the codec is not committing this correctly. I am making the settings which can use the lowest possible qp appropriately, avoiding this isuue by using the biggest possible I-frames. On the high detailed scene, if the minimum qp is too low, the range of qp will spread and, as a result, many of these level lines of the high qp macroblocks will appear.

Therefore, in my settings, on the high detailed scene, it has adjusted so that the minimum qp may become high appropriately. On the other hand, it has adjusted so that the lowest possible qp can be positively used under the lowlight. I think that 3GOP can realize this all-round performance with the motion. Therefore, when using my settings as only for lowlight, you may feel thing insufficient only a few, although sufficient dark place performance is still given. However, also in a bright scene, the codec hardly wavers with my settings. This is the point that especially I am scrupulous.

And

My top priority is "recording does not stop by any means in any situations."

*The issue which the high bitrate hacked GH2 cannot often span more over 4GB is not contained in this.

In order to adjust so that recording may not stop in a high stress scene, you have to test supposing the stress beyond it. I have spent many hours also on the torture test for it.

I understand that this test exceeds the stress assumed practically. However, in the settings which cannot clear this test, the Risk of Freezing Camera momentarily practically is large.

Moreover, although the issue of "freezing the moment a focus suits" is recognized in many other GH2 settings, about it, it cannot necessarily solve only by this test. I have also solved this issue now by the test which repeats focusing for several minutes.

I aim at the setting not freezing.

If my settings may become unstable with SanDisk 95MB/s SDXC, please give me feedback.

*The spanning is possible perfectly in 24p with SanDisk 95MB/s SDXC.

These features are common in almost all my settings.

REMEMBER: IF YOU USE THESE SETTINGS PLEASE MAKE A DONATION ABOVE TO VITALIY KISELEV FOR HIS TIRELESS WORK IN MAKING THIS HAPPEN. THESE SETTINGS ARE TOTALLY DEDICATED TO HIM. THERE ARE MANY QUIET USERS OUT THERE WHO HAVE NEVER BOTHERED OFFERING ANYTHING. PLEASE, PLEASE HELP TO KEEP THESE HACKS GOING. NO MORE DONATIONS = NO MORE SETTINGS. IF YOU HAVE MADE A SMALL CONTRIBUTION IN THE PAST, NOW IS THE TIME TO DONATE AGAIN. Thank you, bkmcwd

Again, special thanks to @driftwood, @cbrandin, and of course @Vitaliy_Kiselev! :-)

Very interesting in the following:

Sharpness:

Moire:

Cadence:

Low light:

Rolling Shutter:

Thanks

The Pocket is only $500 USD / £390 UKP this summer (very limited availability, buy now!) .

Frame Sync is the big problem:

Syncing two cams for 3D cannot be done in post - they need to be synced at the pixel level, ie. each camera should begin each frame at exactly the same time. In other words, this is a fractional-frame problem; but you can only correct whole frames in post (not counting pixel interpolators like Twixtor which can cause unacceptable artifacts in 3D).

Pro cameras are synced with 'Genlock' - basically a connection between the two cameras that tightly synchronises frame capture. Without this, the cameras have a random gap between frame starts, anywhere up to 1/2 frame. So if you shoot 24p, the cameras will be randomly out up to 1/48th of a second, and you have no way to predict what that error will be at any given time. In 3D this is catastrophic, at least if there is any significant motion in the frame. The delay pushes moving objects forwards or backwards in 3D, and can also cause a weird shimmering effect. And forget high motion which looks awful.

Solutions:

1) hardware mod: do true genlocking by linking the cameras' capture timers or master clocks somehow at the circuit board level). This is perfect, but tricky/risky and requires skill and experience.

2) Simul-power workaround (this is what we use on the Panny GHs, and works on many others): you power-up both cameras at exactly the same time (usually with external power and a dual-switch or a custom circuit). Many cameras synchronize their frame capture from a global running clock, which is initialised at boot and never changes. So it doesn't actually matter when you trigger record - the first frame capture is always locked to that clock (ie. it waits for the next frame 'slot' before starting recording). By simul-powering the bodies, those clocks start in sync on both bodies and frames are synced.

we don't know if this works on the Pocket yet.

Downside: as no two digital clocks run at exactly the same speed, the bodies slowly drift out of sync. How fast depends on how closely matched the bodies are - people usually try to get consecutive serial nos., hoping that the eletronics components are likely from the same batch and so a close match. My badly matched (2 month apart) GH2's are good for about 4-5 mins before the drift becomes bad. Apparently some drift far less. So you have to keep power-cycling.

Problem: The Pocket only powers up when a button is pressed ('soft' power). It needs to power instantly as soon as external juice is on (one idea, permanently tape the power button down - does it work?).

3) LANC. The Pocket apparently responds to the LANC 'record' command (but not power cmds). If we're really lucky and this resets the frame capture timers (unlikely), it might be enough.

4) Firmware:

If the capture timers are NOT reset by capture start, BMD could add this to a firmware update. Then LANC-initiated record would always start in sync (subject to gradual drift) - much nicer than having to power-cycle all the time. This might be super-easy for BMD to do.

Of course some kind of true hardware sync option (maybe via the USB or LANC ports) would be best! BMD could probably do it if they wanted to - contact them if you want this: http://www.blackmagicdesign.com/uk/support (without demand it's unlikely to happen):

Exposure / Zoom sync:

Frame sync is the most important, but it would also be much nicer if exposure (iris, ISO, shutter-speed), focus etc settings could also be synchronised, ideally in real-time (one body acts as master, one as slave). Firmware or LANC command additions could do this.

With the pocket's small size, ultra-light and compact SBS (side-by-side) 3D rigs are possible. With 'body stacking', you can even get the lenses as close as around 70mm! With Speedboosters and fast lenses you can do lowlight and shoot wide (my target), and you have 10bit ProRes and 12bit RAW. Let's make it happen!

I thought in this section there should be a discussion about the Apertus Project. ( http://www.apertus.org/ )

It sounds, at least for me, very promising and down to the ground and not too hipster like the digtial bloex, (which is, with all respect, beautyful).

However, what are your opinions on it? After all, there is a lot going in the 4k sector and raw cinema development.

ANALOG / DIGITAL: The Emotional Impact of Film Recording Processes on the Audience

From the Institute for the Performing Arts and Film IPF in Zürich. (The publication is not really brand new - but I didn't see it here or elsewhere before.)

I am selling my as new SLR Magic 12mm v2 and FF Gear. It comes as new. I bought this to use on my short film and now that it's finished I have no other need for it. Only had about 4 days usage.

$550 including postage.

If you have any question let me know!