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MATT ALLARD SHOOTS ‘THE IRON PSYCHE’ USING THE NEW KINERAW S35 CHINESE CINEMA CAMERA | Dan Chung | DSLR News Shooter
The Iron Psyche was shot on the Kinefinity Kineraw camera. This camera records 2k 12bit RAW files to either Cineform or Cinema DNG.
The camera used was an engineering sample and not a production model.
It was edited in Adobe Premiere and the sound mix was done in pro tools.


The EOSHD Blackmagic Cinema Camera Shootout | Andrew Reid | EOSHD
Until now I was very satisfied with my FS100 and the DSLRs but going back to them after the Blackmagic Cinema Camera is very difficult. They look way too digital. 12bit raw is like looking out of a window. Truly film-like. The colours all look odd on the DSLRs now – compressed 8bit just doesn’t cut it any more.
This is the first time DSLRS (and the FS100) are completely outclassed on image quality by a $3000 camera.


Gopro3 vs 5D3 vs GH2 vs Gopro2 camera test | TobyLoc | Vimeo
Please note this test is slightly useless if you don't download the file and watch it at 1080p, Vimeo compression will likely obscure a lot of the differences between these cameras. So, here's another quick camera test in slighly more controlled circumstances. Which image do you prefer and why? In no particular order, these are the cameras used:GoPro3 at 2.7k, Gopro3 at 4k, GoPro2, 5D3, GH2. You don't need to be Poirot to work out a couple of those but getting them all might be more tricky.


DOWNLOADABLE TV/CINE FORMATS – RED, XDCAM, GOPRO, DSLR, RAW – “THE GOLDFISH TEST” | Tom Guilmette | Blog
I posted this page because a client asked me for a few video files that could be used as a test on their editing system. I decided instead of posting these files privately, I would post them to my website so that others could benefit from using them.
The formats I posted below are from a Red One MX, Sony PDW-F800 & PMW-F3, Canon 5dmk2 & mk3, GoPro Hero2 and Fastec TS3.


RED EPIC Monochrome vs. RED EPIC: a Jaw-Dropping Black and White Comparison | Joe Marine | No Film School
So with that out of the way, what happens if we take off the color filters? It means we no longer have to interpolate any information. Since we’re starting in monochrome, and staying that way, each pixel is represented 1:1 in the final recorded media. This means not only higher resolution, but also finer tonality within the image.


A Lesson in Creative Problem Solving from Underwater Realm | Ron Dawson
| Dare Dreamer
Think outside the box. Yes, yes, I know this term is cliché. This term is so cliché, even saying this term is cliché has become cliché. But when it fits, it fits. Sometimes a solution to a big problem is solved by thinking of it totally different. Watch near the end how they solved the problem of making a 10 meter deep pool look like 30 meters of water, withOUT  computer graphics or special effects to make the water look deeper. 


Sony Forums
Sony has now started a couple of community discussion forums, one for the F5 & F55, and the other for the F65.


And two posts about Sony 4K content:
4K TV: What the heck is it and what can I watch? | Ray Hartjen | Sony Blog
Secondly, while 4K Ultra HD broadcasts aren’t the norm yet, you have already been viewing the first broadcast applications. At one of its NFL games each week, Fox Sports utilizes a Sony 4K F65 Cinealta camera to capture footage for instant replays. When the network enlarges the video to get an up close look at say a receiver tiptoeing a sideline, the video naturally loses resolution, common to enlarging any photo or video.

Sony teases 4K content delivery with 'full-length Hollywood features' for its Ultra HD TV | Sam Byford | The Verge
While there aren't any details on exactly what those movies will be, Sony promises that further news will come after Thanksgiving. Presumably the company will be able to leverage its sizable Columbia Pictures library, but it'll have to go some to justify the $5,000 premium over rival Ultra HD sets from the likes of LG.


Rokinon Cine lenses for Sony E Mount | B & H Photo Video
B & H now has some of the Samyang Cine lenses for the Sony E-mount in stock, under the Rokinon label: Rokinon 24mm T1.5 Cine Lens for Sony E [$749], Rokinon 14mm T3.1 Cine Lens for Sony E [$449] Rokinon 35mm T1.5 Cine Lens for Sony E [$549] Rokinon 8mm T/3.8 Fisheye Cine Lens for Sony E [$349]

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