Emanuel A Guedes

New Trammel Hudson's entry for Canon 5D Mark II up to 76 Mbps (sustainable 24p @ 66 Mbps): http://magiclantern.wikia.com/wiki/Bit_rate http://magiclantern.wikia.com/wiki/Magic_Lantern_Firmware_Wiki http://cinescopophilia.com/?p=3105 discussion on the forums: http://www.dvinfo.net/forum/canon-eos-5d-mk-ii-hd/488169-news-magic-lantern.html http://www.dvxuser.com/V6/showthread.php?230619-Magic-latern-firmware-for-5D-74-MBps-h.264-Tests-amp-2.0.8-Beta-Firmware&p=2175312#post2175312

Yes Brian. I've just seen Jim's post now. This will obviously bring consequences for RED business and their customers. Me and my partners were previously thinking to buy two Scarlet S35 and probably two 2/3" (we always must buy a couple of them considering the 3D market where we have been committed). Now, we already don't know nothing at all. If we will let drop the 2/3" purchase once we need to focus our resources in the 35mm sensor size route, our main territory. Granted the price increase, with no budget for. Or if we even go out of RED. Time will tell.

The Scarlet S35 was supposed to be $7,000. Since this thread is open, Epic Light has been re-renamed for Epic-S.

LOL You know, I love to share with my fellows @ these boards but I should be the only one or a rare reduser member to have guts to do it :-) On the contrary, me and many other Scarlet believers are sincerely more concerned about the new price of the Light Model now re-baptized Epic-S [LINK] than any new features to come (on the screen or in-camera), as matter of fact ;-)

I stand corrected, Jim Jannard made known the replacement of the announced Scarlet S35 for a new model to be known as Epic Light.

I agree. We should know more substantial information once there are already some units floating around. Do not forget this is a consumer product, though. It is natural such kind of user reports. I doubt the conspiracy theories may be true but who knows? Especially now that Jannard announced the replacement of Scarlet for an Epic Light. AF 100 will definitely be a success by itself. No reason to cripple the HDMI output of a harmless $1,000 consumer camera.

There won't be more Scarlet S35 but Epic Light. Price unknown so far, very likely 'cause Jim Jannard will be listening the market during next two weeks. Announcement: http://reduser.net/forum/showthread.php?t=52245 Epic release in December for machined bodies ($58,000 for the package), with regular production for small quantities scheduled for February, and normal delivery for April. Announcement: http://reduser.net/forum/showthread.php?t=52240

Beyond everything you can follow up @ dvxuser.com (GH2 official discussion thread; page 212 and following), there's this new report that comes up to my hands tonight through the same via from the same early GH2 user on the HDMI output quality (seen on TV and described as progressive, not recorded though) compared with 1080p24 AVCHD recorded in-camera. «If anything the quality looks a little higher but it's hard to tell a difference. I do know that it is recording in 24p and is sending that out to the TV, otherwise the shutter speed wouldn't be able to go so low. As I said before, the only thing I'm unsure of is whether the camera is putting the 24p out over HDMI in a 60i wrapper or whether it is leaving it as 24p. My guess is that it's leaving it as 24p, otherwise the manual wouldn't tell you to set the HDMI out to "Auto", though in my case I can set the HDMI out to whatever setting I want (auto, 1080i or 720p) and it looks just the same, it's like the camera knows how to negotiate with my TV and ignores whichever settings are in the camera. It also ignores the 4:3 or 16:9 setting, videos always play back at the 16:9 ratio so I'm not sure what's going on with the communication between TV and camera.»

This info is coming from an early user forwarded to me from a co-worker of mine: «(...) Well your email prompted me to get up and hook the camera up to the TV again. These are my observations: before recording the HDMI signal is definitely at 1080 and definitely running at 60 cycles per second, it is smooth and fluid and the quality looks great (it looks like 60p but then again so does the 60i...more about that later). When I hit record in 24p cinema mode it slows down to the same 24 fps rate on the screen. Whether it is outputting the same exact 24p on the sensor that is being recorded I don't know, they could be wrapping it in a 60i container like they did with the GH1 but that seems like a lot of trouble to go to for a mode they don't even offer. Now when I switch it to FSH (60i 17 Mbps) the quality goes back to that same great fluid motion I see onscreen, I certainly can't see combing or other nasty interlaced artifacts. When I play the stuff back in FHS mode though the quality does appear to have been compromised, it's not as good as the live feed was, there seems to have been some posterization and generally lower quality. I'm really surprised it's so hard to tell "real" 60i from the "fake" wrapped ones like the GH1 and Sony's have. So to answer your question, it's a definite "maybe", all I can be sure of is that HDMI out in cinema mode is refreshing at 24 fps and at 60 fps on the other modes and that they are all 1080. Hope that helps some R. UPDATE:! I forgot to mention - I tried recording at 720/60 with the HDMI cable connected and it would not let me. I had to disconnect the cable before I was able to access 720 (or mjpeg) on the menu pulldown»

http://www.sony.co.uk/biz/content/name/ssw-bc-35mm-2010 http://www.studiodaily.com/main/news/headlines/12703.html

«EPIC was officially declared ready for production today. We have prototypes that pass all the requirements we set out the past few months. That means we will finish the Tattoo program and put Tattoos on special jobs and begin ordering all the parts and pieces (over 18,000) to begin production. It will take a bit of time to set up the line and gather all we need, but the end is in sight. Just to be clear, not every feature is currently enabled, but the most important ones are and the build seems very stable as a foundation. We expect 95% of the features to be ready by the time production EPICs are released. This is a pretty big day. Jim» http://reduser.net/forum/showthread.php?t=51563

C'mon Keith, I would never excite myself with a beard. For your information, once my best second half and I, we both share different native languages (I don't speak her native one, she does not speak mine), we give some use experience of deploying a common tongue instead, most international english. No trouble with the grammar we use. ;)

His?! Keith, there's something wrong with your grammar again. ;)

More HDR tests: http://reduser.net/forum/showthread.php?t=50483 direct link to footage: http://reduser.net/forum/showpost.php?p=661996&postcount=58

http://reduser.net/forum/showthread.php?t=49940

http://www.dpreview.com/previews/nikond7000/ footage: http://blog.chasejarvis.com/blog/2010/09/nikon-d7000/ Manual controls, external mic, microphone level adjustment, 3 levels, plus AGC setting, etc.

I am amazed how the thin line between stylized reality and life is so often dumbfounded. [EDIT:] Phrasing Ebert: «Regarding the film's (...)str rating: It could be one, it could be four. What do stars have to do with it?»

http://www.imdb.com/title/tt1356864/ A marketing case? http://www.guardian.co.uk/film/filmblog/2010/aug/17/joaquin-phoenix-im-still-here Fair interesting and very contemporary the approach in my opinion.

Interesting links posted @ dvxuser.com [ LINK ] by Richard aka richtrav (dvxuser username): «(...) OK, this is turning out much longer than I expected, hope I don't ramble. Some things I'm making up names for (like a superpixel, which is just a pixel that has a full set of RGB values). When I refer to subsampling it just means skipping over pixels, or binning, which I'm taking to mean the process of sampling several pixels of the same color and generating a single value for all of them before that reading gets transferred to the data pipeline One place to look at a way chips use subsampling is by looking up a paper by Cypress for their full frame CMOS sensor, it's at: http://www.cypress.com/?docID=18524 Pages 5-8 show the different kinds of subsampling routines available for this chip and I would think there are quite a few other chip makers that use a roughly similar routine for generating live view/video. The paper is slightly techy but the pictures are pretty self explanatory, the sensor pretty much reads out a square of 4 pixels (1R 1B 2G) then skips over a predetermined number or rows before sampling another group. This seems like a pretty basic subsampling routine to me, nothing fancy at all. This method easily produces a new smaller resolution pattern, where each new pixel in the layout comes with a full set of R,G and B values (a superpixel) so no demosaicing/interpolation is needed. Note that, with the Cypress chip at least, subsampling instructions are hardcoded onto the chip (Table 2 shows the codes required to activate a particular subsampling mode). I'm guessing that this has probably been one of the most common methods to sample sensors for video/LV in the past. But that's just one way of sampling a sensor for video. Another method appears to involve scanning just one pixel (instead of a 2x2 group) then skipping to another single pixel farther along. This is apparently what Samsung does, and was deduced by the brilliant Falk Lumo when he was studying the Pentax K-7's video mode. By experimenting he concluded that the Samsung chip was reading every 6th pixel in video mode. A nice write-up of it is here: http://falklumo.blogspot.com/2009/06/k-7-as-movie-camera-part-i-technical.html Since neither Pentax nor Samsung published their methods at the time for subsampling he had to guess at the pattern being used so he came up with something like this based on the color shifts he saw in the videos: http://falklumo.smugmug.com/gallery/8729393_oDRh3/1/#577245567_vwSxZ-A-LB Now Falk is very smart and concluded Pentax was probably not optimizing its sensor based on the color aliasing he saw and actually proposed a subsampling pattern of his own that would make more sense: http://falklumo.smugmug.com/gallery/8729393_oDRh3/1/#577316092_vLWjd-A-LB Patterns like these (especially Falk's proposed improved pattern) would give you the 1536x1024 resolution image that would essentially be a checkerboard pattern; basically you'd have one superpixel with a set of full RGB values followed by a blank space of nothing, where colors would presumably have to be interpolated from the 4 neighboring superpixels. Samsung on their website has since advertised that their 14mp chip has a read 1 skip 2 mode and a read 1 skip 4 mode, which would be very close to what Falk hypothesized and Pentax may well have had a read 1 skip 5 mode custom done for their chips. Subsampling like this seems especially prone to color aliasing. And then there's Canon, the company that has attracted the most attention WRT its sampling routines. From what I've read on the web it uses a different implementation than either of the above (the entry on this thread is a good place to dive in: http://forums.dpreview.com/forums/read.asp?forum=1000&message=33265391). It's a little complicated so I'll try a simple explanation followed by a picture (thanks to DSPographer for helping me out with the pixel spacing especially). It appears Canon scans every third line on its sensor when in video mode. On these rows every pixel is read but it appears that 3 pixels of the same color get binned together. So horizontally pixels are getting binned in trios while vertically they're getting skipped over (this explains why color moire is worse on the horizontal axis than the vertical). What this does is create a new smaller bayer pattern 1/9 the size of the original sensor, so there are no "superpixels" at all with this method. Here is an illustration of what I think is happening: http://i73.photobucket.com/albums/i202/richtrav/Canonbinandskip.jpg If you do the math you'll see that even the 5DII wouldn't have enough pixels to form a 1920 wide pattern, so they're probably upscaling on all their cameras to get to "1080p". I don't know how they implement their 720 mode (maybe every 5th line???) but obviously fewer pixels are getting scanned. Their VGA mode seems to be based on a downscaled version of their 720 mode (except for the special crop mode on the T2i and 60d which appears to be a full scan of the center portion of the sensor) This makes it difficult to compare video "resolutions" of different cameras because they're all using different shortcuts to get there. The company that's probably doing it the best is Panasonic. Lord only knows how Panasonic is getting their video but it's a pretty good method, while the black and white resolution isn't much different from other cameras (which means still not close to true 1080) the GH1 can pick up fine details and textures missing from Canon and Pentax cameras. Sony seems to be picking up more detail as well with their new sensors, if you download the video here: you'll see at 1:02 a comparison of the VG10 with the Canon 550. The 550 certainly does curvy lines and fonts more smoothly but the VG10 is picking up detail completely missed by the Canon. UPDATE: No need to download the whole video, you can see still grabs here for the canon: http://www.point8cam.com/blog/wp-content/uploads/02.jpg and here for the sony: http://www.point8cam.com/blog/wp-content/uploads/01.jpg. I don't know how Sony is implementing their video either, you can get papers for some smaller Sony chips on their website that may offer some clues, like here: http://www.sony.net/Products/SC-HP/cx_news/vol55/pdf/imx032cqr.pdf. I would also guess that Nikon may have relied on Sony to help develop the 1080 mode for their new cameras. Well that's it, I'm tired - time for bed - hope this didn't bore you too much. I have tried a few very informal experiments with some of these cameras, they're on my photobucket account. Richard»

Keith, You know something? Tonight, I took a look on this 'shot on red' thread: http://reduser.net/forum/showthread.php?t=49294 And I thought to myself, Keith should register on reduser and post something over here ;-) Greetings from hot Rome, E. :-)

Apples to Oranges. :)

http://philipbloom.net/2010/09/01/canon-4k-concept-camera-and-first-images-from-canon-expo-on-ny/

Yes, it would be interesting. I am curious like Frank.

1080p sample available (courtesy of Nikon Polska): http://www.youtube.com/watch?v=Mx8wXa9SeJc&feature=player_embedded#!

:lol: :-) Odd and funny, how it is possible to release footage in that way.