Vladimir Cazacu

I wholeheartedly agree with you.

The Ursa Mini Pro 4.6k allows you to enter metadata remotely from an iPad app via bluetooth. And in regards to the syncing files bit, tentacle sync + it's software does this perfectly. That being said, I completely agree with you that slating, file management and syncing between audio recorders and our cameras is still a bloody mess.

Cinelabs Bucharest still does Contact Prints.

In RAW mode the camera always peforms at its native ISO 800. So if you change your ISO to 200, you now feed the sensor with 2 stops more exposure through the lens. But since the camera is still set at 800 you overexpose the image and lose highlight detail. I guess it's something like Pulling and Pushing with film. Just in a crappy digital way. So changing to 200 will do the same as putting a -2 EV LUT on the display. Similar to Sony Slog2 LUTs, where you deliberately want to overwxpose the image. That is exactly how it works, as the ISO information is just metadata baked into the CinemaDNG files. The sensor is always running at ASA800 but the image you get will be different depending on how much light you expose the sensor to: - if you expose for ASA400, you get a cleaner image because of the fact that you are pushing the noise floor down one stop but you also lose -1eV of highlight information It always has 13 stops of DR (though how many of the ones in the shadows are "usable" is another thing) but the ratio of stops above/below middle grey shifts depending on how much light you are exposing the sensor to (look at the graph above, it's the key to understanding how to expose BMD cameras). I can't really say that my BMPCC or BMMCC had a huge green tint but the in camera color matrix is quite far from being true to life. Are you using an IR/UV cut filter with your camera or maybe a cheap ND filter?

Pretty much.

Your thinking is correct but ASA1600 on Blackmagic Cameras is basically ASA800 + 1EV of digital gain, so it isn't really all that usable due to FPN and dramatically increased chroma noise and all sorts of nastiness. ASA800 offers the best bang for buck in terms of highlight protection. Above ASA800, the Canon cameras apply analog gain, so the performance should be considerably better than what BMD is offering at high ISO settings. Now, not to be rude or anything but your question doesn't really make sense, seeing as how the dynamic range of "Canon RAW CR2 files" differs from camera model to camera model (if you are asking about the actual file format itself and how it differs to CinemaDNG...that's well above my pay grade ^_^ ). That being said, as a piece of anecdotal information, compared to my 5D MarkIII using Magic Lantern RAW video, the BMCC had more dynamic range and offered a cleaner image up to ASA800.

This chart should give you a rough idea of what the BMPCC/BMCC/BMMCC are capable of in terms of DR (they all use the same sensor). ASA 800 is the native ISO, the line in the above image represents middle grey.

I believe that apart from the very good lighting choices and the over the top (but very creative and well suited) color grade, a fair bit of the look is the result of the Alexa + Leica Summilux-C lens package being shot wide open + extreme edge enhancement/sharpening in post. It looks like a more subtle version of the fad that was going around digital photography circles a while back, "the Dragan effect". Another fun thing that I noticed is that the vignettes at the beginning of each episode always seem to be shot with anamorphic lenses (Kowa maybe?) while the rest of the show is shot spherical. http://imgur.com/a/iJqyZ - here's a few shots from the show.

S35mm sensor with dual native ISO, EF Mount Timecode in/out 4K60p / 2k up to 240p 422 10-bit Video Codec (not specified) up to 400 Mbps - V-log & V-gamut ND Filter wheel (2/4/6 stops) SD Card Recording 5.7K Raw Output (future update) 2.64lbs Shipping around September/October. So no internal RAW recording, no mention of DR or what the dual ISO values will be (they are still working on these apparently) and no footage as of yet. They also didn't mention if the 4k recording is a crop out of the 5.7k sensor or if it uses in camera downsampling.

The Zeiss Otus lenses are also quite cinema friendly and they offer superb sharpness wide open (T/1.5-1.7ish).