Thread: BMC vs 5d MKIII

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  1. #11  
    Senior Member nickjbedford's Avatar
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  2. #12  
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    Too bad he neglected to mention how much more aliasing and moire existed on the BMC. See 10:06 for example in comparison to the MkIII. I also see it in the water and factory shots. Further the crossed colors which are quickly becoming a dead give away ot the BMC were never talked about. I clearly see the magenta highlights/cyan shadows cross in both his charts and many landscape shots, which I think may be a function of the same issue. We all agree the BMC is great, but fair is fair and the rainbow moire is very present.

    Interesting that the two areas which have given me pause as to version 1 of this camera are showing their true colors - rolling shutter and the lack of OLPF. It's not just the form factor that resembles older DSLR's, it is unfortunately these two aspects as well.
    For all the bashing that has gone on, the Canon Cinema series definitely does better on both of these fronts and documentarist's probably need to take that into consideration. I for one would like to see 422 HQ output from a recorder on a C300/C100 vs the same output from the BMC. I suspect people might be surprised at how much closer those cameras are with a recorder.

    5D MkIII
    Screen shot 2012-09-21 at 6.36.39 AM.jpg

    BMC
    Screen shot 2012-09-21 at 6.36.12 AM.jpg
    Last edited by yoclay; 09-20-2012 at 11:43 PM.
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  3. #13  
    Quote Originally Posted by yoclay View Post
    Too bad he neglected to mention how much more aliasing and moire existed on the BMC. See 10:06 for example in comparison to the MkIII. I also see it in the water and factory shots. Further the crossed colors which are quickly becoming a dead give away ot the BMC were never talked about. I clearly see the magenta highlights/cyan shadows cross in both his charts and many landscape shots. We all agree the BMC is great, but fair is fair and the rainbow moire is very present.
    Interesting that the two areas which have given me pause as to version 1 of this camera are showing their true colors - rolling shutter and the lack of OLPF. It's not just the form factor that resembles older DSLR's, it is unfortunately these two aspects as well.
    For all the bashing that has gone on, the Canon Cinema series definitely does better on both of these fronts and documentarist's probably need to take that into consideration. I for one would like to see 422 HQ output from a recorder on a C300/C100 vs the same output from the BMC. I suspect people might be surprised at how much closer those cameras are with a recorder.
    I own a 5diii and it is very much improved in the aliasing and moire' department, but keep in mind that with tools like Lightroom 4's moire brush, you can really clean much of this up for bmc shots. It's not perfect, and an extra step in post isn't ideal, but it's an option.

    I also would bet that there will be an AA filter available for this camera, maybe from a 3rd party like Mosaic Engineering.
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    Senior Member daydreamersproductions's Avatar
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    download the original file video. Compression for vimeo is adding artifacts
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  5. #15  
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    Quote Originally Posted by yoclay View Post
    Too bad he neglected to mention how much more aliasing and moire existed on the BMC. See 10:06 for example in comparison to the MkIII. I also see it in the water and factory shots. Further the crossed colors which are quickly becoming a dead give away ot the BMC were never talked about. I clearly see the magenta highlights/cyan shadows cross in both his charts and many landscape shots, which I think may be a function of the same issue. We all agree the BMC is great, but fair is fair and the rainbow moire is very present.

    Interesting that the two areas which have given me pause as to version 1 of this camera are showing their true colors - rolling shutter and the lack of OLPF. It's not just the form factor that resembles older DSLR's, it is unfortunately these two aspects as well.
    For all the bashing that has gone on, the Canon Cinema series definitely does better on both of these fronts and documentarist's probably need to take that into consideration. I for one would like to see 422 HQ output from a recorder on a C300/C100 vs the same output from the BMC. I suspect people might be surprised at how much closer those cameras are with a recorder.

    5D MkIII
    Screen shot 2012-09-21 at 6.36.39 AM.jpg

    BMC
    Screen shot 2012-09-21 at 6.36.12 AM.jpg
    You know what, with all due respect and not to be rude, but who gives a crap about the technical pixel stuff, the image is movie like and beautiful, seriously the flaws may even be the strengths of the camera.
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  6. #16  
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    Quote Originally Posted by Andrew View Post

    I also would bet that there will be an AA filter available for this camera, maybe from a 3rd party like Mosaic Engineering.
    Until that is definitely available on the market, I probably won't be buying this camera. It took me over a year to get a Mosaic filter for my 5DMarkII, and I was bitten too many times than I care to remember by this issue.
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  7. #17  
    Quote Originally Posted by yoclay View Post
    Too bad he neglected to mention how much more aliasing and moire existed on the BMC. See 10:06 for example in comparison to the MkIII. I also see it in the water and factory shots. Further the crossed colors which are quickly becoming a dead give away ot the BMC were never talked about. I clearly see the magenta highlights/cyan shadows cross in both his charts and many landscape shots, which I think may be a function of the same issue. We all agree the BMC is great, but fair is fair and the rainbow moire is very present.

    Interesting that the two areas which have given me pause as to version 1 of this camera are showing their true colors - rolling shutter and the lack of OLPF. It's not just the form factor that resembles older DSLR's, it is unfortunately these two aspects as well.
    For all the bashing that has gone on, the Canon Cinema series definitely does better on both of these fronts and documentarist's probably need to take that into consideration. I for one would like to see 422 HQ output from a recorder on a C300/C100 vs the same output from the BMC. I suspect people might be surprised at how much closer those cameras are with a recorder.
    While I agree with you that Marco should have spent much more time discussing the aliasing and moire issues especially in the context of the charts, I thought it looked fine in the water and factory shots at least on the downloaded file. I also think it'd be a bit odd to compare the BMCC to the C100 and C300 in the sense that no one has a C100 yet so Marco could not have done that. And from a price perspective the C300 isn't even in the same ballpark. The C300 is $16,000 and C100 somewhere from $6000-$8000. They're not really natural competitors in the market. For guys like me on a super tight budget, the more natural competitors are the Mark III and FS100 and maybe if we stretch a bit the C100. But we do know that the C300 does much better on rolling shutter as evidenced by Frank's tests and Marco demonstration that BMCC RS is about the same as the Mark III. And we've seen moire in John Brawley's charts versus the C300. So it's not like anyone is really hiding the issues. What Marco's done is shown us a side by side comparison that no one else has done yet. Even without his narration, the differences are stark.
    Last edited by Yuns; 09-21-2012 at 12:02 AM.
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  8. #18  
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    Quote Originally Posted by daydreamersproductions View Post
    And people here were going to get a refund and get a canon 5d MK3 or a GH3. Now don't they feel silly for thinking of doing so.
    Why would they feel silly? Some people make great use out of Mk3's and Gh's. I have the Mk3 for my stills cam and use it all the time for video. Just shot for BP oil with the Mk3, stills and video, one camera. They are all just tools...
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  9. #19  
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    Quote Originally Posted by Gwangjuboy View Post
    You know what, with all due respect and not to be rude, but who gives a crap about the technical pixel stuff, the image is movie like and beautiful, seriously the flaws may even be the strengths of the camera.
    It ain't technical when it shows up in your picture. And yes it shows up in his footage.
    It took me more than a year to obtain a Mosaic filter for my Mark II, even right now it is out of stock.
    When you have been bitten by the moire issue a few times on a feature for a client you will come to understand how much this isn't just "technical pixel stuff".
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  10. #20  
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    Quote Originally Posted by yoclay View Post
    It ain't technical when it shows up in your picture. And yes it shows up in his footage.
    It took me more than a year to obtain a Mosaic filter for my Mark II, even right now it is out of stock.
    When you have been bitten by the moire issue a few times on a feature for a client you will come to understand how much this isn't just "technical pixel stuff".
    It's like, 2012... I don't know anyone still shooting with Canon DSLRs that isn't completely terrified of Moire popping up. I imagine if it's bad on this camera, then yeah... there's gonna be some problems. Well, maybe anyway. Maybe people won't care?

    ... Here come the caprock tests again.

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