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10 bit is the magic word. I too own the GH3 and love it, upgrading will take a while, but when... I´ll never go with an 8 bit codec. Be quick, first one takes it all.   btw. long time lurkers first post

My wish list is even shorter than Andrew's: I'd love to see a GH3 with no moire, 10-bit 422 HDMI output, and a convenient way to connect an XLR (like the "grip-style" add on for the Sony A99) for around $3,500.

It's a height-adjustable baseplate (readily available on eBay) with the baseplate removed. I bought a drill bit that is a hair wider than the girth of the dovetail screws and then drilled two holes in it and the screws go right through. It works pretty well.

The Canon 700D / T5i is more a firmware update than a new camera. Indeed the only new feature in the hardware is that the mode dial now turns 360 degrees. If you are wondering whether to upgrade from your 60D or 650D, the answer may well come down to whether you find a use for that 360 degrees mode dial. You can now go from the M mode on the dial to Scene mode in just one click! Amazing I know. Though cute, the new entry level 100D offers a 25% reduction in size at the expense of handling and no articulated screen. There's seemingly no new functionality on this camera either in video mode, not even for stills! Owners of the 4 year old 550D from 2009 could be forgiven for not rushing to upgrade.   http://www.eoshd.com/content/9829/new-canon-sl1-100d-and-t5i-700d-fail-to-excite  

Been looking at adding an external monitor.  Squinting is aging my old eyes more and more.  Thinking of the following:   1.  http://www.adorama.com/FPFVPRO.html (2 year warranty)  1024 x 600      Entire Package $350   2.  http://www.smallhd.com/products/ac7/ 7 inch $599  1 year warranty  About $700 with extras 1280 x 800   3.  http://www.ebay.ca/itm/Peaking-1280x800-HD-5-6-Inch-DSLR-LCD-Field-On-Camera-Video-Monitor-Kit-HDMI-BNC-/200901495545?pt=LH_DefaultDomain_0&hash=item2ec6a98af9 $215.  5.6 inch.  (Read some good reviews and some not so good)   Need for framing and focusing.  Any thoughts?           

I would add to the list the ability to switch the sensor to record in the 4:3 aspect ratio. This would make a lot of anamorphic shooters very happy. So would 10bit 422, more DR, and an ND wheel.   Fingers crossed for a Panasonic announcement at NAB

Heya Everyone,   Ever wanted to freeze someone then smash them into a million pieces? Here is your chance! :)   I have uploaded a new tutorial where I show you how to achieve this effect:   http://www.youtube.com/watch?v=sCDhv8gD0aY   Please like the video and subscribe if you like my content.   Cheerz! Ruan Lotter youtube: http://www.youtube.com/tunnelviziontv twitter: @ruanlotter

  Do we really need to keep perpetuating the myth that Nikon had 4K Video in mind, for their burst mode.... It is a still camera feature

I skipped the GH3 and kept my GH2 because I believe that Panasonic has something up its sleeve. Here's hoping!

I think the appeal of such a modified lens is somewhat related to how we are capable of having a response to any emotion that seems to go beyond the limits of the vehicle of its expression. For instance, the voice that cracks because it is expressing emotions that go beyond the capacity of what the lungs and throat can bear, or the guitar that feedbacks because the emotion expressed goes beyond the limits of amplification, etc. Many of these limits have been overcome with digital technology, creating the potential for anodyne, sterile images. This is one way to throw a little analogue grime back in the mix... it gives the images an authentic, lived-in patina. I like it for the same reason I like antique chairs and pictures of ruins. Nostalgia? Not really. I just like anything touched by human hands that get a little "untouched" by time.   Having said all that, I am looking forward to some video samples of the various configurations. I own a pristine (unmodified) Helios 44-M and can attest to its overall awesomeness.

really nice look!

I don't mean to offend anyone. Just my personal opinion - exactly what jgharding expresses vividly. I connect that to the lenses in question because it's again a retro look. 70s wallpaper and all that. I personally don't want to focus on a special look anymore while capturing the images (well knowing that some things can't be done in post). Visual fashion has that mentioned ultra-short half-life, and I believe the look should be determined by the story. Being consequent that would mean a 70s look would require a story somehow connected to the 70s in the widest sense. Sounds probably narrow-minded - but I'm just somewhat tired of forced looks that convey this too obvious illusion of hand-made stuff, Lomography, coolness at any cost. My dream is to overcome that because I have the impression we're somewhat stuck in that club-snowboard-used-furniture-but-there's-also-a-tablet-fashion. Not sure if I can express really well what I mean; anyway, it's just what I personally believe, I'm not on a mission to make anybody believe the same. Or am I? No, not really, I hope. So my first post in this thread was truly impulsive because I just thought 'please, not again'. No offense.

I think the next step should be to get rid of all 1080i and replace it with 1080p.  That difference is on your home tv screen very visible.  More visible then the difference between 1080p and 4k. (on your home tv)   The Future is online I agree. Availability, seamless connected to the Tv screen easy to operate, those things are far more paramount and needed then to forcing a Movie theatre resolution into a family home.

A lot of commercials are shot with the Alexa, or in 24p, and neither of those are dead. There's been a lot of shit paintings in the colour red but it didn't kill the colour. And so on...

Y'all are working entirely too hard at this. Adobe created the CinemaDNG & the photography DNG specifications. Use their tools. In Adobe After Effects, create a new composition. Import File. Select the first .NEF file, Import As: Footage, check Camera Raw Sequence. Very Important to bring the hotness. Use Camera RAW to initially grade your footage. There is this weird thing where the default Frame Rate is set to 30fps. Right click sequence and interpret footage where you will change the frame rate to what you captured in camera at. Ready to use Premiere Pro to create your edits. In Premiere Pro, under File, select Adobe Dynamic Link, select Import After Effects Composition, find your .aep file in the browser. It will list all the compositions in the right panel, choose your shots. Add to timeline and edit. You have not compressed the files (converted to jpeg or tiff), you get to use Adobe Camera Raw (same as used in Lightroom) to edit your RAW sequences/files, any changes you make in After Effects will now be reflected in your Premiere Pro project through dynamic linking and you did not need to create proxies. The best of all worlds. This works with .NEF files as well as .DNG CinemaDNG files. With the original CinemaDNG files you keep the timecode generated by your Blackmagic Camera, Ikonoskop A-Cam dII, or Digital Bolex.