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I think the A6000 is more than perfect for what I will use it for,1 to 2 minute properly lit scenes. I personally haven't seen the codec break down to a unusable degree yet,mainly because I keep in mind the weak areas of the camera. I have a GH2 and I enjoy the images out the A6000 just as much,it's not that it resolves better but its images have a certain texture and feel to them. At this point I'm just trying to figure out the best combination of settings to get a desired result. On this specific footage I shot for almost 2 hours nonstop,1 to 2 minute clips every couple of seconds with no overheating. I like this camera a lot. Random photos taken during photo shoot..35mm 1.8 OSS.

Dilemma of the century. Do you take the advantages of raw or 4K? Do you take the full frame sensor or the crop? Do you take the DSLR form factor or the advantages for video of mirrorless? This is something I've been really trying to draw a conclusion on in recent weeks for my own sanity! Read the full article here

Right on cue the BMC Users are declaring GH4 as "horrible" and "atrocious". I feel like a peace keeper because i love both!

I'm tired of hearing the videoish thing. but hey, if it helps canon fanbois sleep at night it's ok with me.

I've spent the last several months in Dubai doing work for Etihad Airways. Directed/shot/edited these pieces, plus several more coming up soon. RawRec --> Rawmagic --> Resolve, export flat (BMDFilm) --> FCP X (Apply LUT + EOSHD 5dMKIII LUT) Rokinon 14mm, 24mm, 35mm Zeiss 50mm f/1.4 Canon 16-35mm Canon 24-105mm Lighting: 2.5k HMI 1k HMI Litepanels 1x1 LED Panels Titles were done by the agency. Music by my friend Steve Davis at Trevor Morris Music. Cabin Showcases: Launch video for "brand ambassador" Martin Kaymer:

Looks great! A bit of constructive feedback: In my opinion there's too many effects added to the video. I find that they take away focus from the information presented in the video, as well as taking focus from the beautiful shots. Had it been up to me - I would have cut down a bit on the use of effects in the video, but certainly not all of them. I hope you understand that this is *minor* critique - I think it could still be improved on a tiny bit, although the video is excellent and can't be improved on by much. Cheers! :)

  A low contrast look is not superior. You can make the GH4 and 5D raw look as flat as a pancake if you want to. Question is what is the benefit? If your monitor had a low contrast look you'd return it to the shop! I don't know why people think a flat look is superior. For grading raw has no look. It isn't flat. It is raw data straight off the sensor that describes colours, whites and blacks. Why compress all that into the mids and get grey? I blame stuff like CineStyle for the confusion.

  I stay off that forum, it's a total abject waste of my time to be involved in defending cameras. Defend a country! Defend a person. But not a bloody camera :)

Funny how *sharpness* elicits oohs and aahs from certain people who then put 40 or 50 year old (sometimes uncoated) lenses on these cameras. Nobody wants to see ultra sharp footage of people's faces, especially when the skin tones are produced by a GH series camera.

Good comparison. The jagged edges on the 5D3 are unfortunate, but not usually very apparent without magnification. The GH4 is really tempting. Has anyone seen this yet?

that speed booster is doing wonderful things. Nice to see the gh4 being exposed and treated properly. the dr looks great. I'd love to see a follow up test with a human subject in medium and close shots with the lenses at f2.8 - f5.6. - the type of aperture at 50mm that works well for slight human movement in frame while maintaining complete facial focus but with good defocus on show. These type of shots will highlight the differences (if there are any to be seen) between a bigger sensor or smaller one.

Well, yes, this was to be expected, wasn't it? I have been dealing with focus compromises most of my professional life. Unless you pay thousands of dollars, you have to live with visible tolerances, but tolerances (which in a perfect world would get infinitely close to zero) are everywhere. First, when I saw your images, I thought, fock, I didn't see this yet, if it's there with my Sigma & SB too, this may be the last straw. Of course I made the test. It wasn't easy, because it's a sunny day, and not many things in the city are far enough away as to be focussed on with ∞. And also, the sky was so bright, I had to darken the (Tiffen) ND-fader so much that I got a vignette at open aperture. I show you not the worst frame, but the best under the circumstances: Vignetting, washed-out colors, and the power pole as well as the gas plant in the background look out of focus, whereas the trees on the left appear to be relatively sharp. Maybe my "tolerance" is positioned on the right side :wacko: Of course it is not wise to shoot this wide shot that way. Most lenses have their best performance round about f4 - f5.6. If the goal was to capture a lot of fine detail - motif detail, not texture detail ! - I better close the aperture at least two stops. Done: There is an improvement, but what you could see if the image moved a little was another nail in the coffin: *Moiré* The white clinker brick wall on the left - see my corresponding thread, a no-go for me. As I wrote there, I considered the Metabones plus Sigma the ultimate Pocket lens set up, allured by Andrews >article. What it turned out to be good for: Low light shots of interiors. Full stop. It isn't an allrounder set-up, as our experiences show. > It's not good for panorama shots, and particularly not for low light or high key panorama shots! > It's not good for any long shots, because it obviously has a serious backfocus-problem. > It's not at all good for detail (though the Sigma is sharp), rather for playing with sDoF. What part is to blame? Additionally to the Speedbooster, I have a Novoflex-adapter for Nikon. I put this on with the Sigma. First thing I noticed: Whole thing suddenly seems to have more (as they say in STNG) "structural integrity". I shot stopped down about one-third (the Novoflex has no markers): What happens? I don't see moire (BTW: Don't compare the colors, that was hastily done in ACR. Speedbooster was close to sunset though, Novoflex 'blue hour'). Next: Novoflex wide open, zoomed in. Note, how there actually is a horizon, not just a watercolored background ...

The high mpx full frame sensors around now are incredible for archi work needing perspective control since they open up more movement capability with smaller medium format solutions. I have made a custom mount to allow the A7R to be used on a medium format technical camera:- https://www.flickr.com/photos/melting_bloke/sets/72157641407451984/ not a fun camera for creative stuff, but amazing for technical work

now this is gonzo...

I would love to share with you my first Raw video with the 5d Miii / Its an experimental teaser that i have made for a party Exept 2 or 3 shots all was shot in RAW aspecially all the Slow motion shots. Some of the slowmotion shots were twixtored in post. Hope you enjoy it and share

The film looks extremely 'videoish' to me, but that is because the framing is not filmic at all. Also, with some color grading it could be greatly improved. I was just watching Californication the other day and while some shots look filmic, other's look like video to me. Same camera, same crew, same setting ... It's just about the framing. This movie would'nt have looked more filmic with an Alexa.

If your stills with Micro Four Thirds cameras are crap, it says a lot more about your photographic abilities than the gear's. http://www.mu-43.com/showthread.php?t=58189 http://www.mu-43.com/showthread.php?t=62877 http://www.mu-43.com/showthread.php?t=61628 http://www.mu-43.com/showthread.php?t=61610

I've never understood this issue people have with a sharp, clinical image. It only leaves more room in post. Here's a little something I did with Nick's footage.

According to metabones, the Canon 24-105mm F4 is manual only on the Smart Adapter III, i have the Zeiss and is not better than the Canon optically speaking and have focus by wire, but have a fast autofocus, OIS and smaller, this is something to consider. If you do not mind using the lens manually and only for video the Canon is a better option.

This isn't a centre piece for Panasonic's promotion of the GH4, it is just what Nick Driftwood wants you to believe. Because he presumably thinks there's some kind of career reward in being nice to big companies. The thing is there really isn't. Panasonic just want to sell cameras and make money, they're not really in the best position to be picking sensitive artists to give demo units to. I just walked past a DPReview gold badge on a GH3 box today, just randomly on a store shelf. I realised if it wasn't for me writing the GH3 video page in that review and putting my argument across to the editor that it deserved a gold reward because of the video capabilities (DPR felt it merited a silver, because as a stills camera it lacked any real outstanding spark) that badge wouldn't exist. I felt a bit sad that in some ways my review and my views were being commercialised to sell cameras, without any reward for me, and nor should there be as it would cause bias. That's why I prefer to get minimally involved with stunts like this and marketing. If I make a short film with the GH4 it will be because the camera suits the material, not because I want to score attention with Panasonic, because like I say, there's no real reward for doing so and it is not really what I want. I want attention from other filmmakers and the audience instead. You have to question Nick's motives for making this to be honest and trying to pass it off as a wannabe Panasonic promo video.

That was amazing..excellent work... what lenses? Also this is the look that make many of us drool over raw, I don't see how gh4 will compete..a7s could I think.

I'd be a good addition to your moderating team Andrew. I have a non-confrontational temperament and we tend to see eye to eye on most issues. I'm also the President of the USA, except on Mondays when I'm a small elephant with wings.

welcome to the forum Mohamed that looks very good I do like the slo mo parts and the nice narrow DOF you have on some shots, some very nice wide open bokeh circles too I hope you had a fire extinguisher at hand for those flame shots!!

We have to get these realistic professionals off this forum :) :) Fun suckerers ;)

Nope! I just ordered a C100 :) Fantastic 1080p, super easy workflow and turnaround time. Great image, sound, and NDs. If by some off chance I do ever need 4K I'll probably give the A7S a rental

You know that some Nikons (D600, for example) have Sony sensors, right? I agree that the first NEX cameras looked more videoy than the Canons and Nikons of that generation, but if the dynamic range of the A7S is as they claim, it's going to be a very cinematic FF sensor... Neither the GH4 nor the A7S will have "professional" codecs, but I think that's something we have learnt to live with. H.264 and its many variants were supposed to be delivery codecs, not acquisition or editing ones, but the truth is that nowadays that line is very blurry... the C100 and the FS700 use AVCHD and are professional cameras. I'm with Aaron here, in doubt between GH4 and A7S -sorry, the BMPC is an unreliable beta product to me-. Guess it will be a question of waiting for both cameras to be thoroughly tested and available. Right now I can live without 4K and simply rent a recorder whenever the project requires it, and the extra DR is very attractive. On the other hand, the availability of lenses for the GH4, the slo-mo modes and probably cheaper price make it very appealing...

Julian, your samples look great and will probably make me jump on the GH4 bandwagon. I have a question though : what is the fastest shutter speed one can set in 4K video mode at 24 and 30 fps ? Seems a silly question, but I plan to extract stills from 4K footage for some project, and need shutter speed faster than 1/2000 s for that, even though the motion will not look smooth in the video. I know that the gh4 has a 1/8000 s capable still shutter, but my question really is about the electronic, rolling, video shutter mode. It seems I cannot find the information on the web yet, hence my question to you happy GH4 tester ;o) Thanks again for your very stimulating sample footage.

It's something that has been bothering me a lot with my nikons (on a steadycam it becomes very visible) and which doesn't seem to happen in raw cameras, I might be a little bit obsessive but it's something important to me. I wish someone with tecnical knowledge could explain what exactly creates this, or if it's just in my imagination (or yours). I'll check some gh4 footage.

No one has mentioned Nikkor AI and AI-S primes yet. I have a set of five, cine-modded by Duclos, and I have been pleased with them; first on my GH2, then on my FS100, and finally on my 5D3. I've also had them on a RED Scarlet, and they looked great at 4K. They are compact but well-built, and the lens characteristics match closely across the set. The only downside that I can think of is that the focus ring goes the other way, making a reversible follow focus a necessity. Here's a nice rundown on them by Caleb Pike of DSLRVideoShooter: