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There is some dodgy stabilisation going on (presumably all part of the charm) but it isn't rolling shutter you're seeing.   Creatively I think the video succeeds. Give the pixel peeping a rest on this one guys.

Did you just quote YOURSELF!?

I disagree. I think his videos wouldn't look substantially worse without RAW. I think it is indeed Canon that should be mainly credited for making a hardware product that allows you complete freedom in almost any lighting environment due to low light sensor, battery life that simply lets you work and not miss shots, ruggedness of body and a stable of lenses that can achieve any look without breaking your bank. The best tool is the one you don't notice. Canon achieved this better than anybody else so far. I may hate their marketing department, but God bless their engineers for giving us an amazing creative new cinema tool and jump-starting the DSLR Cinema industry.

Went out to play with the Trump before sending it off for a few weeks. Tom was nice enough to demonstrate balancing these Rocks by the beach. Nice guy and I got to shoot into the sun for a bit. Nikon D800 DSO Trump 58 with 2X Oval Anamorphic aperture DSO TERRY NORTON’S FLARESEX MODULE

Lol- there won't be any cats, ducks, buildings, matches, cigars, cigarettes, fireflies, smoked fish, day-for-night, skewed trains or test charts.

Despite appearances the third RX100 is no incremental update. It is astounding that Sony have managed to put a built in ND, OLED EVF, 120fps and XAVC codec in a compact camera, not to mention the new 24-70mm F1.8 to F2.8 lens. Sharply detailed resolution in video mode round out the spec. But does the reality of shooting with it live up to the specs on paper? Read the full article here

I don't know at what point OK Go's music turned into New Order but I like it just as much as their choice in camera! Here's the behind the scenes video of how OK Go made their latest video with the Panasonic GH4.Read the full article here

Whilst you lot have created..... what...   A bunch of astounding negativity on a forum!?

Lol.. (Clearing chest)... "F$&k Nikon. That is all." Comment on the forum.

Too many pixels to do full sensor readout at 30 fps. The video camera only needs 12 MP for 4K like A7s. It's a conflict between still and video requirment. There will always be cameras that target still photographers i(50MP in a couple of years, if not next year). You can't expect Nikom to give up still customers.

OK Go, the band that only exists because of its capacity to make gimmicky viral videos.

I am overflowing with glee.

  You don't get it do you. At all. The video is supposed to have a raw, ramshackle, Manchester band / New Order feel to it. Why do you think they left the cars in the background towards the end and have the crew come out?   Of course they could have made it slicker like every other fucking music video... that is not the point...

All that time for rigging and not enough time to balance a MoVI? Yikes.

not a huge fan of the video, but,... the work involved was impressive and the song itself is pretty good.

well they should have used a camera with global shutter because that video just gave me eye cancer. terribly stabilzed shots, blurred frames, warping effect, video-ish looks... dont get me wrong i love their videos because they are lots of fun to watch, but the video quality is absolutely nothing to be proud of.

IMO, ISCO integrated lens, around $100. Better optics and wider then other 16x lens, except 16H. I have posted the test result before.

FWIW Had a lot of success with program "cliphouse" it has speeded up our ML workflow. Its most important feature is to preview your clips very quickly (not instantly but pretty quick) giving you on set playback. we have a laptop with connected card reader, we dont offload card just use it to connect files to program for playback. Also we found it can process/export your video file in the aspect ratios you decide.

Haha the wonky in reality curse strikes...   S-LOG 2 is ISO 3200 only, you can't shoot at a lower ISO. Good look with those NDs. I don't understand how Sony claim the dynamic range is optimal at ISO 3200 on the A7S which is why S-LOG 2 is 3200 and DXOMark claim it is optimal at the lowest ISO in all of their tests on all the cameras on the market either. Perhaps someone could explain?   Apparently the cameras which have shipped in the US are not NTSC / PAL switchable. Anyone got theirs yet?   But I have a feeling rolling shutter will be the main cause of wonkiness.   Let's see. Getting mine next week hopefully!

JG covered it IMO with the LUT's etc.. the only thing I would add is, with respect to getting a "good film-looking result", I personally think the GH4 is going to look more like video, regardless of log or color, when there is rapid motion. The inherent sharpness could be a giveaway too, so you could consider at times adding blur with a motion vector filter like reelsmart, and/or add grain from a common film stock (at the end of your workflow so you have control over density and color) . Just my 2 cents.

I've worked with Alexa LogC, Canon Clog, Sony sLog in post and on set, the real difficulty is exposing correctly. Because of the way a log gamma bends the response of the camera, it's easy to overexpose, even though exposure looks right on screen, so expose conservatively or you'll put the skin and the like on the severe end of the log curve. In post, it's best to source an LUT for your chosen log as a starting point, and work from there. For Canon Log, the Abel Cine Clog to Wide DR Full Range is best. For Alexa Clog, Arri's website contains all the LUTs you need. For Slog you can get away with Cineon LUTs as a starting point. To answer the specific situation there, you'd recover the scene as it was shot, with the extended highlight benefits of log. So once you apply your LUT your colour saturation returns, you have full black and white and it'll look more like it would had you shot in Rec709, except you'll have more highlight range to play with. If you overexposed on set, the LUT will clip out the tops. With some LUTs you can just pull back the highlights and recover, be aware that some just slice ff your overs though, so experiment. In 8-bit, yes it's much harder to use log, because the colour space is very unforgiving. Canon are clever about how they do 8-bit in some way, so it's pretty good. Alexa is better of course.

They are different in some cases, but they also have overlap in the context of light in a scene, transparency of film, or sensitivity of a digital sensor. References: "Dynamic range, abbreviated DR or DNR,[1] is the ratio between the largest and smallest possible values of a changeable quantity, such as in signals like sound and light. It is measured as a ratio, or as a base-10 (decibel) or base-2 (doublings, bits or stops) logarithmic value." http://en.wikipedia.org/wiki/Dynamic_range "In photography, exposure range may refer to any of several types of dynamic range.. The Light sensitivity range of photographic film, paper, or digital camera sensors. The luminosity range of a scene being photographed. The opacity range of developed film images The reflectance range of images on photographic papers." http://en.wikipedia.org/wiki/Exposure_range No but, in the real world, you can measure relative exposure of anything that emits or reflects light, like between a sheet of white paper and direct sunlight (with a spectroradiometer), which is actually quite huge. Captured by a digital camera, which has it's own dynamic range, and recorded into 8 bit (which has a max of 256 luma levels), the sheet of paper and sun would likely read the same value of 255. So your usable stops have been clipped by your maximum bit depth. If recorded or filmed with a wide dynamic range and encoded into a 10bit Log format (for example) the paper could read as "white" but below 685 (white) and the sun could read over 685, or "over white". LDR and HDR files / workflows refer to dynamic range in this other context. See Cineon, DPX, OpenEXR or LDR vs HDR rendering pipelines etc. Reference: "Conversion of DPX code values to relative scene luminance relative luminance = 10 ^ ( (dpx code value – white point) * 0.002 * negative gamma ) Commonly, the negative gamma is assumed to be 0.6 (density) and the white point is set to 685. The result is relative luminance where the reference white is placed at 1.0. To convert into a format like 16 bit TIFF the luminance values are multiplied by 4095 leaving a headroom of 4 stops for the highlights." http://www.acvl.org/digital_intermediates/dicompanion/ch03.html The dynamic range of the camera doesn't change, but the range or color depth of what you've recorded does, which has a direct impact on how much you can push the footage in post and the level of dynamic range you can effectively use. Anyway, I think the post above sums up what I'm saying about bit depth: "8bit log produces banding. This must be for recorders.".

8bit log produces banding. This must be for recorders.

What about naked ladies?

A lot of folks are still on the fence. After more real-world reviews, making the decision will be easier. For our testing, if the A7S can replace 5D3 RAW for most video uses, it'll be a keeper. The 5D3 will be way better for stills unless we invest in some native lenses. We will compare it to the 5D3 (RAW), GH4, FS700, and even the iPhone 5S (has really good color science and looks great in bright light). Not sure if we'll have time for a video review, but will report what we find.

Yes about Resolve, and the 290X is sorta? Workstation cards seem to net better results. Plus DualGPU cards and crossfire/sli setups run laps around one card. Anyway, it's not unusable by any stretch. I leave NR on its own node and disable it, until I need to render the clips. Then it's pretty much real time, even with secondaries on.

I wanted to share a test video I shot with my new GH4 out at night on the streets of NYC. It was shot on the 60fps VFR mode with a Sigma 30mm 1.4 for Nikon + Metabones speed booster. I've heard lots of people saying this camera is awful for low-light shooting, but so far i'm pretty happy with it.

I make about 90% of my income making music videos, mostly with independent labels, PR and unsigned acts and I know a lot of bands... the effort these guys go to is absolutely immense and many of the tracks are much better than that chart nonsense the big labels stuff into our ears and brain until we are hypnotised or get into an almost violent, rebellious state of mind. This completely sucks. I'm fed up of this bullying in the music industry. Some band members I know are geniuses, but have to make do stacking shelves 8 hours a week in a pound shop. They get bit by the money men and get nothing in return. They either waste talent or steal their worth for their own greed. My music video was up for Best Music Video at the Metal Hammer Golden Gods 2014 (it didn't win), and the quality of the entertainment was incredible. The energy and desire form the playing bands was unreal - bands who have toured constantly, slept in the car boot and lived on instant noodles just to play and get noticed. But the way things are going, genuine bands/artists won't get this chance and we will forever be presented with the conveyer belt of manufactured, soulless rubbish designed to make the big wigs fat and the most promising musicians with nothing but their 8 hour shift in the local pound shop. This says it all.... my brother is a singer and auditioned for X Factor 'for a laugh.' He got through 3 rounds, but was then turned down as they couldn't see how he would benefit from the competition. We received sad news that his wife (my sister in law) was diagnosed with a life threatening illness. X Factor representatives called him regarding auditions for Britains Got Talent...he said he couldn't attend as he needs to look after his wife because of her illness. At the instance he mentioned it, they said he could go back in the process because 'he would get far and have great appeal.' My brother sniffed a rotten fish...and told them where to go. This situation with my brother was quite sick, and sums the music industry in a nutshell. The power of the talent shows is immense and they dominate so much of the industry. But they are soulless sods who are only interested in exploiting vulnerable people and trying to dominate the industry with diluted brain warping rubbish. Independent music needs protection and must find a way to triumph over this diabolical situation.

Why does the video say it is the world's first in 4K video recording? And OIS except in 4K video? That is a bit disappointing.

Based on my test, blue star and blank star lens have different flare performance due to coating difference, see pictures. The blue star lens has none, but blue star lens has a little bit, at least I can use it to do alignment adjustment. From serial number to tell, blue star lens is older. #5 tested picture was from blank star lens. If not care flaring, both lenses' sharpness and view angle have no difference at all.