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I dont know if my new 14-140 mk2 lens is broken but the stabilization in video mode is bad. It smooths big movements but leaves fast "micro jitter" or vibration which looks bad in big screen. When just looking through EVF image is stable but when I start recording image starts to vibrate and wobble. I downloaded my tests to Vimeo: https://vimeo.com/user23310531/videos I think it must be broken. Compared to my old 14-42 it vibrates very nasty. What do do think? Is this normal? I would be very thankful if someone with 14-140mm could test this too.

Hi, I try to find the best workflow for my 5DIII using Raw MLV. For the moment I convert MLV in DNG, then open the DNG in Lightroom, grade it, save metadata (instead of doing a looong export) and open it in After Effects, export Prores, open with Premiere and edit and export. It is too long, even if as a photographer I like to grade with Lightroom. Also it's complicated to grade everything at start and not at the end. I saw the Premiere - Resolve workflow, but Resolve does'nt work fast with my MBPr 13". Also it is as long, even longer maybe than my usual workflow. So I did some research and found this amazing workflow : http://www.cineticstudios.com/blog/2014/08/the-easy-way-to-use-magic-lantern-raw-straight-to-prores.html Basically, you just use MLRawViewer to convert directly the MLV to Prores 444 (and you can directly apply a LUT such as a flat profile, and change white balance and exposure before converting). Then you open the Prores files in Premiere and you edit in Premiere and do color grading and done. My question is who tried this ? Is it as good to use the Prores 444 with flat profile, to grade with film convert on Premiere Pro ? I am afraid to loose benefits of RAW, but I think as you do the white balance and the exposure, and apply a flat profile before the conversion from MLV to Prores, it's just fine as Filmconver just ads some contrast, color and grain anyway. What do you think ? It would save so much space and time !!

First impressions review The long awaited active Canon EF mount Speed Booster adapter for Micro Four Thirds is finally here. I have a review sample, currently putting it through a few shoots to see how it performs. This is not the Blackmagic Pocket Cinema Camera version but the general Micro Four Thirds mount adapter, so fully compatible with all Panasonic and Olympus cameras including the GH4 and E-M1. Finally you can use all your Canon lenses with full electronic support for aperture control and stabilisation. Read the full article here

A black & white test in slow motion of dancers on a parisian rooftop.

Just because the Shogun can record it doesn't mean the camera outputs it.

It seems so: Source: http://www.atomos.com/press-releases/

Which one is it? A7s? GH4? Nikon? Canon? Canikon? What? Oh, you mean it's not the gear that makes compelling motion pictures, it's artistic skill...? Oh well, I guess I'll just go look at some DxO sensor charts then instead of looking at this: So, yeah, I'm being snarky, but the point is this: just about everyone has access to viable imaging capabilities now. The 13 year old girl with a new smartphone has more impressive technology in her hand than most pros did 10 years ago. The more we worry about specs, the less relevant we become as actual filmmakers. I mean, I kind of wish my profession was a bit more insulated from everyone as a competitor, but the other hand, dang, affordable technology sure is fun! Anyway, my rant stems from standing behind a so-called-pro at the airport yesterday. He was claiming to a colleague that anything done on a camera lesser than a RED Epic was "amateur hour." Seems like a ridiculous philosophy to me, but what do I know? I'm not doing high-end stuff, just making a living on the fringes. Maybe he's right?

How the heck is he doing this? I can't wait to learn more.

I wonder how much it will cost, and when it will be available. Anyone knows more? thanks

Of course nice cameras make superior pictures. The thing I'm considering is this: everyone has access to decent camera tech and it's only getting better and cheaper. The more I worry about gear the less time I'm trying to make my skills as an actual filmmaker improve. More and more talented people have access to filmmaking that would have been limited in the past.. Out spending or out buying them when it comes to the gear isn't much of an advantage. Being able to realize creative filmmaking ideas and solutions seems like a better focus of effort... and I used to love being the techy guy, but I really feel like it's time to let all that go.

The fundamental problem is that the Speed Booster shrinks the vertex length of the lens (the distance from the front glass surface to the image plane). So even if you could mount the SB optics inside the C300 EF mount you wouldn't be able to focus to infinity because the EF mount protrudes too far. Even if you could design a focal reducer that maintained the vertex distance you would then have the problem of mounting the optics since an adapter approach wouldn't work (zero flange-to-flange distance).

This video shows the A7s can recover a lot of overexposure details during grading ,which seems impossible on a camera using 8bit compressed codec,the result looks amazing!

Praise dey laww'd! Only had to wait half a decade...

The first images of my a new documentary about just a fresh visit of India. Shot on Panasonic DMC G6 + Panasonic 25mm F 1, 4 and Canon FD 85mm F 1,8.