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IMAX cat videos please.

I don't need to download any 4K files to know that this thing is going to start floating around on quite a few 3-axis gimbals and multi-rotor copters ;-)

What informs the film look? Of all the technical aspects that do, I think it comes down to three key ingredients. 24p, a wide dynamic range and a 2x anamorphic lens. I and many other filmmakers chase that look. Well, I've just returned from Photokina in Cologne, Germany with a surprise. 2 years on from my first visit to SLR Magic at Photokina in 2012, they are back with a 2x anamorphic lens in 2014. This lens has the potential to revolutionise the consumer market for cinema-standard anamorphic. Read the full article here

Great stuff! With stabillisation, fast speed, small size and 4K. SOLD! I know there's no log mode unfortunately, but is there a contrast curve?

mine would be a digital back with a monochrome sensor measuring 56mm x 56mm with 4000x4000 pixels all reading out into a clean 1080p signal at 24/25p 10bit prores files direct to a ssd. multiple crop modes from 1:1 right to 2.2:1. takes large sony batteries. single 4k feed out of hdmi at 10 bit to feed a monitor/recorder. i'd then place it on a rollei hy6 or hassy and be shooting 65mm with a camera system smaller than a fs700.

So @andrew Reid did you get your hands on the lx100 and got to shoot with it?

There was a video explaining this somewhere. Basically it's like a rapid burst still mode that's limited to X seconds. The pictures are taken at the selected aspect ratio. When the burst is done, it plays back like a video but you can choose which frames to keep. The main advantage of this vs taking an actual video is that all the EXIF data is recorded in the image.

Only one question: Can you mount it on Panasonic LX100? :D

The SLR Magic Anamorphic also works on Panasonic 14mm without problem, but not Olympus 17mm F1.8 which you get vignetting and border quality are bad. It good to know that Leica 15mm also works! That F1.7 is handy for indoor/low light.. Really interested if GH4 can do 4:3 recording in 4K, I would definitely trade the 1.33X Anamorphic for that! 2X squeeze give you far more view than 1.33X does

Regarding availability of the alexa65 I really hope its cost renders inaccessible to guys shooting commercials and other lower end stuff. I see too many low profile things shot on Alexa and it devalues the look when you go to the movies. I don;t want a Asda / Walmart advert to look like a movie. It would be really good if arri keep this away from low profile stuff in the same way the alexa studio is positioned out of reach of small time stuff. And the same as Panavision's prestige I miss going to the cinema and being wowed every time. It seems only the case with movies by P T Anderson and Nolan that movies feel like movies nowadays.

It seems blue-channel clipping makes the A7s go bananas! Spiky LEDs are evidently a pain for it... Perhaps this explains the Sony cool look, blue sensitivity in their sensors?

  Because the A7S takes my Canon lenses, has 4K output, has a better form factor for video, better codec and better image with S-LOG.

Nikon / Canon EF to Samsung NX cheap adapters are available. No AF, just manual. I don´t know if there is some active adapter like metabones speedbooster EF to m43.

So does the NX-1 have any recording modes, other than h.265?

Are you still hovering around in the same hall? Have you done the interview already? If you haven't, and can can have a longer interview, it would be interesting to know a bit more about the new sensor, for example. So it's backside illuminated and has no low pass filter whatsoever (right?), but how about the rest of the sensor stack? How thick is the glass + IR filter in the front of the sensor? Since the flange distance is longer than, say, the Leica M mount, do they use any micro lenses in the front of the sensor? (a bit nerdy line of questions, I know, but it's relevant and interesting in the sense of adapting SLR lenses to the body, and just to satisfy our curiosity) They also claim it can read the whole 7K sensor without pixel binning or line skipping up to 30fps, so is there any heat-related restrictions to the length of a recording? It would also be quite interesting to know about how the camera delivers 1080p 25/30fps, and even though they won't comment about it, it would be interesting to know how does it look like, in terms of moire and aliasing. Can you convert the 4K footage into 1080p @10-bit 422, á la GH4? I'm sure you'll come up with plenty of other interesting tidbits to ask, as we're all sort of positively surprised by this new kid in the block.

The h.265 codec is not any faint innovation but a true video revolution. Even Sony and Panny, the only noticeable and remianing "Video Players" didn't manage to implement this codec up to now. All video folks, who are now running behind 4k video, will be frustrated as soon as they start editing their valuable 4k footage: Monster files digested in slow PC's. H.265 is the forward looking solution for all future 4k video application. But I am really surprised about Samsung's statement to a question raised whether e.g. Adobe's PremPro would support importing h.265 coded files taken on the NX1. Samsung (to Michael Boldin, see forum): " I'm afraid we don not have exact information on the features available on Adobe Premiere Pro. Please contact Adobe support for exact information" ??? Did Samsung implement the h.265 codec without any thorough marketing analysis which workflow solutions will support this codec? Without broad support for 4k/h.265 video editing any decision for the NX1 has to be considered carefully.

  No. Samsung need to work more closely with Adobe and Apple to get support and quick. Very important we can edit the native files directly. I don't like transcoding especially when it turns a 910MB efficient file into a 26GB behemoth!

A bit of an ugly camera (just like their phones), but if they can get the tech part of it running smoothly, it could be a good option. I'm curious though what the dynamic range would be like? And if Samsung have cine profiles or even simple tweaks like being sble to turn down the contrast etc? I'm also wondering how long it will take NLEs like Vegas to support h.265, and if other camera companies will start using it too.

For documentary work, AF can be useful to eliminate focus hunting. The dual pixel AF has actually opened up a new world of opportunity to tell a story so differently than what we are currently used to. Bringing in a larger crew just for focus pulling can alter a real life moment, but keep it minimalist to a one man band and you have a completely different way of telling a story. And they really shouldn't call it "Dual Pixel AF" with the "AF" in there, because it's not the "auto" part of the technology I am interested in but rather the Servo part of it. It's the fact that you can drive focus precisely to where you need it to go without physically touching the lens then LOCK the focus. From a storytelling perspective this offers a more polished way to tell a story while staying minimalist - an extra tool for me to use. Of course if I want the footage to feel a bit more organic then yes I would do 100% manual focus to get the focus hunting look in there. I can't wait to test out this feature on the 7D Mark II to see how it performs.

I used to see it like this, but now I'm on the other side. I'm really happy that most people still buy the big-brand stuff and think it is the best. It's much better for me and my business when they do. People always ask me 'wow how did you get that sharp footage / nice slow-mo?' And my clients see the difference too. They don't care which camera I use, they just like how the footage looks. I have stopped sharing my techniques, lenses, etc. I have done it before and given the community back what I've learned but now I'm protecting my 'look'. If everyone knew how to shoot like I do, then what is my advantage? I say lets all promote the glorious Canon 7D Mk2!! All video enthusiasts should buy it! Great camera!

I’m really interested in whether shooting 4k for HD output actually gives more colour information that shooting HD in the first place. There’s been lots of mathematical theorising about this, some of which I kind of understand, lots of which I don’t. So to get a real world answer, I just pointed the GH4 at the sky, and this is what happened. First off, 100Mbps at 25p. Then the same shot a few seconds later, no changes other than to switch to 4k. Then import to FCPX, optimizing footage to ProRes. Drop both shots onto a 1080p timeline. Add a Hue/Saturation filter, crank up the Saturation to 2.0. Export as 1080p. Obviously nobody would actually add that much saturation in real life, but it exaggerates the colours in a grey Newcastle sky. I think the difference really stands out. Settings: Cinelike V tweaked to Mr AR’s recommendations, cloudy WB, shutter speed 1/50, iso 200, f3.5. Not sure what the colour balance difference is due to - I changed nothing on the camera between shots other than changing between HD and 4k.