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updated with cine lenses and double focus! one third of the work is done. :)

I agree there are some great advantages to 4k but my response is based on how many of its champions here seem to have little concern about flesh tone and color accuracy. There's more talk about specs than skin tone. I see "tests" here all the time without charts or faces. I've followed Hurlbut's camera tests and he does them right. He's essentially trying to keep everything constant except the variable he's testing. I find it great he lets the public see them free of charge. Most of my work these days is in episodic and re-creation TV, some movies. The biggest deciding factors from production heads and directors always boils down to faces, work flow, ease of use and cost. Resolution is quite far down the list. There's a reason why F5/55's are not a big hit. If it's colors were anything close to Arri or Canon it would dominate. I'm hoping the Fs7 does something special.

  Download the 4K original here NX1 is in stock at B&H ($1499) The light in Berlin is dreary during winter, so I took the NX1 off for a break in the Portuguese city of Lisbon last week. This place has the best weather in Europe and the best light. A magical place. It gave me a perfect chance to get under the skin of the NX1 - and see just what it can do in the real world. Read the full article here

Don't be expecting an Andrew Reid review here! These are my quick thoughts.... An FS7 landed on my desk yesterday for a music video shoot. The camera is built like a rock and the grip is very comfortable. Shoulder mounting was pretty nifty. I had a brief go of shooting things round the office - yep, got it! We set up the band performance scene in a derelict swimming baths inside a lunatic asylum estate. The roof had fallen in, so plenty of light. 2 inches of water was on the surface and it was slippy. Ideal day for a new camera! ;) I started shooting with Canon FD L Series lenses, the mount I had was shit as it didn't click into place on the mount but it stayed on solid. No gulpy moments! I came into an issue straight away. When I turned the camera on, it would just freeze when loading the image. It was set to 4k 50fps, so to unfreeze I had to set it back to 25fps then back to 50fps. This started to become a major issue as every time the camera was switched off I would have to do this over and over again. Needs a fix fast!!! Another issue was the responsiveness of the buttons. It felt like the buttons didn't work properly combined with slow software. This was tedious because the menus are ridiculously complicated. To change from 4k to 1080p 180fps feels like a lifetime!! They definitely need to work on this!!! I filmed in Slog3, dynamic range is superb. You can also view footage with a LUT. I did in 709. Images looked great on the monitor, very clear and sharp. Peaking is very good too. I held the camera for around 25 angles of a 3:30min song. All handheld for a frantic feel. My right arm was dead by the end of the shoot, and my back was punished. Expected really. Shooting felt right though. ;) To get the most out of this camera, you need a lot of hard drive space. A 64gb card lasts 15 minutes at 4k 50fps. I filled 6 cards and dumped them throughout the day. As an owner, you will definitely need to factor in hard drives into the cost. You will need many. I really loved this little feature with a light meter on the display to tell you if parts of the image were too high in exposure or too low. The function of a histogram but different. Quite nifty. The footage looks great, very impressive. Very low noise. Clear and sharp. Dynamic range is fabulous. I can't release any images or footage due to confidentiality yet, but very pleased with the results. Will share on release. My overall thoughts on first use is that the camera is a great piece of kit, but let down by some shoddy firmware which ruins the user experience. Sony really need to update it fast. This is a serious production camera and it covers so many bases. You can shoot in lower bit rates at 1080 if you wish, but to use the best features - you need a crapload of hard drives. Once Sony sort out the firmware, this will be an excellent camera!

I've been playing with the GH4 today in RAW stills burst mode. My workflow needs some refinement to get the motion blur looking more regular, but I actually quite like the filmic staccato of 12fps. The image quality is insanely nice though: Note: Plus members can download the original Prores LT file on Vimeo. I REALLY RECOMMEND DOING THIS - motion looks much worse when streamed. Vimeo blurb below: First test of using GH4 in RAW stills burst mode to make video. RAW stills converted to ProRes 444HQ and slowed to 50% in 24p FCPX timeline. Graded in FCPX and some grain applied. Also used REVisionEffects' RSMB to add motion blur as most of this was shot with a very high shutter speed. This has caused some unpleasant motion artefacts here and there. The final shot in the video (of blowing leaves and cars) used a 180 degree shutter in-camera (1/25s) and looks better I think. I will try using that setting for my next attempt. Rolling shutter looks quite severe. The GH4 buffer can only do about 40 frames in raw burst mode, so you can't really get longer than a 3 second clip. My card is a Sandisk 95MB/s U1 - I don't know if a faster card would do better. I actually really like the 12fps look, particularly when used with film grain and the really bold colours you can get from raw. I like the excessive motion blur. I think if you avoid severe camera movement so as not to draw attention to the rolling shutter and low frame rate, it can look very filmic. Obviously this can't be used for everything but with some refinement I think I will be using it a fair bit. If you like the 12fps look (12fps is right on the border of human perception of individual frames - I think this makes it rather interesting) and can live with the short burst times, there are a lot of good reasons to try this out. Yet another great thing about the awesome GH4. Check our blog for further testing of this mode: lintelfilms.co.uk/blog/ Note: I tried using 'optical flow' (FCPX's version of Twixtor) to create 'real' 24fps, but it was a mess, with lots of the usual warping around movement (even though I used a very fast shutter speed). Music by Chris Zabriskie.

Will fix this. Cheers.

some simple, but good tips for all of us. Any other better video tutorial, please share. Thanks!

The problem with your comparison is that you are comparing the C100 against 4 other camera. Compared to all these cameras that have one or more down side the C100 mark 2 is good to very good in every domain. factor in that it has features like internal ND and MIC/xlr imput that would need addons like external sound recorders and ND screw on or Variable (less quality) or even matte box. I am a Nikon shooter so I have no bias toward Canon cameras. But this is a solid product with the added 60p which was the main problem in the mark1. There are non in the cameras you listed that have as good Low light, resolution, DR, rolling shutter, colour science in one body. As for full frames lens being a waste on Apsc camera it is the exact contrary as it uses the center which is the best part of the lens. This camera will be huge success and I am sure that it will be a mainstay for many years and will have a huge following in the used market. I can see it selling tons to people in the documentary, Tv, wedding, corporate market. As is already seen the C line has become one of the most used camera for the indie filmmakers in festivals and has been used in many awarded feature films. As for the C7 I sincerely hope that Sony has made some progress into their colour science, because all spec in the world won't matter if skin tones look more like corps dead low CRI fluorescent colours (If I can describe it in words I see it used in horror movie). Working with Nikon, I just can't understand how a company like Sony cannot at least produce some good even if not great skin tone. I mean its a given for me, when I see all those threat where people discussing continually to get just decent result, I just can't understand. For me it is just saturation/contrast adjustment and voila great skin tone.

I love shooting stills, but I'm always shooting video instead so I never do. I'm not a photographer. The GH4 is a good enough stills camera for me - in fact I love shooting stills with it. It's so versatile, and stills quality (particularly RAW) is very good. Far, far better than my G6 for example. The Nikon would just sit on my shelf gathering dust, and I needed to sell it to pay for the GH4. As you say, the GH4 and BMPCC is a superb filmmaking combo. With my fast primes and speed booster low light isn't even really a problem. I'm literally in love with the GH4. There is just so much camera in that tiny GH3 body it's insane. It's such a pleasure to work with too. And it's amazingly futureproof - 10-bit 422 4K capable! The BMPCC's image isn't going to look silly for a very long time either. I'm so pleased to have two superb, professional video cameras that I know will be with me for a long time. I'm really looking forward to focussing on all the other aspects of filmmaking and not wondering whether or not I should upgrade. I can confidently say I would be happy with these two as my 'A-cameras' for at least another 2-3 years. Anyway, the D5300 has gone now (as has my G6) and I'm too besotted with the GH4 to care. :wub: I may pick up a GM1, GX7 or LX100 as a B-cam at some point if I find the BMPCC too frustrating for paid multi cam stuff.