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The sign of a good film is watching the film and not noticing any technical details- following the story, which I did- nice job! I feel ya regarding living in a big city vs. the country where I grew up (on 2 acres in San Diego). I moved to LA (Beverly Hills) in 2006 to work for Myspace. I avoided the #1 traffic in the USA by walking to work. After Myspace I've been fortunate to be able to do mostly remote contract work to avoid the traffic. Once when working in Santa Monica it took over 3 hours to go 11 miles to get home. I could have walked faster. Trying to go East from Santa Monica after 2pm is challenging (the 'secret shortcut' is jammed too). Big cities have their plusses, but after a while it's time to get out, at least most of the time (sometimes work/family/friends bring us back). I kinda understood why some people from big cities moved to small towns/country, now I fully understand. Fellowship and connection to friends/family is the most important thing in life, not money or things. After many years in tech and the arts my next business is related to organic foods and spending more time with nature.

I look at this and start to care alot less about a bit of moire and aliasing. They are giving you a gimbal at sensor level... It is incredible. This opens up far more cinematic qualities than 4K. Camera movement counts for so much.

Interesting link showing some common grading / timing looks, or pitfalls depending on how you look at it. http://www.flicks.co.nz/blog/film-is-a-harsh-mistress/making-the-digital-grade/

haha, if all these rumours come true, the big boys are gonna freak out compressed raw, 240fps at 1080p, crop mode along with all the current features... Boom

Great post, Andrew. As an animator, I enjoyed reading the comparison of filmmaking and animation. For me the individuality of animation, especially if you work for yourself, is definitely the thing that sets it apart from filmmaking. This isn't to say you cannot be an individual in filmmaking, as I know I've been incredibly moved and inspired by some, but your point and the fact that so many are so worried about which camera, is it filmic, which LUT, how much rolling shutter, sensor isn't large enough, blah blah blah leaves the typical filmmaker in a world of hang-ups. In animation, your characters can be stick figures with squiggle motion, your world can be upside down, rolling shutter can be an effect your meant and dust on the lens is added for that one extra touch. I know because I've been caught up in the filming hangups myself, but I sure am glad I can set it aside when I want and just go create some characters. It certainly is freeing.

The quality is superb. Maybe even better than when using the FM + Cinelux with regular primes. Employing the actual backing projector lenses just makes everything gel together beautifully. The look is more than a match for any vintage anamorphic prime lens. You'd be hard-pressed to get better sharpness with a Lomo or Cineovision, especially at T2. I wish that FM would actually go and make an anamorphic element specifically for the module, as well as a line of backing lenses. Make a complete system.

This is a grab from the Ninja Star. On the OMD5 you need to push the info button in order to make the signal clean, I forgot to do it, hence the "No Card" signal. But you can still see the quality. IS NO Bmcc but can be used. The lens is a Nikon AI Manual, open at f2, natural light. I will try to post a video later.

My latest short film!!! "The Quiet Escape." Shot on the Samsung NX1 with 35mm Nikon AIS f2 lens and Leica R 100mm lens - one shot. Used Filmconvert and Gorilla Grain to treat it in Davinci Resolve. Came out so nicely. THANK YOU EOSHD and Andrew Reid for this camera!! Minus 5 contrast Minus 3 saturation Minus 12 (all the way) sharpness Before Gamma DR existed. The olden days.

At the end of a day testing cameras for a shoot tomorrow, all I can say is that it's not a straightforward as I thought when I posted this morning's test. In fact, against my GH4 and 5D MK III, the EM5 Mk2's skin tones look really good. The colours are great and the files are very easily tweaked. Downloading John Brawley's ungraded files is quite informative, by the way.

Could we maybe get back on track here? I'm interested to see how the video quality of pixel-for-pixel sampling compares to full sensor downsampling in terms of moire, aliasing, color, DR, and rolling shutter. We've never seen the same sensor utilized both ways like this--it might provide some cool insights into the pros and cons of each method. However, like any camera, I'll be waiting until there's a used market and established tests before I put down money on it. Looking forward to Andrew's review!

​Wow this is just awesome. Definitely inspiring and I'm glad he blogged about the entire process. This is a great system when used in this fashion. More set pieces rather than run-and-gun. And just a greet feel to the footage!

My problem is I love the creative freedom the 5-axis stabilisation provides that it's difficult to give that up. While I would have loved better image quality, I guess at least we have PAL frame rates.

Crop factor makes the NX500 a no go for me, was considering it as a gimbal cam, not anymore. Though as a new NX1 owner, I hope its added via firmware to my camera so my 16-50 gets a little extra reach.

NX1 body is now 11990 SEK (appr. 1299 euros), used to be 14990 SEK GH4 body is 12790 SEK All prices includes 25% VAT

A recent rumor indicates that Samsung will implement a 4K crop mode (which should result in a faster readout speed & less rolling shutter) with the next Firmware update. Also, the NX500 seems to have a 240fps option. There's a picture floating around that clearly shows 240fps as an 1080p option in the NX500 menu.

There is no indication of it being temporary or on sale. Maybe Samsung have decided that they should have the cheapest interchangeable lens camera that is 4K capable.

​Made with the FM Delta Airlines commissioned this piece to help celebrate the spirit of aviation, all the details here: http://boydhobbs.com/delta

I did a little testing this morning. Moiré is definitely present.

I think we all know that these cheaper 'prosumer' cams often need a bit of time to learn the best settings etc to get the most out of them. I am sure the E-M5ii is not up to Gh3/Gh4 standards resolution wise but I don't think it's a complete write-off yet.

As to reliability, been using the camera for a documentary as a B-cam and occasionally A-cam. Don't want to jinx it it but so far no issues, it's performed consistently well at 4K for full 30 minute clips back to back. I have not seen any reports of failed recordings/unpredictable issues popping up. As neosushi says above they have also been on the ball so far for firmware, above and beyond even high end cameras. Now is it as reliable as a C100 recording to 2 cards? No it's not, but if you need that level of backup you can get those cameras which I think fall in a whole other category. I don't think the Samsung is any less reliable than a 5D Mark 3 or GH4.

With everything being pretty dang equal IQ wise these days, I don't really agree with that. But that's me. I think I'd rather work on story, style, directing, etc. I believe those are the things that really matter and impress viewers if one is trying to establish a creative film career. However, if you're trying to impress colleagues that specialize as camera technicians I suppose it's a different story. I just don't think that the path to being an accomplished filmmaker follows the technical side of things as much as many assume it does. You got to walk down that road, sure, but it's not where you should do the most of your traveling. So say I. (aka: not an accomplished filmmaker)

Wow so much drama people, chillout. Everyone has different views, getting angry at each other won't help anyone. Well I had much scepticism with the FM before I bought it because it was only a prototype product and the company wasn't being exactly clear on how to use it etc. However, the important thing is, it is of some use for budget end filmmakers like me who can't afford single focusing anamorphics. I find it definitely helps me quickly get shots when I'm out shooting because of the single focus. It's still got a lot of quirks but to the right people it is valuable. Anyway back on track, did a little test, getting shots have become much quicker since I can single focus with the FM now. This is a relevantly cheap setup as I got the takumar for about $70(US), Isco Ultra star for about $400, FM was about $750. Pentax Super Takumar 50mm 1.4, Isco Ultra Star Anamorphic Lens, Focus Module Lens, Panasonic GH4, Natural Picture Profile with all settings dialed down, Simple color grade in Premiere, BGM : Bic Runga 'Listening for the Weather'

​No I think in my grading I mixed up two jump cuts and didn't keep the same grade - but after seeing it the mistake seemed really pretty like old film - so I kept it in. It's all fixed up. Thanks very much for enjoying it! I love grading the NX1 - how it handles highlights at night is so beautiful- seems better than the Sony A7S. I need to do a test on this asap.

With 1.7X 4K crop you could forget about wide shots. So I guess it's only good news for NX1 owners, since having crop 4K functionality in NX500 makes it easy for samsung to add it as an aditional option to NX1 in the next FW update. If it's done due to lower processing power of NX500 (which I suspect is the case), I doubt we would expect a decent 1080p either. Since even NX1's 1080p is kind of luckluster compared to downscaled 4K in post. Oh well, I guess I am pulling out my preorder.

That's a big turn off for me for NX500. I was expecting full readout->rescale for low light conditions to reduce the noise. Since Samsung decided to change how they produce 4K compared to NX1, they should have kept both options.

I think I'm just going to have to come to terms with Olympus being far behind the video curve. And I am. Again, just wish I didn't have to. It is a little crazy to me that I can buy cameras for half as much with very superior 1080 video, but that's the reality. Ultimately it's a concession I can tolerate, but...man, they are missing out on a great niche market with video. And it's a market that I believe is undervalued. maybe not in numbers, but in prestige. Its like an automobile manufacturer that makes a performance model that increases their brand value. For Oly could that be the em1 mark II? Who knows. Probably not And, really, it's not like they have to be better than the competition IQ wise, just comparable. More than anything, that's the frustration with Oly. They have such great potential. So close, but so far kinda thing. All that said I do know it'll be a very useable tool for MY needs, (I'm knowledgeable enough to compensate for the shortcoming) but my needs fit a small subset of people that are video centric; most video people are going to dismiss it.

​Yes I saw that comment from Olympus. They are right and they're wrong. Pana, Sony, Samsung do need to generate 4K content for their TVs. However my question to Olympus is do you see the potential in great 1080p? BECAUSE YOU HAVEN'T EVEN DONE THAT YET!

If only we could have the stabilisation from this... the DR, full frame and low light of the a7s... the 4K, AF and 120fps of the NX1 and the 10 bit and centre crop of the GH4. One day.

​It's odd - I was sure I saw a review for this camera up there months ago... I'm sure I read it before I bought mine (bought early November) and it didn't seem to be a brand new review then. I specifically remember comparing noise levels in images between the A7s and GH4... I also remember the dynamic range graphs with DRO and Slog. It seems like this is simply an updated review, with the addition of a 'filmmaker's perspective' DP Review do take a little while to get their reviews out, though they're pretty thorough and they generally only take a couple of months (from the few I've seen). The A7s didn't start shipping til mid year (July IIRC?), so really even if the review was new when I read it, it took them 3ish months - long, perhaps, but nowhere near 11 months. Could be wrong.

How is the EVF poor? It's the same XGA unit found in the E-M1 and other high-end mirrorless cameras. I used it for a bit and liked what I saw. The 5 axis stabilisation was amazing when I tried it. Maybe not the level of a 3 axis brushless gimbal but I definitely could use it handheld while moving slowly. Shame the video quality is not like its stills quality.

​Zero problems handheld shooting. No cage, just the camera and a lens. This is ProRes too with a single node grade (basically nonthing): https://vimeo.com/44653311 Audio is fine: http://forum.blackmagicdesign.com/viewtopic.php?f=2&t=17695#p168461 My original question stands: why shouldn't he use an iPhone? It has more features and can be edited directly on the phone. It's easier than using a Panasonic DSLR. If anyone thinks I'm being argumentative, consider this: I'm not knocking the GH2/GH3 with wrong information. I'm straight up saying the BMCC and BMPCC will produce a better image than the GH2 and GH3 (4:2:0 vs RAW).

The blackmagic has a horrid screen (need to buy an EVF/Moniter), horrific audio inputs (external recorders), poor ergonomics (Shoulder rig needed for handheld) He said his budget is $1500, you are not going to get a BMCC with the gear needed to use it in common situations for under $1500. GH2/3 is plenty of camera to start shooting on.

I am very much against recommending a Blackmagic when you first start out. The sheer volume of support gear you need to make it work is a gigantic hurdle. I think at this point it's actually better to buy a used Hacked GH2/GH3 and buy a couple lights and lenses with your money.

​+1000

Film-making? Get a Blackmagic Cinema Camera. You can get them used for under 1500 USD. Just watch out for broken SDI-out. If you want something smaller or cheaper, get the Pocket. These aren't run and gun DSLR cameras. (Though the learning curve really isn't that steep.) BUT they give you infinite control over your final image. They give you a chance to make your product better then your competitors. Isn't that crazy? For less money you get something better that no one else will be able to copy. Cinema Camera: https://vimeo.com/9005890 7D: https://www.youtube.com/watch?v=ZMJ2UJI4onI The 7D footage isn't graded, the BMCC is. They're both well composed pictures, but to me the BMCC footage is more cinematic. I'm not a diehard Blackmagic fanboy, but they offer the cheapest cameras and the easiest workflows for shooting "digital" negatives which allow you the highest control of the look of your picture. One last point. When you shoot RAW video you can set the white balance when you edit. Think about that.

What are you hearing? What a tease. Is what you're hearing more exciting then a v-log picture profile?

Wow! There are a few other things which would be really cool. 1) Allow peaking to be "ON/OFF/Always" so that we get peaking without zooming in (Sony style) 2) For the intervalometer, allow extended exposures beyond 30 sec for astrophotography. Arbitrary is best. But 60 / 90 / 120 / 180 / 240 / 300 sec would be golden