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​Sales doesn't mean jack shit to you and I. We don't profit from any of these companies. We only benefit from forward thinking technology and manageable price points. Look at Beats headphones. 2nd worst reviewed headphones on the market, yet they're extremely popular and have killer marketing.

​Yes, by all means, stop playing with toys. At least buy gear that makes you appear like a professional behind the lens and next to the cool camera stuff because that's what the viewer will truly appreciate when they watch the final product. [rolls eyes] Never mind these option that give you professional level imaging for a few hundred bucks, just use gear that has brand prestige among industry people. Such as a RED. It's so great. And your favorite gritty movie was once shot with it. If you do otherwise, you're not going to be prestigious or taken seriously by other guys that appear professional next to cool camera stuff. Well, unless you actually capture a compelling story and create an emotional and memorable film...which depending on your circumstances, using a toy camera might give you the best chance of acquiring, but, hey, whatever. As long as you look good in your PR shot when you're pointing and standing next to a big camera with a huge matte box. And you'll never make money! As a documentarian that's probably going to be true no matter what gear you use. Anyway, the "you-must-use-this" snob attitude (and it is a legitimate snob attitude) about specific brands is ridiculous. Sure, some people in the "biz" embrace it, and maybe it even helps them in their certain industry circles, but it doesn't mean it's an attitude we all need to share or assume that outlook works for one's particular needs. If you have the skill and the story, you can shoot the damn thing on a smartphone. As a documentary film maker, if you start with thinking about the story you'll always be better off than starting by thinking about the gear. My opinion is that too many people get that backwards.

I just got a D750 yesterday and I'm very impressed with it's performance. Lots of detail, no moire, great dynamic range. I have it matched with the optically stablized Tamron 24-70mm f/2.8 and the results are excellent.

(First time poster, loooong time lurker) I always go for the old saying of "One good zoom and lots of primes". And Im a vintage lens horder so naturally I recommend getting couple of those as well. For the NX I have some Konicas and m42. Here is a quick test I did with a Yashinon 50/1.9, that I payed 10 bucks for, as well as a Yashikor 200/3.5. I think they give a funky look that can be handy for some more artsy stuff.

1 year too late. I'm sure Panasonic will release a forward thinking camera this year that will render the Canon competitor irrelevant.

I believe it. Canon are going fixed lens mirrorless, so they don't have to introduce a new video-optimised mirrorless lens line-up to cannibalise their EF sales.

Get a shoulder rig man, great shot setups in here but it looks like it was shot with an iphone because of the jitter.

These lenses are nice if you want to shoot film on a mamiya 645, for small sensor digitals they are ok but not the sharpest nor biggest aperture lenses out there. Eventually somebody comes out with a speed booster for the a7 and then that set would be very useful, until then there are a lot of better options out there like minoltas, nikkors,etc... The price is right if they are n versions (not that it really matters)

It's almost like the choice of hardware takes a backseat to ideas and collaborators among successful filmmakers. Maybe we should start looking for a forum about real filmmaking and not spec comparisons?

I would like to have got some stunning backdrops for my Video Panoramic sample in the video below: Maybe someone living in London, Paris, New York etc. can do something cool with this effect.

I will never understand how any human being can be offended by anything...especially art. In the last 10 -20 years, I've heard so many stories like this about a movie, or a song, or what a celebrity says (like latest Charlie Sheen incident when he called out Obama for being a douschebag). Dont let other people sway your emotions in such a drastic way/ in any way. It's human nature that were all different and like different types of entertainment. If someone like porn, or death metal, or rap music about killing cops, so be it. Until someone does it for real (rape, murder, cop killer, etc...) it's all FAKE. I don't subscribe to the theory that Entertainment: Movies, Video Games, Pornography makes someone in real life go out and kill someone. Kids today that respond violently in real life and blame entertainment for their actions are very weak-minded followers..and frankly already had a few screws loose before they watched "that movie". People that are easily offended should ask themselves why? I believe its a generational concept. 10, 20, 30 years ago when me and my buddies went to see violent movies at the drive-ins, we never heard the words "offensive". Never. This new "politically correct" generation (I like the term "brainwashed generation") is becoming a (what this Obama government wants) sheepish, follow the leader Socialist society. Which in the long term will be far more dangerous to kids than violent video games, movies, and hard core rap music. Use the brain you were born with people. Don't let other people have the power to "offend" you with their art. We're all different. If someone wants to shoot a film about guys raping "whores", or a movie about neo-Nazis torturing and murdering "Niggers" and "Kikes"...or if Ice Cube wants to shoot a movie about his song of "Killing LA Pigs " (cops) let these artists create without getting your panties in an uproar. Grow a pair and accept it. Like filmmaker Spike Lee says: "I'm a black man, not an african-american, and I don't think brothers should be fucking white girls. Let whitey fuck his own and lets keep our black people whole". You think that comment is going to stop me from enjoying a Spike Lee film like "Do The Right Thing"? Hell no. Dude has a right to say or do whatever he damn well pleases...without being called out in this ridiculous PC society as a racist. Wer're all different and we say and shoot and enjoy different things in life. Accept it and don't let some strange filmmaker get a rise out of you. Man, bring back the 1970's.

Hi my anamorphic friend, here is a a new match I've found for my baby Hypergonar, the Pentax Cosmicar 25mm f1.4 C-mount lens, and I like the result, despite the distortion and the slight vignetting. What do you think ? (more information below) Oleron Island (Baby Hypergonar on Pentax Cosmicar C-mount) GH4 UHD photo mode 3:2 25p Cinelike V +0 -5 -5 -2 +2 Highlight +1 Shadow +5 Master Pedestal +11 Pentax Cosmicar 25mm f1.4 C-mount lens Baby Hypergonar 1.75x anamorphic lens Redstan clamp SLR Magic +0.33, +1.3, +1.8 diopters, Narumi +3 diopter SLR Magic ND variable filter Lumetri CC and levels adjustments in Premiere Everything was shot between @f2 / f2.8 (because upper gives more vignetting) or more when exposition needs, except close shost with diopters @f1.4

​It's clear that the Ciecio7 Positive Locking ring eliminates the 'micro wigle' between the bayonnet of the lens and the adapter, but, how do they eliminate the wigle between their adapter and the camera's spring loaded lens port? do they screw it permanently on the camera housing??

I just tried the NX1 with this lens, and pulling focus in AF with this combination is so much fun. Truly versatile for one-person run-and-gun setups.

​this Fairchild LTN sensor is a dream for a camera manufacturer, with its 4608x2592 pixel count, it scans images from which you can extract 4096x2304 Super35 16x9 images for 4K delivery while you send to the viewfinder the entire non cropped image displaying the standard +12% out of frame field of view that all professionnal filmmakers request. When designing the Aaton Delta Penelope, to clearly differentiate the extra field image from the recorded one we were showing it in +/- bright b&w as shown in the attached image. It would be good if a manufacturer could offer that option which better emulates a film camera OVF.

ArellaTV brings up many good points. I still have not connected a NX lens to my NX1, I have been using nothing but classic lenses. Personally, I can't stand a fly-by-wire lens, but if I were to buy a NX lens it would be the 45mm f1.8 it's inexpensive and the IQ is pretty incredible. I shoot nothing but video with this camera, and you can get a nice cinematic image with the older glass because it just seems to take the edge off that 4k sharpness. Not to mention, there are some pretty incredible older lenses that you can adapt to the NX1.

I'd also consider the LX100.

I'd also consider the Nikon 5300. Love the Nikon look straight out of the camera and you have a fantastic choice of lenses. And I second the RX10 as being a great all in one solution.

Works fine for me and is very useful. I have the original, not the MKII - you really need to do some tests with the unit - my meters are very conservative, and if I set levels at what seems proper, I have pretty weak tracks. The self-noise of the 60D is fine, but I'd really like a beefy waveform. Set it to really hit the peaks and use the minus-6 backups. The limiter is very natural sounding - I use it all the time. It's not a total brickwall, but it helps. One of those Anker USB phone batteries will power the DR-60 for hours or days. The the 60D is very picky about internal batteries and will report "dead battery" for batteries with a lot of juice left, esp. with rechargeables. Any USB power source (like a little phone charging brick) will power it via USB if necessary when you're in the studio. One final tip - just do the quick format for cards - the full format, myself and many people give up after ten minutes or so and disconnect power.

​What would be the benefit of shooting on a 85mm? Smaller nose in the CU? I agree.. the side shot of the piano is too much with the nose size. I used two lights with this setup with both lenses opened up at their fastest stop. ISO shot from 400-650 (ISO 800 for the slowmo shots at 72fps). Almost all of it was on a shoulder rig, except for the slider shot. I kept the OIS on for the nocticron, which eliminates any micro-jitter. I love the lens, i think it compliments the GH4. This was shot at 1080/100mpbs. I used the picture profile posted in the link below. http://www.supertone.dk/#!GH4-Optimal-Film-Setting-works-in-stills-too/c24o4/8E18836A-F271-4A14-AF0D-C575B9D5F4B6 Thanks for watching.