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I think Panasonic are safe to boost the GH4 firmware without affecting sales of a rumoured AF200. My hunch is that they will release a firmware update with v-log etc. alongside the announcement of the AF200 so that the GH4 becomes the perfect B Cam for the AF200 with matching colour profiles. Maybe a hunch, maybe a hope ;-)

Once I got my hands on the FS700 you better believe I abused the slow-mo. Had fun doing it too.

from http://www.eddavid.tumblr.com Vimeo basically help me with my career- through a small camera test I did called, “Sexy S Log” where I tested s log on the f3 (new at the time) - an influential director and friend found me and got me into higher end commercial work. And so did so many other films I worked on. It is literally the best thing that helps me able to have a career. With that said, I have watched it since 2008 - and since then, I have noticed more and more, that there are many things it can improve. The biggest thing too is that it needs to improve, because right now, the video quality and playback is superior on youtube. Vimeo was started as an alternative to youtube in that it gave higher resolution and less compression than youtube. But youtube caught up. So now more than ever there is less reason to use vimeo than youtube, except for the community that exists there. Basically it’s a social network for filmmakers. And I think they get that - with their “Staff” people always checking out videos and commenting - I love that. You feel like you know them personally. It’s so nice. Anyway here’s a quick list of ways they could improve the interface to make it more successful as a film social network. 1. have a “like” buttons. so people can like comments. or upvote or downvote a comment. a la Reddit. so there are also less, “thank you” short unnessicary comments 2. the homepage should have a feed of all the videos of the people you are following. like a news streams like twitter or facebook. and allow you to hide or mute people you don’t want to follow 3. allow users to quickly create “film festivals” - playlists of content that inspires them. like how spotify does it. and feature the most popular ones. Lilke curation - feature the most popular ones - the people with the most followers. Or have famous filmmakers go on vimeo and find their favorite films, like spotify. 4. improve the search function - it’s still very hard to search for filmmakers 5. update the user page experience - so it’s more customized to the artist. maybe more like imdb. where you can quickly list films you worked on - resume style 6. show location and other things that users have - what cameras, where are they located - do they want to meet up? 7. allow meet up events - film screenings, event invites - to build community - get a bunch of people together to watch films and talk about them. maybe help create a film community in smaller areas. connect people more globally 8. vimeo pro - feature more vimeo pro films - it seems like vimeo pro is where a lot of the effort is going - monitization is always a good thing - but still - for non vimeo pro - maybe still create ads on the page, so that vimeo can focus on the free content as well. 9. mobile friendly - still make it more social network like on the mobile browser. 10. notifications - allow people to know when someone commented easier and your comment is responded to - like eoshd - this helps build community and discussions 11. have a section just for discussion - have more forums - just for talking about filmmaking - again with minor banner ads, whats the harm, right? 12. allow tags to work more efficiently - like twitter. live and die by the hashtags - to quickly allow people to find similar videos 13. like netflix - have other videos if you like this, you might love - to keep people on the site, to discover new videos. the rest of my ideas is hardware based - having faster loading of videos - those are harder issues because that costs a lot of money. the ideas above is expensive too, but maybe a little less. anyway let me know what you think of all this. And I will continue of course to support vimeo - I love how there

Found this post on BMCuser and wanted to bring it here. Hopefully BM will introduce this sensor tech into new cameras down the road the specs look incredible. THIS WAS ORIGINALLY POSTED BY JOSHUA CADMIUM ON BMCUSER.COM "Fairchild Imaging, the maker of the sensors in both the Pocket and Cinema Camera, just announced a new sensor on the front page of their website, the LTN4625A. Preliminary data was found here:http://www.atdelectronique.com/our-offer/bae-systems. It looks like it will have the same dynamic range of the Pocket (14.5 stops), but it does so using a smaller pixel size of 5.5um (the Pocket and Cinema have a 6.5um pixel diagonal.)This is huge. The CMOSIS CMV12000 sensor in the Production and Ursa cameras also have a pixel size of 5.5um, but can only do about 9.9 stops. This Fairchild sensor would be sucking up over 4.5 times the amount of light. The Fairchild sensor is also bigger, and arguably much more usable resolution-wise than the CMOSIS. The Fairchild maxes out at 4608 x 2592, which is a 16x9 ratio. The CMV12000 maxes out at 4096 x 3072, a 4x3 ratio (although only 4000 x 2160 is currently being used in the Production and URSA in raw).The new Fairchild sensor would be a true Super 35mm size, with a 29.08mm diagonal at its maximum resolution.The Fairchild is also speedier. The CMV12000 can only do a maximum of 90fps with full image quality (URSA currently tops out at 80fps.) The Fairchild is listed at 240fps.I have no idea when Blackmagic will implement this and in what final form it would take, but I would wager a guess that it is only a matter of time. This is a very attractive video sensor, and something I've definitely been waiting for from the company."

Bought a Panasonic LX100 about 3 months ago. I've been taking it EVERYWHERE and shooting stills and video that I wouldn't have taken the lens cap off the 5D Mark III. Can't remember having this much fun shooting! More importantly . . . taking risks with the smaller camera. Isn't that what being creative is about?

forgive me my trusty 300D, you were my first and best, i shouldn't have sold you and anyone that came after you just didn't feel right, it wasnt the same.

​While I do agree with this, I don't think you can really draw that conclusion from this list which consists majorly of very-extremely expensive cameras.

Is they some way to do a search and set it to show you the newest videos for that search as it opens.. Bugs me that when i do a search it shows all old videos and i have then click on by date to see the new stuff ..can i change that in my account someplace to show the new stuff all the time?? As for it VS youtube the Vimeo quality is so much better i can upload the same video to both and Vimeo is by far much better quality. I hate even watching youtube videos as the quality is so bad on most things. For me most youtube videos are out of focus and yuck looking for around 15 to 30 seconds till it all of a sudden pops in to the better quality it dose this on 3 PC we have here and did it in two other locations we were at on vacation.. video social-media site lets do it.

Thanks for the feedback! I pulled the trigger and bought the D750 with a Nikon 24-120mm F4 IS lens yesterday. I only got the chance to test the video performance very, very briefly but compared to my GH3, the dynamic range and low light performance is much, much better. ISO 1600 looks very usable and shadows and highlights look much more pleasing. So far I really like it!

​please take a look what the seller said. http://www.ebay.com/itm/Anamorphic-lens-1-5x-For-Nikon-V1-N1-Pentax-Q-BMPCC-USA-Seller-VM-lens-/151571055730?nma=true&si=W%2FyiL%2BMZZbVmPeGoLLjyKbrfjgE%3D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557

​I don't think it covers the whole sensor on that camera, unfortunately.

​It helps a *lot* for a camera to have (at least) one "killer feature" for it to get attention For instance the GH4 was first (ICL at a non-insane price) with 4K. Killer feature! A7s has insane low light. Killer feature! NX1 lacks a similar "key feature" that can instantly sell itself to the average joe out there. 240fps FHD would be that!

I've been on Vimeo from close to the beginning. I pay the $60 a year. My gut feeling is they're not making enough money to keep up with current technology. I first noticed something wasn't right when Search often timed out, or didn't work altogether. Next, Vimeo stopped working on my Roku 2. I ended up getting a Roku 3, which it works for, but that's not real solution for the market. Someone with deep pockets will have to buy them. What I'm saying is I believe they'd love to do everything Ed David said, they just don't have the money. Also, their "pro" level of pricing makes little sense to me. I don't care how much they love video, they have to deliver a service people want to buy... like Canon

Also because my stuff never got seen on vimeo and got 50,000 views on youtube. Haha

I stopped using vimeo years ago.. The playback and quality is just to poor for my standards..

Film emulation for video (with noise, hair, flickr and frame movements), plant growing animation, black bars to simulate 16:9, too shallow DOF, slow motion and now color correction abuse. What will be the next video cliché??

AND update their codec! I export in Premiere with 1080p VIMEO setting, and still when looking at it on vimeo it looks nothing like it. It's completely crushed with tons of artifacts, harsh gradation and blocks.

yes it's a great feature, makes apsc lenses like the pretty cheap sony 50mm 1.8 with image stabilisation useful in full frame mode

I felt compelled to reply to this topic. I've been on many sides of the fence on this issue, I've been the guy who, when the fs700 was released, absolutely had to have 120fps for camera work. I was so enamored by the possibilities that I could implement with slow motion, then I actually used it and realized it wasn't too special and I probably overdid it (https://vimeo.com/109775095) but can definitely add value here and there SO AS LONG as you keep the idea/feeling you want to portray in mind. THEN I became the super jaded guy who was getting irritated with test videos all using slow motion, and tons of videos being uploaded in Vimeo all implementing their respective cameras slow motion. I would say things like "slow mo is cliche" or "slow mo is played out" and basically felt like it wasn't all that special anymore since everyones iPhone could do slow mo. THEN I realized I was merely projecting my insecurities on others. And just like that I didn't care anymore. It no longer matters to me if people are using slow mo, lifting the shit out of their blacks, the important thing is they're trying to make things. If it's slow mo that captivates someone into doing something creative, so be it. I like that. I like seeing people with cameras, trying to explore a side of themselves that pretty much all modern societies try to surpress. Is it overdone ? Absolutely. Does it *actually* affect me, and my ability to deliver ideas? No, the only thing that could ever affect that is myself. Overall it's a tool, and I think it's important that ALL camera manufacturers, at this point, include at least 120fps to be there when people need it.

Unfortunately, this is not the site for that. This is pretty much a gear-centric place. I think that people of my ilk congregate here because we're involved in production, but since we're all on a lower level of budget and skill it's a heck of a lot easier to talk about specs than ideas. I can testify that in my own case I have more gear than I have ideas. BTW, does anyone know of a website where talking about ideas and collaborations happens? When you consider it, does does that sort of online interaction even seem viable?

You've got to research your festivals. And then have the willpower NOT to submit to the shitty ones just because it looks like an easy in. There are 100% legit regional festivals that have huge sponsors and attract audiences to the festival. They don't simply rely on who the filmmakers can bring. I'm leaving in a few days for the Phoenix Film Festival. This is a regional fest in a largely conservative state that attracts more than 23,000 ticket buyers of independent cinema every year. I had a feature-length movie world premiere there in 2013 and we sold out 2 of our 3 screenings without lifting a finger. There are many more like this... deadCENTER in Oklahoma City, Dances With Films in LA, Cinequest, Austin, Sidewalk in Alabama. It takes work but there are ways to learn which festivals to submit to. Moviemaker magazine puts out yearly lists of great festivals worth the submission fee. This makes it easy to avoid festivals like the Buffalo-Niagara Fest that pressures filmmakers to buy advertising in their program and whose screenings are routinely attended only by other filmmakers who happened to travel in for the festival. All in all, there are too many festivals, I agree. Most suck. But there are a select number that do a great job and serve a large audience that's hungry for independent movies. They might be harder to get into, but that's the point right? They have to be more discerning because they've built a reputation based on the movies they program each year. Which points to the real difference i see between successful fests and unsuccessful ones. Successful festivals make the experience of the festival AND the films they screen into the main attraction, unsuccessful ones rely only on who the films attract, which as we know, often doesn't amount to jack shit. I've learned to navigate through the garbage and thankfully, it's been more years than i can count where i had the misfortune to attend a festival I'd describe as "lonely".

​ ​Seems like you're contradicting yourself........ Panasonic will render Canon irrelevant, yet they sell much more...... Panasonic needs to work on their color science with their GH line, something I miss from the older Dvx. No one is going to give up their Canon Slr cameras in favor of Mft format, it's just not going to happen ever...... Canon and Nikon are top dawgs with mirrors cameras behind, even still I prefer Sony A7s and many production companies have been switching from 5D's as we all feel Sony A7s is a much superior "stock" camera. Outside of aerial work I would prefer many other cameras over the GH4, that digital harsh look just isn't very pleasant at all. GH3 was sharp enough now in 4k it's like pain to the eyes. Black magic worked on Dynamic Range so does Alexa, Red now is working on DR as well. Moving forward Panasonic needs to focus on DR instead of resolution which is what Sony did with tier A7s and imo the best video camera in that price range

So... Potentially they do something that no one else is really doing.... A small, cheap, high quality 4K camera for gimbal/copter work. People cry This place is brainwashed, not sure I can be bothered anymore. Why not see what happens and how it will suit your style, if this has C-log and 12 stops DR... Is it not quite a cool thing to have in the marketplace? If it doesn't work out, at least they are trying something, rather than Nikon, who seem to come in for little/no stick considering they have no video division to piss off.

To be fair, some art strives to offend. And why should't it if that's the intent? On the other hand, some people make things from a perspective where a lot of ideological ignorance is presented --where the creator doesn't have the insight or self awareness to comprehend other opinions. In one case let's say you have an artist that understands the various nuances yet strives to say something from her/his POV in a focused way. In another you have someone that does not comprehend the other's views yet presents his/her POV with that empathetic blind spot. So as a person that has to reckon with those two pieces of work, which one deserves the be held in more value? If either? That sort of thing is in a way intangible and it all depends on the art and the artist, but personally I'd hold in higher esteem someone with the intelligence to understand what they're creating and appreciating the context of it. So if you make an expletive movie because you're just not smart or wise enough to NOT make an exploitive movie, I think I'd approach that material with a healthy dose of skepticism. That doesn't mean I'm getting my panties bunched because I'm offended by a certain ideology. It means I think something is shit because there's not much intelligence on display. Art is meant to be poked and prodded from all directions. If it can't withstand that scrutiny then maybe it deserves to be ridiculed. Some things are good, some aren't.

Just a sidenote, if Spike Lee has the right to say all kinds of things then it should be natural to accept anyone's right to call him racist. That's the beauty of the equation.

Well, got this way and switched my D800 to a D750 last week, as stills are sometimes very important for me. It looks like a very captable b-cam for my video stuff, too. Still too early for giving detailed feedback as my PC is down atm. But careful about the DX cropmode, I think it may suffer on the smaller D750, while perfect only with the D810. That said, I would have preferred the traditional semi-pro bodydesign instead of this more enthusiastic plasticfantastic. Otherwise I am very satisfied atm, even ISO 12,000 didn't look too bad. DR is fine, sharpness is ok'ish, but Colours... are g r e a t (as usual with Nikon I might add). Lack of focus peaking is cured with a loupe, with helps also for stable shots. Aliasing? Never ever. Moiré? hm, only when you really want to produce failures, but you have to try quite hard, like shooting jeans with a macro lense, so in RL no problem, too :-) IQ in stills is hard to beat... state of the art. btw, this is only personal, but while I have serveral pound of fast AFD und AFS glas in primes and zooms, I prefere more and more the look and the handling of ol' AI-S lenses for my moving pictures (mostly slower, but dirty cheap and with a lot of mojo; I did not shoot video 'crazy wide open' anymore). edit @ .DigiEd: Do it!! the d700 was a very very fine cam in it's days, buuuut ... you will be suprised, I promise you.