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Hi, I recently bought the Samsung NX1. Mainly due to this website, so many thanks for that! This camera is a major upgrade for me. I had a bridgecamera of Sony which I really liked (DSC-HX100v). Having the NX1 now, I am really happy about my choice. I can make beautiful photos, but also beautiful movies during my holidays. I have made a short movie with standard settings, just with the purpose of getting to know the NX1. It's made in The Netherlands, Hoek van holland: Now I should play more with different settings. I think I should adjust the contrast. Please let me know your first opinion of the movie :-) Peter

I love when companies make bare bones cameras. Most of us already own monitors, external batteries, etc. It's nice just to plug-n-play a new sensor in a box.

​Besides 12 bit RAW and 10-bit prores with 13 stops of dynamic range, better rolling shutter, and WAY nicer color?

The catchily named "LG 31MU97-B" is in fact not a submarine but a 10bit IPS 4K DCI display with 99.5" Adobe RGB colour gamut. Is this a better option than the 5K iMac display? I think it could be... Read the full article

@Cinegain you bought the pilotfly H1 yet? seems good and I'm keen to get one, the Ronin M looks good and could have a nice price but this is a more compact creature. Ken Asanos been building a pistol grip one he calls the S Monster for 5D etc. and has better motors http://kenasano.net/ can't understand everything but his prototype video looks impressive if a bit unwieldly.

Am i the only one who wishes they still made plasma?

Am in perverted in hoping the URSA Mini 4.6K will *not* blow our minds away with image quality and performance? As then it will make it easier for me to resist spending a huge sum of money! lol

​I just picked up this deal. It's actually $995 but still not bad. Although I rather they have a prime bundled, this lens should be interesting especially with OIS. I feel like everyone on EOSHD has a pocket camera except me or something.

Hey all, I'm working on a LUT for 3200k and 4600k for Cinelike D on the GH4. I know it's a little late to the game since VLOG is around the corner, but I'm trying to focus on skin tones. Any comments on the skin tone of this shot? Too yellow, too red?

I love NAB, been more than a few times, but maybe it's my age and where I am in life, but the more stuff I see the more I'm starting to believe that the tech has maxed out for me. So I ask myself, when any semi-affluent middle-school kid has access to comparable IQ that I have, what's the point of chasing the best IQ? 12 stops of DR vs. 14 stops of DR. This color science vs. that color science. If not applied to a good story and a foundation of compelling shots, using the best isn't really much of an advantge. Love great new capabilities. It's exciting, but rarely do I leverage it in any similar exciting storytelling way. For far too long I've focused on playing with the cool toys in the sandbox. Ultimately, I'm thinking I would have been better off learning how to build a superior sandcastle. All one has to do is wander around Vimeo to see a bunch of decent looking IQ and lousy filmmaking. And god forbid you're on a film festival selection committee. So much stuff looks great these days, you're forced to sit through feeble storytelling until you realize the narrative isn;t going to say anything remotely interesting, is just a bunch of hoary tropes, and the story doesn't come close to matching the imaging. Dang near everybody has great IQ devices...and if they don't they will soon...even if they're not actively searching it out to acquire it. It will come with their phone, watch, eyeglasses, pocket drone, or whatever. For me it's time to ignore the camera and go back to the concentrating on ideas and story. That skill is truly where any advantage in this career will allow advancement.

​you are wellcome Jazz! please guys if possible write to Zoom to ask them to implement the safety track in the zoom H6 channel 1-4 for phantom powered mics. info@zoom.co.jp

​I agree that at the end of the day, the image is the most important thing, but arguing that ergonomics and shooting logistics don't matter is completely asinine.

I'm just talking from my own POV, obviously. You don't have to apply this to your own reality. Everything I'm writing is conditional to my anecdotal experience, but I'll add this: In my opinion there's nothing special about great IQ. You may like it. You may want it. You may value it... but it's become something of a commodity now. Great IQ is now everywhere and only getting better. Being part of film fests on and off for 15 years illustrates this to me all the time; wandering the inter webs even more. I just think if you're running on the IQ track, you're in a race that everybody is going to win. You, the guy doing this for decades --and you, the middle-school school newbie. You're all pretty much at the same pace with a huge crowd. The guy with a T2i is really only a few paces behind the guy with a Black Magic cam who's only a step or two behind Alexa dude. And more people join that crowd of racers everyday. Now, if you chase composition, cinematography, editing... motion picture storytelling --and learn how to do it better than most, you might be able to put some distance between yourself and the competition. You're by yourself, ahead of the pack. People are more likely to pay attention to you; if, for no other reason, it's because they can see you better. None of that means you shouldn't pursue an awesome new imaging tool. Heck no, having great gear is awesome! But (if you're in this career at a non-specialized level) covet gear above skill at your own peril. And it's so easy to focus on gear. It's tangible, factual, logical. No problem. 1+1=2. Easy math. Easy is fun too. Difficult and rewarding artistic endeavors are typically not. They're ethereal, metaphorical, ideological, messy, frustrating. Again, just my perspective/experience. And I'm not terribly artistic, honestly...just wish I would have had the sense to try and develop that skill/craft/art earlier in my career rather than concentrating on acquiring cameras.

I agree 100%! I purchased one months ago after reading the FM forum posts and I use it with Schneider Cinelux - it works as advertised. Love to learn more about Boyd Hobbs' clever solution he used for the Delta spot. Unfortunately the link is broken: http://boydhobbs.com/delta Please let me know if you have a copy of his writeup. Thanks, Marco

Tweaked - less yellow/orange saturation in the mids.

Like all the other full frame, 4k cams for under $2500?

They look good to me! My only gripe is that his shirt is going supernova around the Simpson logo.

​Production monitors didn't use Plasma because you can't get smaller than 42", can't display larger than an 8-bit color space, and must use dithering to produce proper tonal variations. Many plasma panel image tests have shown models that are almost 100% Rec709 accurate, so I'm not sure where you're coming from here. I'm incredibly excited for the dawn of affordable OLED, even if they don't render motion as well as plasma. Perfect viewing angles, perfect uniformity, perfect blacks, excellent color accuracy.

ok guys, definetly I can not raccomend zoom H6 for cinema because it does not give a safety track for phantom power mics. if actors screams you can not have a professional audio. I do not racommend to use the limiter because it compress the voice and it seem a kazoo or a megaphone, it's not professional. they sell the expansion unit ehx-6 that give safety track but it does not work with phantom power mics, it's all a very big bad advertising marketing trap. do not fall in it like me. ... I bought a Y cable to find out a solution to this problem but I failed the experiment it half (and more) the volume. so there is no way to solve the problem. I must find another recorder.

1.45x squeeze is an interesting choice given that they are aiming for 16x9 sensors. Almost identical to the old Iscorama, and will still require significant cropping to get from the resulting 2.6:1 down to 2.4:1 . Also interesting is the 2-meter minimum focus. Perhaps they will be developing a large diameter diopter as an accessory?

There's so much stuff to buy these days..

After the review on dpr, I guess the nx1 is gaining momentum again. But they need a fw update now. Too many things to be improved/fixed, to really turn heads.

Price went back up in America. its at its original $1,499 now.

Matt Frazer : www.dvxuser.com/V6/showthread.php?335758-First-look-at-24p-anamorphic-amp-V-Log-on-GH4&p=1986536936&viewfull=1#post1986536936

i'd sooner shoot spherical and crop than this. no anamorphic aesthetic what so ever. not only that, but the anamorphic section appears to be delivering rather nasty degradations onto the image. cropping a decent 2x image and losing sensor resolution is better than feeding the entire sensor with a crap image. Yet another lens designed and manufactured without any care being taken to understand the reason why people want to shoot anamorphic.

I can't wait for the day when these dinosaur corporations get outcompeted by smart hardware startups and we can just design and 3D print our own custom cameras online and get them shipped...you know...choose a sensor, mount, battery, design...click*click*...ship...SHOOT!

Enough.

At. Last. Real 4:3 anamorphic from Panasonic on a GH4. Just in time for my NEXT feature! Thanks to Andrew and Illya Friedman for whispering into Panasonic's ear for about this for ages... Will do some test shooting when the firmware and V-LOG is baked.

​Agreed, this is one thread that didn't need to be made other than to have a last word and to keep provoking the same conversation... the same conversation... which is basically this: "I think we should stand up on domestic violence! PS I'm a great guy, and I believe the women!" "No one said I aint against domestic violence. You know nothing. No evidence that Phil did it. You crazy sanctimonious shit." "I think we should stand up on domestic violence! PS I'm a great guy, and I believe the women!" "No one said I aint against domestic violence. You know nothing. No evidence that Phil did it. You crazy sanctimonious shit." "I think we should stand up on domestic violence! PS I'm a great guy, and I believe the women!" "No one said I aint against domestic violence. You know nothing. No evidence that Phil did it. You crazy sanctimonious shit."

​That's exactly what I noticed at Photokina as well. All the actual customers are at Blackmagic. All the suits were over at Canon.

I honestly think the previous "sensor in a box" cameras from Blackmagic are history - now replaced with the URSA and the URSA Mini. I still think another Pocket camera could be on the cards for next NAB 2016 though.

No surprise really, if they offer 4K on 5DIV the C100 MK II will loss a lot more potential customers.. it's PROFIT MARGIN first for Canon nowadays.

​+1 Honestly I think I might be on the wrong forum....... DVX100 is a workhorse of a camera and a tool I was able to do A LOT of jobs on, from documentaries. weddings to commercial events for hotels and businesses of the like. I see this as an EXCELLENT option and feel it will do great. Sure having a changeable lens camera is cool for "artistic" work, but for the bread and butter of video productions you really don't use any of that kind of stuff. As noted in my above quoted post, several people I know using Sony Ex3 cameras still for reality shows, cooking, racing , etc. I see this camera doing great in that market and being an amazing tool. Sure I love my Sony A7s, but lets be serious here and know that is a very very specialized tool and requires a lot of add ons for a shoot, let alone filming and documenting an actual project. This camera has XLR Inputs which is priceless as well + built in ND's etc. Now the ONLY thing I might think is the Canon C100 Mark II could be a better buy, but then again it doesn't shoot 4k like this camera does..... ​ Have you shot a film? I would like to see some of your work done on interchangeable lens cameras if so....... For the record I worked on many productions where we used a DVX100, HVX, HPX, etc all fixed lenses. Film Maker is NOT about a camera, it's about telling a story through moving pictures.........

Why not make two versions? Fine, sell this to ENG - then make a slightly different version with a mft mount for filmmakers that want to swap out lenses..

The Canon Cinema line is the worst thing to happen to the Canon brand imo. They've stopped all progress in regards to image quality on the video side of things with their dslr's based on the underwhelming specs of their more expensive "C" cameras that they don't want to best. What Canon should do is offer legit pro cameras with high frame rates and raw recording ability with all the bells and whistles for top dollar. Maybe a camera that actually commands its price. DSLR's should be B and C cameras to these high end "Cinema" cameras that can offer similar image quality at the standard 24p and 30p frame rates, that way people can actually afford to buy multiple cameras. The XC10 is the most bizarre, over-priced camera that's really unbelievable Canon would even produce such a product. With releases like this I've lost pretty much all hope but I wish they would deliver stunning 4K video quality in the next 5D4 update. I'm not holding my breath...

To be sure a lot of imaging is needed where creative artistic storytelling isn't required, just getting the shot in a pragmatic way. "ENG" style if you will. So I do think there will always be a market for improving IQ cameras that handle extreme situation with impressive resolution and low-light capabilities. Plus, the upper echelon of the motion picture industry will continue to be cutting edge, and I'll always be curious about that gear. For my career arc, such as it is, chasing ownership of that stuff just isn't going to yield me much reward and, if one is not on a specialized industry track, I don't really see how it's going to benefit most future imaging careerists either. Everything is gear-related is getting highly democratized. I know for a fact that I have 5 consumer cameras on my shelf right now that far exceeds the image quality technology Kurosawa had. I also know for a fact that I'll never do anything remotely as impressive in motion pictures that he did. The best I can hope for is to be derivative in a creative way. So ultimately, yes, one camera or lens package will be better for a particular shoot, but is it "better-enough," if you knowatimean? My personal "ah-ha" moment really hit home recently as I slogged through my documentary film edit. Shot on a GM1 and a GX7 with Olympus primes, the IQ just kept exceeding my expectations and was beyond good enough for that project. Keep in mind it's just 8 bit h.264. Even so, I feel like I can push and pull it enough in the grade to keep me happy and maintain a nice high IQ standard.

Unfortunately, this will be big in the ENG world. I say unfortunately, because I'll have to shoot with it one day. I'm fine with the all in one design, built in ND's, etc. all the the things that make run / gun, doc, ENG style work easier. But I have one major beef with this design - the EVF should be where the monitor is and side mounted. What Panasonic, Canon and Sony forget with their EX3's, C100/300 and HVX's is that in ENG, Reality, Event and doc world you're often doing takes up to half an hour or more. Holding the camera with two hands out front and your eye on a rear mounted EVF is OK for five minutes or so, but once it goes longer you'll be begging for a 20b proper news camera balanced on your shoulder. I'm sure every ENG cameraman will agree, it's better to be heavy and balanced then light and all on your arms. If they'd just put the EVF where it should be, then it wouldn't take much to rest it on my shoulder with nothing more than minimal rigging (shoulder pad and handles). As it is, to get it on my shoulder will now require mounting a 3rd party EVF or monitor out front on some frankenrigging or slinging it on an easy rig. This obsession Sony, Canon and Panasonic have with the rear mounted EVF is beyond comprehension and shows they beta test with soccer moms and tourists.

I think we have reached saturation point, for sure. I have always maintained that after all the searching for "what makes something cinematic" .... The penny will drop that light, sound and camera movement are and have always been the all important factors. Doesn't hurt to have 4K, 15 stops DR, 12800ISO etc though! But If I were offered a choice of an Alexa with natural light and handheld only, or a GH2 with lights, gimbal/stedicam etc.... I'd always choose the latter. (For narrative, that is).

Why would you want an ENG camera with interchangeable lenses? The idea is to get out there and shoot, not say "oh, this fire would look better with my wide lens instead of my normal - please don't do anything cool for a couple minutes, firemen..." I get the very strong feeling that people ragging on this camera have never done a real run/gun shoot of a fast moving & unscripted event, where they have to run between indoors and outdoors, get all the shots from sunrise to dusk, be grabbed for quick interviews in the middle of it all, etc. Like I said earlier, some quarters that's 70-80% of my income. Yeah, I wish I could pay 100% of my mortgage with awesome music videos, but it beats sitting in a cubicle. The Ursa Mini for ENG/run & gun? Sure, if it has ND, focus, iris and zoom that can be controlled from shoulder mount handle (or crane back), very good stabilization, multiple gain levels via switch, 1-press manual white balance, a great EVF with useable peaking, affordable media, long-lasting battery, and a very wide zoom range, light enough to live on the shoulder all day if needed. That's what (at least) I need for event shooting (hell, I don't even need AF or any auto functions). Realistically, you're talking two different cameras for two very different uses.

Agree with the guys above.... If EOSHD wants to become a better editorial, Andrew really needs to step out of the mindset of "It doesn't suit me, so it is a bad camera/bad decision". This camera will sell well. Very well.

JazzBox, current MFT lenses really aren't suitable for eng style shooting reliably. The decent ones have no servo and are limited in their range. Original eng cameras had the B4 mount and interchangeable lenses (and most still do) but usually only one lens is bought or carried with each camera. You rarely see eng crews changing lenses in the field. The lens on this camera has a great range and due to its design, they have been able to include 5axis stabilisation which you don't get in traditional b4 lenses. This is obviously not the camera for you but believe me it will find plenty of customers. Eng crews just want something that works, reliably, ergonomically and with minimal fuss. Being able to attach a 25 1.4 prime is really not a priority for them. For you, it might be, so choose the camera that allows it.

This will be a great ENG cam. Filmmakers may hate it, but they'll sell a ton of them. Hopefully a GH5 is in the pipeline with a better YAGH.

I'm presently agonizing over, say, and NX1 or really biting the bullet (artillery shell?) and getting something like the Ursa mini. For my work that I need to look beautiful. But y'know what? 70% of my video income the last year has been with an AC-130. Not sure why, one big corporate client likes me to shoot their community events and whatnot. I grabbed that camera the week before a shoot out of the US, loved it and still use it weekly. Sometimes the local news is out there (smaller markets, big master planned communites out in the country - but $1m homes) with their DSLRs and AF-100's. And when things are moving fast, they miss about half the shots when I get 'em all. All I've wanted as an upgrade for that kind of work is a 4K 24p camera, that can at least do 1080@60p, with decent low light and that will take my existing focus and zoom controls. Looks like I got it. There's a market for this camera. At $5k, I dunno - under $4k, yeah. Sure, I guess we could use a another swappable-lens "cinema" camera with 4K. Throw in remote focus, iris and zoom, built-in ND, XLRs, etc, a good VF and affordable media and I could see it replacing this form factor for me - I would love love LOVE to have one system for everything I do. But often that means it doesn't do everything well. This new camera is great for a scenario that has a lot of billable hours. It's an evolution of a product that's worked well, from the DVX to the HMC to the AC line. I'm pretty psyched.

​There are plenty of skin tones in the second video I posted (which I tried my best to keep natural after grading; professional colorist I am not). But yes, it's certainly an improvement over CineD. I think the best praise I can give is that it looks exactly like you'd expect a log profile to look.

I would bet this is true. Panasonic has been great to work with, and if I had to guess, part of the reason for the delay may be to ensure that LOG is a valuable addition to the camera, not just something that feels tacked on (as it did in the firmware I tested). From a technical standpoint, I think everything is probably pretty locked in at this point.

The Micro doubles as good lens mount cap.

Yay! Great news. So much awesomeness is happening! First Blackmagic, now Panasonic comes through! I'd almost say 'EPIC!', but it seems it doesn't quite cover that. Just the thing I was looking for to come to the GH4. Atleast V-LOG is more than a little bit of rumours now... the waiting begins!

How exciting! Im crossing my fingers for a BMPCC update with the same form factor with a 2x mft sensor with the ability to select lossless 16mm crop, so that the 16mm lenses would be still usable. I also wish that Ursa mini had a possibilty to for a micro four thirds mount version, like the JVC s35 mft camera.

Btw the Pilotfly is using 8bit for their handheld gimbal, they mention 32bit is for another model.