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Agreed, I get a little suspicious when people rant about specs too much, it is a bit like guitars...when someone says such and such a guitar is sooo much better because of this reason or that, the first thing I want to do is hear them play. As Steve Vai once said...when people get too caught up in I use this amp, with this vintage valve mic, thru to such and such a pre amp and then to tape...yada yada...well you grow old that way LOL!! Obviously there is a difference between say a great guitar and a shit one, but that difference is not that great (as some make out) between say an NX1 vs GH4 vs C100 or C300 or whatever from Canon..or even a Red, perhaps even the "GOD" Alexa! So if anyone says the GH4 footage is just "OK" thats fine, but perhaps show something you have shot that is miles better, that anyone could see..(without pixel peeping) otherwise its just words. Take this footage for example https://vimeo.com/125389854 this could have been shot on an Alexa or anything else, its great!! However if you think it shows the failings​ and limitations of the GH4, thats fine...but then post something "you have done" that is noticeably better that anyone can see....its easy to quote specs on a forum (and yes specs are important...to a degree) but the reality is, the GH4 (even without V-Log) can produce an amazing image in the right hands. Buying an NX2 or a GH5 is not going to make your work "miles" better, it will simply give you more options thats all. How do I know? Well I operate a 20 core Xeon E5-2680 v2 CPU and a ton of VST plug ins, libraries of sounds, and a couple of very versatile DAW's..and a lot of mastering plugs and hardware. You know what? I cant make better music on this than I did 5 or so years ago on a quad core with far less,the reality is I am limited by my imagination and skills...its the law of diminished returns, go back 20 years...yes there is a difference, go back 5 years...not so much. The GH4 vs the NX1 vs Canon or others ..even less so. .

Just pointed my A7S + Sigma 18-35mm F1.8 at a plain white wall. Shot in 1080P at 24FPS in full-frame mode.

​Exactly Astro! The more the time pass, the more I do love technical limitations, because they force me to be more creative! The video you posted is incredible, but of course someone will find it not "cinematic" because was shot on GH4 I love "IDA" the great B&W movie that was out some months ago: it was filmed in 4/3 with an Alexa I think, lots of grain, no movements... and it's more then cinematic! It's an AWESOME movie! One of the best I saw in the last months! We have all the technical possibilities to shoot with quality: we "just" need to be creative. And you can't wait better camera for that

Question to you anamorphic pros here: What would be a nice/inexpensive starting point with an anamorphic lens? I own nikon mounts and GH4. I'm really wanting to try out the new anamorphic mode when the firmware is released.

Eye candy from the largest mall in the world, Dubai Mall. Shot on Sony A7s in Autumn Leaves creative style (-3,0,-3) and then processed with Impulz LUTs in FCP X

Yeah, I'll do it, give me a minute

I went with a Dell 4k monitor that is a 27 inch with 3 year warranty.. Had lots of great reviews for photo editing. was only $550 this will get me by till some of the better ones come out in a year or so. Should be better then MY current NEC and it will be nice to see 4k video from my NX1 for the first time in real 4k.

Being that there is such a lack of info online about this camera, I figured that I would see what I could do to provide info for those interested. I have no problem trying out Chinese manufacturing in general and have had good results overall. The video: http://www.youtube.com/watch?v=LxebYAeneaA First impressions with the Kinefinity KineMini after using DSLRs for professional work for ~6 years: Bought this for shooting anamorphic, which it is brilliant at, but I'm really liking what this might offer for commercial projects. The color latitude on this feels incredible. Dynamic range seems good, I don't really care to scientifically test it, but being able to control the highlights in camera is a nice professional feature.4k is remarkably clear. 1080p slow motion, not so much. Not sure why, but I get a lot of RGB mud in the shadows if you want to be picky on the image. It may be Cineform, I will have to test a few options.I really enjoy the development-type workflow with raw. File sizes are large, but really not that much worse than uncompressed 5D raw.Although it is much heavier (considering all accessories) than a DSLR setup, it's completely possible to run and gun and not that hard to get used to.I often cheated with exposure on a DSLR- using shutter angle instead of using a Vari-ND filter like you're supposed to. That doesn't seem to work with this camera, as a low shutter angle feels extremely video-ish for whatever reason.People think you're filming a movie, not taking pictures (this can be a good or bad thing)Can't wait to get the new speed booster for this thing. Super 35mm is OK, but I am used to depending upon my 35mm Zeiss (no longer a wide on s35) and 100mm Zeiss (far too telephoto for most of my shooting)

Hi I'm selling my Iscorama 2001. Just not using it enough and feel it deserves to be used! It's in great condition - not far off perfect. a Little chip in the front barrel just above the 'R' of 'ISCORAMA' as pictured. Focus all smooth. Based in London if you want to take a look. It's nikon mount currently with an EOS adapter. Feel free to ask any questions. Euros 2500 inc delivery.

Interesting seeing the results from the LX100. Rumors are flying that Sony has a LX100 competitor coming this week as a RX100 refresh. Panasonic really nailed that one as its without peers. Wish it had a mic jack.

​Sure. They manually set exposure and WB at the beginning and then let the camera run. It's kind of a daring concept to expect from viewers to watch this in real time. Nothing unexpected happens, it's like watching paint dry. But I hope you are not determined to repeat this. ​You have to experiment. Your GH4 may allow you to set exposure times of 1/15 s (or so). Because you don't actually have a shutter. Motion rendition, of course, would be poor, you'd have effectively 15fps within 30fps (or 12 within 24). You could also combine time lapse (looong exposure times) and rain, something quite unusual. I saw an experimental short film at a festival a few months ago, where the filmmaker showed a busy highway first, then cranked down fps gradually by simultaneously prolonging exposure times. First the cars became ghostly trails, then they disappeared altogether. If you follow any rules how to make the perfect time lapse, the result will be perfectly boring. If you find your own way to do it, it will be interesting ...

​You could be right...Trendy? yep its kinda nebulous to try and define it

Did the article say it was better than the Alexa? Nope. Merely more vertical resolution. I'd say that's quite an achievement for a $1500 camera though and definitely headline worthy. World would be a boring place if we wrote like you kodakmoment.

This whole discussion goes the way discussions like these tend to go. It starts with a claim like "your $1500 camera is better than the Alexa". Then someone points out that there is more to an image than vertical resolution (that would be me), then folks react claiming rightly that one can produce great work with any camera, especially the GH4. All true, but why wasn't the mentioned "Ida" shot on a GH4 wich also has a 4x3 photo movie mode? That film surely had a great script, director, DP, cast, crew etc. The production company could have paid better wages, donated a significant amount of money to some human rights organisation or bought three dozen GH4 and donated them to aspiring filmmakers. (Should I point out to those who aren't getting it that this is meant ironic?) If EOSHD had been modest and written a subheading like "The GH4 now offers anamorphic shooting to low budget productions". But that would have been less catchy, wouldn't it?

Tried using it at 35mm on my Mark III but found the fall-off unusable unless you want a strong "vignette" effect combined with a "bad edges" effect. Completely unusable at any focal length on FF. Stop kidding yourself.

Ha ha ha Very true, if it was shot on the A7s or the NX1 or the Canon Cinema range...many would be wetting themselves!! But on the GH4? oh no I see highlight blowouts, look at the noise in the shadows, it lacks dimension, shitty dynamic range and so on yada yada...laughable

Kipon has just announced a $285 USD EF/m43 adapter, that retains full autofocus, IS and EXIF data. Is it any good? Is it a clone electronically speaking, of the Metabones one? http://www.kipon.com/en/articledetail.asp?id=80

@‌Astro That music video is excellent, beautifully shot, directed and acted, and the song is super catchy as well.

I'd be surprised if it has "HIGH SPEED" auto focus.

For me - I would simply be happy if my A7s had IBIS and real weather sealing. Internal 4k is neither here nor there - the fact that it can do 4k is good enough (and I think people make a much bigger deal about internal 4k than it really is - yes, I know it's handy to have and all the rest of it, but a camera that does great 1080p and is also able to do 4k is really enough for most occasions, especially with 4k recorders coming down in price). I'd rather 10-bit HD than 4k internal - if they brought out an A7s with IBIS, weather sealing and 10-bit 1080p in XAVC, then I would upgrade (assuming it was a similar price to when it was initially released) Sony just upped the RRP on the A7s not long ago as well (at least in Australia) - which would seem pretty strange if you had a successor coming soon.

I've had GH2,3 and now 4 but don't use Panasonic lenses for video. I think the glass is at least (maybe more?) important than the sensor. Andy Lee gave so many great tips for very cinematic lenses - especially for Panasonic cameras. I am looking forward for the update btw. and think Panasonic are doing a great job

​I bought mine used. But I heard they will declare low customs value, eBay style.

​We are talking about a sub-1500 € camera that does what just some years ago would do a 25.000$ camera. If you find it just "ok" what do you think about the (also amazing for their price) Canon EOS? Everything is subjective, especially if we talk about art, cameras, guitars, microphones, preamps, tubes-vs-solid-state etc... but "ok" for me is the mighty EOS 550 or the iPhone. The GH4 is (in my opinion) something more then ok, at least for what you can do with (slow motion, 4K etc...)

​> use only ProRes-flavors > use only Menu >Recording >Dynamic Range >Film > use only Menu >Display >Dynamic Range >Video > use exclusively ISO 800, no matter what > use 180° degree shutter in standard situations (for 24p with 60 Hz power frequency, for PAL countries then 172,5°) > use bigger shutter angles in lowlight for slow moving motifs, up to 360° (doubles exposure w/o more noise or worse DR through ISO 1600) > use smaller shutter angles for slomos (down to 11,25°). Twixtor and the like don't handle motion blur well > roughly guess the right color temperature, i.e. 3200 for Tungsten, 5600 for daylight. You have to grade anyway > buy the Zacuto loupe if you want to see anything > buy a camera grip with remote, like this, not a big cage, rods, mattebox and these gadgets > if you need s.th. like an external monitor, beware! Not all will show an image. Lilliput has a compatibility table (1080p through HDMI) > during recording, leave focus peaking on always (since latest FW update, it stays on after power off-on) > rely on 95% zebra ("ETTR"). It gives better results than trying to get a wide range in the histogram, in my experience > if there is no zebra, it means you don't 'fill the well' because the location is lit too poorly. This ain't the A7s! > therefore: search the sun! or light the scene! High contrasts, backlight: that's where the Pocket's DR shines > use an IR-cut filter > use externally recorded audio (built-in audio only to sychronize it). Or this (resp. it's successor) > use an app that allows to load LUTs (i.e. the free Resolve lite). Try Captain Hooks LUTs, here (download), from this site (starting point for your grade) > don't grade too flat. One gets used to flat looking images very quickly. But others don't. > To quote Stu Maschwitz: plan your shoot, then shoot your plan! Follow the suggestions above, then make a small doc, no cats, no flowers, no landscapes

​Thanks Ben. I don't own a BM Pocket, however I have a couple 5D3's. For RAW stills, the 5D3 is far better than the A7S RAW stills (JPGs too for that matter). Interestingly, once WB is carefully set, and exposure is carefully set, the A7S's video color looks better than the RAW & JPG still color. That said, the 5D3 does indeed hold better color through over and under exposure, and the white balance isn't as tricky: set Incandescent WB and PP Neutral/Faithful etc., and you'll get a pretty good image. For RAW, only exposure is critical (final WB set in ACR). What makes the A7S worth shooting with over the 5D3, even in RAW (ignoring the extra post work), is Sony autofocus and IS. There's no autofocus on the 5D3 for video, and the IS is not as strong and is tuned for stills. The 50Mbps A7S files are tiny and still look great. Using the 5D3 to take reference RAW stills can really help with color grading the A7S in post: the Canon stills provide a good target reference for color. With or without 5D3 color refs, once figured out, the A7S provides really nice color, which grades well in post and can provide a very filmic look. When I first started using the A7S, I stuck with stock PP6, then later a tweaked PP7 (changed Color Mode: Sgamut to Pro) for one scene (shot at the Salton Sea): http://brightland.com/w/delta/ Stock PP6 (eyes are contacts + Premiere CC masked effects): Stock PP6, lit by tricky unknown parking lot light source (sodium?). Shot with Canon 50mm F1.4 at F2.0 and gen 1 MB SpeedBooster (crop mode to reduce RS, SB keeps noise similar to FF mode). All other A7S shots with Sony SELP18200 (FS700 kit lens): PP7 with Pro Color Mode: background video shot at the Salton Sea (Actor is GH4 4K, Natural PP, greenscreen in studio): GoPro Hero 3, ProTune color mode. Getting nice skintones underwater was tricky. Note that white isn't white anymore- now magenta tinted (dress; didn't do masked/tracked grading just for face, which would have allowed keeping the dress white): A7S RAW stills processed in ACR: http://brightland.com/w/delta-bts

GH4 4K files dont have that big a bandwith compared to prores for example - that would put more stress on the hard drives. However since they are encoded in H264, they require a lot of cpu power.

Thunderbolt is just the connection type so unlikely to make much of a difference here, an SSD would be the only thing you could possibly look into that might help but most likely is your processor cores or RAM is maxing out (see whats happening in activity monitor when premiere stalls)

Shot in my spare time during a commercial gig. Autumn Leaves creative style, -3,0,-3. Edited in FCP X with Impulz LUTs

hey @svenn, i don't think your budget is unrealistic, as long as you're willing to compromise with a few things. ready-made rigs are usually very expensive (most are overpriced, in my opinion). i'm a documentary cinematographer - which means i have to be extremely dynamic with my equipment (both video and audio) - and therefore do not use tripod's either. since everyone has different tastes for equipment, i'm just going to share with you my current set-up as well as the one that is in pre-order in B&H. maybe it can give you a few ideas. - GH3 (BMPCC in pre-order); - Voigtlander 25mm f/0.95 (Voigtlander 17.5mm f/0.95 ordered to achieve the same 50mm equiv. field of view and still a good amount of shallow depth of field); - Panasonic 12-35mm f/2.8 (Sigma 18-35mm f/1.8 in pre-order + Metabones Speed Booster for Nikon F/G Mount, which will give the BMPCC an equiv. 37-72mm field of view and an f/1.3 [and T1.3!] aperture); - 7 Sandisk Extreme Pro UHS-I 32GB cards (7 Sandisk Extreme Pro UHS-I 64GB cards ordered to cope with the BMPCC ProRes files - I don't plan on using the RAW ability very often); - 3 Pany GH3 batteries (4 Nikon EN-EL20 batteries to cope with the BMPCC greater hunger for power); - Rode VideoMic Pro + Rycote Deadcat (way better than the tiny hole on the BMPCC); - (ViewFactor's Contineo BMPC Cage with the Wood Front Grip - for protecting the BMPCC and having more mounting holes); - Zacuto Z-Finder Pro 3.0X for 3.2" Screens (this is the only item I'm still unsure will work well - 1st because the BMPCC's screen is 3.5" and 2nd because maybe the mounting plate won't fit the BMPCC too well [and that's partially why I'm getting the cage] - the viewfinder/magnifier makes all the difference though, especially in regards to being able to focus with precision, blocking sunlight, and creating one more point of contact with your body for stabilization purposes); - Manfrotto 701HDV head + Joby Gorillapod Focus (this is where there's most room for creativity - not saying that this is the ideal rig for everyone, but it certainly suit us pretty well - it's inexpensive, extremely flexible and dynamic, robust and durable, relatively light, and QUITE comfortable when you adjust it properly) - (in case it isn't obvious already, what we do is use two of the Gorillapod's legs for support on each shoulder and the third leg we stretch it parallel to the lens and bend the tip perpendicular to the lens so it serves as a grip - the Focus is pretty sturdy with it's metal parts, won't bend while holding the system, and in conjunction with the viewfinder creates a pretty stable system [as long as you're not going for more than 120mm or so]). so, this system works quite well for our GH3 setup's and I'm pretty sure it will work even better for the BMPCC. like I said - it isn't ideal for everyone - but if you add all the components up you can get it for a bit more than your budget (in order, all new, estimated prices in USD: 1000 + 1150 + 800 + 450 + 120*7 + 38*4 (+ 35 for an extra charger) + 280 + 140 + 370 + 160 + 100 = 5500. of course you can go with only one set of lenses (ditch the Voigtlander and your whole cost gost down to 4300), and I'm sure you can find some nice deals of used stuff or you might have some accessories yourself already. hope this helps! Oli PS: if you want to add a followfocus, the Viewfactor cage will add, for 150 USD more, a bottom riser block and a couple of 15mm rods, and there are a bunch of ff's in B&H and Ebay for good prices (150 - 400 USD I would say).