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Oh and Dave Dugdale did. And Sony reps (your heroes!) were just talking about their 2/3" sensor cameras recently at NAB, made for super telephoto work. Sorry, we should get back on topic :3 edit: and... Orson Welles would have considered it if he could have... because they were going nuts trying to get shots like these

So this being a site that hails great new tech that indies and owner operators can afford, I thought I'd give my first impressions of a 15.6" field monitor I recently picked up. It's made by OSEE, a company I never heard until they recently released a 1080p, 15.6" 10 bit field monitor for 650.00 called the LM 156. Let that sink in for moment. Usually specs like this start at three grand or more. I also liked the size. 15.6" inches is like the difference between the 17" Macbook Pro and a 15". For my uses, doc, indies, run and gun and having to hop on a plane with little warning or assistants to lug my gear, the smaller size at 8 lbs definitely felt like it could fill a need for my style of shooting. And it can in a self contained, metal shipping case that doubles as a stand. Specs, size and convenience, I bought on faith. Anyway, I got a chance to test it on an indie I'm shooting in NYC called "Dick and Jack". So far so good. The color calibration is absolutely neutral with no shift. Easily beats my old Panny BTH 1700 and is on par with a Flanders 24" 1080p I used to own. Gone is the 8 bit banding. The other great thing is I can install LUTs. Will be trying that tomorrow. Anyway, not sure how it'll stand the test of time, but the overall build is quite pro. It's menu driven but my DIT had no issues navigating. The only problem we had was it wouldn't take the loop through from an F&V 4.3" hdmi to sdi. But it did take it from an A7s HDMI to F&V 4.3" HDMI out to HDMI to Paralynx transmitter to Paralynx receiver. I'm suspecting the signal from the F&V just isn't strong enough while the Paralinx receiver with its independent power must boost the signal. More testing is necessary. Also, regarding power, it'll take AB, V mount or AC power, but I ended up using 5000mah Lipos, without a hitch. One would last over six hours. Not bad. In all, the colors our honest and no green or magenta bias I've found with some other leading brands. It's as neutral as FSI monitors. Anyway, we'll be taking it through some serious use in the next two weeks, so I'm sure I'll more to report. In the meantime, I'm still in awe that the threshold to 10 bit field monitors is now in grasp for folks like me. I'm not on OSEE's payroll or anything, but I was able to reach a real person who went out of his way to get me a model (even though they were way backordered) before my indie feature started. It's good to know there are electronic companies run by people with first and last names. I wasn't expecting any kind of customer service at 650.00, so this review is my gratitude.

Just got these but it was more for fun than practicality. These are pretty much mint. 50mm and 35mm have not been taken out of the box yet. These lenses look awesome and are probably the best built lenses I have ever seen. Sharp even wide open. T2.2 is equivalent to F2.0 in my tests so not too shabby in low light. I do weddings... and the long 300 degree focus rotation isn't helping me out for live events like these (following those little kids dancing on the dancefloor is pretty hard to do with these) So have to let these go, bummer. I won't break up this set but would be willing to trade for some stuff. $2650 + shipping. Willing to trade for: GH4 body, a7s body, voigtlander m43 lenses, panasonic 12-35mm, olympus 75mm 1.8, Panasonic leica primes (15mm,25mm,42.5) GH4 in pic is not included. Just there to show how awesome these lenses look like. Lol.

​Anyone in marketing that would think this is a good idea probably shouldn't be in marketing, but that's corporate culture for you. If it were me, I'd be hiring Kendry (for the same budget they spent on this mistake) and just let him do his thing. Whatever he came back with at the end of a month would get people excited. Not only what he did but how he shot it. Heck, spend a day on Vimeo and you could track down hundreds of talented filmmakers. This particular movie strikes me as the perfect example of a talent challenged film maker* devoted to the tech and the idea of making a movie --while not having enough well rounded artistic talent. The film is amusing to me in the sense that It does illustrate how the fundamentals of making a good film has pretty much jack-squat to do with the camera. *full disclosure: I consider myself as such so I recognize the limitations.

I'm sure this crew said they wanted IMAX and couldn't afford it. Had to settle on Super 16mm. Amateurs.

Wow. I had imagined something like this, and it is here now. In what I had imagined, it would have been more oval and nore flat, and have multi-mix setup features as well (for multiple person dialogue), have audio monitoring via an audio metre as well as on the phone (only during start and stop on headphones) and the rest on a real time graph, and, maybe longer recording time. I love the size of this though, and the price would be subjective to its sound quality. On the whole it is superb for version 1.0 https://www.indiegogo.com/projects/instamic-the-smart-small-gopro-of-microphones#/story

In this last year I shot a bunch of rather meaningless clips and pictures while out for a walk or when biking to familiarize myself with a rather modern camera (Sony Nex-5R). Last time I used a video camera was 20 years ago. Me and my friends enjoyed shooting short movies alot at that time and we plan to come back to it before we are too old for this shit. Anyway, I am able to use a rather nice set-up reminiscent of a mini western saloon (from the outside at least). We are huge fans of Terence Hill/ Bud Spencer movies and its only natural we want to make a short based on those. Script is kind of finished, it will be an assassination attempt like the very first part of "my name is nobody". Dont get mad about the the gun thing, there wont be any. This assassination attempt will have a strong comical twist. Also me and my buddies were rather skilled in martial arts when we were young, so any action involved will be some kicks and punches (hopefully still good looking) Just watched "my name is nobody" recently to get a feeling for it and man those old movies are really nicely framed and shot. I would like to use this movie as base model. But those nice dusty browns and yellows with tons of color seperation within them will probably be very hard to match. Same for those reddish glowing skin tones. So my question is: What else is important to consider when shooting a western like this? Any kind of advise is highly appreciated. Never done that before;) -Camera will probably be my trusty moire and aliasing happy Nex-5R (Kit-lens and 35mm T1.4 lens, maybe some FD primes and zoom lenses) -Grading in Resolve Ah, and this is just for fun, neither me or my friends work in any way professional in this field. But still I want it to be as good as possible. Here some screen grabs from the set-up trailer I shot to get my buddies hyped...and one from "my name is nobody" as a reference.

You guys just don't get it... This film is a disturbing social commentary on the American family and the human condition... The mom "entering the fridge" is really symbolic for her addiction to crystal meth (ice). Notice how the family has to function more and more without her as her addiction gets worse? I didn't watch the ending (who could make it that far), but I like to think something really shocking (like GoT shocking) happened at the end, like maybe her pimp and drug dealer ends up executing her family one by one.

There is no denying that this looks like an impressive camera, but I'm going nowhere near the pre-order button until I've actually tried it on a professional shoot. I do that with all new cameras, throw them into the deep end straight away and start shooting a paid project. The 4k, 5-axis, Slog2 etc means nothing until it's been put through it's paces.

Good idea, but...yeah...unfortunately not so great for talking head interviews is it? Can't hide the thing. If that does't matter to you, then no problem. Make a version with an input for a high-quality lav mic and I'd certainly be more curious.

I have a set in d mount that I use with my Pentax q7... Great lenses.

Meh, just like the A7s. NX1 is still the king of ultra low budget slow motion, and soon the RX10mk2 too.

​Well, it's hard to beat that deal! That said, I dislike the fact that G7 is only 28MBps in HD mode, but hey...

My A5100 overheats on me, but nothing as bad as what I hear about from the older NEX models.

​I have

​You do realize that I know that there is no way you could ever know that, right? BTW. Have you seen the thread here on this forum posted today where one of our fellow members is looking for a small sensor camcorder so he can get deep depth of field. Maybe you should go there and talk him into a a7S

For modifiers I use this small kit on 80% of shoots: http://www.adorama.com/djfkpb.html

Typo

​Can't speak for the A6000, but I have the A5100 (because of XAVC and the touchscreen) - I shot a dance performance indoors and it was my static wide shot with the 10-18 lens on a gorillapod. I did three consecutive takes of 25, 28 and 28 minutes and there were no overheating issues. This is so much better than my old 5n or Nex7 which would overheat in less than 10 minutes on the first take and usually about 3-4 minutes with each subsequent take. I live in Florida and frequently shoot outdoors in really hot weather, the A5100 has been great for me. Can't wait for its 4k replacement.

A webcam...

I've never noticed overheating on the A6000, whereas it was definitely an issue on the NEX 5N. I've never bothered doing a stress test tho (leaving it running continuously in the desert or whatever). The SDXC card I ordered hasn't arrived yet so I haven't been able to use XAVC-S yet.

Damn...how did I miss that, you are right, thanks for the assistance!

If you have MFT glass you like, I would definitely give the Blackmagic cameras a look. I recently upgraded from the GH3 myself and as nice as it was to use, the Pocket's image is in another league. I wouldn't be worried by specs. There are always going to be new and improved cameras coming out, but if you're still making great images with your old gear, who cares?