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Check it out guys - Red loaned me a Red Weapon. It was amaing. For director Anh Vu.

My money is on Samsung. I've got a feeling they're in it to win it.

Grain? Grain of salt. That looked more like digital noise to upset the pixel peepers. Thanks Julian, for posting the intended final version as well. Looked great. Slowmo was pretty epic.

Looks amazing. I love the look of RED with grain added as you've done.

Nice work Edward.

I use this card for GH4 and C100 with no problems. http://www.bhphotovideo.com/bnh/controller/home?O=&sku=1003464&gclid=CMvx6KqMqcYCFYcCaQod7agJsg&Q=&m=Y&is=REG&A=details Sandisk Extreme Pros are great too but I find that they're only "needed" with the Blackmagic Pocket Camera.

Agree totally Ed (or Banned User). We had a meeting based on gear today. Overall we strongly agreed that lighting was our key investment. The idea was to make most of our lights operational by battery power, using some Lupolux LED flood/spotlights, Scorpion Lights and good ol' reflectors. The purpose of this is so we can light anywhere we want, not lose precious time over spiderwebs of cables and boost creative possibilities. Technology is here and we can do it. If I didn't think it would boost creativity I wouldn't bother. The Blackmagic URSA Mini cropped up too. The Director mentioned he wants to reduce the "video look" to minimal amounts in all videos we produce, and was really enthusiastic about "organic film" looks. He said "Clients want that edgy, grounded vibe these days... I want to soak our style in pure cinema aesthetics going forward". Of course, the URSA Mini (on paper) would be an ideal tool to get closer to this creative decision. It would be a lot harder to make that possible on a GH3/4. Not impossible, but much more challenging. But we will still try and accomplish this even if the Blackmagic Ursa Mini didn't exist and we downgraded to 550ds. Sod moire, might as well give it a go! I'm an ideas man really. I pickup whatever tool I have in the bag and do my absolute best with it. I'm also patient with technology. Certainly not a GAS patient. But if I see something that I really think will compliment the style and ideas of future projects (like the BM Ursa Mini and battery powered lights) I'll click pre-order and live on cheap instant noodles for a month or two.

Excitement for new technology can certainly manifest into creativity. I'm pretty sure we've all experienced it. You can do a lot of fun NEW creative things with light (if you know how) using something like an A7s. You wouldn't have that particular opportunity until that camera was released. But let's also not lose sight of the fact that you can still do a lot of fun creative things with light (if you know how) using something like a GH1. I do think buying a new camera will also highly motivate you to shoot stuff if you're a camera geek and enjoy fiddling with knobs, just like getting arbitrary shots, and worry more about the best IQ than story. If that's you, then great. The camera/lens manufacturers are going to keep your playpen stocked with great toys. Pull out your camera charts while you're at it. The reality is, and we all know it, some people clamor for the latest and greatest, acquire it, and then don't really do a heck of a lot with it... random motion picture city shots backed by a music cut from some indy band is fine and dandy if that gets you going. Congratulations. You'll be able to do that all over again when the next new camera goes on sale. And again. And again. Just talking for myself --I'm kind of over the technology arms race. I'm concentrating on making stuff for clients/myself and using whatever tools I have access to within my budget to solve my problems; real or imagined. I'm grateful that clean flexible imaging tools are cheap and easy to get and use. I don't want for great IQ anymore. It has arrived. I do want for a deeper skill set at impactful cinema, and the ability to nurture my creativity in other regards --not necessarily associated with cameras. But, if you have a job where you're tasked with comparing and reviewing the more and more subtle nuances that exist between new cameras, then by all means, do that. Nothing wrong with it. Do it. Make it work for you. There you go. Thoughts from a somewhat hypocritical corporate video guy served with more than a few grains of salt. Got my daily procrastination all taken care of. Now, back to work... Once I check out M43rumors....

​If you're doing the kind of kind of work that demands a log style, you probably shouldn't be looking at $800 cameras in the first place. As far as I know, the cheapest log available is in Sony's RX100IV for $1k, which is pretty groundbreaking already. Complaining that the G7 doesn't have log is pointless because there is 0 precedent of a camera in this price range having it. We'll get there soon, but at the current moment we may as well be complaining that the G7 doesn't shoot 6k internal or that it doesn't have XLR inputs.

Right on Oliver. I use the Red Dragon and Alexa a lot - and it's really no different than any other camera ever made. Expose right, get good frames, use good lighting - and it will look good. It's strengths are more minor- highlight handling, skintone rendition, post workflow, frames per second capability, audio, timecode, etc - but renting a 80k camera isn't immediately going to make your stuff that much better than figuring out how to work best with a camera system and try to overcome its flaws. About to release a film shot on the Red One MX that through coloring no one will notice if it was shot on the red dragon or alexa or anything - it's just a matter of really figuring out how to color and light and compose - that's the biggest thing. With that said, it has nice motion, something you can't get with the rolling shutter of the nx1 unless you experiment with shooting in 1080p mode - and so its important to learn the ins and outs of any camera. I wouldn't shoot a film on the nx1 unless I want to be quick and sneaky - but I would use it for crash cam shots and I have tons of times. That's the importance of knowing where a tool fits into your arsenal. Like I just bought a DJI Phantom 3 which I'll use on jobs where we can't afford a real drone rig. Because I know its strengths and weaknesses. That's all it comes down to. Now onto obsessing over the next new camera - it's not that useful - because until the camera comes out - who cares? Unless you are saving up for the next camera - then I guess it matters. But there are so many other things to buy that won't go bad after 5 years like a tripod or c stands or some lights or a lens. And gear fetishing is a long, endless game - time that could be better spent on other things. But as long as you know that forums like this are mostly for procrastination then you're good.

I have, there is some shots with them on the pocket in the unboxing video. But I will probably use them more on it soon.

Looking forward to see the comparison between the G7+MB and the 1DC. Would be great to see some talking heads/skin tone examples!

@Jed worst dual focus ever. Don't waste your time with SLR Magic. Better to get a cheap Sankor or other 2x anamorphic. Or just get a Cinelux and Focus Module and you'll have a single focus solution. Perfect for run-and-gun one man operation.

​The new firmware allows it to do automatic restarting I believe. Which for many people can at least overcome most of the annoyance with the 30 minute limit for B cam usage.

I reckon competition vs other low (or even no!) budget video guys is rife in such areas (Facebook groups / Craigslist). My plan is a mix of old fashioned door knocking plus modern online advertising (YT/FB/Google/etc).

​Like I said, all I need is 10-bit and Samsung will have basically my perfect camera. I rather like their lenses, too. They're good, small, and cheap--a killer combination.

I think the Micro might be a bit of a sleeper hit, at least once cages/rigging/cabling get figured out in the aftermarket, for combining the cam & Video Assist (or other monitor) into solid workable configurations. The omission of WiFi is a mistake though, I guarantee the Micro V2 will have it.

8k it's going to happen sooner than you think. Oculus stated 16k is ideal for VR. So 8k is a given. New chips will support it natively. It's in the cards.

Indeed, everyone is stating how wonderful the A7Rii is, yet the only footage I have seen didn't exactly blow me away. Not that it was bad... but it also wasn't great. I need to see a lot more to be impressed. Personally I was more taken with the footage from the blackmagic Ursa 4.6k. Which should bode well for the mini.

Single player games just are becoming a thing of the past. I takes too much work/money compared to multiplayer games. A csgo map can be done in two weeks and user will spent thousands of hours on it, on the other hand a single player chapter takes a lot more time and the user will play through it in 20min... I'm still hoping for hl3 anyways.

​This isn't the same or even a similar argument. Kubrick used super fast lenses to deliver on a creative idea on how he wanted to stage the scene. The question is more like: Kubrick - 'If I shoot Fuji stock over Kodak, will anything change?' Forum user - 'Do tests man, but remember that in the grand scheme of things, which stock you use isn't the biggest concern' Kubrick - 'Alright, well at least I know if they don't have enough Fuji stock for my film, I can use some Kodak stock and it won't matter so much' In fact the debate/chat these days is more like this: Filmmaker: 'If I use Kodak Vision2 stock instead of Vision3, am I going to be missing anything..?' Forum user 1: 'Man, Vision2 is so old now, you can't even get grain structure anywhere near that of Vision3. I made the switch to Vision3 not long ago and I would never go back to Vision2' Forum user 2: 'I don't like the colors in Vision3, they're so different to Vision2. I know Vision3 supposedly gives you more dynamic range and better grain structure, but I like the colors so much better in Vision2. I know some people can work with Vision3, but I think for the majority of people, Vision3 is way too hard to get good colors out of' Forum user 3: What happened to Fuji? I used to shoot Fuji stock all the time, but they haven't brought out a stock I've liked in so long. I'm using Vision3, but would happily jump back to Fuji stock if they ever came out with anything I was interested in using. Forum user 4: 'I don't understand the fuss - all the stocks mentioned give you great images - just go out and shoot on what's easiest and cheapest for you to afford. No-one in the cinema is going to be nitpicking whether or not you used Vision2 or Vision3. Yes, there are differences between them, but in the grand scheme of things, it's not that big a deal Filmmaker: 'I'm so confused'

This isn't intended as a "Content Is King" debate. I'm more interested in how purchasing a camera affects a persons creative decisions. It affects mine certainly. If anything has to be said though, it's better to have an idea and no camera, than actually have a camera with no idea at all.

Heck, I bought my FD Adapter on Sunday on the Fleamarket and my 28mm FD from a Ebay guy, personal pickup of course. So tech is important! No lens means no film, no camera means no film, right! Or like Steven Spielberg stated: "my filmmaking really began with technology. It began through technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do..." For instance the troubles with weak batteries, that is something I would love to cure by buying GH4, just like I changed the nasty ergonomy of my panny 20mm into some nice grip onto my 28mm FD. By the way, the look is totally different too. If it wouldnt have been for Andrew´s GH2 videos from the Far East I discovered in 2012 I might not have been started video again since my SVHS(C:) times more than 15 years ago. But it is great to have the images from within to turn inside out and G6 is starting to giving me that pleasure. So yes, new camera (with oh so old HD technology:) affected my outlook and aspiration totally! BTW, did I forget to say, Panny G6 is a great camera?:) Cheers and thanks for contributing so much, Andrew and you cool cats outthere!

INT. 1970's bar, with health endangering cigarette smoke Kubrick - "So if we shot Super 35mm instead of Super 16mm, would anything change?" 1970's forum user "Hell no, don't bother with the camera, it's all about content! Content is king! Creativity is king! BLAH BLAH Kubrick - "Oh shit. Better cancel that order with NASA for the F0.78 lenses then! And I will no longer be needing those candles"

That's actually quite impressive that a band member knew about a GH4. I talk to photographers all of the time who don't have a clue about Panasonic. To your point I agree. The only reason I upgrade is if it makes my job easier working the camera. I'd say we're at that point this year where tech is good enough to "just do it".

This was a great post and just on the heels of me pre ordering the A7R ii after being a huge canon user and also fan of the 1DC....... it makes me sad to leave canon and I hope someday i can comeback. they just never went between the 5D and 1DC for something special...... I mean they didn't even add Clog to its latest round of DSLR updates so i can B cam off the 1DC if needed..... It screams we don't care about what you need.

These new "super fast" Sony sensors cant do 4k 60P. GH5 will do it and take the lead again.

I'm exclusively using SanDisk Extreme Pro SDXC 64GB 95MB/s cards. SanDisk has proven themselves with the Extreme Pro series which I went with for the GH2 back in the day. Not the cheapest though. Lots of people I guess are using the fast Transcend cards as well, which are a bit more affordable. Samsung's PRO-line seems decent too.

Did Andrew go off his meds again?

​I'd love a m4/3 mount on every s35 and smaller camera. It's by far the most flexible lens mount out there.

m4/3 on s35 is a genius idea. Its been requested by Blackmagic users for years and now when JVC has released it I think a lot of people see the potential. Having s35, m4/3, s16 all in one camera.

I hate to say it but who cares about canon? no really. who cares. They are just a company that makes tools, not a religion. This aspiring cinematographer you speak of doesn't hold a soul contract on canon, neither does shooting canon mean anything is going to improve for them all else being the same. If canon can't keep up, that is nothing to cry over it. If canon does not want to keep up, that is also nothing to cry over. Let canon be canon. They are no longer the king of imaging, and haven't for some time, and arguably they have never been a force in the high end video market either. These are just tools. use whatever works and just be glad you have choices. stop the brand fanboysm. it is childish.

http://www.ephotozine.com/article/b-w-filters-are-fighting-lens-mildew-with-uv-light--27637 Pretty interesting device.

Nice one Tito - its good to see someone dedicating their time to creating this resource. Its nice to see someone else thinking that the 42 is the sharpest of all the Iscoramas & its metal! I've found that you can run'n'gun with the 54, yes its heavy but that weight really gives you that extra bit of stability. However, as Rudolf has said, its not that easy with the Tokina combo (too long more than too heavy), which I think is my new favourite taking lens. I've also noticed with the 54 that it can be picky with taking lenses, some producing sharper images than others - the Super Takumar 55mm f1.8 producing the sharpest images (its also the funniest match due to the enormous size differences). Recently, been filming a lot with the Isco Widescreen 2000 in combo with the Mir 24m 35mm f2 + RJ focal reducer on the BMPCC - it has now become my goto R'n'G anamorphic. For some reason I never really felt the love for the WS 2000 on other cameras or perhaps I didn't give it enough time - just glad i kept it.

Thanks Rudolf. Indeed, run-and-gun is not ideal, but it beats any double focus system, no matter how light it is, don't you think? Maybe I'll do the drop test with the VD Isco. NOT. hahahaha! The original 36 would be blown to pieces if dropped, anyway! Well, life turned out easier than I expected and the second review is up: Iscorama 42. ANAMORPHIC ON A BUDGET - ISCORAMA 42. http://www.tferradans.com/blog/?p=7633 For the third review, I'm thinking of the small Century Optics adapter, or the Panasonic LA7200, which are more "budget-like" lenses. The third option is Kowa for Bell & Howell. I'll be working on the Rectilux review on the side.

​Yes, DR is independent of sharpness, so you'll need to set sharpness separately. If you zoom in, you will see artifacts at the edges if you shoot at sharpness 0, and that goes away at -10 (it did in my tests anyway). You can always sharpen in post if you wish, but with the 4K image out of NX1, I don't see any need unless you crop. Also, AFAIK sharpening in camera increases its information content, which stresses the encoder because there's more info (spurious, but still more) to encode within the same bandwidth. So, low sharpness will help improve final IQ that way as well.

Where did you see talk of everything at 0 in the thread? Unfortunately I can't open the attachment links, they seem to be only for subscribed users. When I set sharpness to 0, I saw artifacts at the edges when blown up, -10 looked more natural/organic. You're not seeing any issues? Other than that and contrast at -5, I've found the same as you did.

Guys, thanks so much for all the input. Here's my summary of what look like the best settings (based on input here/elsewhere and my little experiments): Sharpness: -10, I think everyone agrees with -10, default is too sharp.Gamma: DR. Definitely wider than Normal, probably best till we get a log option.Contrast: -5. Many like it. Had lowest banding (vs. 0 and -10) in my test scene. Highs can look weird in some scenes though.Smart Range+: Off. I have no idea what this does. Per the Samsung manual, it "corrects for the loss of bright detail."Master Black Level: 0. Many recommend +10, but in my testing it's just lifting the levels, so useful only when not planning on post work.Luminance Level: 0-255. Some like 16-235, but that too squishes the waveform - would help when using directly out of the camera however.Please let me know if I'm factually off base on any of these here.