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Where is your area of expertise, then? Not an attack--honestly curious. Totally agree with the post, though. Why everyone isn't using the GH4's 10-bit out is beyond me. Also, how many times have you read this exact conversation: "I can't get great colors with X-LOG!" "Yeah, you'll have to learn more about color grading to get the most out of a LOG profile." "But that's so much work! I'm a filmmaker, not a colorist. Isn't there an easier way?" "Well, you could always buy some LUTs and let professional colorists do the work for you." "LUTs are too expensive! I want something I can grade myself!" "Um...how about just not using LOG? Your camera has lots of other color profiles that are easy to handle." "Then I won't get the best DR the sensor can give me! What kind of noob doesn't use LOG!?" -_-

Here are some images showing my quickly put together test. literally ripped apart a m58 helicoid so it would slide over the original male thread of the original focus part. The front element was fitted into the helicoid. i'd meant to make it so the front element didnt rotate but in the process of reworking the helicoid I damaged it and therefore the front element rotates as you focus. No big deal, but it is actually possible to do this mod and have the element non rotating. As you can see in the pics the front part of the helicoid with the front element seated in place now unscrews. I actually used a rubber o ring cut to the right length which i squished around the front element. this naturally pushes it centre and is tight enough to hold the element in the front part. two shots are show. wide open at f2 on a 58mm lens on aps-c. (3:2). one at infinity, one at around 3 feet. rack from inf to 3ft is around 3/4 of a turn! Closing to f2.8 sharpens stuff up drastically. as does using on a smaller sensor - 4:3 4k mode on gh4 would be ideal for this lens flares are wonderful by the way! NB. this method of modifying the B+H was showed to me by the good man Nick (QuickHitRecord), who was actually going to be manufacturing focus units for the B+H design and made the concept public on this forum long ago. It was unfortunate Nick never got this to the manufacturing stage but i feel he deserves a pat on the back for making this public. Hopefully some other people can make a working unit like this one.

Yes, in a fair world, you'd never have to part with your T3i to get better business, as long as you know how to tell a story and create something visually interesting. But guess what? The world's a messed up place. If you can manage to get about without ever having to drop brands and people knowing or hearing of you, thats the best. But in a crowded and talented market, looking for new higher profile clients, you have to appeal somehow. And be it fair or not, having a RED lying around people won't assume you suck, because if they would, that would only make him or her suck in the most EPIC of ways. But the image that people will have is that someone with a RED probably has worked his or her way up from something smaller. Again, status... and 'status' is not just social standing, it's 'the situation at a particular time'. So if you have a RED you also give off that you have quite a bit of experience/are quite far along. And too be honest, they probably do have the talent and experience. Because I'm pretty sure you're going bankrupt in notime if you make those kind of investments, but can't see any return on that, because you are crap, lose clientele, never getting recommended and having a bad rep... Anyways. Like I said. It can't hurt to have something saying you shoot on a RED. That doesn't mean that I would actually go and get one. Like Oliver says, for him it's hardly a topic when talking to clients, because he can sell his ideas. That's a great position to be in. And as long as that is the case and business is blooming, why not go with that URSA Mini 4.6K/Sony FS7? You need to smack a RED label somewhere? Ok. Sure. Who says you can't still do that? You can still mention clients can have their productions shot on a RED. Just rent one, if the demand is there, which in Olli's case is hardly so. You don't have to use it exclusively. Although I get owning one would make you super familliar with the RED system and workflow, allowing for smoother turnarounds.

While I do agree that the 1D C is the King of Colours right now, you can get the NX1 remarkably close with some simple CC: Probably better to do some CC for those of us on a budget. Just used the stock tools in Sony Vegas. To me, it shows that the NX1 is actually capturing the colour data, but just representing it in a different way (otherwise you wouldn't be able to bring it back). (NX1 on the bottom btw)

I am following on FB a French Pro photographer. Cool guy, 100% independent (no sponsor whatsoever). Of course his work is top, you can check a few of his pics here: https://500px.com/BeboyPhotographies Yesterday he posted a funny post on FB so I am going to translate and summarize it here: So this guy had a 5DIII since day one. Then he tried the A7R thanks to a friend and liked the quality, compared (pixel peep) with 5DIII and was blown away by : 1- Dynamic Range (I saw his tests and when getting back the shadow informations and so on it was indeed crazy: clean on A7R, horrible on 5DIII) 2- sharpness (36mpx vs 20ish and lack of AA filter) So he was shocked and was like "cool I don't need to bracket anymore, ... .." so he just bought the A7R and used it with his Canon lenses. Almost sold the 5D but never did it. He realized at the beginning that when he edited pictures, he got wired colors and "flat" image in the way not really pleasant like it was on the Canon, even after 2 hours of photoshop on it. But he thought that it was because of the learning curve of being on a new system. And then he was just used to it, and 10 months passed. And then, he checked back his very old pictures and was like wow... There were looking really nice on the 5DIII! and he remembered those wired colors and lack of nice contrast. So he decided to do some test with the old 5DIII again but in "real world" instead of pixel peeping. And the conclusion was easy: the 5DIII produces way better RAWs than the A7R. The result he can get on Photoshop is just better, better colors, better contrasts.... And looking at the past ten months: horrible A7R ergonomics, tons of problem (died because of non weather sealing) bad handling due to small body, ...., .... So he his now going back on the 5D !!!! Well.... I got the 5DIII myself. I am super angry like Andrew about Canon and their shits (NO FEATURES on canon: they have the color science and lenses and thats it). Sony is completely focused on specs and features... Look at this awesome AR7II. But at the end of the day, what do we see ? Best results with 5DIII. In video, same with A7S and 1DC !!! what a surprise! A7S has specs (120fps, 4K, 23427490284294782048 ISO....) 1DC has nothing but the image is just miles ahead. So whatever do we say about canon, even if we split on them. If Canon does a 4K 5DIV or a 5DC because they choose to segment (and I think they will do one or the other) then it's gonna be a hell of a camera. I decided to post this stories because of the similarities with the video world (canon colors, sony colors...). I was sold with the A7R II, and now I just don't know anymore. I am still waiting for a good FF camera that does photo/video WELL... What do you think guys?

Canon reported their most recent quarterly profit today and said that DSLRs continued to face 'severe market conditions' noting yet another slide compared to the same period last year. The firm cut its outlook for the rest of the year. Read the full article

I posted this in my other thread, but it's kind of hidden and not everyone would think of looking there. I've spent the past few weeks working on reviewing the Rectilux 3FF-W, paired with a Kowa B&H inside. Taking lenses are Contax Zeiss and an old Nikon which I regret picking up. Camera is the Canon 5D3, shooting RAW everytime. There are charts, flares, vignetting and a real world test there. Check the video and a written review at http://www.tferradans.com/blog/?p=7742 Subscribe to my channel (http://youtube.com/tferradans) for upcoming reviews and anamorphic content!

Here is The Rectilux 3FF-W with a 25mm from SLR Magic at T/2.8 on a GH4. I'm prepping for another feature in the next couple months and wanted to start making direct comparisons between the Kowa Bell & Howell and the Schneider ES Cinelux. First, I wanted to see CUs of an actor as well as some focus pulls.

Yeah what you should do is rent an Epic and shoot something side by side with the URSA Mini. Keep it ready to show clients who are REALLY wanting RED.

Iscomorphot 8/x2 - its a fixed focus monoblock @4m, you'll need diopters but the image out of it is stunning (can shoot wide open) & its single coated, so flares exactly like the Kowa (also branded as Animex). Isco Widescreen 2000MC (not exactly 8mm, but small enough) - again another fixed focus block @5m, again diopters are helpful but you can focus through this one with the taking lens (helps if you stop down a little & use a low strength diopter - +0.5). I found that this does flare when pointed at strong [stage] lights, but most things will with that kind of bright glare. There is the more expensive, single focus Iscomorphot 8/x1.5, but you need to stop the taking lens down to f4/5.6 to get a useable sharpish image - anything below that produces a dreamy image, which isn't always desired or v.useful most of the time.

Started with some colour curves to balance the NX1 shot more towards blue, getting rid of the green cast. Then I just shifted the cool end of the blue spectrum further toward blue with a hue shift, and the warmer end of the green spectrum I shifted towards red with the same method. There were a few other tweaks to the saturation of different hues, but that was pretty much it. Could probably get it closer if I had access to the original files, but it's not bad. I guess it would be possible to make a '1D C' colour profile preset that could be applied to NX1 (or any other camera) if you wanted that particular look. Will post a sony vegas preset if there's demand.

The camera market is getting smaller. This in part due to cell ptones and also because of people that are happy with their cameras from 3-5 years ago and don't see the point of getting a new one (i know many of these). I think that's the logic behind Sony's strategy of putting a lot of new features in order to allure people that don't see the point of getting the 7d II instead of the 7d. That's also why all of the manufacturers , not only canon, are thinking about diversifying. People wont change the camera 2 times in a year. not even once.

It is really sad that John has to resort to such bad business practices. It is also against the law. What he is saying is false, it is damaging and that is the very plain definition of libel. That is the last I'm going to say about it because I don't want to wade in and blow it all out into a discussion... especially if there might be a law suit to follow. SLR Magic are really angry about what he is putting out onto social media. it isn't worthy of a discussion. We will SHOOT and not do politics on this forum, thanks for understanding.

Hollywood wanted a 4K DSLR so Canon saw an opportunity and enabled 1.3x 4K crop video mode on their 1D X. The 1D C was born and the £12,000 price tag made sure nobody bought it. With the Samsung NX1, the consumer didn't want 4K H.265 but is getting it anyway, because Samsung wants them to buy that lovely 4K TV to view the footage with. This is called technological progress, where more powerful machines are thrust upon an unexpected public and everyone gets excited. Now the two world collide in this shoutout. Expect fireworks! The Samsung NX1 is currently on special offer for $1299 at B&H Read the full article

I believe most of you know this but for the ones that are not that keen with the idea let me explain. The last few months I see a great deal of enthusiasm for LOG profiles. I also see a lot of people complaining about colors when trying to grade these profiles whereas specific cameras such as the Canon 1Dc can give great results. As Andrew has mentioned many times there is a great deal of effort put into customizing not only the colors (how signals from the RGB sensors are combined) but also the LOG profile to a specific camera. It is similar to the effort that camera companies put into their JPEG algorithms for stills. For example you have companies such as Fuji that have great experience with color and can provide very usable JPEG profiles. That is not always the case with other companies. Now when shooting RAW (>12bits/channel) you can most probably get any color you want. Yes it will require quite a bit of effort but you can do it given infinite amount of time. Of course time is limited, as is space - recording space. Here comes the 8bits/channel (and reduced color sampling). Everyone knows that when shooting with a LOG curve you map a greater range of input values to the image. In such cases skin tones are mapped into a tiny fracture of the color spectrum. To give you an example the variation of skin typical pixel intensities in RGB space (to make things easier) is usually +/-10 for each channel: 20x20x20 --> 8000 colors. In this space you have to accurately map the tones of the skin. Yeah right. **PERSONAL OPINION** The most grades that I see with A7s & GH4 log profiles end up with plastic skin colors. I wonder why... Kudos to Canon. Do yourself a favor when you are using any log profile and record with a 10 bit codec. Here is a great article that dives a bit more into it: http://www.newsshooter.com/2015/07/27/looks-picture-profiles-luts-and-log-why-when-and-how-you-should-use-them/ P.S. I am not an engineer and neither I am a professional videographer so I could very well be totally wrong about all this. But I am just fed up with the boxing match threads between different cameras. Let's move on.

more anaMOREphic...

I think that no such thing as a nx1 mk2 is going to arrive sooner than late 2016. Rather they could implement new and better profiles via fw in the existing nx1, which as such a powerful hw that could do a lot.

Hey Julian, your Petit Cinevision must be really one of the rarest anamorphic adapters out there and I remember the discussion about it here on the forum back then... And YES - you should take it out as the image looks very good! BTW the focusing with the Bolex-Möller is so easy because you can just grab both taking lens and the Möller and focus both at the same time. This works because the throw of the Möller from 1m to infinity is only about 90º (from 0.5 to 1m it is another 90º) But this doesn't work with Nikons of course... but great with Canon FD for example.

The problem is you're just an "arm chair" you fill in the blank......... I've shot countless projects on all cameras and the A7s is no different, people worried about this or that and don't even work anywhere remotely close to any kind of industry..... Canon colors are fine, just like Sony, just like Red, just like etc. I truly wish this forum concentrated more on peoples work instead He Say / She Say bullshit posts........

Blackmagic did it first, and people jumped off that bandwagon the second they realized it required actual work.

I really think it's worth saving more money for a better device. I've just got a Ronin-M and the build quality, plus operation is immense for the price.

I love the Moller, I don't have one though. I'd pay a lot for it if it was single focus... I think it's the best baby for sure. I'm the lucky owner of a Petit Cinevision. It's probably not the best baby in town, but I love this little lens. Since I picked it up in 2013 I have never seen one again and it is impossible to find something about it on Google. A real unicorn! I really have to take my baby out sometime again...

Technical articles will help too. For example we should know that Bayer interpolation results in slightly blurred edges. So some digital sharpening is necessary. The problem is that 1DC and NX1 target a very different market. Professionals will most probably post-process their footage, while enthusiast most probably will not. So Canon made a gradable file, whereas Samsung made a "put me in a Samsung 4K TV" kind of file...

As someone who works in corporate marketing and also does what I can in terms of production, this is exactly right in my experience. It doesn't have to be Red cameras necessarily - could be Arri, Blackmagic, Sony, whatever - but knowing that you're hiring someone with a track record and high level kit makes me very confident in giving them money.

There's a whole world of clients out there that don't know the first thing about cameras. On rare occasions, there will be someone involved who's played with DSLRs for video and asks tons of questions. Maybe people shooting national TV spots get into these issues, but for small corporations, startups, entrepreneurs doing web marketing, email blasts, Facebook video campaigns and internal communications/training - they pretty much want to see your reel or examples of stuff that is in line with what I'm proposing or what they envision. If an agency I work with gets the gig, I don't even show a thing - the end client trusts the agency. That said - if I shoot with a kitted-out DSLR - matte box, follow focus, rails, monitor, loupe, a big geared prime or zoom and an audio recorder - it does look pretty cool on the tripod. Now the total costs of all that may be well under $2k, but I've had clients squeeze through a tight set in terror of bumping the camera and, literally, they've said "I bet that cost more than my house!" It doesn't hurt for a client to perceive that you're using very high-end gear. But you could be shooting a national TV spot for Revlon and tests showed the BMC pocket with a super-16 lens from the 70's gives the exact look, and the director wouldn't blink an eye - whereas one of my clients would be "hey, you just stuck a lens on a iPhone, right??" For the size of clients I mention above (and in a big city, you can make a good living at that level) setting up an $800 Kessler crane makes them feel like they're getting a lot of bang for their buck. Don't disregard this sort of perception from people without knowledge of the tech side, who are writing the checks.

You're talking about wedding videos here. That's meant for a very select audience and hardly a grand production you would whip out a RED for or something. I have no idea why you bring that up in this topic. How about we don't stray from the matter at hand here? Just to set straight what it is we're discussing here: He's talking about music video production and corporate stuff (advertising). Now, someone wants a music video or ad shot... guess what? Chances are it's not their first. What ever happened to the last guys? Maybe those are too busy or something. Could be. But might well be that the client wants to up their game by selecting a production company to up it for them. And having some previous experience, they will tell the difference between a camcorder and a rigged up cinema camera, especially when the name 'RED' is involved. They probably have their own ideas in mind, with a creative marketing team. They just need someone to get their thoughts and run with it and turn it into an actual quality production. Knowing that you're good is one thing. Knowing you shoot on a RED is a dealsealer.

VM 1.5x is really a tiny baby, focus through, relatively cheap and good quality, compared to many normal size lenses.

Alot of hypotheticals going on. Let's hear some real world examples.

Agreed, and you will never be wrong. Not sure why I bother.

That's true, but as a producer one of my main tasks besides being the creative director is to sell the idea to a client using any sort of jedi mind trick required I allso blame it on bad producer if the client isn't convinced that the gear is good enough if it is. Even if it's a t2i. Again you didn't understand the answer. Or did you miss the "me not quoting" part? Why not let people post their thoughts and opinions on various subjects without the constant nitpicking and Negative Nancyism? Humble opinion much? Zzzzzzzzzz nothing will ever be equal.

Hey Andrew, I have a suggestion for future reviews in regards to comparing color. The real-life scenes are great and give us an idea of what the cameras deliver in actual shooting scenarios; however, if you're going to make definitive statements about color accuracy and precision, it would behoove you to buy/rent a DSC OneShot/Chroma Du Monde chart, shoot it with both cameras in both daylight and tungsten lighting, then put them up on the vectorscope and do some analysis. Otherwise, the whole thing gets very subjective very fast, and there's no way for other people to adequetely chime in without having the original files and having been there at the exact time you shot it (to know the exact color of the objects and how they appeared in that lighting). A Macbeth chart would be a step in the right direction. It's not as useful as the OneShot/Chroma Du Monde but a hell of a lot less expensive. Displaying one on an iPad proves nothing and provides no useful information whatsoever. At the very least, you should enlist a friend or two to sit in the middle of your test scenes instead of using that book, which may or may not be color accurate and doesn't reflect the skin colors most of us regularly shoot. It's easy. Offer them $10 or a home cooked meal or something, then tell them a funny story while they sit in a chair for 15 minutes. Boom. You're done. If you're having trouble finding people, I'm sure there's an EOSHDer in/close to Berlin who'd love to help. If you have any questions about the gear/methodology I'm talking about, feel free to PM me or, better yet, check out Art Adams' articles on the DSC OneShot chart (which he helped design) and his analyses of camera color (on which he's something of an expert). Cheers.

Like crazy, yeah. LG's more modest OLED sets actually cost less than Sony's LCDs! It's unbelievable. Ming Thein's been doing some great stuff with it. http://blog.mingthein.com/2015/07/02/canon-5dsr-review-part-1/ Don't forget Nikon and Blackmagic. And unpopular opinion: I think Panasonic and Samsung have the best color science in the game right now. We're all just so used to the Canon look that we've adopted it as the gospel truth of camera color. But if hybrid video is driving these stocks as you seem to think, then where are the camera division numbers in these quarterly reports?

As far als I'm concerned the 5DS is shit. I'd rather own a 2nd-hand 5D3 if I'd insist on using a Canon. I tried to explain to a friend why I think Canon is bad, but he didn't really get it. Most average consumer stores are still mostly filled with Canon and Nikon stuff around here.

XAVC is a Sony development, and so there wouldn't be a Panasonic with XAVC implementation. If anything, you're more likely to see some flavour of AVC-Intra (which I believe is something they should do - along with a log picture profile; even if it's in a more expensive body than the GH4). Panasonic's problem is they're kinda flailing. They were way too late to the party with their large sensor cinema camera - Varicam and the Sony F900 were the digital cameras of choice, particularly for episodic television (or any production that was shooting digital and couldn't afford a Viper, Genesis or D21). Then RED came along and changed the game. Sony were able to push cameras like the F35, capitalising on technology that already existed in the F900/F950 (and assumedly what they learned in collaboration with Panavision). Then they brought out the F65 and discontinued the F35. The F65 didn't really catch on as most people had already decided on RED or Alexa (which Arri capitalised on their technology in the D21), both of which were smaller, lighter and easier to use with a similar (or better, depending on who you ask) image. Sony then brought out the F3 and then eventually the F5/55, which now has found a market, despite strong initial competition from Canon. Panasonic, meanwhile, during the time of change, has been almost nowhere to be seen. They brought out the Af100, which was a step in the right direction, but was not really even a competitor to the F3 - now it's discontinued and finally after many years of speculation and waiting, they've come out with their digital Varicam. Is it a great camera? Yes. Will it catch on? Who knows. Does it offer that much over REDs, Alexas, etc. to really help it catch on? That remains to be seen. I'm not really sure that Panasonic really know how they're structuring their camera line. At least, they don't have the structure that Sony, or even Canon do. They had such an opportunity, with the DVX100 and HVX100 that were so, so popular - and the Varicam at the top end of town and they seem to have just sat on their hands and let other companies take over their position in the market. Pansonic make good cameras, I hope they can get back into the dominating position they were in in the DVX100 times. I'm yet to hear of the A7 line overheating, but even Canon DSLRs overheat in video mode (and much moreso than the current crop of competitor DSLMs). Sony's prices are pretty competitive, IMO. The A7rII is the first camera body to come even close to the price of a 5DmkIII, and it's paper specs absolutely smash it out of the park (of course we know paper specs aren't everything). They're more expensive than Panasonic, but I'm not really sure they see Panasonic as a competitor, at least not in their full frame line. IMO, the m4/3 line will always be a stalwart of consumers and prosumers, as well as video shooters (simply because the video features they provide you with). Most photographers are going to be drawn to at least APS-C, if not full frame. I couldn't care less, but there are many photographers (and video shooters) who think full frame is the only thing worth shooting. I agree about more lenses. I don't think their agreement with Zeiss will be a hindrance - there are many SOny-only branded lenses, and for their other mounts (even APS-C E mount) there is relatively affordable decent glass available. I personally think both Sony and Panasonic need to re-think the way they market their cameras. Sony do it a little better than Panasonic, but I'm not sure that the Japanese doco-style shoots as their launch videos for new cameras are really the best way to do it. Even the F5/55 launch had some pretty terrible launch demo videos. They need to send some freebies to some decent DPs and get some really ncie footage happening. Maybe Panasonic and/or Sony should hire a really great crew and shoot some beautiful short films? Imagine a beautiful looking 3 minute short film online, or before a film festival screening for example. You look at it and think 'wow this is beautiful'. You get caught up in it, and then right at the end it comes up with 'shot on Sony A7s'. Much more effective than tests or Japanese garden videos IMO.

It is ridiculously cheaper. But will need to update my 2013 4 gb Macbook Air then because my Premiere Pro won't even accept 4k files over a phone type bitrate. Thankfully they are nicely discounted too, and gold now!

The reviews of cameras flipflop like fish out of water on this site. Take any review with a grain of salt and reach your own conclusions. In regards to the two cameras in this comparision, well here is what was written in previous reviews by the same author. Neither camera has changed, but perhaps that of the reviewer, you decide. The criticism levelled at the NX1 in a recent lab test really missed the point for me. Let’s deal with the supposed weaknesses first. The rolling shutter is no worse than the Canon 1D C in the real world or the Sony A7S’s full pixel readout for that matter. What’s more it is completely expected. It’s a limitation not of the NX1 but of consumer CMOS sensor technology on the cutting edge in 2014, doing these kind of full pixel readouts for the first time. The NX1 does 28MP at up to 30fps. An enormous amount of lines to get through in one scan. The only reason the 1D C and GH4 have marginally less skew is that they both crop the sensor to do that 4K output and don’t read out any more pixels than they have to. The downside is the field of view crop. The NX1 has no field of view crop and does a 6.5K readout. Switch to 1080p mode and you have the least rolling shutter of any DSLR or hybrid camera available today and still no crop. Although quality in 1080p mode is pretty basic due to heavy pixel binning (quite a lot of aliasing) switch to 120fps and quality remains the same, which means that the NX1 actually has the best quality slow-mo for $1500 out there, with the least rolling shutter. You have to get the FS7 for $8k if you want better 120fps 1080p. Image qualityAt ISO 200 the NX1’s video is so completely free of noise, locked down shots look less like ‘video’ more like high quality stills. There’s zero mosquito noise introduced by the codec like the 5D Mark III suffers from. Also the transport circuits from sensor to image processor seems extremely clean. The result is a silky smooth image but like the 1D C under ISO 400 it too suffers from the occasional bit of banding as a result of being so noiseless. This can be reduced in post. You can add small amounts of film grain to dither the bands together smoothly and use a different transcoding app for H.265. The other solution of course is the Atomos Shogun. I am told Samsung have been in contact with Atomos to ensure compatibility with the Shogun but I don’t know how far along this process is at the time of writing. Philip Bloom says he couldn’t get an image on his beta unit. Hopefully the ones that are shipping will work already. You will need to set the HDMI output to 3840 x 2160 rather than 4096 I think. The NX1’s sensor produces striking Canon-like colour, which seems to benefit from a stronger signal to noise ratio than the GH4. It doesn’t de-saturate at higher ISOs as much. ConclusionSamsung are one of the largest semiconductors manufacturers in the world with one of the biggest investments in chip design R&D. It shows with the NX1. I can’t stress enough how different this camera is under the hood to a high end Canon or Nikon DSLR. As cameras move from the optical / photographic era to the computing era this advantage is going to become more and more pertinent. The sensor is so heat efficient it is able to output 6.5K raw video to feed an internal 4K encoder, running off a CPU that is perhaps 5 years of advances ahead of what Canon have in their $12,000 camera, the flagship 1D C. The NX1 is $1299. Astonishing. Low light performance and image quality vs the Panasonic GH4What kind of ‘film stock’ is the NX1? Again I’d draw a comparison to RED’s 4K or 6K, it has a modern feel like the Canon C300, punchy and contrasty. Less like Super 16mm and quite different to the more restrained looking GH4. This new Samsung sensor is a massive step forward for them, indeed the whole industry. In good light this sensor produces really top notch video. Beautiful Canon / Nikon-like colour but with the resolving power of the best 4K cinema cameras. Great dynamic range too, although perhaps 1 stop less in the highlights compared to the GH4 and 5D Mark III Raw. In good light there is no grain, but there is a LOT of fine detail. And it doesn’t look TOO sharp, it’s a bit softer than the GH4 with sharpness dialled all the way down on both. It looks nicely cinematic, certainly the 1.5x crop helps vs 2.3x on the GH4 without Speed Booster. I prefer the colour I am getting out of the NX1 in 4K to the GH4. If you only shoot with ONE camera and you need a full frame sensor along with astounding low light performance clearly the Sony A7S is still the way to go. But the NX1 arguably packs in the most advanced technology. Having an internal 4K codec in the NX1 sets it apart from the A7S in another way.

I'd be extra careful to get the full information on the regulations for Drone use and possession in your country. Even if you have full permissions of local police or government for a specific use (commercial for the city), in certain areas the military can arrest you for just having possession. I've heard a few horror stories recently where drone equipt camera teams have had their equipment seized and impounded in Egypt, apparently after being previously assured that permission had been granted. This admittadly has been non-native crews, so hopefully you will have a much better chance of finding out the precise rules and regulations in your country...hopefully they don't apply to you. I would like to be told that this is wrong, and would be interested to find out what advice you can get from your authorities. You should be able to access the definitive rules and regulations that apply to you.

Canon, Sony or any other system for that matter can give you great results. Sony A7s shoots a log image that you an basically push it anywhere you want, you just need to know what you're doing. All "video screen grabs" shot on A7s , colored in Resolve. I posted these before, but I have to remind people it's not the tools....................

After using the GH4 and NX1 I have no desire for a DSLR with OVF for shooting 4K video.

I honestly think the A7RII will be disappointing for video. Got a feeling. Most of us want Canon products, because they do create the best images. They absolutely do. I can't help but think if Canon just pulled out their finger a little on the specifications - they would blow the competition out the water. A cinema DSLR (1DC) that doesn't have peaking, what on earth is all that about? No 4k on the C100 Mk II? No 60fps on the C300 Mk II? They just miss key stuff out. I think the reason why they get such a bashing on this website is because we do want Canon products, but we want them with the features that others are offering. Even basic ones. I know I do.

Post 1 Not to be mean at all but it's a little funny to imagine someone finally having enough, completing the registration and defend the Pany. Again, no mean intentions. Welcome abord.

Hi Rich - Thank you for your response!!! This certainly seems like a more affordable solution than finding a machinist to fabricate a new front element. I made the following diagram to make sure I understand the process: Transfer the glass from the B&H front element to a suitable helicoid (using step/filter rings as needed).The helicoid with the B&H glass then replaces the old front element and is joined to the rear assembly.The old front element is not needed and can be stored in case it's ever required again.Is this correct? If so: Which kind/brand of helicoid did you use (or would you recommend)?Will the helicoid require any adaptation or modification to join the rear assembly of the B&H?Which kind of step/filter rings did you use (or would you recommend) for the glass? If you're able to go down to 58mm on aps-c with little or no vignetting, what would be the shortest lens usable on m43? 40mm-ish?And the million-dollar question: Since the B&H is doing the focusing and not the taking lens, can it be used with a parfocal zoom?Thanks again for the info, I'm excited to reach the point where I can start putting this modification together and share some test footage. if anybody else has anything they can share, it would be hugely appreciated - I'm hoping to consolidate enough info to add back to the Anamorphic Lens-opedia. Cheers, |. . | .|

Someone needs to make a RED shell that houses other cameras. Most clients wouldnt know the difference but would be STOKED.

Someone can drive to the office in a Tesla Model S, a very respectable car and an eco-friendly choice. Or someone can show up tire screaching, engine reviing, rims spinning in some fancy ass exotic car. Unfortunately people are likely to be more wow-ed by the latter. They might even ask if they can join in for a ride. Also, putting up that kind of display is a kind of status symbol. It says 'hi, I do well for myself, I can afford such equipment, I run a business that is successful, it is because I'm awesome at what I do, so you can trust me to deliver'. It might also be less likely that people will dare to nitpick. If you show up with a GH3 and shoot your thing, they'll find some things that dissappoints them (even if there's not really). Shoot with a RED and they aren't looking for reasons to fault it. I like this kid's mentality though: But you know, running a business is something else, and taking it to the next level will include marketing yourself. You can't just take your own perspective anymore. You'll have to see things from a client's stance. It's not what you'd be happy with, it's what they'd be happy with. And unfortunately the world is superficial enough that people will look at what you camera shoot with, because it's in their interest to have the best. Now... better and more expensive might not make up for lack of creativity, but it's what trumps lack of creativity in combination with lesser stuff. So then again we get to the fact that gear reflects status. Would someone who doesn't know what he or she is doing really shoot a RED? Or would they still be shooting with a GH3? Sure people will look at your showreel, but I also think they'll compare you to others... just on plain paper. And maybe someone got tasked with selecting a few production companies and then present the options to the person is charge. Maybe the shots caller only gets to see the comparison on paper and decides to go with however shoots the fanciest camera... unless you do not need to market yourself, because you already have the status, reputation and word of mouth going for you, I think having a very expensive camera business-wise can't be a bad thing. Creatively and practically... that's a whole other thing.

maybe get some soft textile tape and pad a bit. I can try with mine.

The Zoom Recorders do have quite a bit of handling noise. I guess so do Tascam and other plastic bodies.

The m43 ULTRA version is for all intents and purposes optically perfect over the entire m43 format. It's intended as a general-purpose Speed Booster for both stills and video shooters, and it replaces the original m43 Speed Booster. As a general-purpose Speed Booster, the ULTRA can be mounted and used with all m43 cameras. The XL version is more specialized, and gives the maximum possible focal length reduction for video shooters using the GH4 and a limited set of additional m43 cameras. Performance is extremely good, but is not as good in the extreme corners of fullframe m43 as the ULTRA.

My friend took delivery of his RX10mk2 today. I played with it for about an hour. The image quality is superb. Sony has really fixed almost all my issues with the first version. Namely the zoom speed while recording is variable based on how much you toggle the switch- and it can be quite fast if needed. There is a full Picture Profile menu, but with only Cine1 and Cine2 from the cine-gammas. Not a big issue but I will miss Cine4. As for people saying you can't get bokeh with this camera- you can definitely get bokeh and good focus is actually quite critical even on wider shots. I kept the lens at f2.8 the entire time, and it is softer there than say f5.6. The internal ND is helpful but you'll need additional ND 0.6 to hold wide open in direct sunlight at ISO 100, do the math out if you want to shoot Slog2 at 400/800. These are frame grabs from resolve. I shot 1080/24p, f2.8 at ISO100/200, Cine1/Pro, added filmconvert. It is a solid camera and I wouldn't hesitate to take it anywhere. I can see it being a great option for Doc 1-man band shooters, it is quite manageable once you have it programmed. The intelligent-active steadishot was very impressive too. I think paired with a tight little cage to hold the xlr audio adapter and the SmallHD 502/Sidefinder you could really work quite hard with this thing.

Shallow DOF Test RX10 (old one)