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I have been out shooting with the SLR Magic Rangefinder. Key features: It completely takes over focus from any prime lensSolves lens breathing (reduces to such low level it isn't noticeable)Adds cinema standard 240 degrees focus ring with FF gearing and hard stopsReduces minimum focus distance of all anamorphic lenses to 1m (even long-throw projector lenses)For those who shoot anamorphic especially this will be music to your ears. These shooters will also be familiar with diopters, which are used to correct aberrations and achieve very close focus. Effectively the SLR Magic Rangefinder is a variable diopter and thus a rather brilliant concept as it is capable of taking over focus from the taking lens entirely. Read the full article

I read that as an honest answer. This has been said over and over on this forum... Canon cameras just work. If you have 4K and it's overheating within 5 minutes, then it's not working, and since Canon's Rebel line is for enthusiasts, who will film their kid's birthday parties or baseball games, and it starts overheating before Susie blows out her candles, or before Billy gets up to the plate, that becomes a problem and in the end would hurt their brand more than not having it in the first place.

Thanks guys! Hell yeah! The real plan is to do a big comparison including the FM too, all of them paired with the same anamorphic

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!

It is so stunning that these old pieces of glass can still deliver so well. Remeber they were built nearly 60 years ago!!! The DV crap from Panasonic, Optex, Century is no match for most of them. The fact that 2x stretch is so rare depends on the low resolution of 8mm. There is also too much grain and that distorts as well. Therefore the Hypergonar was not good for 8mm: I never saw acceptable film with it.

Not RX10mII, but RX100mkIV instead, here are some clips I recorded this weekend. SLOG2, 24/120/240fps, mostly 1080 but a couple 4k clips downscaled Also, haven't had any overheating issues with mine as of yet, though I rarely ever get close to five minute clips.

With LOG comes great power and it is down to the user how good ends up looking. There's a lot of terrible looking LOG footage out there due to the individual grade rather than any codec weakness and I don't think 10bit ProRes LOG from the Blackmagic Cameras looks significantly different or better to 8bit LOG. 10bit is overrated for everything aside from keying. I have graded 10bit from the GH4 to Shogun and didn't see an advantage in the grade even when pushing it to extremes to see what was lurking in the murky depths!! In my view, it doesn't suddenly benefit skin tones. That is more down to the sensor and image processor than 8bit vs 10bit. Take for example 14bit raw as one extreme in terms of colour / bit depth... only way you can go more extreme on the specs than that is 16bit on the Sony F65! To make use of 10bit let alone 14bit and 16bit the sensor has to deliver an extremely wide dynamic range AS WELL AS a massive colour gamut. Now, we already have experience of 14bit with Magic Lantern raw. Is it significantly better than 10bit raw from a Blackmagic in terms of codec or grading flexibility? No. The sensor makes more difference. The sensor in the 5D Mark III is very good, very clean, wide colour gamut. The one in the BMPC is noisy and has a harsh run off into the highlights. Great codec, yes, but 10bit vs 14bit with that same sensor performance would have made very little difference. Now we have a shining example of how good 8bit LOG can look for colour... he is called Mr Canon 1D C. You saw how it compared to the NX1 which I previously sung the praises of for being actually very very nice indeed at capturing vivid, rich, satisfying rec.709 colour. What LOG does for a camera, regardless of 8bit vs 10bit, is quite frankly magic and should be highly regarded. There's 'light LOG' like on the 1D C by the way, which doesn't go as flat as S-LOG and doesn't dramatically change colour, leaving it very saturated. I think S-LOG does go to extremes in terms of dynamic range... but it is not 8bit which causes the weirder colour vs the 1D C is it? Because they are both 8bit codecs! A7S owners, indeed RX10 II, RX100 IV owners can do an experiment. Shoot 4K 8bit LOG video. Shoot a raw still. Grade to match. Compare. Difference will be smaller than you think!

more anaMOREphic...

The Sunny f/16 rule is helpful to determine the approximate exposure for typical settings: Sunny: f/16 - ISO 100 - 1/100 Overcast: f/8 - ISO 100 - 1/100 Sunset: f/4 - ISO 100 - 1/100 In your case, ISO 800 = 1/800. You want 1/48 (1/50), so you need 4 stops of ND to correct for the shutter speed. And 1 to 5 extra stops of ND to compensate for the aperture if you want to shoot at f/2.8. 3 + 6 sounds about right. Enough to tame the bright sunlight when you combine them, and good for overcast/sunset using them separately.

I thought this could be an interesting topic inspired by another thread about buying gear for business. Personally, I believe in ideas and how they are executed - that's how I sell myself really. Most clients never really question the camera, and if they do, they are usually clients who can't see that a production is much more than a pretty camera. Let's just assume you know what you're doing, you have talent and have the money to spend on a RED package. You not only sell yourself on your ideas and current portfolio, but also the fact you shoot on RED. Because you are skilled, have talent and resources, the images you provide will quite likely look stellar. In your view, do you think this knowledge by the client that you shoot RED would create more business? Certainly in my local arena of competition, you would have an additional, very distinct USP. But generally I do feel with current technology, that the camera is much less important than the people behind it. But having better image capabilities really does help. There's a lot of different people doing different things in different areas. What's your perspective?

gamma and matrix are two seperate things. Log and CINE gammas control the dynamic range and contrast matrix is the color - this I prefer PRO for more natural skin tones and use Kholi hick's settings for the best skintones. Just experiment around. See what combination works best. I think generalizations like it's too green and yellow isn't give the camera a fair chance. But then again, I'm a hypocrit because I make fun of the nx1 being too magenta. SO who am I to judge?

Well, those 7 negative comments are vs. 826 positive ones. You're never going to get 100% of the buyers satisfied, some of those may well be competitors. Besides, there are a million protections these days: we have the 14 day money back protection, the eBay protection, the PayPal protection, and the credit card protection. Not to say all said and done we're talking about $344 bucks, so the thought of risk didn't even occur to me. But buyers, note that this is just the body (they're taking out the lens), it isn't same as the retail packaging that goes for $799 regular.

Oh, wow! When I saw this piece I felt like it was such a unique way of showing Berlin- such a positive outlook on beautiful places showing opportunities of doing things and enjoying them. You know(at Miraud), Berlin can be such an exhausting place, full of people seeking their once in a lifetime opportunity of getting their piece of the boheme lifestyle piece of cake. I think Andrew´s video shows a very down to earth outlook onto the grounded beauty of things in Berlin. It´s a perspective hard to keep one´s focus on with all the hype and hystery and sale out all over the place. Thanks for this encouraging poetic piece of truthfulness. A lowkey, beautiful digital film revue of the beauty to hold on to in Berlin- the capital of the Capital (Das Kapital:), once the city of the people. By the way, the GH4 looks more and more appetizing- heck I love my G6- GH4 would be even more 8bit filming heaven!:) cheers.

damn, man! you forced my hand! I had an eye in that for a while, thinking if I would go deep into that mod project, and now I had to get it. hahaha. Well, I'm gonna be following your steps pretty close, please keep me updated on your findings, will you?

The 1dc is three years old and it can handle the workload, along with being one of the 2 or 3 best sports cameras ever produced. They could have put that same tech in a 5dc if they wanted. The new C300mkII does 4k with dual pixel AF. They clearly have the ability. They've chosen to keep it upmarket, catering to pros shooting commericals, TV news, reality TV, rental houses and so on - which by all accounts the Cinema line has been a huge success filling a price point Red was never able to meet. I've said it before, top video specs clearly aren't driving the market. People on this forum are still a small niche in the overall market. Most of the people buying cameras are casual shooters looking for a "good" camera to shoot kids birthdays and school plays.

Nowadays cameras have so many features, not always working 100% that it is a mess to buy one and know that it will work in your application!!! You could point a cheap camera to the LCD of the Samsung and feed that to Video TX...

You could use your variable to test. Mark the stops on it if they're not already there and try different apeture/iso/nd combos and see what you feel you need the most.

Thanks, bought one. I think it's a great second camera for those with NX1 (I have one) and makes one heck of an ultra zoom out of your regular 70-200. With the APS-C crop, the 4K crop, and then the 2x 4K->1080p crop if you use that, it will be massive - there is no way to get that kind of zoom at that price. I will post some of these ultra zoom shots as well as some comparisons and cross-cuts once I get the camera, especially for the benefit of others thinking of getting this.

The only stat that matters for the card is the video bitrate. The highest NX500 bitrate is 70 Mbps (<10 Megabytes per second), regardless of whether you are shooting HD, UHD, or 4K. Your card has a nominal 95 megabytes per second, not megabits per second, spec. That spec stat is meaningless, as it could be the read rate or "maximum" read rate. What matters are sustained write rates. The u3 rating provides a minimum sustained write rate standard. It is sufficient for the max bitrate of the camera.

No, you can also shoot 24p in UHD (in NTSC or PAL mode).

This one would get you away from the matte box and solve the problem of vignetting... http://www.ebay.com/itm/Screw-in-Mount-82mm-Metal-Wide-Angle-Lens-Hood-for-Canon-Nikon-Pentax-Sony-82-mm-/330722764703?hash=item4d009ce79f Very impressive piece of kit...the 240 degree focus throw is definitely an exciting addition to still lenses!!

He he, yes, that´s exactly where my my little story about the Apple T-Book fits in

The biggest problem with the 1DC is it's price. And I'm not talking it's used price. Used is like a box of chocolates... And since new is $8k, what exactly is the point in comparing the two as if anyone actually cross shops them. If I was seriously considering the 1DC, I would also be seriously considering the Ursa Mini, and the FS7, and the C300 Mkii. So how does the 1DC fair in that company? And I'm talking the total package, IQ, easy of use, media, workflow etc... So given the current options, and the NEW price of the 1DC, how many here plan on picking up a 1DC for $8k new?

Great review Andrew. I want one! @Andrew - SLR Magic: Will it be available somewhere in Europe for the promotional price?

They just updated the firmware for "Pro" bitrates in video mode too, which is a nice bump. Also, you can buy one grey market off Ebay for $350. http://www.ebay.com/itm/Samsung-NX500-Mirrorless-Digital-Camera-Black-/191641873596?hash=item2c9ebeecbc

Vs the NX1, no mic socket, no headphone jack, crop in 4K, no 1080/120fps (only at 720p), time limit 15min in 4K, no gamma DR, no luma range setting or black level, but yes it is cheap though for such an amazing image and crop you can get used to. Stills quality also unbeatable for the price. I've shot a shootout between the two and it is coming soon in final part of my NX500 review which I decided to resurrect because I rather like the cam for the price. Decided to keep it even though I had the NX1 as it goes in a jacket pocket with a pancake 30mm F2.

I will try as soon as I have some time off work!

Yes, the CineVision 8mm is a pretty wonderful lens. Mine is not branded 'Petit' though...but it is the same tiny size. I've only ever seen the 2x versions appear on ebay once every year or so, the 1.5x model seems to be even more scarce. Below is old and boring video from mushy h264 from 7D, would really shine on a GH4 methinks. Far right of this pic, shows how tiny it is

The main problem with people shooting S-LOG specifically is that they're using S-Gamut in 8-bit, which if you know anything about color spaces is a HORRIBLE idea. You shot your 50mbps 8-bit codec in an enormous twisted-axis color space and tried to color correct it yourself? Without LUTs? Are you INSANE? I suppose I'm ahead of the curve because I know I'm shit with color correction. Besides the cheap and dirty DrewNetwork workflow for quick jobs, I use Speedlooks on all my footage. It gives me a great range of base looks that I can tweak a little to my personal taste.

as you know, going to a T/.95, it will introduce some softness and purple fringing (this is true for the Sigma Art & SLR Magic taking lenses I have) so i typically stay at a T/2 or smaller aperture. in a low contrast scene where fringing might be less noticeable, those wide open apertures could work though. And of course, there are ways to remove purple fringing in post. and yeah, the breathing is very much like how anamorphic lens from the 1970s would breath. for example, here's an example of how Lomos breath on focus pulls. the apparent change in "squeeze factor" is what is referred to as "anamorphic mumps". https://vimeo.com/96882585

Shoot log with your wb set up correctly and you dont need to do any grading at all! - just use your curves/levels to get to the contrast level which leaves the highlights unclipped, themids natural and the shadows not crushed. then boost saturation if required.

Thank you Emanuel for posting those links!!! Ive found that this gentleman: has graciously included a link to his original files for download! check it out how do you guys think this early rx10II/rx100IV footage compares to other manifestations of slog2?

Ah well as with all lucrative markets my opinion is that the corporate world is both difficult to crack and yet if you get your foot in the door it can be surprisingly easy to become a company's agency of choice just because in big business people often like to have a safe option. Once they know you can do a decent job it'll take a lot to dislodge you. Which brings us back to the discussion about gear. I don't think for one second that most of the people with the power to hire you know much about camera specs or the latest and greatest technology. However they do care about results. There's actually a lot of pressure on people in the corporate world to 'do things'. Whether those 'things' actually make an impact or not is often not the point. The point is to be seen in the company to be a do-er, and to have something you can put on your list of 'achievements' when bonus time comes around. Which in marketing can translate to making/commissioning a cool looking and expensive video. And yes, it often is important that it's expensive. When a marketing team commission a video they want it to be impressive, and to look better and sexier and bigger than the previous ones. Hiring a crew with a big and sexy looking camera is part of that, but another aspect (that's debated on this forum at times) is that there is such a thing in my opinion as an expensive look, which expensive cameras tend to give you. Sure you can make the greatest and most creative work of genius ever on a GH2, but something shot on a Red Epic carries a kind of weight in it's imaging that affects people even if they don't know what it is or why it has that effect. If you're a marketing person you're more likely than not a little obsessed with image and look and feel. So it makes sense that an expensive crew with an expensive camera producing an expensive looking 'hollywood' type image is going to seem very attractive. Just my opinion.

Cool. We were debating in the office today how a small boutique like ourselves, who have a history of music video production but can also do corporate/commercial work just as good (we have examples), would approach this market? This is where we are at. We've obviously done our research and have a development plan in place, thought it would be interesting to ask your view? Everyone's answer is different.

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!?" -_-

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...

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.

"Do you shoot with a RED?" "RED...? Sir/Mam I think we can do a little better than RED, I mean if you ask me your company deserve more, something with a bit of panache.... bla bla. .. BS BS. .." Sell Sell Sell

Got a call yesterday...this is the first thing he said: "Hi, I want to shoot my video on the RED Epic. Can you do that?" My reply was: "You need to tell me everything else first, like, what's your name?" This client turned out to be a bit of a moron really and I chose not to work with him. I have a feeling the URSA Mini 4.6k is going to be incredible. If I end up buying one, if anyone asks for RED, I'll reply with: "We shoot with the new kid on the block - the brand new, just released Blackmagic camera. It's incredibly cinematic. We don't need RED when we have this!" It's likely that 99% will soak that one up very nicely - it's just the way you say it!

Canon RAW tends to be more pleasing out of the camera because it has more contrast and a less linear tonal response than Sony/Nikon RAW (except the D810). You can read more about the subject here: http://blog.mingthein.com/2015/03/18/understanding-native-tonal-response/ This is also hugely affected by your RAW converter, your choice of color profile, whether or not you profile your cameras, and your PP abilities in general. Given a flat RAW file shot with good technique, "nice contrast and color" is entirely in the hands of the photographer. Ming has also noticed a slight difference in color rendering across the tonal range in RAW files after profiling (as noted in his 5DS review), but he considers it too minor to make a difference in everyday shooting. Also, something to keep in mind: "better" is a dangerous and subjective word. Better for what? In what way? With what other drawbacks? At what price point? In what form factor?

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.

Gonna dig mine out and take some pics:)

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.

It depends on the 'client' you're talking. Producers hire Cinematographers based on talent, knowing full well they're going to have to hire a camera system. This is usually budgeted for. If the Cinematographer in question happens to own their own camera that the production can use, in this case it's generally used as a win-win for the production and the DP - the production pays a discounted rate for camera hire, and the DP gets more money as a camera hire rate. At this level, the DP is rarely chosen simply because of the gear he owns (and I have many friends who were making good money before buying cameras - they realised that 9 times out of 10 they were hiring Alexas for jobs, so they decided to buy one and take the camera hire rate themselves). On lower budget productions, having a decent camera can sometimes help to secure work. However, in this case, clients are generally looking for someone with a full package - usually camera, lights, lenses. A friend of mine is a Gaffer who works on high budget films, but also owns a RED, and tries to shoot low budget stuff (decently paid), and his gear always gets a hammering on the low budget stuff as you just can't afford the crew you regularly work with, and the general wear and tear that happens on every shoot is less likely to be compensated for than on something that has a bigger budget. He shoots quite nice looking stuff, but a DP he works (who also worked their way through as a Gaffer) said to him 'if you really want to work as a DP - sell all your gear'

Thanks for the all the interesting glass Brian that you have been involved with. What would be interesting is working af for birding glass on GH4. Since there is still not proper nature lenses .. such adapter would not need speed boosting. The current competition seems to lack proper af capability for non native lenses. naturally this might not be your field of expertise and some other folks at metabones do the electronics. Beeing able to use Tamron 150-600 and Sigma 150-600 with working af for MFT mounts would be sweeet. ( i know it's very niche) BTW is there non radioactive way to make such high performance optics? Lanthanum in my understanding is little bit radioactive. Heh perhaps provide small stylished lead lined case for those speedboosters ..

Hi Julian: The 0.71x SB ULTRA is intended as a true general-purpose Speed Booster for m43. The 0.64x XL is a more specialized item tailored for the GH4 and a few other cameras, particularly for the higher crop factor in 4k. The ULTRA has incredible optical performance all the way across the field, as you can see from the MTF curves. BTW, the Speed Booster XL and all other m43 Speed Boosters for the Canon-EF lens mount can be upgraded to autofocus by means of a firmware download. So if you like the XL and want autofocus you can have it. Brian

As part of my MA program we were asked to create a short clip that tried to capture the experience of getting lost in thought staring at something. Here's my take, filmed with the Sony A7s in SLOG2 and using a DeLUT from James Miller. I'm pretty stoked that I'm finally getting the hang of SLOG2. It's not great to use in low light situations, but I nailed a sunset at the very end of the video, something I'd been trying to do for ages after watching Ed David's Kholi footage a while back.

​I have the LX-100 and love it. It has decent image stability, a nice lens that covers a useful range (24-75mm), great manual controls, and records a nice 4k picture which looks fantastic in 1080p. I also like the grip and ergonomics of the camera - it feels good in the hand. I also owned the GX7, which I used with my Panasonic 35-100/2.8 lens, but sold it for a few reasons: 1) I missed some of the features that the LX-100 has - auto ISO in manual mode, being able to switch the display to monochrome to allow the peaking colour to stand out, quieter mechanical leaf shutter for stills (the GX7 was loud and electronic shutter gave me distorted pictures), full manual controls of shutter, aperture, exposure compensation. 2) The P35-100/2.8 was giving me a lot of jitter when using the OIS. I had been thinking of trying another copy of the lens, but in the end I just decided to sell the GX7 and buy an OMD E-M5II for any longer focal length video work (and for stills with P25/1.4, O75/1.8 lenses). The LX-100 is a great all-round video and stills camera. I have a step-up filter ring to 58mm which I use with a set of standard ND (3/6/10 stop) and xume magnetic filter adaptors. I leave a 3x or 6x on depending on light conditions and use them like a lens cap. When I went on holiday I fit the LX-100 + a variable ND in a tiny Thinktank Mirrorless Mover 5 case. I have the LX-100 set up quite comfortably (for me) right now. Custom C1 is for stills. C2 is set up for 4k video, and C3 for 1080p/50fps. Fn1 for switching between custom modes, Fn2 for switching between monochrome/colour EVF, Fn3 for locking the control buttons. AF/AE is set for autofocus (which I wish worked during recording when in manual mode!). To switch to video I just select my C2 setting, switch the shutter dial to 60, the back dial to adjust the shutter to 50, and then Fn3 to lock the settings. Outdoors I generally leave the aperture dial to A and modify exposure with ND. Indoors I use Auto-ISO and/or vary the manual aperture dial for proper exposure. I'm using picture profile "Natural", -3 Contrast, -5 Sharpening, -2 Noise Reduction, 0 Saturation which seems to be OK to me (I need to do more colour testing though which is hard for me as I'm colour-blind). I wish the LX-100 had a tilt EVF/screen as I do miss that on the Gx7 as most of the stuff I shoot is of my kids and it is easier to get low shots. Regardless, even the small LX-100 EVF is handy for seeing in bright outside light. It would be great if they could extend the video recording time on the LX-100, as well as allow you set the minimum shutter speed for iAuto-ISO (for stills). I'm also not sure why there is no ETC mode for 1080p settings. Panasonic, in general, should allow AF-S during recording when in manual focus mode. I used this a lot with my Olympus if I needed to quickly regain or ensure focus. I prefer a bit of focus hunting (which I can edit out if needed) than out of focus shots. I also find that sometimes the focus peaking on my LX-100 "disappears" - I still haven't figured out why. It would be nice if Panasonic offered a way to "fix" the shutter speed (say to 1/50 for 25fps or 1/100 for 50fps) and ignore the manual shutter dial to save an adjustment step with the back dial. It would also be useful to allow us to use the shutter button to stop/start video as I sometimes "miss" the small back record button.

Yep just downscale in whatever app you use. The whole 4K to HD 10bit theory was incorrect so you will gain nothing by tracking down the specialty apps that were made for this.

If the size of LX100 doesn't look impressing for the customer smile emoticon FOTGA rig, Zoom H4N, RODE stereo mic, RAM mount, LCD-V3, Opteka 58mm extention tube. There is no need for a belt to attach a follow focus. The follow focus blocks access to the focus mode switch.