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I was skeptical of Olys 5-axis. Then I used it. I can do stuff handheld with discipline that looks indistinguishable from a slider or something shot on a tripod. Its creative freedom. And it's a tool that allows me to get shots really quick when run'n'gun'in'. It's not perfect, but it is very useful for a certain style. I do docu style, so it fits. I don't use it for EVERYTHING, but what I do use it for, it's pretty nice. I sure as hell don't think that ANY camera I decide to use makes me in any way more accomplished of a shooter. I'm very camera agnostic. But I do like Oly's 5-axis feature. It's a fun tool to have. It's almost like cheating. It allows me to get that good framing easier... Mind you, if you kinda stink as a shooter an EM5II isn't going to magically make you frame better compositions, but if you have some compositional skill, it'll let you grab those shots in a quick and practical way.

If colour is your only problem then you're in luck my friend. http://www.eoshd.com/comments/topic/8438-pleasing-neutralising-panasonic-luts/ It was created by colour matching GH4/GX7 footage to Canon footage of the same scene and colour charts.

Well, here's a very simple shoot as an example. I did this for a friend over the weekend on a moments notice. It was basically a 1 hour shoot. I grabbed shots as fast as possible. Sure, I could have placed a tripod in a lot of spots and had the subject wait for me to compose... Or I could have let her do her thing and I would just follow, and still get cool shots along the way. With the EM5II, I just did the latter Slider shots without a rig, static shots without a tripod...it's a very nice capability to have. Granted, this isn't groundbreaking stuff, but this particular camera does give me some worthwhile footage. I don't know what else to say. It's fun for me. That's all

By now you might be wondering which to pull the trigger on - the RX10 II or RX100 IV? The good news is I have now finally got round to finishing my review of the RX10 II and have also bought the RX100 IV to compare it with... Read the full article

I'm not so sure about that. I just think they're not willing to be on the cutting edge of video specs, because they can't really devote serious resources and development to it. However, they can adopt the technology a little bit behind the curve. They seem about 2.5 years behind. So, eventually, they'll get there. Now, if your thing is to have the bestest and coolest video IQ from a consumer stills cam, then you'll always be drawn to those models offering it. I, however, tend to think that even median video IQ from 2015 cameras looks "good enough" already. If you're a competent shooter, you can make most cameras work for you. Here's an example: Last week I did a quick documentary style corporate shoot for 20K. I hired a guy that I know likes to trick out his GH4 and likes to run around with a bunch of grip stuff. Now, I did that not because I knew he was going to get wonderful footage, (I know his capabilities and that was expected anyway) but I needed him there so the set looked "professional." And it did. Big lens, matte box, c-stands, silks, reflectors, dead cats, audio harnesses, etc. Okay. So that put the client at ease. Their money was on display. Meanwhile, while he was doing all the A-Cam interview stuff and some misc B-roll, I was running around with a little EM5II grabbing shots non-stop. In the end, over 90% of the b-roll shots in the final edit are from the EM5II. Final delivery is for the web @720. Unless you're super-discriminating, you can't tell the difference in the edit between the EM5II footage and the GH4 footage. As a casual viewer you're just not really going to see it. So this is how I view the whole camera IQ debate. What I can do practically matters. I think I've come to terms with the fact that many people will always chase the technical holy grail with IQ, but my focus with many of my jobs (and my philosophy on how to approach those jobs) lies elsewhere. And let's not loose sight of the fact that in 5-7 years we're all going to have robust DR, great low light capability, and 4K. Sure, there will ALWAYS be superior IQ devices, but even if you have that capability, what are you going to do with it? I DO get excited to shoot with awesome cameras, love being blown away with great images when I rent pro camera gear, and I know they are an absolute necessity for certain productions. But not for all. Not for your cat videos --or cityscape videos set to emo music. At a certain point when are we all just arguing how many angels can dance on the head of a pin? I mean, even this lowly Oly camera has better IQ than the greatest auteurs of the mid 20th century had access to during most of their careers, so I say the tools are great and wonderful, just go use them effectively and you'll be happy. Finally, as a camera manufacturer, nobody can outdo Fuji when it comes to offering lousy video in their stills cams. They set the bar so low that it's unacceptable even for me!

RX10/100 only have contrast detect, no phase detect. http://***URL removed***/articles/1652088044/sony-an-eye-on-focus I always get eye cancer when reading dpreview, thanks to the nice white on black background...Who needs good UX?!

Link first: http://www.4kshooters.net/2015/08/28/filmpower-tease-the-nebula-4200-a-new-5-axis-gimbal-stabiliser-for-dslrs-and-mirrorless/ The thing holding me back from investing in a small gimbal is the vertical bounce that you can see in the majority of "test videos" This gimbal, if it works as advertised, might make me open my wallet!

I have created a new set of LUTs for Panasonic cameras. Having spent the last year and a half reviewing footage from my camera (the GX7) and various others, I have become quite familiar with its colour characteristics. In general I do find them very pleasing but in some respects they are quite flawed. And I wish to have pleasing colours without resorting to film emulation. My new LUTs do the following: Fixes the shift of reds to orangeGives greens and blues a subtly deeper and more satisfying colour.Stops the abrupt shifts of orange to yellow (which is generally what causes the poor skin tone rendition)Stops yellow from becoming overpowering.Allows film emulation LUTs to be applied without certain colours going mad The set includes two types of LUTs. One is called “Pleasing” and it gives a Canon-like rendition. The other is called “Neutralising” and gives a RAW photo look (ie. very neutral). Within each type, there are several alternatives. “A” is the main one to use, whilst “B” and “C” are offshoots with slight differences. Each LUT is actually quite subtle in how it changes the image, but its the subtle differences that can change how natural an image looks. The LUTs will also make it easier to apply film emulation LUTs without certain hues going out of control (eg. yellows becoming nuclear). Download now: Inazumas_Panny_LUTs A note on camera settings: Having done a lot of testing of camera profiles, I do believe Standard is the best. Some people recommend Natural but it shifts a lot of colours towards orange, which looks good for grass but is a bit unnatural. It also makes people look orange. Contrast at -5 is good but saturation at -5 is a bad idea if you plan to increase saturation in post anyway. This is because when you increase saturation in post of the 8bit footage, you will get loads of colour noise in the footage. I also have iDynamic on Low and highlights at -5. I use preset whitebalances with the adjustment dot set to M5 (5 points below the centre). I don’t have a GH4 so I can’t say how well it will work for CineD footage. Some images: Without LUT: With LUT: Without LUT: With LUT: Without LUT: With LUT: Original post here

http://www.43rumors.com/ft5-strange-rumors-panasonic-to-launch-a-panasonic-gh4r/ Panasonic is doing exactly what i hoped they wouldn't do.

A paid firmware update and a pre-installed version of the camera would make way more sense than forcing existing users to sell their GH4s for new versions; Panasonic can't be that dense. I don't blame them for charging for V-LOG. A good LOG profile will be like having a whole new camera. And considering how many people are avoiding the GH4 based on color science, DR, and oversharpening, this will address almost every major complaint with the camera. In my opinion, that's worth a couple hundred.

The "GH4R" rumor just seems to bolster the notion that it will be a paid upgrade. Otherwise, why would they need a new designation for a version that has V-Log pre-installed? We already have GH4KBODY (body only), GH4-YAGH (with yagh), GH4H-K (bundled with lens). And maybe others I'm not aware of. If true, GH4R is probably just the designation for: "bundled with V-log".

Received my color checker a while go, but just got a chance to audition it. and well, I wish I'd sprung for one of these sooner. Now I get the skintones I prefer from the GH4's Natural profile and can quickly balance the image before grading it. I'm thinking I should just permanently mount the color chart to the slate during production. Here's a sample. Uncorrected frame followed by the instantly balanced version using the color checker grid. I did no other adjustments. GH4, SLR Magic 25mm @T/2.8, Kowa Bell & Howell, Rectilux 3FF-W, Hoya ProND 4. ISO 200, Natural, Contrat 0, Sharpness -5, NR -5, Saturation -2, Tint 0.

They haven't sent out the firmware to the testers, they sent them a camera with v-log.

Panasonic is being really silly about this. Sending out the firmware beta to testers / shops. Not telling anything about the fact that they will probably charge you for it. GH4R doesn't have to mean a new camera. There already is the GH4K, GH4AEG-K, and other crazy letter combinations (you can really buy a Panasonic DMC-GH4UE-K + AG-YAGHG for example...) The add-ons just tell which lenses is bundled with the camera. So GH4R could mean GH4+firmware and an identical camera. If Panasonic does not release the V-Log update for the current GH4, that would be completely stupid, since we've already seen it working with the beta testers.

Could it have some of the GX8 tech, though? Don't see the point of bringing out a new camera package if it's just a firmware thing... they've been handing out V-LOG firmware for GH4 users to test already, so that should already work, no need to bring it out as a new camera unless there's some actual change in hardware, I'd say.

I still use my 5DII for stuff. It is what it is, and absolutely offers a certain value. Choosing a camera body is a lot like choosing a certain film stock to shoot on back in the day...

After I bought my G6 (thanks to Andrew's article on this blog) I regret all the Canon I bought I sold that 70D and all the Canon digital lenses, so I had some money to buy the GH4. I'm totally in love with Panasonic G6, I use it as second unit with GH4 and they can match really well. Since I don't use 4k that much, the only drawback is the lack of live-HDMI: with an external monitor you can check only the shoots you made, but you can't monitor what you're doing. Anyway the EVF is GREAT (try to do that with a Canon!), the dynamic range and the final quality are stellar and in my opinion they smoke easily any non-hacked Canon DSLR. With G6 is also very simple to achieve a natural cinematic look in camera: just use "Natural" profile with contrast -3, saturation all the way down and sharpness -2/-3. With Canon FD lenses and Zeiss M42 lenses you can shoot really filmic things. I would never return to Canon DSLR, at least until they remain in 2009

Just tried warp stabilization on Premiere. Just for the motion analysis it takes about 30' for a less than 2' 4k clip. That is with a 8 core overclocked to 4.5Ghz machine! Not that cores matter since it is not a multi threaded computation. Now I agree with your point. I cannot imagine myself having to stabilize longer 4K footage.

Here is an example of why I think DIS is such an important breakthrough. This is a video of close-ups of insect life on flowers, shot with a 90mm (35mm-equivalent) macro lens handheld. You cannot efficiently shoot dragonflies, butterflies and bees at work with tripods - these insects move around and you have to "capture" them opportunistically - you have to be able to move after them with camera and shoot while they are in place. Without stabilization, the close-up video would be unwatchable - way too jitter and shaky. Well, here is what you can get using the NX1 with DIS and OIS combined:

Nah, just get a Sony A6000 instead. Or even better... Dont get a camera at all!! ;-) Wait for the Sony A6100/A7000/A7smk2 to come or to see a big drop in A7s used prices. Just say pass on an A7!

Just wait for the Pentax 645Z to drop in price and will be $4k soon enough.

Only yesterday we received the Ronin M. Works from the start. Only concern is that it feels heavier (with camera) than the demo videos suggest. Maybe one day we change ...

For a while I was opting between a used F3 and a Canon C100 Mk2 then I found a F3K with Slog and RGB444 with 2 x 64gig SXS, Sony SXS reader, Three Sony PL lenses 35mm 50mm and 85mm, 2 x batteries, two pelican cases. The camera had only 65 hrs and was absolutely mint for $5000. I decided to buy the Sony and is really very very happy with the image quality of the camera. I added the Nikon to FZ adapter so that I can use all my Nikon and Zeiss still lenses works perfect.

Having played with both cameras side by side with identical settings, the RX10 II certainly seems to have a more pleasing look out the box. It feels more natural and accurate - whereas with the A7S it's not as prominent. I feel this may have something to do with the ISO, as the A7S needs 3200. You get much more pleasing colour when you add light, rather than artificially boosting the sensitivity. (this is completely non-scientific, just experience). Only buy the A7S if you need full frame and better low light, but don't live under the illusion that your overall image quality will be better just because you can boost the ISO. Be prepared for a lot of noise and cocktails of weirdness when used this way. A lot of the Vimeo-lots "replace lights with the A7S". Not a good idea for serious usage. The A7S for regular use under a different picture profile can look spectacular though. Slog2 + low light is best avoided. I would personally wait for the A7S II unless you get a ridiculous offer. Very good camera. Keep enjoying the RX!

No, but I will try that next. I had the LCD panel pulled out so heat from the panel itself should not have contributed much, but it's possible the drive electronics for the LCD could be producing more heat if bright. I also have an Atomos recorder so will see if that makes any difference, esp if triggering recording from it vs the camera.

Thanks for the review. As an owner of the camera, I can definitely relate to some of your points made. I would highly recommend anyone shooting on the camera to not use the factory settings for Slog2. It looks like Homer Simpson put too much butter on his bacon and threw it all up, and you have a toothbrush to clean it up. By playing with the Slog2 settings, I've got very pleasing skintones and colour - better than the A7S. It's certainly no replacement for an FS7 either. The difference between Slog3/Slog2 10bit/8bit combination is very obvious when you start playing with footage and matching it up in the grade. If you need 100fps and have the budget to rent the FS7, then you should The camera is great quality though. I bullishly took it out for a night shoot to do some narrative shots for a music video. We had battery powered lights, so low light wasn't too much of a concern as most of the shots were mid/close-ups. Unfortunately, it was too time consuming on the tight schedule and we called out for an A7S and whipped out the Sigma ART lenses - using two LEDs to shape the light around the faces. (The A7S record button - absolute fail!). The RX10 footage was superior - because it was lit properly. The A7S did the job but the shots are very noisy, and I certainly would not shoot this way on a regular basis just because I can - unless I want cocktail zombie vomit images! Point is - the RX10 II shows it is a great cinematic tool with all factors considered. Certainly the great low light of the A7S has very serious trade-offs. The BEST thing about the camera is the ability to run around with just the camera, grab your shots and put more time/focus on the subject. It's a liberating low budget tool that's perfectly capable of creating fantastic images with a very small footprint. Just the one thing I'm struggling with is sharpness. I have a feeling the peaking is a bit inaccurate and I think Sony should have a look at this for a firmware update.

After reading Andrew's newest post about the Mark IV, I went back to check my rx100 and sure enough he's right, I've got my numbers all wrong here- my old A7s started at ISO3200 for sLog2, and the RX100 starts at ISO1600... so my video above is at ISO1600. sLog2 by default is noisier than others, but not necessarily in a bad way.

awesome!!!!! what a great review. andrew i love your writing style and this was filled with great information thats super useful to me and my new rx10m2 i have owned a few cameras over the years (anybody remember this?) and the rx10m2 represents many firsts for me its the first camera ive owned that i have ~any~ intention of shooting stills with that has a fixed lens, or a sensor smaller than +/- super35mm. if you wouldve told me three months ago that my next camera was going to have those characteristics i would have laughed but when i realized that this brand new “bridge” cam could be a [relatively] inexpensive point of entry to shooting slog2 to see how much i like using it, i said why not~! because im very interested in the performance of the a7rii, and the upcoming a7sii, but im also interested in all the alternatives for the varied advantages they may provide. anyway, some salient points which i personally appreciated: • rx100iv magfilter, how interesting~! good to kno • calling the 1080p the best youve used for the money is a big compliment! and your simile about a small sensor fs7 is just the thought i had when i first starting shooting 120fps with it!!…. its like a lil baby fs7 with a small sensor that i have with me~! no ones bringing an fs7 anywhere because its fun to carry around lol • thanks for underscoring the 240fps being so good. i havent shot above 120 yet due to fear of quality loss and lack of time to experiment, but ill be sure to use it soon~! awesome • re: low light, didnt know i could raise the iso for slog2 above 800 hadnt even tried ive been fighting with color in slog [a topic for another time, frowny face]. thanks for the heads up • agree the 4k isnt impressive per se, but its my first 4k camera so it is for me in all those ways lol. a world of possibilities. but yeah, the 1dc for example annihilates it in terms of resolving power. its like night and day • the continuous af in movie mode is so bizarrely awful that i couldnt figure out at first IF IT WAS ON OR NOT. when i realized it was i had to laugh such garbage. james may on lsd lol • "Too many 'cannot do this’ messages” ok i think you get my point that i liked this weblog entry (tbh reading it at work was the most fun ive had all day smfh). also im sorry that i didnt make posts complaining about the wait for the second part of this article; ill try to bitch more in the future

Did you turn down the lcd brightness all the way? That makes a huge difference in the old Nex cameras like my NEX 7

How does 4K on the RX100 IV compare to the LX100?

Me and my friends have a technique we call the Polish Steadicam. It's the guy with the steadiest hands and a wide angle lens, who we push around on a little cart. We look like clowns on set, but the results are great.

Well, not for your enthusiast soccor mom/dad, the traveller and the streetphotog that want a somewhat compact all-in-one solution. Besides, they make for great secondary cams as well?

Better DR at higher ISO value... LOL this was the argument of canon for years saying there sensor is better than the Sony one. Otherwise for the first comment above, yes I agree 13.9 is enough in real life. But when you pay 3200 in the last camera you are sad to get one stop less than D810, obviously. And as you mentioned the worst is with long exposure.... And don't get me wrong, A7RII is an awesome camera. I have the feeling 3200 is not the right price considering those quirks.. 2500 certainly.

To be fair on the client, the inclusion of such heavy flares does fit the brief. The brief is an incrediblly high octane performance with a sci-fi neon feel - using distortion, flashing lights, flares, defocus techniques, glitches, lens whacking (we helped them out with the idea of course). We referenced the flare techniques are now they are obsessed! I could do it in post but where's the fun in that? I'm a firm believer that if you can do it in-camera/practical - then you should! (Look away George Lucas!)

It has only one ND setting, that being on/off; the ND filter is rated for 3 stops, though, if thats what you mean. At 1600, there may be some noise, but nothing that seems unreasonable or surprising; I mean, at 1600, you're already getting pretty high up there in ISO. Coming from my old A7s which started at 1600 in sLog, starting here at 800 is much more manageable. My video above was ISO800 I'm sure, with ND filter on, probably shot at a higher shutter speed, like 1/250 or something, not the usual 1/50 that I would've preferred. Still has rolling shutter when shooting 4k (as you can see in my video in some spots), but at 1080 rolling shutter really is absent.

Which Hoya NDs did you have? Their ProND line is very good. But their others, not so much. If you want a variable ND, I've have very good experiences with SLR Magic's. In this video I compared it to the Tiffen VariND.