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Here's this I shot on the sony f3 and fs700. And now more and more reason to rejoice -the fs700 and f3 price drops to now around 1k used - cheaper than the NX1 or A7S and better sensor, better motion, and it is such great news - thank you latest and greatest technology. Because I still think there is a lot of magic to be had from what you can do with the f3 and fs700 - and save yourself $3000 that you can put towards lenses or other things. The march to newer and newer technology makes the old stuff so much cheaper and with the same results.

Topp 5

I personally believe that very large exteral recorders defeat the purpose of compact cameras. I hope that they bring out a 4k Ninja Star.

Hoya ProND line. Buy from Greg here at his eBay store. He's selling genuine Hoya ND filters at a great discount. The ND32 will cut 5 stops. http://stores.ebay.com/photo4b-eu

I've been working with VLog and it is definitely the real deal, and at $99 a no brainer. It's a gorgeous flat profile that can be pushed around in grading. This is the first post I've done with VLog. It's a glamour film I shot a day ago with my wife for our style blog. http://www.togetherinstyle.com/stories/sequens-a-fashion-film ISO's range from 800-1600 with very harsh lighting in a dark room. Also it's at 96fps so there is compression, but still beautiful none the less. Color wise it's like having a mini Alexa. I simply used the Alexa Log C LUT in Color Finale and faded it to my taste. Nothing else was thrown at it in terms of grading. The two stops dynamic range is very real. Worth every penny. I'll be doing a lot of work with VLOG from here forward and sharing in posts on Together In Style.

In case anyone does not want to install V-Log-L into their GH4, there is one company that will do it for you for free. You just need to deliver or ship you camera to Hot Rod Cameras. Here's the pre-order page for V-Log-L: http://hotrodcameras.com/panasonic-lumix-gh4-v-log-l-function-firmware-upgrade-kit.html Also, since we were involved in the development of the GH4, Hot Rod Cameras will also be receiving the first shipment of upgrades. I.

One shoots faster frame rates than your editing frame rate --if you're eager to do slow mo. For instance, I often shoot 60p 1080 a lot because I like to be able to use my shots on a 30p editing timeline at regular speed AND switch over to 1/2 speed on certain shots if I wish. This works well because 60 is "smoothly" divisible by 30. Also, the higher frame rate of 60p seems to me to use only about a stop of extra light than 30p, so it's not going to crimp you from shooting in lower light situations. Anyway, I think Andrew's basically saying you CAN shoot in those high frame rates if you want to because they hold up visually. In the past you'd get some weird image processing artifacts from capturing footage at such a high frame rate. This new Sony camera will not only shoot continuously (no buffering) @60fps, but also in 120fps. That's fun. Here's an example of some 120 and 240 I did 3 years ago: If you don't want to do slow mo, or if your clients don't require slow mo, this is all a moot point. Also, I don't understand your comment about learning a whole new grading system simply because you switch cameras. Can you explain that?

Here is the V-Log to V709 LUT if anyone else is wondering where to get it. http://pro-av.panasonic.net/en/varicam/35/dl.html

The ME20F-SH is a low light capable video camera with photosites sized to 19 microns on it's 2.26 MP full-frame 35mm CMOS sensor to deliver an ISO equivalent of more than 4 million. The suggested retail price is $30,000 I guess the A7s just got a little competition lol, will see how the cheaper A7sII will stack up in the Iso capabilities and real world low light performance. http://www.engadget.com/2015/07/30/canon-me20f-sh/ http://***URL removed***/articles/5496399487/canon-multi-purpose-me20f-sh-camera-reaches-iso-4-million

Depends. The boosted adapter uses optics that concentrate the image circle and project it onto a smaller surface. This will allow more of the image circle to be seen by the sensor, in turn creating a wider field of view (as well as creating a bit shallower depth of field because of it). Since the light is concentrated it's brighter as well, allowing for a slightly lower ISO to be used for example. So, if you find it hard to get wide shots and have trouble dealing with lowlight, because of the sensor's crop, then the boosted adapter might be your thing. If you, however, are perfectly fine with the focal range as it is and don't need to go wider or have a need for gathering a bit more light, you should be fine enough with a cheaper adapter without glass. And neither of these have to be from Metabones. There are some focal reducers/lens turbos (with optics) by the likes of Zhongyi and R.J. for example. If you're looking for simpler adapters without optics, you might want to check out Commlite, Novoflex , Kipon, Fotodiox, Fotasy and Fotga to name a few. They won't break the bank either. There's something to be said for Nikon adapters with Nikon mount lenses. Since the aperture is controlled mechanically, it allows for very basic adapters with a mechanical interlink to the lens in order to open or close the aperture. The thing with some Canon mount lenses is that there are a lot out there that only have electronic control (no aperture ring, no mechanical link)... and there's not really a simple and cheap solution for that, except perhaps for keeping a Canon body around that you have to use for switching lenses only to allow to change the aperture on the lens for use with a third party camera like a Panasonic or Sony through an adapter. There's electronic adapters surely, but they'll cost you. Benefit though is, that with electronic control you might now take advantage of the autofocus and lens stabilization features. So that choice depends on your needs too.

Thank a lot! I think I will do that... I was looking at this package here: http://www.bpm-media.de/en/Sales/ENG-Live-Production/Cameras/HDSLR-Cameras/Panasonic-DMC-GH4A::368198.html The reviews of he lens seem like it would be good for video... but I'm sure once I start buying lenses I won't stop... Thanks again!

I do a bunch of narrative work as well - shot a narrative film two years - thanks for that here's some of my narrative work: the three below shot on the f35 and red one mx which are about $4k now used

As a chronic sufferer of being a pre-order warrior, I can't wait to get my hands on the URSA Mini 4.6k. Some friends have said I shouldn't wait and just get an FS7, but I don't mind waiting a bit. My gut says it's going to be a monster. In case you missed it: http://noamkroll.com/chatting-about-the-new-4-6k-ursa-sensor-more-with-dan-may-president-of-blackmagic-design/

Yes that was me, sold it for 280$ on ebay.

it's probably easier to get a deeper depth of field on a large sensor than it is to get a shallow depth of field on a small sensor, sometimes. if it's you're only camera, go for some middle ground sensor size (micro four thirds, aps-c) to have (sort of) the best of both. focal length could be all you need to change to get either result you mentioned with the hypothetical interview. could you handle raw or a higher end codec if you got a blackmagic? no offense, obviously we're all learning, but you sound a little new to all of this (which you can stop apologizing about btw ). gh4 is a great image, not too expensive, and some slowmo ability if you ever want it. g7 might be a better option - cheaper, pretty identical image, still some slowmo ability, though you'll never get log. might want to keep this next camera you get as cheap as possible, with a workflow and ergonomics you know you can handle, while still having an acceptable image and somewhat large sensor, if this is one you'll be learning a lot on. and then if you decide you need something later, you can upgrade no harm done. used to be the t2i everyone would recommend here (still what I use), but the g7 is a big jump in image quality and not a big jump in price. kit lens and a fast, vintage prime, you'll be learning a lot and have very few restrictions.

Not quite. In this context, we're talking about achieving the opposite of keeping many things in focus. In the example mentioned, the subject would be in focus and the background would be blurry. Therefore the image would be more pleasing because the subject would be the focused visual interest while the background would not be --on account of it being out of focus and not revealing distracting details. And the author of the post mentioned that the space needed to accomplish such a look would be smaller...because larger sensors with wide-open f-stops can make that look happen in shorter distances. Its all about the math of how light moves through your lenses and how much area you're trying to focus that light onto. You don't really need to know the ACTUAL math, but understanding the concepts allows you to make good decisions on how to shoot things.

Damphousse what's the deal with BM? Have they given up on the consumer market now? It would be nice to get the pocket camera with 4K. Seems like they have decided the money is in cinema. Sorry, not watched the video- Dave's sparkly blue eyes and accurateness bores me stupid. In fairness he is good.

ahh... so you're saying I won't be able to be past a certain distance and get the subject and the background in focus, if the subject is too far from the background? I might be able to live with that, though you're right it could be pretty darn limiting!! Thanks for your help!! Thanks for all of that! Very helpful and exactly the sort of perspective I was hoping to find here!

If you don't need slow mo you would be crazy to get the RX10ii imho (bear in mind I am a newbie so don't take my word too seriously). I really considered that camera and am glad I didn't get it, even though I haven't seen any side by side comparisons. I had virtually the same sensor in a RX100ii and the colors were not to my taste, it was always a compromise with image quality compared to my old basic DSLR (Canon 600D- which made awesome "filmic/cinematic" video imo). Andrew does say the 4K on the RX10ii isn't great in the final review and I can completely see why after using such a similar sensor. Next time they will revamp the sensor, but for now my guess is that it will always be a compromise next to a GH4. The word "mush" comes to mind and I am 90% sure you will see that in edges and highlights. Plus I always found with my RX that I made scenes look like they were filmed late afternoon. It is a nice warm look, but totally inaccurate, so I sold the RX and used a phone for a few months- I preferred the lack of dynamic range for more realistic color. The RX10ii sensor is better now with 4K and S-Log added, but I still can't imagine that it will genuinely come close to the GH4, even with a crappy kit lens: I got the 14-45mm Panasonic which came with the old G1 camera (£110)- gets better reviews than the newer plastic kit lenses. It was only a bit extra for the lens with a G1; so I got the package, kept the bag and then swapped the G1 camera for a 135mm vintage lens in my local used camera gear store. And bought a cheap Pentax K (PK) adapter (£15). Also found a 50mm PK lens (worth £15, but is actually pretty good), so it has worked out nicely for now. There is a Panasonic 14-145mm kit lens too, but I think it won't be as sharp from what I read. Sounds like it isn't too far off though if you want the extra range. The best bit is I/we can upgrade when funds allow to a Metabones Speedbooster and the Sigma 12-35mm lens and get V Log, which is like twice the camera again (I think all that costs about £900 extra). I think the fact that Panasonic's latest camera is just the GH4 with V Log (GH4R) kind of proves that they have reached a plateau. The GH4 is the cheapest pro camera and the RX10ii is the most expensive consumer camera. When there is a sensor upgrade we can go smaller, but M43 seems to be the limit for now to me. Side by side the sensors look a similar size but there is literally more than twice the sensor readout on the GH4. Google "Supertone for GH4" for the settings- it is just a simple adjustment to the Portrait profile which takes a minute. I haven't had time to look at my footage yet with it compared to the flatter profiles, it just sounds like a nice way to get realistic colors straight out of the camera. I have been meaning to search for it on this forum to see what people think, so I am not the best person to ask really. Actually I will have a browse now for opinions about it from the likes of Andrew, Ebrahim and the like... If Full HD is all you need: The BMPCC is ridiculous. If I could settle for 1080p I would get that in a heartbeat. It is a load of hassle but so is the NX1 and people still love that. The BMPCC is the most beautiful video I have ever seen (for the price). Just looking outside our house the footage straight out of it was on another planet.

It's called the "circle of confusion," which, when trying to understand the physics of light when being bent through curved glass, can be appropriate. Basically, a large sensor camera with a large aperture lens creates an image with a very shallow depth of field. This is useful for creating images that have focus on a certain subject, like someone talking, while other things farther behind or in front of the subject are out of focus. It's a useful look to achieve for certain things. If you do an online search of the phrase "circle of confusion" and "Depth of Field," you'll learn a lot about what you can and can't do with particular cameras/lenses.

Not true at all. You can shoot raw, "film" (which is a flatter look) or a standard video look. Even when shooting "film" mode, my experience has been that you can dial in a look with a regular old 2-way corrector plugin, which you can probably use in your sleep if you're done any editing. And the BMCs shoot ProRes, so you can jump straight into editing if you want. Regarding your original post - there just isn't a "perfect" camera for many people. I'd say the Ursa Mini (the 4.6 with high frame rates) could be the last camera many professionals would need for a few years (4K at up to 60p, slow motion, raw) … but kitting one out to be useable would be the financial equivalent of buying 6 or 8 or 10 of the little Sonys. Not really apples to apples. The only thing that gives me pause with the Sony is that small-sensor look. There are workarounds, but they're huge compromises for things like sit-down interviews in limited space. I often find my camera 5 feet away from a subject with a busy wall 3 feet behind the subject. 70-85 mm, f 2.8 - f4 and It's pretty. Not going to happen with the little sonys.

Get a GH4 which has just been discounted again (£750 body only) with a used Panasonic kit lens (£100). Then use the Supertone settings to avoid grading. Twice the sensor size, much longer battery, feels much nicer in my hands too. Plus it has better 4K and the option for V Log if you ever want to step up in resolution and dynamic range in the future. Sounds like you are attracted to slow mo though, in which case the RX10ii wins if you want things like 240fps. I haven't even looked at it yet but I think the Gh4 just goes to 96fps.

Also, the GH3 shot great stills and video years before the RX10.

The Art Adams version has better reds, but otherwise they look the same...and still not as good as the VLOG LUT.

Here's a three-way comparison of Art Adam's AA709A, Alexa LogC to 709, Amira LogC to 709. http://imgur.com/a/Y8Mvq#0

I'm curious about this sort of assertion. Not because higher latitudes are nice, but because viewers seldom got more than 12 stop of latitude from their cinema experiences during the first 95% of cinema history. "Cinema style," by my own experience, isn't about the end viewer getting a ton of DR. If you want to make a good documentary, DR and that sort of technical craftsmanship is a consideration yes, but I personally kind of think it should be farther down on the list of things to fret about. Content demands to be king when it comes to docs. How could it be otherwise? If there's no story, how do awesome visuals overcome that sort of shortcoming? When it comes to docs, I'd suggest being there and getting the coverage in the best way as possible for your project should be the main consideration. Of course, the OP needs to balance those sorts of considerations out with what he ultimately wants IQ-wise. Myself, I'd be perfectly content to shoot a doc on a NX1 with a 50mm lens. If I knew I was going into a bunch of low-light situations, I'd consider a Sony. I'd not worry about off-board video recording. I mean, any camera with some talent behind the shooting will easily offer a "cinema" experience.

I had hidden it in my earlier comment. I guess a little too well.

You can't complain about compression looking at a Vimeo upload. That's like complaining that your food is cold an hour after it was served to you.

*cough cough* PS: Sigma 18-35mm f1.8 (non-speedboosted Metabones adapter, though)

Went to the store today to replace my Z3 that's been acting up lately. Almost bought a G4, thinking about this app, but came home with a Flex 2. Turns out the Cinema 4K app runs just fine on it, will shoot some tests this weekend

I did purchase the EOSHD LUT but havent had the time to read the guide or use it, just did some simple grading with the M31 LUT, trying to match the Canon Colors that I quite love ! I used the Nikon 35mm f2.5 filled with fungus that a friend gave me, its a war rig and worth absolutely nothing, but I love it ! I will be getting a few more fast Vintage lenses, they work great with the NX1.

So, Yesterday I went out and took the camera with me, just to try and film something that would probably be worth putting on, Heres some examples of what I shot, it was some random event going on (Wine), so I grabbed a few grapes footage, no landscapes yet. But this left me with a question, do you guys sell them graded, corrected or ungraded ? Is these even worth uploading ? Should I search around and see whats the demand from the people who buy stock footage ? I have absolutely no idea what sells and what doesnt.

They have done this 4 years in a row so imho, its the customers and forum readers that needs to wake up and stop being surprised and/or angry about this every summer. Its done when its done, no hurry, no one needs the camera today unless they are very bad at the planing part of being a filmmaker.

Hey, I love this project! I have the exact same lens and hadn´t heard about the front modification, seems really interesting! This is a bit of my experience with this lens and anamorphic in general. I have a pretty special grandpa that managed to build me an adapter made of methacrylate that fits the back of the Bell&Howell and converts it to a normal m49 filter thread. Pretty absurd, but it works. On the front I attached a 77 diameter diopter directly to the mattebox, and voilà, ready to shoot. Did a couple of test shoots with my GH2 and then I shot a short documentary with this on the A7s with a Jupiter 9, and it didn´t vignette at all, even though it´s full frame, so nice. Although it´s a nightmare to shoot with, I dropped the filters a couple of times, I had to constantly do the double focus, a pain in the ass, but managed to finish it and looks good. I really love the look of this lens, and I agree that it flares more nicely when paired with a vintage lens like the Helios or the Jupiter. Also, as a bit of an accident, I discovered that the methacrylate leaked light inside the lens and created a rather unusual white vignette that´s very unique and I actually ended up liking it and not fixing it in post. It´s always nice to try stupid ideas, you may end up using them. xD You can see some shots below. The setup was: A7s + Jupiter 9 85 f2 + Bell&Howell Anamorphic + Diopter Oh! And be careful with mounting the lens, I destroyed my m42 to NEX adapter. Too much weight, should have bought a clamp. I´ll follow the thread and see where this goes, maybe mod my lens too.

Two areas where I didn't expect this camera to be as useful was stills and for my weird hobby of making unboxings/demos of stuff I buy. For stills it's obviously no dslr but for BTS, instagram, family and forWebb reporting I find myself using it constantly. About unboxings and such. It's just a fast workflow with one lens and NDs. The light weight also makes things easier. In the first couple of clips I accidentally had the iso at 3200.