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But then you have to add RED SSD, RED batteries, RED things... and then your bank calls you

Still don't understand the purpose of making another camera that can't shoot for over 20-30min w/o overheating. *shakes head*

it matters a lot in situations where there is only one of the basic colours: for example under water, where only blue is left, (green and red gone) you only have 8 bit blue left, and this give clear banding 10 bit is much better in this case

Sony's plan cannot get any clearer: Get an A7rii for high res stills, then an A7sII for low light video, then an FS5/7 for actual work, and next year start all over again.

I've been waiting on this little thing since announced. Finally received it today. It works just as advertised and is even a bit sturdier than I expected. Of the cameras I have used I would have no trouble using pretty much any DSLR with a mic and big 70-200 or even the BMPC4K with batteries, cage and FF. The only problem I see people have in previous comments is the price of $145. But IMO, totally worth it. Specially since I pretty much always have a different mount on my slider that I like but wouldnt want on a video head,

I'm gonna stay somewhere between agnostic and skeptical to it having 14 stops.

There is only one single feature that imo makes this camera very considerable to the competition. 4K RAW in Future Firmware

and an rx10m2 as a slomo/b cam right??? lol smh regarding my comment: whether this implementation of slog3 proves to improve color vs slog2 dramatically within this 8 bit output remains to be seen; ill be watching carefully. ive read a lot about slog3, but have never been convinced by my eyes at all. i want to believe. show me~! /im agnostic at best about both the cameras you mentioned as a hybrid shooter. the aesthetic of sensor size not withstanding, these cameras have NOT blown away a gh4 yet for video imo. they will soon enough if sony keeps running their own models out of business with rapid updates, buttt.... its about priorities sony can barely write a press release. i work for a tech company *cough* that "gets" photography more than they do....... and im buying a note 5 imo theres some big ideas getting lost in the details

Well, how could it? It's like what, 5.5 Megapixel in APS-C crop mode? Not enough resolution left for 4k in this mode.

Wang, nx1 is a very capable camera, so I don't understand why you say 'even worse than nx1', as if it were shitty...

Think about what they could do with nx1!

Dear EOSHD community, I am an independent french graphic designer and I regularly work in photo and video. Over the years, I created a collection of 3D LUT files to ease the color grading of my projects. Recently I created a pack with my 38 original LUTs. They are profiled on high-resolution color matrix and were built to preserve skin tones as best as possible. I had the chance to work with many different cameras and I spent a lot of time creating these looks and testing on raw footages, from 5DMKII and 7D with Magic Lantern, GH4, A7S, BMPC 4K, and stills from RED EPIC. About HDSLR, these LUTs are calibrated on CineStyle/Cinelike profiles. Also in my pack is included a LUT to properly « flat » a footage and get a good working basis before grading. Website for more infos : http://luts.iwltbap.com Instagram with short video samples : https://instagram.com/luts At the end of this post you will find some sample images before-after. My LUTs pack is for sale $20, but I created a discount code of -25% for EOSHD community. So you can get it for $15 instead of $20 via : https://sellfy.com/p/Ainy/-EOSHD My pack is regularly updated with new LUTs and all updates are free. On my website you can download a free LUT with the famous teal-orange look. Also, I offer for free a 4K film grain based on 35mm film scans (10sec video encoded in Apple ProRes 422 at 25fps). Hope you will like my LUTs. Best, Benjamin

A nice surprise today from Sony, the A7s II with internal 4K!

Now I do like Canon colour, but it's not worth 3 times the price for a C300 MKii over this. Sony pricing is hammering Canon at the moment... At this rate we will end up 100% Sony within the year from 100% Canon a year before. Come on Canon, catch up!

"Dji stealing costumers?" They don't want costumes, just the people that make them! But let's be fair, the OP is probably someone that's not using English as a native language. Still, DJI has a rep for having non-existant "costumer" service, so it's most likely a legitimate complaint. Still, you have to be prepared. If your business success is dependent on one battery, you need to reconsider things.

It matters when shooting log and grading.

Well since most people can only perceive about 1 million colors and only one person has been discovered that had the wetware to perceive more, it might not matter.

Yep. Even if they make camera somewhat affordable you're gonna have to add so much expensive RED gear to get it up and running that it'll end up being three times or more the cost of an Ursa Mini. But maybe they'll shock us. I doubt it.

If you have 8-bit systems, you can install all the log that you want, but you will always have 8-bit, 10-bit point was needed, you can always correct it shortly with 8-bit color. 8 bit = 16,777,216 possible colors 10 bit = over a billion possible colors

I've used the VideoMicGo on a no. of weddings and own the regular videomic. The go's are grea for scratch tracks with the A7s. I have a feeling the Micro will be as good given the low frequency rejection that they advertise. The videomic is decent as a boom given what it costs and what it's meant for, I like the newer designs where one can remove and replace the wire.

The Video Micro is available now and the Video Mic Me will be released shortly, both at $59US. Per News Shooter Site Link

Visual concept for future project: BMPCC,Lomo 35 Square front with 14mm and 50mm

1. No crop 4K 2. 2 stops better than A7rii (FF / S35 ?) 3. Rolling shutter same as A7rii (FF / S35 ?) 4. Overheating same as A7rii (FF / S35 ?) 5. color science same as A7rii (improved over A7s) other than slog3/sgamut3. 6. Assisted gamma. Something like lut. This is very nice when trying to set exposure and wb. 7. 1600 for slog3, 3200 for slog2 From : http://www.newsshooter.com/2015/09/11/ibc-2015-a-detailed-look-at-the-new-sony-a7s-ii-camera/

The FS5 is $5600 http://www.bhphotovideo.com/c/product/1185424-REG/sony_pxw_fs5_xdcam_super_35.html

Hi, My LUTs are now fully compatible with Rec.709 and no-LOG profiles. Below, some samples made on frames from "Puberty Blues" by John Brawley.

Wow. Wish this would've come out about 2 months ago before we ordered a C100 mark 2. Ah well

Curious - just looked at the launch videos. I like to be constructive, but those launch videos were absolutely terrible. They sold me on the form factor, but not the image. The grading in particular was like a thrown up fruit salad.

Thanks, I'll give it a read. I completely agree that better acquisition will improve your final delivery. However, seeing that an enormous amount of streamed video is watched on tiny displays I struggle to find any differences at all between well done HD and 4K while having two or more windows open at the same time in my Mac or PC. I would propose that we are slowly veering towards a "YouTube aesthetic" versus a "Hollywood/BBC video aesthetic" were the latter is more pleasing for narrative visual work, instead of 4 minute clips of people ranting about why the new iPhone sucks. Cheers.

Mattias, Emanuel said the same example before. You misunderstood him. He just cares for resolution more than you.

Who would be at IBC? Email support@slrmagic.com and ask for me if you have time to meet up for a chat! I will be there on the 11th and 12th. -Andrew

In other news at the complete opposite end of the price spectrum: http://www.vantagefilm.com/en/news/minihawks-proof-of-performance-10456 New MiniHawks from Vantage Film. Compact. High Speed. Zero breathing. Super Close Focus. The set includes a 180mm prime at a jaw-dropping T1.5. The video they made contains some of the richest, most stunning anamorphic imagery I've ever seen. They'll probably cost six figures. Per lens.

Wanted to share this with you guys. I just shot this in Uruguay with a Nebula 4000 and an A7s with a Sony FE 28mm f2.0. I counter-balance the single handle rig by extending it with a rod and a monitor or a Shogun attached. It really helps for adding a little weight to the rig and especially for checking focus using auto focus with the A7s. In the photo attached on Vimeo, you see a quick release in front of the spare battery - that's actually for an H4n that I plugged a couple of Rode Videomic Lavs into who's receivers were clipped onto the sunshade of the monitor. My Nebula is tool-less using oversized gnarled screws found online by Jason Wingrove. Flew this rig from LA to Argentina, shot 12 days and it performed flawlessly. Still a great little gimblal. Below is just a work in progress for the family I'm making the film for. Password: nebula

Easy. Go to your media page, and select your clips, right click and choose attributes, then under video tab, select pixel rate to anamorphic or cinemascope. See the screenshot below.

Well, I'm still learning Resolve too but I've found the following works... Go to Color tab when selecting a clip, select Sizing tool > adjust height/width to custom size. Select 'Create' to save that as a Sizing preset that can be saved and applied to all - or selected clips on import. Or use the Sizing presets that come in Resolve for Cinemascope/Anamorphic > under 'clip attributes' when right-clicking a clip in the 'Media' window. Example screenshot is of footage shot in ML Raw at 50p, so here I have increased the height by 1.65% to get back to 16:9 aspect. Exactly the same re-sizing method can be used to correct Anamorphic footage by reducing height by whatever ratio is needed for the scope in question.

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!

can we all calm down a bit on this thread , there is no need for anyone to get agressive , John is listing updates on his new products - which lots of people do on here . In a free market there will always be new developments and new products - thats life.