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Not a hack, just a normal spam attack from about 7 robot controlled members. I'm clearing it up in the admin panel as we speak.

I just shot these 2 web promos with the C100mII and 17-55.

RED Raven or URSA Mini 4.6K? Which to go for if their body price is the same & you could pick either? (which they're not! URSA Mini is clearly going to be many thousands cheaper to own) Clearly the URSA Mini comes out the winner here, as I don't think the Raven is better specced. URSA Mini is: a) has 4K ProRes (Raven doesn't) b) has XLR inputs c) better ergonomics d) global shutter option e) sensor size which is a better match for the Canon EF mount (URSA Mini is a little larger than APS-C vs GH2 sized for the Raven) f) as well as PL/B4 (and more??) mount options available instead g) cheaper media (and rapidly getting cheaper!! You won't see the same rate of price drops happen with RED's media) h) I half suspect URSA Mini will have the edge over Raven in low light (though not by a huge amount,. a stop or less). I suspect dynamic range to be close too, given how RED overstates theirs. Will have to wait for each to ship however before this can be really clear which way it falls. i) way cheaper EVF (and better too I reckon) j) better slow motion (same fps, but Raven's is heavily compressed RedCode at 13:1 while the BMD URSA Mini can do it in uncompressed raw!) k) better input/output options. l) BMD wins with the higher resolution (ironically so.... as that is RED's big obsession, resolution) m) free copy of the industry standard DaVinci Resolve (which you'll need to purchase if you wish to colour grade Raven's footage with it) n) and last but not least.... URSA Mini will ship earlier!! (yes, even with BMD's record of always being late) Of course the usual caveats apply with this analysis: nobody has either of these in their hands yet, so specs analysis vs real world use might be far apart!

"X-Rite ColorTRUE Color Management for iPads, Tablets, Smartphones"

Slow motion. Weather proofed body. Headphone jack. Unlimited recording length. These are all very solid reasons why (and I'm sure I'm missing a few, such as does the G7 have live HDMI out now? Sadly my G6 lacks it) as to why a person would get a GH4 over a G7, beyond simply the obvious YAGH and V log reasons. Though yeah, I can totally see why some people would prefer buying the G7 over the GH4. Just like how I personally feel the G6 is a stronger camera to buy than the GH3!

Just got mine in. Man. Overkill on the packaging much? A sleeve for the key (on cardboard back), the manual, both inside a box. With some air cushioning put in another box, weighing in at 210gr total... express shipping too. They could've spared the environment a bit by just mailing it to me electronically or something. Geez. Oh well. Fully unlockage! Now just have to pick my APS-C covering C-mount lenses up from the post office and give both V-LOG and those a try.

theres nothing "retro" inherent to the look of 5d3 raw video quite the contrary: it is a unique look which is decidedly contemporary

Ed I believe that you would like Jim and that your sense of his transgression would be lessened if you were around him ... The shame of the written word and the internet is that it casts those one off statements into stone ... forever etched in the memory of someone. And they more than likely will take offense ... now a word spoken in a moment of weakness can be easily forgiven if we know the person and the circumstance ... those are wholly outside the perimeter of the internet forum. My concern about the Reduser Forum is that everyone there engages in a shy form of Orwellian double speak ... as they know that being BANNED is a real possibility. Everyone exists as the classic battered spouse ... waiting for the next crisis and shoe to drop. My Red One had major mojo ... color and grading very organic ... the Epic replacement was too sterile and clinical for me. But no one ... with a couple of exceptions either saw it or were willing to call out the Emperor's new clothes. Self destruction can seem rewarding ... but ultimately how we remember ourselves may not be how history depicts our actions. It is a tightrope act to pull off without a safety net ... I recommend you find one ... safe place with individuals of substance and integrity to stand in the gap when needed. We should all save our pennies ... perhaps a F35 replacement is just around the decade. Bob

Doesn't the stabilization on the 12-35 kind of suck? When it comes to stabilization it's not much if any better than the kit is it? I'd recommend the 1.7 42.5mm. It'll allow you to get shallow depth of field, let you shoot in lower light, and the stabilization is no worse than what you've got. The only thing is it's a portrait lens and won't let you go wider. Or the new Mitakon 25mm .95 for $399- it's manual focus but you'll be able to shoot in very low light and easily get shallow depth of field. No stabilization though.

Remember hearing ipad colour accuracy was pretty darn good - This article is a good read (and a few years old) https://www.fxphd.com/blog/just-how-good-is-the-ipads-color/ Definitely good enough as a mobile client review method to showcase corrected rushes and temp grades.

Its nice and small. Very well built. The image is nice if just a bit brittle and the 100Mbps feels limiting. The screen is nice, EVF is ok, price is great. So far it feels like a solid c-cam/still cam. I hate that you often need to double tap record to get it to start (might be a setting, haven't had time to check). 4K Frame Here is my first dirty test, just used vintage glas. No real grading just quick fiddle with curves, LUTs and some presets.

Oh, there are definitely reasons to go with the GH4 over the G7, the ones you mentioned chief among them. Here's the thing, though: I hardly ever use that stuff. I've never had a shoot where the camera's lack of weather sealing held us back from doing work. 96 fps would be nice to have, but it's soft enough that I'd rarely use it over 60p. I always record sound with an external recorder, so I'm usually using my Zoom's headphone jack rather than the camera's. And even when I'm doing weddings, it's rare I can't spare two seconds during the ceremony to restart the recording. I won't be buying a YAGH either way, and V-LOG seems to create more problems than it solves. Battery life and overall build quality are the two things that still keep me lusting for the GH4 over the G7, but the fact remains that despite being cheaper, the G7 offers the best image quality in Panasonic's DSLM stable right now.

i have a 17-55 2.8/is that i bought used in near perfect condition for $500; great lens, great value. resolving power is competitive with much more expensive canon glass. read a lot about dust issues with this lens, havent had any. would recommend

The Sigma is awesome, but if I had to recommend one lens for the C100 it would be the Canon 17-55 f2.8. It's an all around great lens with IS, wide angle, and zoom.

I am selling my Cineovision anamorphic, it is just not getting much use anymore so I can't justify keeping it any longer. PM me if interested. Thanks. http://www.reduser.net/forum/showthread.php?132879-Cineovision-35mm-T1-6-Anamorphic-Lens-PL-Mount

The transcoding pain will soon be over, Premiere is getting support soon. The DR, is quite fine for me, I upgraded from the canon t3i, and it was a huge dif. You just gotta protect the highlights, apart from that, the NX1 has the best video quality i've ever seen/worked with (I've worked with 5DM2, T3i, D800, Nikon D7300 and a few others). Im fully confident this is the best video camera around for the price range.

I banned the user already, manually going through and deleting all his posts will take a while, I'm hoping Andrew has a way to do that in bulk!

Beautiful sky, cool chess set, you have a fantastic eye for composition. I got the impression someone wanted to have a word with those horses. That dog has no fear. I still think your NX1 vid is the best looking vid you've done.

My self destrution online is a beautiful thing that I love to do, time and time again. Will history destroy me? Good! All I have to do is change my name. The cost is relatively cheap. Yes you nailed it - it all feels like everyone is running around scared of being banned.

I will leave this ere for u http://www.bhphotovideo.com/FrameWork/charts/resolutionChartPopup.html

Same here! with the BMPCC as a compliment, I think the G7 will satisfy my need for 4K and stills. I can even buy a nice lens or an Olympus camera if I'm craving IBIS and still spend less than I would've on a used GH4. Here's what I posted in the V-LOG topic: According to a couple of long, rambling threads on DVX User, what I've gathered is that the GH4 has some sort of inherent problem with its processing that causes this magenta/green splotching/accuracy issue. Apparently, this problem is present in all the GH4's profiles to some degree, but the data pushing from encoding and grading from LOG hugely exacerbates it. My understanding is that these color errors occur at the processing level and before compression, so while 10-bit recording reduces compression and helps make the footage more pliable, it doesn't solve the underlying problem. I have to wonder if the G7 would experience this too. Its low-light processing seems to be much improved from the GH4's, and creates far less splotchy color artefacts. See the low light samples in this review: http://www.cameralabs.com/reviews/Panasonic_Lumix_G7/ Check out the comparison with the GH4 at 5:45: http://dslrvideoshooter.com/panasonic-gh4-vs-g7-video-review/ And Brandon's high ISO samples at the bottom of the page: http://www.dvxuser.com/V6/showthread.php?337827-g7-vs-gh4/page4 I wonder if they could improve the GH4's performance by offering the new NR algorithm as a firmware update or something. Maybe it's part of the underlying hardware or LSI. I don't know. But it reminds me of the G6's massive noise advantage over the GH2, despite using the same sensor (and actually reading less of it in video mode). After this V-LOG update, I had my heart set on upgrading to the GH4, but if the G7 is this much better with noise and $400 in the bargain, it seems like a no brainer. Shame, because I already have the batteries and whatnot from my GH3. :/

Not always but I expose to the right. I would cinsider the NX1 if it fits the budget.

that's nuts - it has no audio in or out. man curious if these guys have used a c300 or fs7 before? Mid range productions usually like to record audio into them. Lord help us all.

thanks Ebrahim - well said. That is a place of frustration especially for filmmakers who exist to be critical of the current state of affairs. Filmmakers should not be sheep.

I believe there are a couple options, involving changing the mount on either the t2i, or the canon lens. But it should cover the sensor.

I used used the RX10 ii on one paid shoot so far. it didn't shut down through overheating but I noticed some incredibly noisey footage in HFR mode, which I assume was due to heat build up from me running about shooting at all kinds of frame rates. I also noticed the camera get warm. indeed you can't use full brightness with HFR, 4K high bitrate or 100p, which I assumed was due to drain on the battery being too great. But perhaps it's a heat issue too? Sony are very preoccupied with size, and unfortunately they will continue to invite these problems unless they make larger bodies with better heat dissipation, or think of some clever method for cooling. the C100 was fine all shoot, but it only does 1080 25p and has a fan!!

So, eh, you will throw that in front of your T2i, eh?. Does that even work?

Regardless of the numbers, Ninja 2 does make quite a difference for these kind of artefacts. Set it to DNxHD 220X and you can't go wrong! I don't know why the 10bit makes a difference but hey, at least it does! this was all done c100 ninja 2 in 220x: http://youtu.be/w0o6HRBGhsc

For me the last Zacuto Shootout showed that no more shootouts needs to be made. Its still 100% current and adding the c300ii, fs7, ursa mini etc would not ad anything valuable to the test. The result would still be, given a good DP and enough lights, they can all look good. Thats why I a while back tested and imo sort of proofed the opposite. If you take a couple of cinema cameras and a couple of cheap once but pay zero attention to lights and grading. It will again look pretty much the same.

I don't understand people who ask about 4K in crop mode. Look at the total number of pixels in this sensor and tell yourself the answer, its a simple math.

buy a 50d for very around 150 bucks on ebay and play around with the raw workflow, if you like it get the 5d mark 3 and shoot full hd raw with it.

they are not rumors, the overheating problem is true.

ML Raw Compression Ratios (5D Mark III; 1080P) 10-second clip Original MLV: 872MBRawMagic Compressed CDNG: 466MB (47% reduction)Davinci Resolve ProRes4444XQ: 479.2MB (45% reduction)Davinci Resolve ProRes4444: 316.4MB (64% reduction)Davinci Resolve ProResHQ: 222.9MB (74% reduction)Davinci Resolve ProRes422: 92.2MB (91% reduction)