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I haven't had that problem with my 16-50 S. Maybe try adjusting the peaking strength, I have mine set on high. Also, the focus peaking isn't stripes, the stripes are for exposure. Focus peaking is outlines around objects or where dark areas meet light areas. I switched my focus peaking to red so I wouldn't confuse it with the white stripes of the exposure function.

I think its worth doing this going from 5 ft to 3 ft i am just below 3 ft my self. and its not a big complex modification bras are still there alignment is still there its just you cut the bras shorter and you gain more. I wanted to get tokina go get down to 2 to 3 ft. But i now have no really need for tokina now and save 600$

DO YOU EVEN MAC-PRESS BRO?!?!

Yeah, people don't like big heavy lenses, but for me it just helps so much with stabilisation when going handheld. I'm with you on the MC'ing on Iscoramas - I think by the time they got to the 42 & 54 they had decided on a Red tint (same goes for the widescreen 2000). One thing that i have realised is the colour of the flares is really aligned to the light source temp - so you can get the Blue flares or Orange or Red.

I had LX100 before I bought NX1. It was hard to get colors look natural with the LX100 and I was forced to use different LUTs and other methods to cover up poor image quality. With NX1 colors are great straight from the camera and I actually don't even use LUTs anymore, becouse usually simple curves are enough to get material look amazing. I don't know how much FZ1000 and LX100 are similar in image quality/colors, but I wouldn't mix LX100 material with NX1 material, becouse it would be really hard to get LX100's image look even close to how good NX1 image looks.

This is a quick test showing flaring of every 50mm (or 'normal' focal length) I have in my arsenal, and in stock at the moment, some have been supplied to me for optical work. I'm not going to go an list each lens in order, but upload this to illustrate how much variation there is between 50mm lenses despite being almost all consisting of 6 elements in 4 groups, or double gauss designs. Though anamorphic lenses are often seen as flare makers I think some of the results here are magical enough to warrant pairing them with anamorphics which don;t have particualy exciting flaring like an MC 'Rama 54, or a cinelux and an FM- just for the defocus and aspect ration alone. with some of these flares from the prime alone, why add more!

I've sent Vision Color 2 emails in 2 weeks with no reply. Trying to upgrade from Pro to Ultimate, and try out the Cineon LUTs. Does anyone have a .cube or .3dl file I could try via PM? Thanks.

Ursa mini is completely new and early adopters will have to live through it's inevitable bugs and quirks. F5 is a proven work horse. You can also knock down the media costs by using qxd cards with adapters for internal recording. Plus internal ND, plus significantly more light sensitivity. And zero percent financing over 2 years is extremely nice from a business perspective.

Thank you mercer, for motivating me on the FZ1000 ;-) and G7. G7 with speedbooster XL seems really a good bargain. @frankie Ok I got it, thank you @M Carter Interesting cheap lenses approach, thank you!

I've had a lot of trouble with focus peaking on DSLRs… maybe it's the aliasing or something, but the peaking on my external monitor says "everything's in focus" when it's not (I use a Marshall 5") I know that some of the SmallHD models have more advanced peaking which can be adjusted though. I've gotten used to using the camera LCD for framing and set the external to pixel-to-pixel (zoomed in) and also sometimes add peaking. Much more reliable for me, and the little monitor doesn't add a lot of weight to the setup. When I have the time on set, I usually use, say a 21" HDTV on a wheeled stand as another monitor source. That will really show you what's going on focus wise.

I have sharpness and contrast all the way down on a standard profile and saturation at -1. manual white balance with the arrows like magic lantern allows which I find convenient (though that day I think I think I was filming inside and out, so I kept the white balance kind of in the middle in case I forgot one time to switch and gotten even worse results). I should learn to use a vector scope.. I'm sure that would help. thanks yeah, That's pretty much my settings. and I was testing pushing it further, with better results than I expected. you're right, it's petty flexible. but still all the colors can shift at some point and get frustrating. and I really do want to preserve like the texture of the skin or the 3d quality of it. I feel like it's easy for them to turn just yellowwww I saw that wedding, very well done. also a huge Kendy fan and very stingy with money, so very inspirational to me, haha. that wedding (by ricardo I think?) was why I upgraded NLE's, trying to get more out of my gear than I seemed to be able to before. I was just looking at cinestyle. I'll definitely have to give it a try, probably boosting my motivation to learn to use a vector scope. Thanks for being patient with me guys I know it didn't look great, and I can be kind of stubborn really :s but this forum is really helpful and encouraging. yeah taking out the blue definitely helps!

I am pretty sure, closer focus distance would make less ratio in my experience until I got a D.O. 16F ana lens. D.O. lens actually is a shortened lens from Sankor/Singer/Eiki 16F. Make the the 2x lens become about 1.6x when focus in minimum distance. So the D.O. lens can focus to closer less than 1m. But it is lack of infinity ability. I just add a negative lens in front to let it is able to focus to infinity. And the advantage is that it can take wider lens, basically as wide as 16H.

I've found the focus peaking to be pretty accurate with the 16-50, though it can be a bit tricky at the wide end since so many parts of the frame show the peaking. I generally have to go back/forth till the peaking is maximum at the point I want. Also, hunting has reduced quite a bit with the latest firmware update. I covered an event a few weeks back, and it held pretty steady. Do you have the latest update?

Lighting up shadows is pretty much what I use it for. But you cant push very far.

I hope the Panasonic CM1 evolves and offers a little more video-wise in the next generation. Even so, I've been tempted for awhile with the current version.

I got Raw for the first time in a phone a year or two ago. And it is good for making minor adjustments to bring life into bland phone pics. But it does in no way, shape or form compete even with jpegs from a full frame dslr.

I wouldn't abandon the idea of the fz1000 so quickly. Think about pairing it with the G7. You can practically get the G7 and the FZ1000 for the price of the NX1.

Here is a quick example shot to help explain how much minimum focus can be squeezed from just shortening the brass tabs. Seems like I underestimated the normal minimum focus distance of regular Kowa B&H. Modification basically allows a foot closer to be obtained (not a massive amount but the visual jump is impressive). Modded min focus is 2 feet 8 inches which is around the close focus distance that a Tokina +0.4 will give you on an unmodified Kowa. But the cool thing is that if you add Tokina on the modified Kowa, you get exactly 2 feet minimum focus (from front optic).

I've been looking at this completely the wrong way, when I should have been bench-pressing my laptop all along. Haha

Hi Manilo, Why don't you just buy a nx1 with a long zoom and a macro lens? It depends on what you plan to use it for, but the 18-200 is a versatile lens, especially for video, even if the aperture is not fixed, then you can use the macro samsung lens or get a sigma or nikon 105mm macro with an adapter... I personnally use sigma 18-35, 35 and 105 macro for 90% of my work for both stills and video when I don't need autofocus. I also have the small 45mm (+-70mm eq.) wich is a fantastic gem for its price. !

No, but now you've said it, i will give it a go.

I have used a modern zeiss ZE 50mm f1.4 & that works just fine - in fact it even allows the 54 to flare more easily than other lenses (go figure!). The Contax Zeiss set that you have should be crisp & clear. My experience so far has not limited what taking lens you can use with an Iscorama - mine tends to mimick the taking lens & this can lead to over exagerating any downfalls that they might have. So with some wide-angle lenses you will get that curved distortion at the edges & with others you might not. I really like the tiny Super Takumars coupled with the Iscorama - they're not-MC, warm & actually quite sharp without being nasty. And am seriously considering getting a set of Nikon ai-s lenses - am really impressed with the image that the 24mm f2.8 & Iscorama produces on the BMPCC. The Tokina AT-X Pro 28-70mm f2.6/2.8 (Angenieux design) is an amazing taking lens with the 54, but not sure how it pairs with the 36 (is the rear element too small?) - really worth a pop, as they are cheap & v.good on their own.

manilo, you can get focal reducers for a mere hundred bucks or so. (if you're going for Nikon F mount, rather than pricey Canon EF) When it comes to stills performances, GH4 is more than capable for the typical non-pro. And for stills (as well as obviously video) it will be a step forward over your current 600D.

Continuous Dual Pixel AF is alot different than the normal continuous AF's. It's way more smooth and has human like focus pulling. It's not great when someone is running at you but other than that it is solid.

I've notice this with the deepest blacks on my large Dell panel. They suddenly crush... I don't see it on Alienware m14, but there are many different screens, and that one has quite a limited colour gamut. all depends on your muscles and back it's fine for me but yeah I can see it can be annoying compared to those skinny aluminium Macs!

Can you provide a link to a valid source that indicates 4k60 and RAW 35fps? Everything I've read says 4k @ 30fps (I've not seen anything about the RAW burst) If those features are true, then forget an NX1 or GH4! I will stick with a phone as my photography and filmmaking tool!

Sorry, my mistake. Transcoding 60p to 24p looks fine (just tried it). I think I had been doing some 30p --> 24p transcoding before which generated a bunch of artifacts. Thanks, and sorry for the confusion.

I'll get to that soon! I think Rich has a bunch of clips using the FlareFactory and the Century 1.33, which is kind of what you're looking for!

I also chose Dark + Light. But the Intensity level has to be High. I noticed that the profile looks noticeably more Flat. Also, the Noise Reduction cannot be switched off, since then, it actually starts Creating fixed pattern noise. I hope it works on the Excellent Nexus 6p phone. That one's sensor is an engineering masterpiece. I was blown away by the 240fps video. The camera can actually do 300fps, and the 720p looks IMHO as sharp as the one from the Sony cameras (RX10 ii and RX100 iv). Also, it can do RAW 35fps at 12.35MP, apart from 4k at 60p. Pushing the bitrate in that one comparable to the GH4 would seriously be something. Maybe, as I predicted, mobile phone sensors will finally start competing with mhch larger sensors (beginning with, for video). This one was shot on the Cameringo app on a Note 2 or 3. And it was shot in terribly low indoor light. And the picture looksa lot more like Vlog.

I'll be able to give you a verdict this week. I own a 502 and have an Assassin on order (for GH4 VLog).

And here's the finished edit: I have to say that this works quite well, at least sufficient for my needs

I have a MiniSturdy Flight since the beginning of September. Jacopo, the owner/crazy inventor lives at 8Km/5miles from me, so it was great just going there, talking with him and having the gimbal set up for my Panasonic LX100. Took it on holidays with and didn't treat it exactly nice, it was on a too little bag but it survived well! The gimbal is very well built, the battery last forever (with the LX100). For my use, it's very nice. It takes out the roughness of hand held. You probably can use the start, the movement and the end of your shooting. I could use it even zoomed out (75mm equivalent) if not walking. The nice thing about an electronic gimbal it's that even if it's not perfectly balanced, the motors compensate. It gives some weight and "look" to the LX100. The not so nice things, when you turn it on, it must be still, you can't turn it on while in a car, for example. And if you use weird angles (mostly too tilted up/down) it sometimes goes crazy, you must stop it with your hand. Those are probably common to all other gimbals. Jacopo is a serious&honest people. He can probably pre-calibrate it for your NX1. Ask him!!! Edited to add: I love that I can see the LCD of the LX100. No need to use an external monitor with the MiniSturdy Flight!!!