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It came in stock in Sweden today. Not for me but a heads up to other swedes here.

@Andrew Reid Huh? Aren't you supposed to be selling cameras instead of buying?

That's the way I thought 30 years ago. After years and years or watching movies and TV and reading books I've flipped the other way. Just as there is a technical side to depth of field, or resolution say, there is a technical side to story-telling, how much is focused on one character, what is shown with dialogue. For example, a filmmaker could be sold on the low dynamic range of a RAW camera. But if he used it on a comedy it would probably fall flat. Comedy is always sharp and bright. Or it could be the other way around, a filmmaker looking to tell the story of a Syrian refugee for example, and shoot with bright camera that can't get a thoughtful mood. I know many people will read what I'm saying and think 'what about this exception, or that exception'. It's not about rules. It's about what works, and has been working for centuries, though the technology and cultural styles may change. Creativity, to me, isn't this "personal" thing that is unique to an individual, it is personal to that person in his/her PLACE IN TIME. An artist serves their generation. They seldom come up with anything new. Of course, when you're young you feel omnipotent, powerful, creative, immortal. I can only say from my experience that young artists who try too many things that haven't worked in the past end up with the same result. So it is important that one understand the basic technical aspects of story telling before they choose camera A or B. There's a big difference between shooting people in a comedy, a drama, a documentary, or random scenes of buildings and fountains. The technology of the camera should fit the technique of the story.

It's probably organized by ISIS. They hate Jews right? The "just get another job" comments floor me. You guys need to start living paycheck to paycheck for awhile.

Cool. I had a similar approach a few monts back when the A7rii was released. I looked at the price and thought "why". Bought two 16mm film cameras and a bunch of film instead. And still had over $2000 left before reaching the cost of the Sony. Thats why I have the G7. But now Im back to DSLR + BMPCC.

The Sony RX100 IV review is done and it is a camera I’ve found myself using a lot… but not for the 4K. Read the full review

I enjoy this website because I'm a gear oriented guy. Even better because I'm a CHEAP gear oriented guy. I like consumer stuff. But gear is only one aspect of making films. The slant of user conversations on this site might imply to a neophyte reader that camera gear is the primary consideration of the film making process. That's not right or wrong, it's just the way it is. I certainly think gear should only be a secondary consideration. I'd even argue that these days it could almost be an afterthought, depending on what one is trying to accomplish. As in, "Well, we have a t3i already, let's just use that." But, really, those creatives that are going to be successful at this motion picture stuff will be able to figure that out for themselves. Those that don't, well, there's a lot of us around to write words on the internet.

Appreciate its not what you are asking for directly, but I picked up a Rode Smartlav+ mic the other day for lightweight documentary projects. The sound quality is excellent for the price and it did a great job on the project I bought it for. Recorded straight into my iPhone and it exported WAV files out the other side very easily.

Did you just try the built-in mic? I recorded an event once on my Google Nexus 5 phone with the built-in mic and the RecForge II app, and the quality was surprisingly good. It wasn't quite as flat as my Audio Technica AT-897, but for voice it was great. I suggest you try that first before investing...would be super portable too.

Update from Brooklyn Filmmakers Collective - "Recent update from a friend of mine working with LWC: "Updates coming soon from LWC but B&H warehouse workers showed incredible strength and solidarity today in the face of employer intimidation. Forced management to do a complete 180 and claim workers were never fired and are all welcome back to work tomorrow. POWER." #BHExposed"

Whilst on the subject of LED, this was featured in blogs last year quite a bit. Fascinating for those who haven't seen it.

I took the same approach with a trashcan Mac Pro and a 40" 4k monitor, resale value is high and I'll get a lot out of it while I use it - I figure it'll cost about $20-25/wk if I keep it for 18 months. I can't stand the glare from iMac screens or I would have went with the retina. If they would just make a matte screen on the iMac...

You won't be disappointed. It doesn't feel cheap at all, and you can use the light mount included with the Aputures.

I've personally given up on variable nd, the uncontrollable polarization and the wierd color cast is just not worth it. Get some fixed nd filters from hoya and those magnetic filter adapters (cant remember what they are called) and you have a very fast and conisistent setup.

It's not specific to Premiere. I edit lots of 4k from the GH4 and A7RII on FCP X on a top-spec 2013 iMac. A single H.264 4k stream is mostly OK but for multi-cam, transcoding to proxies is mandatory. Fortunately FCP X has a totally integrated seamless proxy workflow. Re the OP question about what Mac to "smoothly editing 4k", this is a challenge on nearly any computer, esp. if multicam. But even for a single stream, remember that almost everything you do -- every effect -- is manipulating 4x the data. Applying effects that were momentary and quick on HD become slow on 4k, sometimes agonizingly slow. Some of these effects can be done on the GPU but it's up to the software and how amenable the core algorithm is to GPU-style parallelization. The bottom line is you want the fastest iMac you can possibly afford, and even that won't be comfortably fast for certain 4k operations. This currently means the late 2015 5k iMac 27 with 4Ghz Skylake CPU, M395X GPU and 16GB or more RAM. I'm getting one of these next week. I personally prefer a SSD boot drive but I have several Mac with both SSD and Fusion Drive. FD is OK but with 4k you will almost certainly have your media on a fast external drive, probably a Thunderbolt array. Since most of your data is external, a 512GB or maybe even 256GB SSD might be sufficient. At least the new Skylake CPU has an improved Quick Sync on-chip transcoder which supports H.265 and VP9. In the future that will be important, esp for 4k. For reasons I don't understand Premiere still doesn't support Quick Sync, which can make a 4x difference in export and encode/decode operations. It is supported by FCP X and Handbrake. OTOH most Xeons do not have Quick Sync so no Mac Pro has that, regardless of software.

Hi! For interviews (or photography) I always use diffuse light. So having a spot light is better for 2 reasons: Stronger light output (the light's power is focused), so you can even compete with sun light in some cases. And 2nd, it's easier to control, the W (wide) sends light in all directions. I prefer to have control over it. I use mine with a softbox with a grid: http://www.amazon.co.uk/Andoer-Umbrella-Reflector-Honeycomb-Speedlite/dp/B00U8M4P2O/ref=sr_1_5?ie=UTF8&qid=1444990240&sr=8-5&keywords=Andoer+80cm I would avoid the C (color) versions, because they have half the light output, as someone pointed out above. And the included warm color gels work fine. But it all comes down to your workflow. This review helped me out when I bought mine: http://eriknaso.com/2015/01/11/aputure-hr672s-led-video-lights-first-look/ II thought the YN600 didn't have a cast until I got the Aputures. Huge difference!! And worst thing about them... noise, when that fan kicks in, it can ruin a interview.

So, without a RJ focal reducer (just the plain s16-ish sized sensor) the widest lens i've got is a 24mm & no vignette. Sorry, I don't have a wider lens than this but I think that you could go wider than 24mm, but just don't know how wide. With the RJ focal reducer (makes the sensor a crop of about x2), a 35mm has a slight vignette. Also, you must remember that its a S16 sized sensor & not a 16, so you might have a problem with the v.wide lenses - test before you buy, if you can. And yes the Zeiss will be better quality, but the Russains will have more character.

I did see 'em before. For me one of the more exciting things showcased at NAB. Next to Aputure's Light Storm series. Ofcourse at IBC a Chinese company was already working on a similar product (to the Wescott, I've already seen similar Aputure panels on LinkDelight)...

Listening is a far rarer skill than shouting, ya get me? Good money after bad does not undo a mistake... Admitting defeat can sometimes lead to a better place than the original goal... fortune cookie sometimes to hard for young teeth...

We use the AL-H198, 672W, 672S, and Light Storm LS1s (all 95+ CRI) and LS1/2 (98+ CRI). Suggest avoiding the bicolor models (not as bright). These are the first LEDs we've used with really good color for skin tones. They are good enough for still photography as well: almost as good as strobes for skin color. Putting gels on lower color-accuracy LEDs will never look as good due to spectral spikes (we tried). The LS1's have barn doors which come in very handy for attaching the included tracing paper to produce excellent diffuse light. The LS1/2 clips the tracing paper much closer (no barn doors); not quite as diffuse- perhaps better to bounce off a reflector if more diffusion is needed.

yeah, a conspiracy is the most likely scenario....................... ....... .....

Moondog lens + pana mode = super wide angle's widescreen photo 100% pixel crop, then can see 2 people in middle

Hi barefoot! If I'm not wrong, the H528's are 88 to 95 CRI, not 95 (they just write 95 in the info). So you could see a color shift. I've got 3 Aputure lights: HR672S, HR672W and a smaller AL-H198C, and all 3 are 95+. I really like them... nice balanced light, with no tints, they don't overheat and they're completely silent. I also have a Yongnuo YN-600, and it's got a strong magenta tint to it, and it's very noisy. The HR672's comes with 2 NP batteries included (which ain't cheap), and cost around 160 quid. If you are going to bounce or filter your lights, I recommend the HR672S (Spot) model. It's brighter, and easier to control... Light Storm looks great, but it's still a bit pricey (you can get 3 HR672's for the same money)... But they do look great! Hope it helps!

i don't know that this warrants a reply but I read that as "human feces" the first time.

My support setup is almost ready. But the cheap Canon lens collar is cheap, so it's a little wiggly. A simple shim should do it. B&L's have their manufacture date on the inside of the front housing. In my case, my lens was made on Dec 1 1954:

Rokinon 85 is not just amazing for the price, but in general.

i had the opteka, its not a very sharp lens at all. I would recommend the nikkor 85mm f2.0 ai, its a very nice and sharp lens for not so much money.

I'm certainly going to be using a matte box next time in order to avoid the flares, as I agree with you completely. Again, this was a test. Better to be aware of the flares so I can take measures to avoid them when they're unwanted. It's a shame, really. The Kowa has wonderful horizontal flares, but there's no way to get them without also introducing the big blue blobs. Flynn, the Kowas are from the 80s (most of them), so they're pretty much on par with lenses from that era. IMO they're the most versatile projection anamorphic. Not as "Zeiss clinical" as a Schneider, not as vintage as a Moller, but they can go the widest and tend to take on the character of whatever prime lens you use them with. KOWA FTW. The trick is finding a prime lens that they work well with. Pancakes and lenses with simple optics tend to work the best. Obviously, the Rangefinder is brand spankin new, and other than the blue flares, it really is wonderful. I'm also using a SmallHD AC-7, so I can now focus and de squeeze anamorphic as I capture it. Whole different ballgame and really, really gratifying setup to work with. Yes, there are a few other "variable diopter" systems available right now, and I'm sure some of them have a slight edge over the Rangefinder. But pre-ordered for $400 with focus scale, this sucker is hard to beat bang-for-buck. I did find myself using the focus scale to rack focus consistently over multiple takes. With a better follow focus that might not be necessary, but I'm personally glad I got one with marks.

I think anyone who buys in to this post is mmisinformed or naive. Its all classic "taking the easy route" imo.

I'll never get tired of that gif.

awesome!!! great to hear andrew, glad youre well

If one can tell a good story chances are one can be a good filmmaker. now with the barriers to good motion picture IQ falling away, those that are creative will be the ones valued...unlike the past, where if you had the gear you were automatically established. EOSHD's 2013 review of the GM1 and GX7 lead me to get my hands on cheap consumer cams with wonderful IQ. Making movies with that gear has been a ton of fun.

Glad to hear you're getting back to your core genius! There continues to be a huge need out there for people who want to do cool things with consumer cameras. I posted a video on how to run Magic Lantern on an EOS-M two years ago and it has 10,000 views. It got 43 last week. A quick NEX7 video I did has 15,000 views. I bought a Canon 50D a few months ago, and run ML on it again, the same camera that brought me to EOSHD in the first place. For the money, it is STILL a very powerful creative tool, which I'm sure you'll agree. Lately, I've been playing around with the LX100. The 4K photo mode is very interesting, not a lot of work has been done on that, or on other cameras. Davinici Resolve, I've given up on it because it's just too complicated. Gimbals are another complex gadget that will need guidance as they get cheaper and better. Or the Panasonic G6. I finally bought one and Andy Lee is right, a perfect camera in its way, timeless. And yes, the BMPCC is a very creative camera but many people don't understand why. In short, the original reason for EOSHD is as relevant as ever! I've learned a lot here at EOSHD and I look forward to the old Andrew

Yes Xavier, it is really what I have decided to do. Thank you! Now I hope it arrives soon Have a nice day.

I am a die-hard Moeller fan... For me nothing comes close in terms of sharpness, imagequality, color, flare. These are so versatile and wonderful built. They have so much character. Maybe the difference is they were made for filming and the 16mm version could work on FF like any Kowa. I would definately go for Moeller 16/32 with Rangefinder if I had the money. On the other way they are so easy to handle... you don't need a rangefinder

IMO, EF85 1.8 works fine and the widest basically, but EF100 f2 is better a little bit in all, except wide angle.

They just come up with a version for IPAD, and for 37mm mount. Looks very interesting.

Nokkor/ Gabor, Do you think the 4k Cinema App could be used on the Nexus 6p and the Moto X Pure devices? I wanna pick up some phones fpr actual film production. And these have some extra featues I want and like. Thanks in advance.

Yeah, I was interested in the 'lens cooking' tutorial for how to extract the lens elements for re-housing. I definitely don't want to change the aspect ratio! Earlier in this thread, enny said he doesn't have to focus his B&L, just the taking lens. Do you find otherwise? Awesome, looking forward to it - thanks Jim!

hey guys, wanted to share a work with you. its a little portrait about a manufacturer in germany. it was shot on bmcc and gh4 for slowmo have fun!