Leaderboard

speak for yourself. i've been hiding under my desk since last night.

Us swede's know how to stay simple, Scandinavian minimalism? Hehe, joke aside, I did some tests of the G7, GX8 and then decided to stick with my LX100. Which I pair with the BMPCC (men fan, önskar jag hade råd med alla kameror du äger!)

Yes you have to take into consideration that it was chris (the photo guy) who shot the part where they talked about video, he probably do not know how to expose correctly for slog3. I would have liked to seen some ungraded samples.

I'm not going to judge it from one single review. But after seeing this I'm going to prepare myself for being dissapointed in the Dynamic Range. Just like I was in the A7s, and frankly, anything with a Sony logo. It's not that it's bad. But it's always hyped at +15 stops that turn out to be 11. But aside from that it seems to be a great camera. Lowlight needs no further comments. Small and light with great stabilization (at least from my experience with the a7ii). Looking forward to Andrews review. Think his style is more suited for me as reference.

They pulled a "Reverse Blackmagic"

As mentioned in the video, the daytime shots were made with the original A7S. Only the nighttime stuff, slow motion, and SLog 3 examples were shot on the A7S II. Dynamic range certainly looks improved, but that's mostly due to the SLog3 implementation I think.

Crop only, sadly. The quality 120P quality is better than the original, but still not that great.

When there is a human being in the loop perceiving the images, and the colors have been tuned for positive human perception, it's science. When I show clients Canon vs. Panasonic vs. Sony (of themselves/their projects), they always prefer Canon and Panasonic for color and skintones. The market (humans) perceive the best colors in this order, more or less (professional videos cameras): ARRI, Canon, Red, Panasonic, Sony. The latest Red color science is looking really good- perhaps they'll pass Canon. Panasonic Varicam has been looking very good for a while. Sony is improving, but still requires the most effort in post. BM is probably between Red and Panasonic (more of a niche camera line- above consumer but not really playing in the same space as the typical pro cameras).

I reckon that should share the same mount as the pre mirrorless Sony Alphas (A mount). As it has electronic contacts, I doubt you would get aperture control like you can with Nikon lenses. EDIT: I stand corrected! This seems to work, but it's fairly costly: http://www.videogear.co.uk/Lens-Mount-Adapters/Novoflex-Adapter-Minolta-AF-/-Sony-Alpha-Lenses-To-Samsung-NX-Cameras/prod_2417.html

don't give up on it. it may be possible to fix, but some pics of the lens will be helpful for us to advise. Unfortunately I have never worked on these lenses. but i'd suggest going back to the previous one you dismantled and relook at it. the spring is simply to engage/disengage the aperture ring pin for the auto diaphram. try playing around with a toothpick to decipher what is doing what. with your 20mm it's likely a lever just needs to be fixed in place to engage the aperture ring. I imagine oil has dried up in the auto mechanism and as such the spring inside doesnt have enough strength to pull it to the right place.

Yeah, when folks say "it has good color science," they usually just mean "I like its colors." It's one of the scientific sounding terms people use to express an opinion as fact and to sound credible. The term "color science" seems to be especially popular with Canon lovers and Sony haters (I do personally prefer Canon colors to Sony's BTW).

Above: my sample showing no fixed pattern noise in low light at ISO 400 on the Production Camera - it's all about the grade Almost all Blackmagic Production Camera users have experienced fixed pattern noise - a banding effect or grain texture over the image - and they are quite upset at Blackmagic over the issue. But is the fixed pattern noise problem on the Blackmagic Production Camera a case of faulty cameras OR is it a limitation of the spec? This is a complex issue and every user seems to report something different. However in my own experience with the camera and of looking at the experiences of others I have to say that all units look to perform in the same way. It is a limitation of the spec, not a case of a large number of faulty units being shipped out. Yet many users - over 200 of them - are now putting pressure on Blackmagic to acknowledge a hardware or quality control 'fault' and to do hardware replacements. Sorry but I just don't think this is right. It is best to look at how to handle the camera in order to avoid the FPN in the first place... Read the full article here

I have a top spec MacBook with the GeForce 750 1Gb and I edit LX100 4K files on it with no problem at all in FCP X. Of course, not everything is real-time and I have the viewer set to best-performance, not best quality. Color correction and some effects work realtime or enough fps. Multicam 4K I haven't tried and probably won't work smoothly! With Macs you must get the cheapest or the more expensive. Sell it with some warranty time left and you will probably loose less than 1000$!!!

According to another blog, the Coelux currently costs £40,000 to buy and around £5,000 for installation. Hopefully the technology (along with the price) is adopted for the masses.

This is the aspect ratio I've decided to do for my next short. Wide is great! Oh and it's mobile platform only release!

Can I get aboard that too? The key, in terms of narrative, is to justify the bizarre ratio inside your plot or concept, not loosely but in a way that the audience thinks it couldn't have been done any other way. About the number of views for the music video, Taylor Swift's piece has 6 minutes while Avatar has 162, plus one is available for free online while the other people had to pay in order to watch, so I think these factors make a difference. It's not that they accept it, it's more like they don't really care if it looks cool. The absolute majority of the audience (I'd risk 99% of it) doesn't have a clue of what the hell is anamorphic. People just want to enjoy it, not dissect it and analyze it. That's what WE do (and love), so when we see something that brings both elements together (entertainment and technical finesse), we flip about it. Now... I don't even remember why I started to write that.

Great post Ebrahim as usual. Very detailed. But as an owner of the D5500 I will say your expectations are a little overblown. The detail level is much the same as the D5200 (and probably the D5300), ie. not close to 1080p of Panasonic cameras. It's also noisier and the DR is not much different. What I do love about this camera though is the extremely natural rendering of colour and tonality in the Flat profile. It's also just a nice camera to hold and use. I actually have a C100 MKii coming soon (my first "proper" camera purchase). When I have time I would like to do a comparison between it and the other cameras I have. Should be interesting for fellow gear geeks

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.

Apparently the 1080p 120fps is a 2.2x (!) crop, really really dissapointed in that. I was hoping for some rx10/100 level slow mo in this thing. Lets hope the quality is atleast decent.

12MP sensor probably runs cooler than 42MP monster, but will find out sooner rather than later as I am down at the Sony store in Berlin tomorrow to buy the A7S II. If anyone is doing same, let me know and we shall meet & chat!

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"

Not sure about the A7Sii but the "top private dealer" you spoke to is wrong. The A7Rii will overheat but only with extended video recording in UHD. I own one and I would challenge anyone to find a single unit that doesn't overheat. Having said this, most users won't notice it because either they use the camera for stills or record shorter video clips. Our unit overheats in 80°f weather on average at around 25 mins.. We do extended interviews and like the A7Rii for its small size and versatility in the field when we don't want to carry our FS7s. We use a Shogun which eliminates both the overheating issue and the recording time limit restriction.

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...

Pretty much decided on the top spec version with 512gb SSD and upgrading RAM myself. Looked at loads of laptops today but none were right; either not as powerful or poor screen. The only ones with a decent screen are 17 inches and weigh a tonne, but had an issue like not upgradeable and poor hard drive. None ticked all the boxes. The more I read reviews, the more horror stories I see for brands like Asus and Lenovo. Its just not worth paying half price on a machine which might break when abroad. Customer service isnt UK standard out here in Thailand, laptops are bought from pretty dodgy stores. The way I look at it is that it costs $3k for an iMac and in a year I will be able to get around $2k for it. So that's $20 a week for a beautiful machine, and I know from experience that I will be far more productive on it. The quality of my grading should be better too with the new screen color range; I have done some real crap on a laptop screen. My Premiere timelines are fairly simple, so I expect it will be smooth enough (RGB curves and some cross fades and dissolves). No idea when iMacs will be available here, but apparently the education discount is easy to blag here.

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.

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....................... ....... .....

as Rudolf said, the bolex-moller anamorphot 16/32/1.5 will cover full frame, using the helios 44 58mm no problem, image is really good, sharp, color is great , and blue flares!, you can focus to 1mt I believe , (the little one 8/19/1.5 goes to 0.5m, but it will not cover full frame) without diopters. Awesome optics without breaking the bank!!

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.

It's good to see that new versions of iMac Retina screens cover DCI-P3 color gamut.

Keep in mind that editing 4K smoothly on a quadcore machine means transcoding. So the higher the better. A problem might be thermal throttling : https://www.youtube.com/watch?v=NJt3av99e8k SSD will make a big difference for scratch storage. P70 you can keep. Also the Thinkpad line has a very very different build quality and customer service than the one for consumers. If you go with the thinkpad you really want their world wide warranty with accidental damage protection. So no matter what you do to that computer, it will get replaced/fixed for free no questions asked.

Was just looking at them myself and for 250 extra, just go with the 4GHz, no question about it.

Oh something new and people are immediately negative... Thats a first

Things require time to be made, correct? The problem with these forums is the fact people from so different origin come to post and say anything as it is the most consensual truth. As matter of fact, experience speaks on our behalf. We can't put some worker with one, two or more decades of experience in the same basket of some young fellow anxious to see the bird out of the cage. I'm sorry but that's what it is. Our actions speak by itself. To infer some manufacturer has some trouble because didn't post any sample footage in half dozen of days, only pops up as evidence of it. Instead.

I once had to replace the GH2's eye cup, well actually the plate that holds the rubber eye cup. After a bit of research I found this: http://www.searspartsdirect.com/partsdirect/part-model/Panasonic-Parts/Panasonic-Parts/Model-DMCGH2HK/0789/0500140/50039434/00001?blt=06&prst=0&shdMod=DMC-GH2HK . I then mailed Panasonic asking them if and how/where I could get a hold of these parts (VGQ0Q78 & VGQ0S00). They pointed me to the officially licenced Panasonic service center that just so happened to coveniently be in town. I made them order it for me and a few days later it was ready to be picked up. Costs were close to nothing. So, my recommendation: direct your question directly to Panasonic. Let them hook you up with a service center responsible for your geographic area and then ask those guys for possibilities and prices. Judging from the GH2 diagram and assuming the GH4 is not much different, the EVF itself seems to be quite the unit, so I doubt it will be as inexpensive as an eye cup. Also not sure if you could replace it yourself, and if not, you'll have to pay for servicing/manual labor... I'm afraid that might get quite pricey. All the best!