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listed load capacity (yeah, i said it) is 17.6lbs. i bought the aluminum version. the carbon fiber version is a lot more expensive and not much lighter.

Soon...xD

Would be quite funny if the NX1 is discontinued, then a hack makes it the dream camera... They will be like gold dust.

Looks really nice, keep experimenting. For better Vimeo uploading/playback, a good trick is to upload in ProRes Proxy & 2k. If you upload in 1080 & H264, Vimeo just re-transcodes your your already compressed footage evenmore & that's why you get a worse picture than you started out with. Don't ever bother adding grain on Vimeo as it just doesn't work - if you do add grain then really over do it. For Film Convert, for example, you need to set the grain level above 150% for it to show up on Vimeo. But as everyone says, if you want a clean picture then Neat Video is the way to go - its also has the best sharpening tool out there.

Before you go stylized, just try to get a natural look. You need that strong starting point; THEN get creative with your grade later. Try this. Set the camera on a tripod in front of a wide scene. You want a variety of colors, textures, and light. Then, record 30 seconds of that scene with each picture profile. Default settings, everything at 0. Then go through again with contrast lowered. Then go again with saturation lowered. Then go again with contrast and saturation lowered. Write the order down in a notebook or label each with a voiceover as you're recording. Then go home, sit down in front of your monitor, and really look at what each profile and setting change is doing to your image. Mess around with raising shadows, recovering highlights, messing with saturation, manipulating colors, etc. Do that, and you'll figure out what's what real quick. Thorough hands-on testing is the only way to get a definitive answer on what settings work best for you.

Hi, At this time just I see everything in CinemaScope. Would like to share some of my test and evolutions: With 550D and hypergonar 4 years ago: Bolex 16mm Kodak Vision 2 with the front part of a Lomo square front,3 years ago: Blackmagic Pocket with front part of Lomo square front:

Anyone notice that the Neewer Battery Grip for the Mk IIs is a little bit better quality, has better grip, includes a wireless intervalometer and costs 80 € instead of 230+++? And it smells so much better! Really, Sony should cut it with the Apple mentality or they'll get eaten by the chinese Supermen one day. In general, the chinese products have become so good and other countries tend to lose their quality standards. Exciting future ahead. Nevermind the fact that the Sony grip is produced in China, as well.

I know, I know, you guys are probably sick and tired of my color tests, but with every clip I upload, I gain a wealth of information and tips from a few of the members. And the ones who hate my attempts are usually kind enough to keep it to themselves... No seriously, any tips you have is much appreciated. In this video, I went down to the boardwalk in Ocean City, NJ and took some shots. I tried to do a vintage color grade, but with every video I have ever uploaded, I am not too sure how it looks... being a newbie and all... and possibly a little blind. Anyway, thanks for looking!!! Oh yeah, I think I definitely need to get me some Neat Video.

I took my nx1 and a slider around a few places just outside Toronto. All filmed and edited in uhd 4k, shot flat with Gamma DR with tweaked settings and added Lut's and color grading added in post.

Attach the elastic bands to the handle & then you gently pull them one way or the other - the more you add or the stronger the band, the slower/smoother the pan. This was a tip from a professional who said until you get used to the amount of tension needed for a smooth pan (or get a better tripod, which allows you to alter the tension), this method would teach you as well as giving you smooth panning shots. Sounds stupid, but really works!

We're talking about 800 euros, mate. And myself in particular, I was referring to the A7S color channel clipping that could occur when it's faced with stage lights. Really think the 5DmkII was an honest to god decent option. It's great for stills and you get fullframe lowlight performance. People have used it for years, it's not suddenly a throw-away-camera. But you got to have realistic expectations if you're only spending 800 bucks. If you're big on stills and lowlight, you can't take anything M43 over it I think, really. I'm with you on the BMPCC, I can't see how you'd want that to work for 'good results in poor light (concerts, theatre, ballet,etc) for video and stills'. Best mentioned option though might be the one suggested by Ebrahim. Nikon D5300/D5500. Stills. Check. Video. Check. Lowlight. Fair enough. Handling, mweh, but you'll manage.

you find them on ebay, just make sure to buy from china and not some reseller that sell them way overpriced

AliExpress for example. Today (11.11) is a special day over there too. Gotta love China indeed. Even visited the Hong Kong Electronics Fair and Shenzhen around this time last year, because they just amaze me what things are possible for such low prices. - Though, fair warning, I'd say possibly 90% of the stuff out there is actually that cheap for a reason. Stuff can be good for cheap, if they put in the effort to get it right. Doesn't mean this is always the case. Most of the times it's just something half-assed to look the bizz, but in all actuality is far from it. So you got to know your stuff/read into it or be adventurous and trust your own good judgement. I'm a fan of Chinese brands though. It usually means something if they're willing to put their name on it. But still, for stuff like batteries or so, better buy something legit (don't have to buy original, but you can get a good B-brand (I like Patona for example)) than to fry your expensive gear looking to save a few pennies (almost lost my GH2 on a Chinese DSTE battery).

Is it using 8-bit vid files - as the noise (especially the clouds - macroblocky), might be down to pushing the codec too far. LUTs are fine if you've got a robust codec, but with 8-bit you've really got to watch how many layers you use. Try grading without using LUTs - it'll take longer, but once you've got the look you want you can save it as a preference & then just apply it like a LUT to future footage.

While it is very unlikely that we are in for another ML like experience, it is linux based and you only have to see how people are modding Android to see that potential, if they get to root level.

hehe, taking away the time limit for the nx1 should be as easy as he did with nx300. Implementing the cropped 4k video from nx500 (as a selectable alternative to full sensor readout) should/could also be done, when comparing the two fw and looking at the differences. Perhaps even higher bitrates could be implemented. Adding features that are not present at all (e.g. focus bracketing...) is highly unlikely imo.

Soon ! 4k 60fps !

Sony RX100, you have 4 versions to choose from. It's the only really pocketable!!! All others can go inside a pocket, but it's not the same.

In my experience, they're close enough as makes no difference. The GX7 has slightly better DR and cleaner shadows, but only has 12-bit RAW files compared to the Canon's 14-bit, which makes the ends of the tonal scale a little more "brittle" when processing. With the quality of Mu4/3 glass, I'd give the GX7 the edge, but at that point you're picking nits. In video, on the other hand, the GX7 absolutely stomps the Canon.

Thanks, I just found a "new other" one selling for $109. Sold.

Add the BMPCC-specific Speed Booster, and think about what you're getting for your money: -Internal 10-bit ProRes -Internal log-encoded 12-bit RAW -1.67x crop factor -An extra 1 2/3 stops of light on all your lenses -The best color science in its price range -13 stops of DR (11-12 in GS mode) -The option to turn on global shutter whenever you need it Add a cheap HDMI monitor or use your existing one, and you've got an insanely beast camera for ~$1500.

THIS! The BMPCC produces some grain when pushed to 1600 and 3200, but it's filmic and pleasant-looking. There's two or three ready-to-shoot BMPCC kits on sale at BMC User for $600-700. Pick up a couple fast lenses, and you'll be making low light your bitch in no time.

GX7. Same or slightly better quality as the GH3, but smaller and better in low light. The only downside is no headphone or mic jack. You can grab it for $300 used if you hawk forums for used copies.

Also consider the GX7 or LX100.

GM5.

Is he going to be doing paid work or is it just for himself? If its paid, then he'll be on stage, in the pit & anywhere else he can get a good shot - so he'll be able to take full advantage of any lighting setup on stage. If he's used to Canon, then it might be worth trying to source a cheap 2nd hand 5D2 (saw a 2nd hand 7D go for £350, so 5D2 can't be far behind) - then he's always got the option to shoot RAW if he wants. And for the Moire-ists amongst you, really in those settings no one is going to be looking for that. Forget AF for Concerts, Theatre or Ballet - the camera will just get confussed & you might find yourself in a neverending search battle! I'll go with Matt on this one - BMPCC. Once the new Micros come out, i'm sure he could pick up a cheap Pocket cam. Its a lot better than people think or realise in low light & any noise generated is film-like, not nasty DSLR-like. All he'd need is a few batteries or cheap power pack (Anker), a few cards, a cheap RJ Focal Reducer & a simple rig (I use an old Krasnogorsk Pistol Grip/Shoulder mount & a £10 viewfinder from my 60D). This is the last concert I recorded, in ProRes HQ (should've recorded it in PR LT Video DR mode)

A used GH3. I'm sure you can get one for € 500,00 or less. Video is much, much better than a 550D! Check out one of my latest shoots with the GH3. I'm still impressed with what it can do and it is already 3 years old technology.

Having owned both the D5300 and GH4 for an equal amount of time (overlapping briefly before I sold the D5300), I'm certain that the GH4 is not superior to the D5300. In 4K I would say it's about equal all things considered. The GH4 really lives up to its reputation as an awful low light performer. In 4K at 1600 the noise makes detail look like 720p, and colour goes out of the window. The D5300 I was a little happier taking to 1600 but compression artefacts are much worse and the noise is ugly, so I'd call it a draw personally. True the BMPCC only goes up to 1600, but even in ProRes HQ you can lift by about one stop footage that has been unavoidably exposed far to the right and get pretty decent results. The codec means that neat video works wonders too. The other thing I don't see talked about much is the importance of dynamic range for a lot of low light situations. I'm going to be shooting a light festival on Thursday night and when I first took the job on, I was really panicking about the cameras I have and was seriously considering renting a C100 or A7S. But after tests I'm actually glad I have a BMPCC. Because if there are lights in the shot (as there very often are in low light situations), good dynamic range, strong codec and highlight rolloff is vital. With the GH4, such scenes are split into crushed areas and/or blown areas, whereas the Pocket can reveal detail in the shadows (yes it's noisy but the grain is fine and detail is in there) and highlights of a night scene. Also if you know how to extract it you can get bold colours from low light scenes with the BMPCC. This. This is what I've been thinking all along and it relates to what I said above. So yeah the D5300/5500 or alternatively a Panny G7. If you watch The Camera Store's video review of the G7, they show plain as day that it's noticeably superior to the GH4 in low light (making it definitely equal to the D5300 IMO). 4K means your friend can both crop in if lens options are limited, and apply noise reduction if necessary. My lens suggestion would be a Chinese (Turbo or whatever) speed booster and the Tamron 17-50mm f/2.8 Mark I (the non-VC version). Though autofocus is obviously off the table with that. The Leica 25mm f/1.4 (which I got for about $300 new on eBay) could be a good choice considering the crop of 4K and the ability to zoom in post. That would give autofocus too. Go to HD for a "normal" 50mm equiv. field of view. In fact the more I think about it the better I think G7 + Leica 25mm 1.4 would work.

I have one pre-ordered from a place that Aaron Green recommended. I'm most excited by the global shutter option. There is something about the way it renders motion that makes a subtle difference. And of course, I look forward to shooting raw and prores without the need for an outboard recorder/monitor. I've been running around with a GH4 and Odyssey 7Q+ and it can be a bit unwieldy when I'm on my own. I have assembled everything I need to shoot with it collecting in a box. some purchased, most I already had -- cage, cards, cables, 502 monitor, speedbooster, ND, follow focus, tokina 11-16, sigma 18-35 + 50mm, and Rich at Dog Schidt Optiks is crafting a Trump 58 set with the 38 and 88 attachments for me which i can't wait to pair with the bmmcc. Hopefully it ships this month. I also picked up this fantastic monopod by Sirui. bought it for the Micro but have been using it with my GH4 in the meantime and I love it.

I'm talking about color science in general, not the A7S II specifically. My work is mainly creative features, docs, shorts, and music videos, where I have don't have lightning-fast deadlines to meet. In those conditions, I've gotten much nicer results from beefier color spaces like Blackmagic's than Canon's very saccharine, Crayola look. Even with weddings, you generally have a couple months to deliver, and between Filmconvert, Speedlooks, and Magic Bullet, finding a decent look is within anyone's reach. If not, I doubt the camera is the problem.

The color is not a physical property of any object, it is only subjective to our mind. What we are used to. There is zero science to your claims that Canon has "better" colors, there is no "better" color. A certain color you might find pleasing, is disgusting to others. Just as stated here: On the other there are also articles saying the opposite, like this one : http://web.mit.edu/abyrne/www/ColorRealism.html, but as they say it works only to a certain degree. However it is important to note the difficulty of creating a nice look with the sony's S Log compared to baked colors of Canon straight out of camera. Personally, I don't care if canon has almighty color, if those grandpas cannot give me simple stuff like focus peeking or articulated screen (what is the almighty color shot to me if it is not in focus and my back is crying in pain) to more sophisticated stuff such as slow mo, better DR, better sensor etc. etc. etc. If only we could combine best of both worlds

GH4 has much lower detail than the NX1. I agree with you though, the Canon colors are great, but I find the NX1 very very versatile, its easy to grade and look great, however, you need decent lenses...most of the footage I see are shot with the kit lens, this is probably due to the bad marketing, and with the kit lens, it makes the camera look close to what an Iphone @ 4k looks like. Pair it with decent lenses, and you have an amazing camera, that can look filmic or not, depending on what your needs are.

FF tests are not Moot for me because it is the main feature that would attract me to the Sony for Video. I was aware it was going to be not as good. but it still surprised me by how bad it was. So along comes the A7SII...woot woot... except as a still photographer they leave out Phase detect AF? It's called Sonyfication, the things that make your scratch your head about Sony :-) So good and then the deal breaker. Yes Ricardo, I wanted it to be close, but if you have owned the Samsung and you see the Jaw dropping shots in Andrew Reid's video that look like "moving stills" it's hard to go backwards.

The Nx1 is an incredible piece of tech, an incredible camera (I keep telling this to everyone), its the most underated piece of gear in ages. I did think the a7rII would come close to it though, surprised to see its so far behind, this just confirms my opinion, the NX1 is the best 4k (and video) camera around up until the tens of thousands in price, and even then, it compares quite close. Great test btw !

Lenses are listed in the post. Samsung 16-50 F2 and Canon L 24-70 on the Sony, Zero sharpening in post and minimum in camera on both. First pair is NX1 vs FF Sony, Second and Third image are NX1 versus Sony S35 and the forth image is NX1 versus Sony FF. S35 is better but even in S35 grabs from the Sony, in resolving detail, the NX1 eats it. Re Log exposure, no did not expose 1 stop over, so will retest for noise. Sharpening is one thing but detail resolved is still significantly less. For SUCH a high tech camera in S35 mode, I think Sony need to spend some time in Korea. :-) and learn how to get all the data of the chip and into the file. If I didn't own the NX1 maybe I would be very happy with the Sony, but the NX1 has spoilt it's owners for 4K resolution. IMHO