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I bought a Ninja Assassin specifically for V-Log, and despite my initial reservations it's been absolutely worthwhile. Small and light is great, but having that 7in screen means I just got it right more often, and that alone was worth it. And V-log looks AMAZING in 10bit -- skin tones in particular just looks so good. I did go back and forth over whether spending double what I paid for the camera (once you factor in SSDs and batteries) is a worthwhile investment, but while I could have sold all the m43 gear and bought a Sony, I'd then have to spend a ton of time learning a new camera system, find the pitfalls and ways to get around it, develop new workflows... and that just isn't worth it to me. I know the GH4 well enough now that it won't surprise me when I'm under pressure, having a big screen means I can see what I'm doing, and importantly when we're working fast my client can see as well, so there's no surprises at the end of the day. Did I mention how good V-Log looks in 10 bit? Because it's GLORIOUS!

Same old story. A company releases a product for the people that dont want a DSLR or Cinema Camera. And the people that want DSLRs or Cinema Cameras get uppset. And as usual lots of us simply wonder why? Is it so hard to understand that others might not need, use or want the same stuff as myself...? Why get upset? Why care? Im not speaking about this thread but more the turn we all know threads like this takes sometimes.

I'm loving the S II and the R II, going to get rid of the RX10 II because of obvious reasons (low light performance, sensor size). What I liked about it so much was the real easy run'n'gun option, but the new Alphas just do that with a much nicer image and package. The IBIS isn't really usable for video once you go above 135 mm, but up to that it's quite alright if you have a bit of practice with it. The S obviously is much better in low light and in my opinion in a few other scenarios, as well, but the R is at least decent all the time. There's a few downsides of course, the poor build quality of the display (really don't understand what they were thinking here, the cameras being so expensive). The Slo-Mo on the S is superb, even better than the RX10 II imho, if only for the full frame look. And you just can't produce bad video indoors with bad lighting with the S, much unlike the RX. Lens-wise: the 90 macro is quite awesome, especially for video, with the added stabilization and the best ergonomics I've ever got to enjoy on a lens (you can switch between AF and MF just by clicking the focus ring up and down, plus you have a button to suspend AF while pushing it), also for close-ups it really does the trick, obviously. Image quality is flawless, too. The 55 1.8 is great as well, very light and small for the occasional ninja shot. In terms of Auto Focus in video, the R is quite a bit better, but both aren't too reliable, especially in low light (here, the S is much better with native lenses as has been said before). All in all still quite alright, though. I'm finally getting rid of my D800 and NX1, too, Sony all in, even though I don't like their philosophy, the cameras just pack so much punch. Stills of the R are so amazing and you can do pretty much everything handheld, the silent shooting is nice, too for certain situations (if you mind the shutter speed and other limitations).

Just wanted to let everyone know that I've rented a Blackmagic Pocket Cam for the next 10 days which *should* mean the Micro will ship any day now -- because that's how these things work.

My dream Chinese product is a battery grip that also connects to the hdmi port and allows prores recording to a secondary SD card.

Hey all, Just shot/edited my first piece. I'm coming from a radio producer/documentarian background and have produced some stuff for television, but this is the first thing I've shot and edited myself. It was done strictly as a learning exercise. I've dabbling in video in my spare time (which has been scarce and so painstakingly slow) for about 5 years now and have learned a lot on these boards. I definitely appreciate the information and experiences shared here and would greatly appreciate any constructive criticisms and advice. Password: Malvern I did basic color correction as I'm just beginning to learn how to grade, and honestly thought it looked decent until it got uploaded to vimeo. So any vimeo tips would be appreciated as well. Here's a run down of the stuff I used: Camera: 5D MKII (ML Raw) Lens: Canon 28mm F/2.8, Canon 100mm F/2.8 L, Canon 80-200mm F/2.8 L Audio: Sennheiser G3, Marantz PMD661 Lights: F&V R-300, Lowel Rifa Ex-88 Conversion: MLVMystic Edit/Basic Color Correction: Da Vinci Resolve 11 Lite Export: ProRes 422 HQ (resized to HD 1920x1080) Password: Malvern <iframe src="https://player.vimeo.com/video/145473746" width="500" height="281" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> <p><a href="https://vimeo.com/145473746">People I Know - Kevin Jones (No Grade)</a> from <a href="https://vimeo.com/tyharper">Ty Harper</a> on <a href="https://vimeo.com">Vimeo</a>.</p>

What on earth is all this about then? http://comingsoon.craftcamera.com

Man, I shoot several theatre events a year - music shows, band gigs, concerts (from local guys to smaller indie stuff) and they're rarely situations I think of as "low light". The only times they're low light is a band playing the bottom-of-the-rung live clubs with no lights or no stage. If someone wants to **pay me** to shoot like that, I bring a DJ truss and a dozen 300 to 650 fresnels. D7100 frame grab, this camera had an old push-pull 80-200 2.8 on it (yeah, that's Emmylou, and yeah, at 68 she still gives you chills): (EDIT: this was video not a still)

True! I'm recycling the pics of the previous listing, when I've bought the adapter!

no mention of colour accuracy/brightness/performance in daylight/viewing angles in the review? this would be useful.. thanks

For 100 bucks... It is pretty nifty.

Well, you can consider 'nifty' to be 'fine', 'attractive' or 'smart'. And the 50mm f/1.8 is very attractive, because it offers fine quality for very little money. Which could be considered a smart buy. Nobody is claiming optical perfection from it. Just that getting it is a good deal. I suggest we keep it around a little longer!

Is it just me that feels like we need a moratorium on using the phrase "nifty fifty"? For some reason, it makes my skin crawl a bit. Maybe because the OES 50 isn't all that nifty?

Finally one reason to buy that YAGHE brick for GH4

But that is actually an advantage of the Blade. You can get faster SSDs with larger capacity much much cheaper than SDXC. For example a 128gb Sandisk Extreme Pro is $100. A 120gb SSD is less than $50 ...

This doesn't mean that lenses with small diameter do have to give swirley bokeh that strong. The contax 50 1.7 I think does'tt have the problem that strong and is a modern lens with modern coatings, have a look at flickr, that's the best way.

Yeah, if you follow Nitsan Simantov, Alan Besedin and Simon Cade, you get some cool suggestions for gear, character and shooting skills. The Brits are great! The Pixapros look cool, but personally I'd rather look into these two options: Or... Of course depends on required mobility, output and what kind of light you're looking for. If you work with matteboxes in a studio setup, part of your shoot is taking stills, the Pixapros might be the more obvious choice.

It will be the 100 kronor. The 20 with a portrait of the author of Pippi Longstocking is already out as well.

Where ?! I'd kill for a 5Dii for 500€....but I keep finding them for 700-900€. Idk where you guys get cameras for that price, there must be some trick, a friend of mine got the D800 recently for 1300€ and it was a great deal (usually they are around 1500€). Thats ~3x min wage, which is 496€ I believe. Where do you guys search for gear ? I search around ebay.. I can get a Nikon, but isnt it terrible for video ?

Sandro, Rocky Mountains is just a wrapper, it doesn't convert anything: it simply presents a convenient interface to gather what to needs to be done and then calls FFmpeg under the covers. Since it's FFmpeg doing the conversion, the time will be the same whether you call FFmpeg through Rocky Mountains or directly call it as I do. I see little benefit to using Rocky Mountains (or other wrappers) and find it much more convenient to directly use FFmpeg since it's a single step: drag all the files onto the FFmpeg icon, done.

I love this type of post, and the Internet / camera forums in general. We go from arguing over how great a camera is going to be, to unboxing videos and camera lust / jealousy, to the inevitable honeymoon is over phase so quickly. So in lieu of shooting something reliable and proven, we put loupes on our Sony bodies, worry about overheating, worry if the Metabones adapter is going to not work, drag around ND filters and step up rings, external mics, remember to overexpose 2 stops in log mode so we can squeeze 1/5 of a stop of extra dynamic range just to spend hours later grading footage of our....cats. All while trying to avoid banding skies, black hole suns (Soundgarden anyone?) and instead of actually ENJOYING shooting a nice crisp 1080p signal (like my FS700) and worrying more about content - before we hit record we're trying to remember what our "knee" setting was for test shot #1047. Hey, I'm one of you too. Having gotten a proper ND filter / good built-in audio / slow motion FS700 the past few days I've just been shooting everything. Mostly not even slowmo stuff - and (oh the horror) not $5000 adapted Cooke glass - I even tried the 18-55 Sony kit lens - which smoothly autofocuses and face tracks my subjects. I locked the iris, set the ISO gain limit and just hit record. Looking now for cool low angled shots, framing, keeping my subjects (my family) the focus and not the settings. More "keeper" footage in 3 days non stop shooting than 4 months with the 1dc. But, I am one of you - always on the quest for the best. But at some point we are going to have to remember there is *no* perfect camera, nor will there ever be. DSLR's will probably never have true built-in ND, XLR inputs (save the GH4 and the clunky poorly-powered YAGH), smooth AF in video mode and colors right out of the camera (and dynamic range) that we all like. Camcorders will never be small, take exception stills, nor have the stealth factor. I walked around Halloween with the FS and at least 3 people asked me if I was with the news. At the baseball games with the 1d + 300 2.8 they asked if I was with Sports Illustrated. Sigh. /ramble off.

check out Macgregor's short

I dig some history about those lenses: those type I lens are the B&L improvement of the French Hyperginar designs, but still has quite a lot aberrations, especially the mump and breathing problem, I wouldn't cut them in half and adjust the distance between front and rear glass, this not only changes the squeeze ratio, but also increases the chance of getting none-concentric alignment between front and rear glass. I will take out the glass completely, and make a new housing, a lighter one, and use external device for adjusting focus. Its a little bid heavy lifting...Probably only for the people who pursue unique looks out of this lens, people like me, :-) I wil share more when I am done with this mod, :-)