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It's much more pleasing to watch something thats not flat and gray, but full of beautiful colors and contrast. That is why I usually shoot with Gamma C, sometimes normal, but almost never with Gamma DR. I think this dynamic range hype (which EOSHD is full of) is mostly nonsense, as long as it leads to overall bland image.

Curious what peoples settings are for the NX1. I've been hearing some say they only shoot in Gamma C which surprises me. I know that Andrew's log solution is also a great one. This is the one that I have found personally excellent.

ED David also has amazing footage from the NX1 and explains both the settings and the grading: https://vimeo.com/115004338

Thank you Yeah, if we protect the highlights from getting crushed, it always looks quite amazing. Heres a few others, but the OOC settings are always the same. Just like Andrew said, the goal is to have enough so that you can make artistic choices later on in post...This is actually one of my favourite parts of any project, to grade the footage in a lot of ways and see how it ends up looking.

What's ironic here is that Apple are now the company with the monopoly in many markets who are no longer innovating. Look at what Microsoft are doing. They have one streamlined OS that works across all devices from phones, tablets to desktops. They've just released new phones (Lumia 950 & 950 XL) that you can connect a mouse, keyboard & monitor to, and use as a full functioning computer with desktop apps. Their Surface range also continues to get better and better. Of course, they also have that Hololens technology that looks quite impressive from the demos I've seen. And what do Apple release? A big iPad with what is essentially the same OS as what the original iphone was running back when it was first released.

Thanks for that. I guess for my purposes I wouldn't miss those features. Also, the G7 cannot be switched PAL/NTSC. I'm not too bothered about headphone/input jacks as I bought a used Shure lenshopper with the built-in recorder to get around these audio limitations (noisy em5II preamps, no input on LX100). As long as there is a hotshoe, I'm good. I got a body-only G7 from Amazon for £249 after rebate. Too good a deal. You could get 4 of the G7 for less than a GH4. I am now debating getting the Olympus 7-14/2.8 for my wide angle or adapting the Tokina 11-16/2.8 with the metabones.

If anyone is looking into a Panasonic G7 now might be the time! Panasonic DMC-G7 and 14-42 kit lens available from Amazon, Jessops, Currys, LCE etc... £200 cashback from Panasonic.Cashback runs from November 18th to December 6th. Panasonic 4K Double Cashback Details:http://promotions.panasonic.co.uk/promotions/promotions/view_terms/103

BOLD, After reviewing the info and your posts from page 1 showing with the green arrows and viewing the "COOKING ANAMORPHIC LENS" video and other videos, It seems to me that the idea here is trying to get the two lens, front and rear closer to achieve closer focusing. I think the images with the green arrows tells me that we do not have to cut the B&L in half like Cooking Anamorphic's video, instead looks like we can modify the B&L by cutting maybe an inch off more or less the front outer element housing where in your photo shows the gap between the inner barrow and outer barrow with green arrow and cutting the same off the bottom of the inner barrow that holds the front glass so there is room to push the front glass further down, last thing to trim down would be the area with the two side screws are so everything can be reassembled. Will anyhow I think this is what I'm going to try to do and will also try to document back here with photos of the project. Oh and one more thing, this looks like it can be done with a pipe cutter, clean with no mess like a saw

I've had this same problem, but only when the camera was shut off or went to sleep. I figured it was parking the internals of the lens in a safe position. Is your camera doing this without going to sleep or being turned off?

unfortunately you're not going to find anything within budget that fulfils your requirements. The iscoramas are not very heavy at all. pretty much everything else of a single focus nature will be heavier. unfortunately an iscorama is around 3x your budget. maybe a slr magic 1.33x? it's not 100% single focus but preowned should come in on budget. there are plenty of dual focus options that will fulfil the aesthetic and optical quality requirements. maybe look there (kowa, sankor, etc) then plan a purchase of one of the multiple focus units that are currently on offer. slr magic rangefinder, FM lens and Rectilux. get a good dual focus setup and then its just a case of saving for a focus unit.

Fascinating organizational insight in that Steve Jobs interview, I'd never heard that before but makes sense intuitively. But with photography companies, you'd have to understand the specific organizational process of each company. Because it seems to me that marketing would likely play a role in specifying cameras specs. After that, engineers are tasked with producing a product which meets that spec. Somehow I doubt that engineers at camera companies are these garage geniuses that come up with great products all on their own. Product development is too complicated for that. They have so many considerations to account for before the design is even made, like manufacturing capabilities, supply partners, etc. If anything, product design is probably a very iterative team process from across the company, which makes Jobs' explanation seem a bit simplistic.

No, they have OSX for their laptops and iOS for their mobile devices. If you want a tablet, you have to buy an iPad which doesn't let you run any full featured apps like Photoshop, FCP, Premiere, etc. If you do want to use those programs though, you also have to buy either a MacBook, or a desktop machine. That's two devices, and to transfer app data from the tablet to computer can normally only be done via iTunes, which can be an extremely painful experience. With a Surface Pro, or even a '2 in 1' like Lenovo's Yoga range, you get one machine that's a tablet and can still run the full featured apps. That's the advantage. And if you have one of their phones, it will be the same one OS again. A laptop won't fit in your pocket. Seriously, think of your average consumer doesn't do any high end video editing, photography, music or whatever. They just browse facebook, Instagram, do a bit of book keeping or whatever. These kind of people will now no longer even need a computer. They could do everything on the phone while they're out. Then when they're home, all they need to do is hook the phone into a monitor or their tv, grab a Bluetooth keyboard and mouse, and with Continuum on the phone running the full desktop versions of their browser and office apps, their user experience would be exactly the same as if they were on a desktop or laptop. And that's huge. Less environmental waste if people are only using phones, and much less confusion for older people like my in laws, trying to familiarise themselves with multiple devices. Why are Apple not doing this with the iPhone? If they're putting desktop performance A9 chips on their iPhones, why not let people connect them to monitor and run OSX? Possibly because they don't want to lose sales of their iPads and Macs? That's like Canon limiting the video features in their DSLR's so that people will still buy their C300 etc. I'm running iOS9 on my iPad, and apart from the different font they're using, the user interface is still the same as a 2007 iPhone. There's no way of putting a big slideshow gallery of my favourite photos on there like I can do with my Lumia, I can't put a big tile on there with a photo of my wife, or a Fitbit tile showing me how far I've walked and the number of steps, I can't put a big tile on there showing the latest posts in my blog reader app, such a new EOSHD post, or even a Flickr tile showing new photos my contacts have posted, and so on. You can't do any of this with iOS. All you get are boring icons, which if you're lucky, might have a number on them. Even Android users can do a lot more with widgets and whatever else they have.

I don't know the math behind it, but from my experience transcoding is not going to give you more latitude or color info. If it does it is so tiny that it's not worth the extra effort. The benefit maybe creating files that are easier to work with in your NLE.

Heres my current settings, this is my balance between retaining color and DR, making it easy to grade : These are : -10 sharpness, -2 Saturation, -3 Contrast +8 Black levels. OOC: Graded :

And you think the camera is the problem? There are two approaches you can use If you don't plan to grade the image and just want great colour out of the box stick it on 0-255, normal picture profile, avoid raising the black levels or using gamma DR. Don't forget to remap 0-255 to 16-235 in post to get rid of the harsh clip to highlights and crushed black details. Or you can raise the black levels and use gamma DR then grade it, do all sorts... To say quality decreases is not correct. You can apply a range of very artistic looks to the flatter output.

I think, Samsung is a very different story. With the NX1, they have made some serious strategic mistakes and taken tough choices. Samsung placed their new product, as we say, in the worst of "red ocean". They aimed for a segment but didn't realize, what it takes to be successful there. The H.265 codec is also a brave but tough choice. Blackmagic has made clever strategy, by sticking to their core competence and buying the sensors from elsewhere and using mounts like EF or MFT. Sony teamed up with Zeiss in order to have a reasonable choice of glass. Offering a fair range of lenses is one of the main success factor in the prosumer/pro segment. That's why Canon is still doing OK, despite of their almost total lack of innovation. I think there is only place for 2-3 mount systems on the global market and my guess is for the future: Canon EF MFT Sony E Maybe Nikon also, if the get bought by a capital-strong Chinese company. If not, I believe, Nikon will disappear. My 2 cents :-)

Having lived through the PC/MAC years I don't remember it as a slam-dunk. Keep in mind that Gates did the same thing with IBM. Hindsight for all this is 20/20. I see the opposite with modern cameras. What they've been able to achieve in the past 10 years is nothing short of astounding to me. When I get into film in 1970s, the technology had been more or less the same for 40 years, the high end being 16mm and low-end 8mm. Think about that, if the tech we were using today was petty much the same as what we were using in 1975! Yet, I have a Panasonic LX100 in my bag that shoots as well as, if not better, than the quarter-million dollar cameras in "Phantom Menace" 15 years ago. Better WiFi would be nice, but keep in mind that an app can't access the password to the wireless network and the only real solution is to build a second transmitter and that's not up to the camera companies (it's up to the smartphone makers). That it works at all, given the constraints, is to be applauded. The number one problem all cameras make is light sensitivity (as it was in film). Software can only do so much. Anyway, there is a rich ecosystem of camera software out there, though not from the camera makers. Building cameras and building software are two different skill-sets, IMHO. The biggest problem today is people don't spend the time to experiment and learn how to use the technology they have. Most people put whatever gadget they have on "auto." There needs to be more respect, love, and FUN with THE ART OF PHOTOGRAPHY/FILM. This blog does a great job at that, except when it looks at the glass as half-full and gets into arm-chair business discussions that are better left to the nit-wit junior financial analysts down in The City

Haha. Is Arri LOG on the Alexa dynamic range hype in your book as well then? Same principal.

The D7200 allows you to change the aperture in live view mode, has 2 dials for aperture and shutter, can dial in the kelvin value, has a motor for auto focus on older lenses if doings still or quick focus before record, more robust body to name but a few.... Have a read of this blog for more info about Nikon and Cinema.

Thanks again for the reply. EditReady seems like a handy app. I have never converted my footage into prores and normally just drop the mov files into FCPX. I shall explore prores to see if it can aid my final output. I do like the 15" MacBook Pro but the 13" form factor seems appealing for when not doing edits and away from the monitor and wanting to be more mobile. I really enjoy shooting with the D750. The footage it creates is very good and doesn't need much post. I shot previously with the D800 and then upgraded. The Nikon image I found is a lot better than anything a Canon DSLR can produce when comparing footage. It doesn't have all the features Sony or Panasonic tout for video but the image for shooting skin tones can't be matched. I am looking for a second body. I wanted the D5500 but likely to get the D7200 or anything new Nikon release in 2016. I use Nikon glass and also use it for stills so find it meets my needs.

No problem. I shoot with the NX500, so the native files are h.265. I have to convert it anyway, and I have just always been a fan of 4K converted to 1080p, I think it has a weightier image than straight 4K, which I find can sometimes look brittle. Also, the h.265 files are so compressed that they are pretty big when I convert them to prores, by turning it to 1080, I save some file space. The NX500 already has a 2.5x crop, so I have no interest in any further crop. Plus, my goal is narrative filmmaking, so I try and plan my shots. Of course, if I do need a crop, I guess, I can just bring in the 4K version. I use EditReady to convert my files to prores and then I import them into FCPX for correction grade and edit. I use the Color Finale plug in for LUTS and any color work... of course, I am a newbie with a lot of this. I have edited straight 4K and didn't have a problem at all, so with the specs for the MacBook Pro you posted, everything should work fine. Definitely with the D750, probably with the 4K from a gh4. I've never edited native 4K mov/MP4 files, but I can't imagine it would be a problem. How do you like the D750? I never shot with a Nikon, but I have really liked what I have seen from the D5500, so I may pick one up if they go on sale at Christmas.

1) Cineform 2) Better Rolling Shutter Performance 3) LOG Profile and I am set.

It's also limited to UHD (no DCI 4K), doesn't output an HDMI signal while recording (so no 10-bit 4:2:2 out), no weather sealing, no V-LOG, and no headphone jack. On the plus side, the crop factor is a little less and it's better in low light.

I was all set to get choose between an LX100 or RX100 but swaying towards the G7 now! I previously had a G3 and this looks like a big step up. @Cinegain I thought you typed kittens and was like Lumix Kittens

just got the A7Sii...overheated during a interview at 45min in 4k. fully charged battery lasted just as long.

The one linked. It only works on G lenses of course. I use it with the Tokina 11-16.

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

Thanks for this, it looked really great. I think this is some of my favourite GH4 footage & it certainly has a lot to do with the Baby Hypergoner. I especially loved the seagull shots!