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Franz Kraus addressed at Conference of the International Association of Film and Television Schools (CILECT) in Munich on Nov 27th, that a s16 Amira prototype has been tested. They are apparently in progress to a feasibility study with an aim to supply film schools/educational market, as many schools still having lenses left over from the SR/ST days. Simplified s16 Amira (true S16 Sensor not a crop) sounds very much in the feasibility stage for now, but could end up being an interesting little camera if produced and made available outside the educational market. http://if.com.au/2015/11/26/article/Arri-reveals-prototype-educational-camera/IQUTSYTINV.html

Harsh crowd... Note to RED, next time, give it to someone who only knows how to shoot outdoors, without lighting... that seems to get the juices running. Are people actually upset that they are showcasing how the footage will look in a professional environment? This is far more interesting than the recent BM4.6K footage that could have been done by anyone capable of hitting the on/off switch. I actually want to see how the skintones and colour will look with lighting. Is it over stylised and narratively meaningless? Sure... Is it useful for the person looking to purchase, hell yea. (and I generally hate RED's marketing ways and means).

This is one of those times when story doesn't matter. People just want to see how it'll look in a pro environment. Look's damn good in my opinion.

Well I think the footage looked superb. Each shot was clearly thought out to show the cameras capabilities. Surely the idea is to show the camera in its best light. This ain't a toy, its a c-camera/drone camera for professionals who want to see what the camera will do when lit/shot and processed to the best it can be. If the camera was m4/3 mount allowing use of a speed booster, as well as having the need and budget for such a camera I'd be ordering one straight away. well done to RED for getting this at the price point it is!

What the fuck was that bullshit? I thought it was going to be an actual short film. Why does an arbitrary video of nothing have a name? It looks like a perfume advert that is too long and was thrown out for being too cleche. As for the look of the footage. Ok, nothing spelbinding. A bit videoey in certain shots.

These R&D announcements usually don't map particularly well to reality. Often they are more PR than R&D. What Panasonic needs and needs badly in the GH5 is something to compete with the stuff coming from Sony and Blackmagic. They need high quality 96 FPS 4k with global shutter around 30-60 FPS and less photo sites to improve low light. I don't have an opinion one way or another on micro 4/3. If they made it a Super35 sensor that would be great. Micro 4/3 would be just fine as I have Speedboosters.

It's unlikely I know, but I suspect this was shot by a time-traveling music video director from the eighties.

Dear EOSHD community, I am an independent french graphic designer and I regularly work in photo and video. Over the years, I created a collection of 3D LUT files to ease the color grading of my projects. Recently I created a pack with my 38 original LUTs. They are profiled on high-resolution color matrix and were built to preserve skin tones as best as possible. I had the chance to work with many different cameras and I spent a lot of time creating these looks and testing on raw footages, from 5DMKII and 7D with Magic Lantern, GH4, A7S, BMPC 4K, and stills from RED EPIC. About HDSLR, these LUTs are calibrated on CineStyle/Cinelike profiles. Also in my pack is included a LUT to properly « flat » a footage and get a good working basis before grading. Website for more infos : http://luts.iwltbap.com Instagram with short video samples : https://instagram.com/luts At the end of this post you will find some sample images before-after. My LUTs pack is for sale $20, but I created a discount code of -25% for EOSHD community. So you can get it for $15 instead of $20 via : https://sellfy.com/p/Ainy/-EOSHD My pack is regularly updated with new LUTs and all updates are free. On my website you can download a free LUT with the famous teal-orange look. Also, I offer for free a 4K film grain based on 35mm film scans (10sec video encoded in Apple ProRes 422 at 25fps). Hope you will like my LUTs. Best, Benjamin

http://menexmachina.blogspot.com/2015/12/a7rii-m43cmount-lenses-with-cropzoom.html

If DOF is overused, and I think this is more typical of the small sensor camcorders like the HVX or shooting on DSLR's or M4/3 cams, in an effort to hit one of the several "Holy Grails" of the filmic look (hate that phrase), to my eye it starts looking ridiculous. The reality is, if you were to shoot a feature in this way, it would either be mostly out of focus, or cost a fortune!...Used to shift attention in small dosages it has its place, but when I'm watching anything, the human eye is still the standard to aspire to and too much of anything else feels forced...in the same way that I don't want to "see" the acting, I don't want to see the presence of the camera...only the story...does not mean I did not like the washed out bleached look of 3 Kings...it made me feel the blinding light and heat of the desert...it served a purpose... @Andrew M...great thread and important observation!!!

Just placed an order for a dual mini 35cm! Thanks for the help!

I was looking for a small one too. This looks decent... http://www.amazon.com/LimoStudio-Stabilization-System-Compact-AGG1565/dp/B00T6ZMOHC/ref=sr_1_5?ie=UTF8&qid=1449505424&sr=8-5&keywords=slider+24" Best slider I've ever used (and now I own) is the shark slider... Pricey, but truly worth it. It's 80 cm... http://www.amazon.com/iFootage-Slider-S1-Standard-Stabilization/dp/B00Q9PB9BO/ref=sr_1_4?ie=UTF8&qid=1449505896&sr=8-4&keywords=shark+slider

If it's under 1000€ and has the nice arri stuff going on it might be an option, but I have a feeling this won't be the case

This test looks amazing. If I had my money for best professional sub-10k camera for 2016, the red raven trumps over the Ursa 4.6k. But that is just based on one test video, that looks better than the music videos shot on the Red Weapon. The only way to really tell if a camera is better than another is to see boring test videos - comparisons between cameras. Highlight handling. Low light handling. Skin tone test. Mixed lighting tests. Resolution test. Boring boring stuff. Until then, I still have my red one mx - which is great, not good at highlight handling, but I would be curious to do a side by side. See the motion. See how it all feels next to each other. Here's a short film I shot on the Red One MX. This is with lighting. At night. Will the Red Raven look better? What are the strengths of the Raven over the Red One MX? The weaknesses? Are there going to be fan noise problems like the Red Epic dragon? Cabling issues - only one hd-sdi port? Hard to get to timecode port and weird audio ports? These are all things to know before drolling over something. https://vimeo.com/127683476

For me, their new MFT cameras that don't record internally are professional/industrial niche products. I was hoping for a 4K version of the BMPCC, or one with photo capability, or a better screen, etc. But hey, I'm the last one who wants to give an opinion about something I know NOTHING about! So I may be more than silly, I may be dead wrong. And to clarify, I don't believe the future of MFT is dependent on BM in any way. Panasonic and Olympus are still innovating.

Yeah, I prefer the original

OH MY GOD *vintage* jarred/jim right there

You won the bet. 11 pages right now, and no hint of skepticism. A lot of brave loyality. And a stern warning for the haters:

I have a SmallHD 502 monitor that I plan to use with the Micro. But just noticed that B&H is selling the 501 (No SDI, HDMI Only) for $599 until the end of day Monday. http://www.bhphotovideo.com/c/product/1153980-REG/smallhd_mon_501_501_hdmi_full_hd.html/dealZone/true

This has never been true of any industry. What the consumer "needs" is irrelevant. None of us "need" anything. The scope of what the average user is doing is ever changing.

Here's what I posted on PV about the same fotage: For a company that relies on preorders and direct sales as their sales model this type of slick polished video makes since. For others it is less/not important as they have a strong channel the will help sell their new product offering. Personally, I don't trust these prerelease videos as representative of the way I shoot or post process. I do trust the community at large to show what the camera can do in the hands of the every man with the common tools and work flows I have access to. My main discision making tool is the comparison videos after the product is released. I'm not Red's target audience because I'm not a Red believer who buys on spec and slick promo videos. That said, if it is truly a better product solution (including post processing requirements) and a reasonable value as compared to the competition, I am all in (once it is vetted by the community). I am not the droid Red is looking for...

Yup. It renders that way due to the shape the aperture blades make. I also like the Russians. The Zenit Industar 61 line-up renders pretty spec(ta)cular highlights... e.g.

It's obvious this guy's been reading this thread, his latest offering now incorporates a helicoid. I've considered selling one of my B&H's when I'm done and put on eBay for $100 less just to undercut him. Although that would still make me a profiteering a$$hole. However I would like to recoup some of my cost in materials and R&D. What do you think is a fair asking price for a modded B&H?

Everything I said is true and is backed up with hard evidence. There's no magic here - just good optics. Perhaps you might actually read the white paper I gave you a link to? Eventually, conservative established lens makers in Japan and Germany will wake up and realize the true benefit of the Speed Booster approach for designing high-speed short BFL optics. With any luck I'll be retiring on royalties when they do There are numerous examples of Speed Booster/lens combinations that beat native lenses. For instance, a Voigtlander 90mm/3.5 plus S.B. gives a 60mm f/2.5 that is better than the latest Olympus 60mm f/2.8 macro lens: http://***URL removed***/forums/post/51895542 . A Sigma 35/1.4 plus S.B. gives a 25/1.0 that is much better than a Voigtlander 25/0.95: http://***URL removed***/forums/post/55298481 . And these examples use the old version of the Speed Booster. The new ones referred to in my white paper are even better. Finally, I defy you to find any f/1.0 lens with better image quality than a Zeiss Otus combined with a Speed Booster Ultra.

I've said this a thousand times, I'd rather an interesting lens give me an in camera look than relying heavily on post... Especially since I am not that good at it yet. Anyway, the Nikons sound awesome. There's a bunch of articles online that specifically state... if you don't have Zeiss or Leica, old Nikkors will give you a nice cinematic look. Thanks for those vivid settings... Will give them a go the next time I go out.

I've been shooting for a living for over 2 decades, and one of the definitive signs that someone is an amateur is any statement like the above. That's some massive insecurity you've got going on, man. Professionalism isn't about the gear.

All depends as well on the circumstances as on your own mindset and emotional disposition. If to connect to other people's emotions is what you really miss, you will find this easier. Or at least you imagine that it is. And then, no matter whether the empathy was real or not, MDMA is a medicine for you. You will always remember the experience as Love Is All You Need. Acting maybe quite accurate. But all just shown from the outside. If that was your goal, it's good.

And to think of all the Sci fi films of the past portraying a future where monitor screens with scan lines and distortion covered the walls of space ships and futuristic cities. They made the future look so much more interesting. Although now it seems, the future won't be like that at all. With 8k becoming a reality, I'm sad that those visual displays of the future will most likely not be covered in scan lines and distortion as they were in all those classic films. Instead, we'll be looking at screens so detailed, every strand of hair growing from someone's nose will be clearly visible with smooth edges and no aliasing.

Absolutely not the case. I have a GH4 and BMPCC - 4K 8bit H264 vs 1080p 10bit Prores. I choose the Pocket image 90% of the time. There are no 4K 8-bit cameras that rival the HD Blackmagic image for me. Possibly the XC10 but that's 422 with a huge bit rate. I'm done with 8 bit and I'm done with high compression. It's junk. The A7SII, GH4 - colours look like junk. NX1 is slightly better but not if you actually want to do anything at all creative with the image.

Hello everybody, I just build an online web app to test all the LUTs from my pack on JPG/PNG images. You can test the beta version here : http://luts.iwltbap.com/previewer The use is pretty simple, you have just to drop/load a JPG/PNG frame on the main container and click a LUT reference in the left sidebar. In top bar you have a ON/OFF button to enable or disable the LUT effect instantly, and a slider to change the LUT intensity. Also, you can export the current frame as a PNG by clicking SAVE button. The LUTs will be applied at low resolution to increase speed (the size of this web app is around 10MB, when my pack of LUTs is around 1.20GB). So, pixelation and banding will appear in the previewer. More details in the infos box on the previewer home page. It's still in beta so all feedback and bug reports are welcome Benjamin

Not with H.265 PS - if Panasonic froze sensor R&D since 2011 that would explain why Sony made the GH3 sensor, but who made the GH4 sensor and what about the new Varicam S35?!

i agree! i find this to be a fascinating example for several reasons; not the least of which is that the recoloring of this comic, The Killing Joke (1988), was done in 2008 by Brian Bolland, the extremely talented man who did the pencils in the first place – the guy who drew it~! hes no amateur, but he missed the boat here didnt he? to approach this as a black and white page, like a coloring book, i feel that its a natural first instinct to start coloring things the colors that they are, as seen on the right above and below. but our job is to do more with color... like....... an artist lol here, commissioner jim gordon is being driven to insanity by the joker. on the left we see what he feels. the page on the right is clearly unemotional and anemic in comparison now, again, this is a metaphor in more ways than one when it comes to filmmaking, but its a literal point in terms of two dimensional representational imagery

Um...did you forget Blackmagic?

The spread of strengths across the camera industry is driving me a bit nuts. Only Blackmagic do cheap affordable int. 10bit ProRes. Only Olympus do effective stabilisation. Only Panasonic do cheap 4K in Micro Four Thirds cam Only Fuji do a film-inspired shooting experience (although Olympus run them close) Only Sony max out the specs and do a full frame mirrorless camera Only Samsung do a really responsive fast ergonomic DSLR-style mirrorless camera Only Canon... I mean only Magic Lantern do raw video. The A7S II is closest to the perfect camera but the handling is just...so soulless. Currently I am thinking of keeping hold of the E-M5 II as a stills camera, second to the NX1 and A7S II as my main video cameras.

This camera needs light. I mean, A LOT of light in Slog2. The RX10 II only does Slog well if it's very, very bright. And I AM CRAZY!!! I don't regret it at all. I took a massive risk filming the video with a new, untested camera. The great thing was, we only had 6 hours to shoot it and the camera versatility really helped. On further projects, I got detached from the camera as I couldn't get the aesthetic I wanted (sterile lens and small sensor). Went back to the GH3 and the image + adapted FD lens is superior to the RX10 II (non-technical, just how it feels). Got rid of both my GH3's and RX10 II's and now have the A7S II. The A7R II is now on the way (multi-cam purposes). Not had enough time with the A7S II but impressed so far. All in all, you can make professional video quite easily with the RX10 II. It just comes down to what you want as an artist. Unfortunately, the camera was the wrong paintbrush for me. Although it will be right for some!

My biggest frustration with color is just the difficult of grading video vs. raw stills. I feel like I have complete control and understanding of my images when I open up a raw file in lightroom. When it comes to compressed video files its an entirely different story, theres just so much less I can accomplish with ease. It seems like the new lumetri interface in premiere is pretty similar, but still not nearly as flexible unless you're shooting raw. Looking forward to the day where its practical from a space/processing perspective.

That will be hard to decide... LX100 advantages: -15 min rec limit over 5 min in 4K - Cheaper - Can attach filters (43mm) without magfilter adapter - Battery life is much better on LX RX100 advantages: - Great 1080p with high fps (LX100: 50fps, line skipped with moire and aliasing) - SLOG2, and great high iso performance in video mode - very small, pocketable - build in flash which is very effective (and smaller than the LX100's attached flash) - flipable LCD Go for a used LX100 + a gimbal for the price of the RX100 Anyway i recorded this video with the LX100 and a Benro Monopod: