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I found an amazing lens LOMO OKC 35mm F2 with PL mount, perfect for special, amazing pictures. It has a central hole in one of the glass gives hallowed halos around objects and boke in the shape of circle. In the movie version with a Pl mount and ARRI focus ring gear.

We head into 2016 with a treasure chest of great cameras but how exactly do the mirrorless and DSLR cameras rank for video? View the charts here

https://www.blackmagicdesign.com/press/release/20151223-02 Boom! What’s new in DaVinci Resolve 12.2Decode support for HEVC/H.265 QuickTime video in DaVinci Resolve Studio on OS XSupport for HDR Hybrid Log Gamma using Resolve Color ManagementInclusion of Hybrid Log Gamma conversion LUTsUpdated ST 2084 HDR color scienceACES IDTs for Canon C300 MkII clipsImport support for NewBlue Titler Pro titles using Media Composer AAF sequencesReveal in Media Storage now supports mattesProRes 4444 with alpha channel now defaults to straight modePower Window opacity and invert settings are now retained when converting to Power Curve WindowsImproved QuickTime render performance on Linux

These are just some quick random samples with a variety of settings. I wouldn't pixel peep to much as most are canon log and not sharpened. Like I said just random shots. Cinegain- I'm not sure why you say it has specific qualities. I feel it's a more well rounded video camera than the gh4. There is a lot of mis information on the internet about this camera.

I'm with you on the NX1, Andrew! It has captured striking imagery with an astonishing success rate for me compared to any other camera. It might not sit atop any specific quantifiable ranking of cameras, but what it's capable of is just short of miraculous. On the Ronin, that AF system is a dream come true, and paired together in the right hands, most any shot is possible. It handles extremely well, is reliable as heck, and it has good tech specs where it counts.

During artist tests, Davis brought the first Pocket Camera on set. "I put it through a whole range of comprehensive latitude tests; I wanted to see the quality of the image and I also wanted to see how much information it held in the shadows and highlights," he says. "I was really impressed with what I saw, and that was the fundamental thing we were looking for. I think the Pocket is definitely up there alongside the Red and the Alexa in terms of latitude, and that let me cut in with the Alexa and Canon C500, which we also used, in a much more seamless way. And all that information moves straight on to VFX through grading. More Info http://www.studiodaily.com/2015/05/dp-ben-davis-avengers-age-ultron/

That is what I finally figured out with the nx500. Every single person was using -5 contrast and I just wasn't getting good results. I assumed the issue was the saturation, but no matter what setting I tried, the colors were all messed up. It wasn't until I read the review by cinema5d that I realized he used default contrast, then all of a sudden everything clicked. A lot of the information out their about Samsung cameras are based on using their lenses, but they work completely different when using vintage glass.

Interesting! Maybe it's best to keep your default contrast in-camera and stretch out your DR with low-con lenses (like Canon FDs and Contax Zeiss) and post work.

I'm curious why you think the xc10 doesn't stand up to the gh4? I've used the gh4 and gh3 and I think the xc10 is way ahead of either in image quality. It does have a few issues, but you also have some real positives that many seem to over look. The image stabilization is very good, I can shoot handheld at the end of the zoom and have useable footage along with shallow depth of field, there are no micro jitters like you get with DSLR's or mirrorless cameras. It has a professional HD codec with a low bit rate that will let you shoot hours of footage to cheap SD cards. I think it's way ahead of the gh4 in this regard, the hd from he camera looks like down sampled gh4 4k footage, but with much smaller file sizes and a much more robust codec. I'm finding with this camera I'm simply able to shoot a lot more better looking footage than I have with any dslr i've used, including gh4, nx1 and d810. Also don't forget sound quality, no reason to use an external recorder. For me and the style of shooting I do the XC10 is a far superior camera if I was shooting a documentary through six different countries. I watched the camera store video and to me they sound like they are trying to sell sony cameras. I can see how if you took the camera out side and walked around shooting for about twenty minutes and only tried a couple settings how you might be disappointed in the xc10. They don't mention any of the positives, which there are many. It's like they didn't know how to use the camera. I think if they had filmed the video with the xc10 it would have looked much nicer. On my monitor it had a green or yellow cast over everything. The more I work with cameras the more I realize resolution isn't very important, color is much more important. I personally feel it has much better color than any of the dslr offerings. Don't believe all the hype you read or watch. Having actually used the XC10 the camera store review looks silly and amateurish, or maybe they just have an agenda. If I have some time i'll try and up load some shallow depth of field shots.

I have not tried an NX1, but I have seen people getting great results. Some of your work is the best NX1 footage I've seen. I really am not trying to knock the Samsung image quality, it's great. I really like my NX500. I have learned a lot about cinematography from it. It just feels like it's lacking something. Anyway, I have messed around a little with some m42 lenses... The Zeiss Jena 50mm f2.8 looks great with it, as does the Rikenon 35mm f2.8. I haven't tried Taks, but I do have a few. I just sold my 50mm 1.4 the other day, but I still have a couple others. Anyway, have a Merry Christmas!!!

Exactly the opposite for me: I own a 550D with ML on it and the a5100 with its XAVC S codec always selected: the latter wins hands down in every aspect...

It was also used on Kingsman: The Secret Service. But i don't think bmpcc is for weddings and doc space of the file and all but where it shines is controlled environment and DOP using lights and all a movie set Here is one of my fev videos shot on bmpcc And Short film

I'm a huge fan of the bmpcc. It's the ONLY camera that fulfilled the needs of my FORBES70 prototype camera in terms of DR, low light performance, resolution, compatibility with adapted specialist lenses, solid codecs, etc. since the bmpcc's release there has yet to be anything that comes close to its overall performance when paired with fast modern c-mount lenses. The sheer number of so-called high end cinematographers interested in FORBES70 but who disregard it based on that fact that the internal camera is a BMPCC is amazing. Also those who complain about anything the camera does visually are asking far too much. £800 for the best picture available from any camera in the price bracket where re-mortgaging isn't required to make a purchase. https://vimeo.com/136554487 password : fbs I hope the bmmcc does the same amazing job and better!

character - yes . I was thinking about this the last couple of days when I stumbled on some old gh2 footage. it has something that the gh4 does not.

I seem to have found my solution... A bit bulkier and more expensive but flexible and still pretty run and gun. On this website http://suggestionofmotion.com/blog/view-factor-contineo-gh4-cage-review/ He is reviewing a Cage for the GH4 but at the bottom he shows his audio rig. Looks great for me.. Not too big no huge XLR connections to worry about. A video mic pro, A Wireless Lav Feed into a Device that splits it into 2 channels with Level control. Giving you 2 separate Completely in sync audio tracks. (no post syncing) Just to test the the rig out I found this super cheap Pyle wireless system on Amazon ($15) and a $40 ish Mini Boom Mic http://www.amazon.com/gp/product/B0007L8BQW/ref=pd_luc_rh_bxgy_01_01_t_img_lh?ie=UTF8&psc=1 Ill test it out just to see how the whole thing works then get a more expensive one Probably this one if the sale continues till early January when im prepared to buy it. http://www.adorama.com/ATATW1701L.html?emailprice=t&hotlink=t&svfor=5m&utm_medium=Affiliate&utm_source=rflaid62905&cvosrc=affiliate.62905 If anyone interested Here is Links to the components im considering (some are repeats of above) http://www.amazon.com/gp/product/B00CS9E0XE?creativeASIN=B00CS9E0XE&linkCode=w01&linkId=CYKCKOMLEVSXZ4GB&ref_=as_sl_pc_ss_til&tag=6520-20 http://www.amazon.com/gp/product/B00N2GJCB2/ref=pd_luc_rh_sbs_03_01_t_img_lh?ie=UTF8&psc=1 http://www.amazon.com/gp/product/B0007L8BQW/ref=pd_luc_rh_bxgy_01_01_t_img_lh?ie=UTF8&psc=1 http://www.amazon.com/Rode-VMPR-VideoMic-Rycote-Shockmount/dp/B00YAZHRZM/ref=dp_ob_title_ce http://www.adorama.com/ATATW1701L.html?emailprice=t&hotlink=t&svfor=5m&utm_medium=Affiliate&utm_source=rflaid62905&cvosrc=affiliate.62905 Im still no going to jump until early January so if anyone has thoughts id love to hear Thanks

Just a note on the max ISO listings - with the latest firmware, I shot a no-lights-allowed project with the NX1, and much of it was shot from 1600-2200 iso. I'm just not seeing any noise to speak of - the footage is amazingly clean. I blasted the ISO until I was just under highlights blowing at f3.5, F4 or 2.8 with some lenses. It's freaking clean as hell. I assumed I'd be running it all through NeatVideo, but no need. Really kind of shocked.

The smartphone idea might not work for me. Looking at mics on B&H's awesome website, I could see that the mid-range $60 lav mics require phantom power through the mic jack, and unlike the recorders, smartphones don't provide any phantom power through their mic jacks. I'm def learning that preamp is in the secret sauce. My Rode Videomic has zero preamp, and apparently part of the trick with AGC is to preamplify the signal so that the camera's AGC doesn't try to boost the signal because it'll also boost the noise...creating the low hiss I hear all the time despite turning on the high pass filter. Apparently this is the trick on the Rode Videopro microphone. It preamps the signal before it ever reaches the camera, which helps trick the in camera AGC into not trying to boost the sound. But that's really just a hack. Without being handicapped by a camera's AGC, a better strategy seems like a recorder with decent microphone + good preamp + manual gain control + lossless recording format. This review and this review were helpful because of the commentary on the quality of the preamps in various under $400 recorders. Now all I need to do is find the right microphone preamp recorder combo as my first upgrade from a Rode Videomic without dropping $3K on a Sound Devices 552