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In another thread, you admit and encourage documentarians to use storytelling in their work, but in this instance you take articles written by The New York Times and Al-Jazeera at face value. You have bought into this notion that big business and law enforcement are the "bad guys" and the common man are the "good guys," that's cute and all, but the world is a little more complicated than that. And if it wasn't for the photographers that make 50k a day, there wouldn't be $600 a day jobs for his/her crew... Which is an AMAZING days pay by the way.

Maybe we should listen to both sides of the story and make our own minds up without changing our minds about the people giving each side... or demonising one person or the other. Maybe it's possible to separate a standpoint from the person making it, you know, like in the old days before the internet. Unions - in the UK politically these are quite militant. They're so powerful they have a big sway actually in who the Labour party (our Democrats) elect as leader. For two successive leaders they have elected completely unelectable people who they think can look after the interests of the unions, even though they're completely out of touch with the voters and have no chance of putting the party into government. I think union leaders have a lot to answer for. In the case of B&H I don't know enough about the politics of it all to comment... I just want the best for their workers and for the company to treat them fairly.

Maybe you're referring to this post I made in reference to the BMPCC/BMMCC a while back. Here's a copy+paste; it's a point worth repeating. --- Re: BMPCC low-light performance, let's break it down this way.The Pocket's native ISO is 800. Using a Speed Booster, you gain 1 2/3 stops of light, effectively bringing that native ISO up to 2500. Since most of the Pocket's DR lies in the shadows, it can easily be pushed 2-3 stops in post with acceptable results. (Ctrl+F "underexposure." https://www.hurlbutvisuals.com/blog/2014/06/director-of-photography-blackmagic-cinema-camera/)Therefore, using the same full frame lenses, you can shoot the Pocket at an effective 10,000-20,000 ISO with acceptable results--the same or better than the A7S in S16 mode, according to Ebrahim--but with the added benefits of 10-bit 4:2:2 and RAW.I don't claim the Pocket is the best low-light camera out there, but it's much more competitive than sensor size snobs would have you believe.

They have unionized because they voted to do so last November. The vote was conducted under the supervision of the NLRB whcih found no evidence of any interference up to or during the vote by any B&H employee. I'm sure you understand and appreciate that we value our company-employee relationship as much as our company-customer relationship. We cannot have one without the other. They are intertwined and both must be in balance for us to continue our uninterrupted 40+ year history of success. I am only sorry you were exposed to an innuendo-filled campaign of inaccuracy on the part of those who wished to "persuade" our employees the union is in their best interest and who are willing to misrepresent facts about our employees and their work conditions to unsuspecting customers like yourself. Our workers have the right to vote on whether or not a union will represent them. We would not and did not do anything to impede their right to this vote which was held during November. Regarding the allegations of health and safety conditions, perhaps this will offer a different perspective: http://on.fb.me/1N5rsWI There is no asbestos, no lung-searing clouds of dust, no flakes of fiberglass peeling off the ceiling. The restrooms are as clean as those in my house. There are no "substandard conditions." The employees are not, as has been widely reported, “undocumented.” Our warehouses have been inspected by OSHA several times recently, each unannounced and unscheduled. We received no fines or warnings or recommendations to make any changes at all. Other than take-home pay, every B&H employee, including the warehouse workers, me and my boss, get the EXACT same benefits. There was a fire near, not in, our warehouse. At the time the NYFD specifically asked us NOT to evacuate our workers for two reasons – there was no need to do so as there was no danger at all from smoke or fire, and the evacuation of several hundred workers into a relatively small and confined space would have severely impeded the NYFD’s ability to deal with the situation safely, effectively and efficiently. What you read was hyperbole and fiction designed to cast negative aspersions on us.

I really think the glaring omission from your argument is capitalism vs. socialism. To me, it seems you are teetering the line? And I'm sorry, but in another recent post you proclaim the criminal justice system is broken in this country, but you refuse to admit your part in the malfunction. In the US, a person, or party, is innocent until proven guilty, but in the court of public opinion, you tend to find people guilty for your innate desire to fight for the "little man," which is just as damaging as authority figures abusing their power and to be honest... Very condescending to the little man. Words matter and there is enough traffic on this site to influence people's opinions and you haphazardly, prematurely cast dispersions and guilt without any inside knowledge of the facts. You use hearsay and articles from biased 3rd parties and media outlets that have as much of an agenda as the direct parties involved. If the workers are happy with their unionization, then I am happy for the workers. If B&H can continue to serve their customers with low prices and superior customer service, then I am happy for both B&H and their customers. The End

I dont trust the NYTimes either. Or any major media outlet in America for that matter. I think most crew members would be pretty happy with $600 a day. I would be.

Yeah there is... A few months ago I was in the process of selling off my Nikkors. I had a small set of ai/non-ai primes, which I wasn't using all that much. On a whim, I attached the non-ai 50mm f2... And... I was blown away!!! I did some research and learned that some people consider this modest little lens to be one of the sharpest 50s ever made. So, I went searching for a wide angle companion for her and found the 28mm f2. All I can say is... WOW!!! What an amazing lens. Since we're sharing grabs, here's a jpeg screen grab from my G7 with 28mm f2, wide open, with the Fotodiox Vizelex ND Throttle adapter. I did some post with the Cinelook FCPX plug-in from Color Grading Central...

Dunno about Premiere but 2GB video RAM is not enough for 4K in Resolve. It should be fine for 1080p though.

Hi everyone, This week's new free releases are: “Industries in Orbit” (on the Technology Page) http://soundimage.org/techno/ “Great Minds” (on the Classical Sounding Page) http://soundimage.org/classical-sounding/ “The Secret Village” (on the Fantasy 6 Page) http://soundimage.org/fantasy-6/ “Dark Techno City”_Looping (on the Sci-Fi/Space Page) http://soundimage.org/sci-fi/ “Lost Jungle”_Looping (on the Fantasy Page) http://soundimage.org/fantasywonder/ Daily announcements of new tracks here: https://www.facebook.com/soundimage.org https://twitter.com/EricMatyas Have a great week! Eric

Got the Nikkor 50mm f1.4 today. Now I just need the 35mm f1.4 that should arrive later this week before my Cheap Vintage Nikkor Set is complete.

We also live in an age where brand new billion dollar industries are created in months, not decades. Where information has never been more accessible, plentiful, or instantly available. Where people like me with absolutely no formal film, marketing, or business education can start a production company that is responsible for the well-being of not only myself but others. There will be no return to the glory days of 1950s-era manufacturing and middle class single income union jobs. They're gone, that culture exists only in memories, and they're never coming back.

I am not head of PR in any department. I am not head of PR at all. I have almost nothing to do with PR. I am not now nor have I ever been part of the audio department. This is ludicrously inaccurate. I already commented on the fire, saying this: There was a fire near, not in, our warehouse. At the time the NYFD specifically asked us NOT to evacuate our workers for two reasons – there was no need to do so as there was no danger at all from smoke or fire, and the evacuation of several hundred workers into a relatively small and confined space would have severely impeded the NYFD’s ability to deal with the situation safely, effectively and efficiently. I also commented on the ridiculously false allegations about fiberglass and asbestos. There was none; there is none. Had there ever been any our managers and supervisors would have been exposed to the same conditions as our workers. As "tugela" was kind enough to note, a warehouse full of electronics, cameras and lenses etc is the last place any retailer would want fiberglass and asbestos. You quoted a report which said, "The men, many of whom are undocumented..." A lie, plain and simple. We do everything the law requires to document our employees. Is it possible a clever employee who is or knows a master forger could fool us? I suppose. But, we are in compliance with all local, state and federal laws and regulations regarding soliciting, hiring and employing our workers. To the best of our knowledge, none is undocumented. You wrote, "I'm not an expert in union/company relationships..." Indeed. When we settled the EEOC matter, the EEOC said this: “We commend B & H for working cooperatively with us to resolve this matter without protracted litigation,” said EEOC New York Trial Attorney Lou Graziano. “We encourage other employers to follow B & H’s example of resolving discrimination cases expeditiously and in good faith.” There is a reason we were given this unsolicited praise. Here's what happened, briefly. We were advised we were not in compliance with one or more EEOC rules. We were also advised it was possible a current or former employee could file a complaint and if so the EEOC wanted to be sure money was set aside to cover any judgement. We funded that, hence the $4.3 million. It went into what was in effect an escrow account. We did so willingly and voluntarily in part because doing so avoided protracted litigation, which might have been an unnecessary expense. You wrote, "Yes, it's possible the worker's lied, but I just don't see why they would?" Because the union and those in league with the union wanted and needed a victory and were willing to be elastic with facts to get it. We are not the only NYC retailer in our industry to be treated this way: http://www.nj.com/union/index.ssf/2015/02/workers_at_elizabeth_warehouse_claim_they_were_fir.html Ultimately the Adorama workers’ vote went against the union so apparently they redoubled their efforts to avoid a second embarrassing failure. Sekhar said, "Posting an opinion (what your gut tells you, as you put it) as fact is both unfair and dangerous." No danger from me, certainly but repeating untrue, unsubstantiated, unverified, unverifiable allegations like those you quoted is unfair and unfortunate. FWIW the union vote was Nov 4th. PS The medical scam. Wasn't us. Maybe these guys? :-)

No offense, Ed, but if you aren't an expert in these matters, perhaps you shouldn't be passing judgment. Posting an opinion (what your gut tells you, as you put it) as fact is both unfair and dangerous. I don't doubt your sincerity at all and applaud you for the passion, but I'd hold back if I were you. Hit pieces like this aren't too different than posting publicly that you suspect someone's gay because he kind of looks gay to you.

The Raven's EOS only mount and crop is ridiculous at this level of investment. I'm interested going Red when I get higher end, but Super 35 or bust.

Exactly! I've been saying the same for the last couple of months... oh how I wish they would just put some of the RX10M2, RX100M4, A7RII and A7SII tech in the next APS-C mirrorless camera. Just a good solid performing sensor, 4K capability, high framerates, etc. But like you I'm afraid that they'll pull a Canon and restrict the lower end segment. I mean, I would be perfectly fine having E-mount APS-C mirrorless. Fullframe, sure, it's nice, but I'm not heavily invested in fullframe covering lenses, nor do I have the wish to buy some because they tend to get bulky and expensive. Sony's answer obviously would be 'well, if you want the serious functionality, you just got to cough up the serious dosh. You can use the camera in S35 mode'. But I'm just not looking to throw money at something I'm not going to use to its full potential. Then just give me that APS-C camera already. If I still wish to get a fullframe look, I'll adapt lenses with a focal reducer (Sony: 'see, if we give you that APS-C camera you want, you'll then leave us for dead after. We need you to buy into the system, not just buy a camera'). I went with Micro Four Thirds because back in the day I more or less stood for the choice: GH2 or 550D/T2i. I went with the GH2, because it's mirrorless, I love liveview and to use an EVF. Articulated touchscreen is awesome to have! And a huge plus: small formfactor, especially when used with the 14mm and 20mm pancake primes. As well as the ability to adapt all sorts of lenses, really. That philosophy kind of continued with the E-M1, BMPCC, GH4 and Z E1. I did have some Nikon glass (e.g. Tokina 11-16mm f/2.8 II, Sigma 18-35mm f/1.8, Nikon 28-70mm f/2.8D & 80-200mm f/2.8D) because of the easier adaptation than Canon mount, so when I found out the D5300 with 18-55mm II was on sale for 449 EUR, I couldn't resist. Only added the 35mm f/1.8 on top of that, to have a nice alternative electronic native mount lens as well. Image quality wise, there's hardly any better value out there. It's pretty damn solid. For stills, Micro Four Thirds just isn't a match. For video, the D5300 has that more organic rendering and superb colors. Lowlight performance is decent as well. But again, you're so right, it might be one of the least user-friendly cameras out there. For stills, if you're used to liveview on mirrorless cameras, shooting in liveview on the D5300 is a horror, it just slaps the mirror around like it's applauding itself. I just don't see the benefit of having a mirror and OVF, except for the dedicated phase detection system for reliable AF, which I think is the only reason people still buy DSLRs (and perhaps their rugged touch and bulky ergonomics). Then there's weird behavour like don't being able to change aperture on the fly. C'mon Nikon... Anyways. I do feel the 24MP APS-C sensor is a nice place to be at. Enough resolution. Good performance, decent in lowlight. Overall a better idea than Micro Four Thirds. The NX1 gave it a good shot and still is a nice camera, it showed that APS-C mirrorless is where it's at! But I still feel you would have to get the 16-50mm and 50-150mm S lenses and then it's getting pricey to the point I wonder what I'm doing spending so much money on a system without a future, when there's so many interesting alternatives out there... sure Sony has the A5100 and A6000, but they're really getting behind the curve now and don't think Sony ever expected people to be using it for shooting somewhat more serious video given the fact they only gave A6000 XAVCS with a firmware upgrade for example. But I think they've come around on that now... and they've been implementing cool video features in those 4 mentioned cameras (as well as higher end stuff). You'd just think there's almost no way around it not to implement any of those things... right? Unless again, they want to pull a Canon. Not sure. There's loads of rumors, but also, rumors have been going on for a year now and nothing happened. Personally I think 4K and in-body stabilization is quite a bit of a stretch, but if they can pull it off... power to them! Just hoping the EVF is any good and they'd give it a vari-angle touchscreen. That would make it competition for the E-M1/E-M5II and X-T1/X-Pro2 for sure. We'll just have to see how things will pan out. But the A6100 might just check off most of my wishes and might make me not buy a Micro Four Thirds camera again...

To confirm... Yes, the atomos will take the raw feed from the FS700, via SDI, and convert to 10 bit 4:2:2 s-log. The OQ7 has alot more features though, if you can spring the extra cash, go for it.

Rest of the week is pretty booked, but this could be something I do maybe next week. Let me see if there are any camera shops that might just be willing to let me borrow a test chart, or maybe shoot something in store. Do you think that micro adjustments like green, red, etc are universal between all the chips that Samsung put into the cameras? What lens would be most appropriate? I have the 16-50S, but also access to sony cine alta primes which are quite clean and don't seem to warm or cool images much if at all.

You only need FS700 and 7Q with license, no need for HXR http://www.sawmillcreative.ca/gear/experience-working-odyssey-7q-things-loved-things-learned/

regardless, still looks as detailed as a scaled down 4k image.

Have you considered 2 cameras. It's alot easier to find a camera that suits all of your needs minus the weight. For gimbal work just get a BM Pocket or Micro Cinema Camera. Or even keep the GH4 for gimbal shots.

Like... this?

Is the bottom photo taken with the 85mm? I have been obsessed with f2 lenses, so I have been eyeing the 85mm ai f2 lens, but am looking to get one for around a hundred. Eventually I'll find one. I am actually in a little of quandary... I am looking to pick up another camera. I want to start shooting some stills, but I don't think I want to use the G7. As you know, I also have the NX500 which should be decent for stills, but I am really enjoying the video I have seen from the D5500 and/or the D7200. It seems like either would be good for stills... But I am also really interested in shooting Raw video on the Pocket or the upcoming Micro. I will probably sell off the NX500 to help fund my next camera. For the hybrid purposes, the Nikons seem like a more logical choice, but I'm not sure how much still work I'll actually do. Hmm. Idk. Just thinking out "loud" really. It's great to see how good the Raw stills are with the NX1 though.

I know it does 4K Raw to 4K ProRes... Not sure about the 1080p downscale... Odyssey 7Q+ definitely does.

They look great... It doesn't hurt that your subject is stunning. These are with the Nikkors and the NX1 Raw?

Some can be corrupt -- amazingly so: New York Sheet Metal Workers Case Highlights Persistence of Workplace Discrimination In this case it seems it was the union, not the employer, who has been found guilty of discrimination. The EEOC has forced the union to begin paying the first installments of $12.7 million in back pay to hundreds of black and Hispanic members Have you ever tried to work in the photo world without unions? Yes. I did. For 20 years. Low pay, mediocre benefits, fights over reimbursements for expenses, were much of the reason I was so eager to pursue a job with B&H when i first came upon their "help Wanted" ad in Photo District News.

Terrible. I use a 3930K (admittedly an older 2011 socket CPU, but still packs a punch,) and 980 Ti with Resolve. h.264 stutters while scrubbing. 4K RAW or ProRes from the Production Cam with noise reduction, and usually a dozen or so nodes of correction? Scrubs buttery smooth, never drops a frame on playback.

What i have done, in the past... Flown to New York (from UK) to buy big items like this.... Even with flights, hotel and spending money, it works out well... Only issue is the warranty. I just get it insured though.

You're right - I should be careful what I say about B&H Photo video, but it's okay for you guys to disregard several people's statements that made it in NYTimes because you don't trust the unions. But you trust B&H? You trust the big corporations? Like Walmart? They hate unions! Unions are the only reason I could make a decent living doing non-union work. Have you ever tried to work in the photo world without unions? How much does the photographer get paid - $50k a day, when his crew makes like, $600 a day?

To be honest, abberation have never bothered me much.

+1 for me

The 50mm f1.4 works nicely. There really is a certain mojo with Nikons. (the red is pretty sweet to)

Yeah, on the one hand Nikon brings out special D750 & D810 Filmmaker's kits... ... one the other hand... they'll leave you wondering why with those kind of statements they aren't really pushing their video all that much.

When I placed my order I was prepared to wait three months but it came much sooner than that. To make the wait worthwhile, I committed myself to writing material during that time to start shooting once it arrived. I know there was a delay in waiting for new glass for the 38mm attachment at the time. Not sure what the current timetable is but it's likely shortened since late last year.

I grew up in Detroit, where the unions began as a good thing but eventually became huge and bloated and were cesspools of waste, mixed with valid employee representation; they also became another profit center for organized crime and eventually a parasite on society. I had friends who worked for the big three, and if you had no education, it was considered the holy grail - get unionized, get the benefits, and then learn the ropes of how to do as little work as possible. (Read "RivetHead", an entertaining but depressing memoir from an 80's era GM line worker). It was a big part of why Japan roared into the auto business like it did - Detroit's QC was abysmal and the market came to expect it as part of the deal. I'm sure for smaller businesses there is much more control, and we live in an age where jobs are more scarce and most people know they have to perform well. But the Northern US unions that reached their heyday just as the oil crises and economic decline hit (and made huge industrial and service businesses far more vulnerable to economic decline) gave a bad name to unions; I had a relative with about 20 employees in an industrial setting - he said "the day they unionize is the day I retire!" But he also knew that decent pay and benefits and a good working environment was a key to employee retention. In the US today, where corporate interests and near-oligarchy are where the power for making policy and laws is coming from, unions are a threat to the "winner take all" maximizing of profits and minimizing of pay and benefits to all but the top tier, so they get labeled "socialism" and the failures of unions in the past are constantly brought up. We're probably in an age where unions on a major level could so some serious good; but I can't see it happening with all the money that controls the process. I'm not really worried about terrorism, gay marriage, or the decline of religion in the US; I'm wondering what our country looks like at the natural end of those income-inequality charts. Nothing has stopped the direction those lines are going yet.

DVX200 is an option too, doesn't seem to get much chat on here, but seems pretty cool, on paper. FS700 + O7Q+ might be an option too.... FS700 for small(ish) shooting kit... then the full kit for the money shots. Is 4K a must? If not, maybe an F3 or C100 mk II?

How does Resolve fare in this comparison? I only edit Raw and Prores, so I don't know how well it handles H.264.

The JVC LS300 looks good, and uses your existing lenses.

Timpy, If you want a parfocal super zoom, you're unlikely to find one that isn't push-pull. That is, you won't find one with separate zoom & focus rings. Your best bet may be the first (and some argue the best) super zoom, the Kiron (Kino Precision) 28-210mm. It is also found under the name Promaster Spectum 7. KINO PRECISION was started up by engineers who moved from NIKON to make lenses that equalled, or in many cases, were superior to OEM lenses. Their fit, finish, mechanics and optics were top quality. The 28-210mm is a parfocal lens where the front element doesn't turn when focusing. When focused at 200+mm, focus stays spot on down to 28mm. When focused at 28mm, it is a tiny bit off when zoomed to 200+mm. This is attributed to a small amount of human focus error at the low end (28mm) and not a fault in the lens. It's most commonly found for Canon, but I've seen it in Nikon, Minolta, Konica and Pentax mounts. It is very affordable. Here's a little Kiron info from a guy looking for a zoom for his Century Optics and Panasonic anamorphics: Hope this helps! |. . | .|

Português I did it in Processing, its kind of a simplified java framework.

Used Epic with the Mysterium-X sensor. That's what I have my sights on currently. Rented a kit last week. Blown-the-fuck-away. You're right Oliver. Dat redcode is so thick and dense. Fuck it, even at $20K, it's a cam I can use for the next decade: 16-ish usable stops with HDRx. 120 FPS 4K, RAW format... Bonkers.

I definitely appreciate other options not on the table. Before getting the NX1 and LX100 (for 1600 iso at f/1.8 and ultraportable) last year I went through options of a7S and D750, but ruled them out because I need 4k. Well, do we really need any of this stuff? No, but I want 4k. : ) I have been using 4k the last year and for me the ability to punch in or reframe is absolutely huge. And on an upcoming project I may output to 4k rather than HD. So, really I am on the fence of keeping NX1 and getting a7Sii (and eating ramen for a couple months) or selling NX1 and getting a7Rii Shoulder rigs are not always possible; I've used one but honestly just found it cumbersome. I'd get a small gimbal before getting another shoulder rig. I want better handheld so I want the body stabilization of the a7Rii or a7Sii. Also it is more gear to carry and I need ultra portable (part of why I consider the a7Rii instead of a7Sii + NX1). The way I shoot, the discrete nature of just the camera (maybe a stereo mic or zoom h1 added maximum) is ideal, with option to go to tripod if I need to actually be stable. I find also people (non-actors) are much more comfortable and "natural" when it is just a handheld camera. Literally the only lens I have that's better than a jar lid with a hole poked in it is the Samsun S 16-50.

My opinion? Keep the NX1 and buy a used A7s for those heavy low light situations. Will save you money compared to selling the NX1 and buying the new A7s II or A7r II. If you have nikon glass I recommend checking out a D750. Excellent low light even at 60 fps an a great image. Why do you need 4K? Do your clients demand it? Are they going to know that you upscale the lowlight footage? Or is it that you just prefer it? If your doing event work no one is going to care about the resolution, just getting a good image. Also, get a simple shoulder rig. IBIS will not solve all your problems and switching to a body with a smaller grip isn't going to make handholding any easier.

Won't bore you with a long story, but in short, I went from an a7s and instead of sticking with Sony, I went to the nx1. Now if low light is that big of a problem for you, I don't think you have much of a choice, you'll probably want to move to the a7s2. While I do miss being able to shoot at night by the moon and a flashlight (essentially), I've not really found myself lacking with even the most basic of lighting kits (of course your situation may differ). I'm also not entirely sure you'll find the lens/body weight ratio much changed in your favor by switching to Sony. We do know all signs point to the nx system being dead, so really they biggest benefit of switching is that you'll be switching into a system with more longevity.

I disagree. The 1080p of the D5500 and D7200 is very solid indeed with the Canon LOG style flat picture profile. D750 as well, very good!

The Sigma ART lenses are top notch from the quality, I wouldn't be concerned about any plastics vs metal discussions. I clearly wouldn't want them to be any heavier for sure, which brings me to the point: did you consider how big the Sigmas are? They're surely quite a bit bigger than your Nikkors or FDs so consider that. When you compare the Sigma 50 1.4 vs the Canon EF 50 1.4 USM you get way better quality at the price of a way bigger & heavier lens. For some applications I'm not sure which is the better compromise.

First, I hope you have safe travels and thanks again for your service!!! Second, I don't know man... It kinda seems that the NX1 is just not suited to your workflow style. I like what you've been getting out of it, but you seem displeased with your results. Between your Nikkors and your FD lenses, you have a great set up. I think you might enjoy the pocket cam or the 5D better? If I were you, I'd probably ditch the NX1, while you can still get some coin out of her and pick up a pocket and a 5D. Maybe sell your FDs and get some c-mount lenses for the pocket. But then again... What do I know. If you want the Zeiss... Go for the Zeiss, they are beautiful lenses. Or the art lenses... You can't go wrong with either.

I do not even dare to ask why the designers of the FS5 have included a gain / ISO switch in their plans... I remember the times I was shooting ENG material on this extremely robust Canon XF305 that was REALLY not intended for low light shooting. I bought it back in 2010, and it had a gain switch. If you'd switch the camera to +12 dB of gain you would see noise. Mainly noise. It didn't have any macro-blocking-squaredance party to put some relief on the codec in order to break the image whatsoever. It also didn't have much banding. It was using a codec very similar to the C300, 50 mbps for 25p of 1920x1080. The BBC bought lots of them if I remember correctly. When there was noise in the image, you would either leave it because it fit the situation it was shot in or you would try your best with NEAT (which often worked). Honestly, from deep in my heart, the FS5 is the most disappointing product I bought in a very long time, especially after reading some of its defender's statements recently. It's good enough for what I use it for, so I will keep it (as I have already sold the tools I used for those specific jobs before). Don't get me wrong, there are a lot of good things about it apart from the image problems (the hot topic of yesterday): Ergonomics, But from the rattling handle (sorry: smart grip) to the incompatibilities with certain 3rd party batteries and the "built-in fixed non-removable" noise reduction it makes the "worst camera of 2015" quite a star.

I also want to like this new generation of Sony cameras. Ever since magic lantern blew the lid off canon DSLRs by enabling RAW, I've been expecting an HD/2K camera to come along that offers similar quality in proper shape at a decent price. Instead its all 4K smoke and mirrors, delivered with flaky, pain in the ass codecs.