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Hey, you are true camera lovers!:) Here are the ungraded shots. I graded by eye, so the canon guess is taken as a compliment. It´s a G6, graded in Davinci, lit with one 300w tungsten and a golden reflector. Shot on 3000Kelvin, Natural, all -2, but color at 0. As for the aps c reference, it was shot with a china speedbooster!:) Great guessing, guys! Lens was a Canon FD 28mm lens, F2.8, the dancing shot is a Tokina 11-20 2.8 on another china speedbooster. Hope you liked the grade and thanks for that little fun guessing game. The grain was put on top twice, once for the darks and another one for the highlights. Helped big, big time to make the ugly macroblocking disappear. So G6 to the limits with ISO 1600 and a speedboosted Fstop of around 2.0. Thanks for enjoying and cheers, Marty Exactly, G6! ApsC (through speedboosted lens) is right too, LX100, GH4, Panasonic, Sony, all great guesses. Thanks for the fun, guys!

This would be a good option as well for a cage. http://www.ebay.com/itm/DSLR-Video-Camera-Cage-Stabilizer-Rig-with-Wooden-Handle-for-Canon-Nikon-Sony-/272086620613?hash=item3f59a059c5:g:8IkAAOSwYaFWfPrX

I haven't updated my camera yet so I might find the time to do a before/after comparison.

I have added a few 4K DNGs here (FS700/OQ7): https://www.dropbox.com/sh/afojwljvvzfnhix/AABdqI3IEm-TD14zVLjrHTUca?dl=0

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.

Hi everyone, I have a site up with free music that you can use in your videos. It's all original...all my own work. All I ask is to be credited as indicated on my homepage: http://soundimage.org/ I sincerely hope my tracks are helpful. Any and all feedback is welcome and always appreciated. All the best, Eric

I think something like this could perhaps be nice:

It can be done http://petapixel.com/2010/04/09/canon-5d-mark-ii-completely-disassembled/

Everyone seems to say "don't shoot higher than 400 (or 800 or whatever), try to keep it at 100", but compared to every DSLR I've owned, this thing's a low light beast. One of yesterday's shots - I'm pretty sure I was around 1600-2000 iso for this; full frame on the left and a 100% crop on the right, (EOSHD and JPEG compression has added some stairstepping that's not there in the screen grab), but it's very very nice. The thing with this sensor I've found - bring up the master black a bit at high ISOs if the shot can handle it overall; if you're shooting at 400 or higher and, say, your subject has some deep black sweater or something that really just eats up the light, master black will mess with skin tones, so throw up a big sheet or something, crank in some fill and bring your key down a bit. Deep deep blacks have some blocking that H264 delivery seems to just latch onto terribly. Open the blacks where you can crush out the noise and it becomes much better. But it's freaky how punchy and bright a gloomy scene can get with higher ISOs, my experience has been that it's not just a cranked-ISO mush look - with a nice lens, you can get a really sort of "snappy" look. My grip was like "man, do we need to drag some lights in here?" And i was "Look in the VF, dude…"

Imo, Ed talks about the issue. Others talk about Ed. Pretty pontless to argue with those premises.

I just looked at the cages which are already available/announced and at least with the SmallHD monitors you'd have the issue that the HDMI port is on the back so you'd need a cable with a 90° plug or it would bump straight into the battery. A possibility (when using a 90! plug) I see and would consider is, that you could put the screen on top and use it like the waist level finder of a MF camera but also then flip it up so it sits on top back of the camera and pointing straight up. I'm at work so I'm slightly limited in creative tooling but I've made this "scientifically absolutely accurate drawing" in Excel to express what I mean. The SmallHD 500 monitors have threads on the bottom, back and top so you have some flexibility. You could also put something on top of the camera cage like a little plate that stands out to the back and then mount the monitor top down, it can automatically flip the image.

I forgot to talk about the other reason I moved from my previous setup - low light performance. I was really disappointed in the amount of noise in the NX1, 1600 was my max ISO. I was hoping Samsung would improve that with a FW update as I think there's a lot of untapped potential with the incredibly powerful internal processing, but it never happened. I was also hoping for proper back button AF with the NX1, but that never happened either. I always remove AF from the shutter button and take advantage of the AF/AEL switch, the NX1 can't do it properly. Anyway. I shoot monthly outdoor events that a local spa hosts, they run till 9 or 10 pm, so a good portion of the party is in an area lit mostly by strings of christmas lights in trees and such, even with fast lenses I'm shooting at 6400 and sometimes 12800. The A7rII image is still really nice at 6400 and very useable for me at 12800 - and its much cleaner than the 5d3 or NX1 at the same ISO. The DR with stills is much better as well, but its well known Sony has better shadow and highlight recovery than any other sensor so that's no surprise. Its not until 25600 that the A7rII's IQ (in s35 mode) really starts to drop behind the A7s. If you go A7rII you can take advantage of some cheaper aps-c lenses if video is your main focus - and it takes 18mp stills in crop mode. I have the 16-35/4 and the 10-18/4 - which overlap but I shoot a lot of landscapes and the FF IQ of the 16-35 is much, much better. The 10-18 will one of my gimbal lenses as I just bought the Beholder DS1. For s35 4k, the crop lenses are fantastic - light, cheap and covers a wider range than the FE line. You also have the 18-105/4 power zoom which makes a great run and gun video lens covering an effective 27-158mm range in one small/light package that's constant aperture throughout the range. Its also about $400 used. The 16-50 pancake can be found for less than $100 and is great for tracking subjects while shooting, AF is crazy fast/accurate. The other option is what I considered as well, A7sII and something like the A6000/5100 for higher MP stills. The A7s takes really nice photos that seem to have more depth to them than other FF cameras, but at times 12mp is very limiting (for me) and for travel its just not enough as the fine detail is lacking. The AF is contrast only, compared to the PADF on the A7rII, as a stills camera is the A7rII is far superior and the AF is very good in video mode, and much better than the A7s in all but the lowest light situations. Lastly, the a5100 is so small/light and it shares the same battery, so its really easy to always have it with you on a shoot. I mostly bought it to shoot stills and to always have a small backup with me. Though mine may get replaced by a RX100IV since that shoots 4k and great slow-mo. Cheers.

I too was in this conundrum a couple of months ago A7sii vs A7rii. Went for the A7sii as I'm 80:20 video:stills. For me, there were 2 main points with going for the A7sii. 1. High iso ability. Not that I shoot in the dark, but to use a small aperture inside requires high iso. 2. The ability to use full frame in video with decent results - Similar to you I want a light setup. I don't want a bag of lenses to carry round. For me a 24-70 is a great focal range. If I got the rii, I'd be using the super 35 mode to avoid noise which then blows my wide angle. Sure I could use FF, but then the noise suffers. I would need a 15mm lens to keep the wide angle in addition to my more conventional zoom. I currently only own the small Sony 2.8 35mm. I'm awaiting the new 24-70 to see how big it is and how much it costs. The current f4 24-70 receives mixed reviews. I'm sure the new one's announcement is imminent. Both are amazing cameras. The A7rii wins hands down on stills, but the A7sii has that incredible low light ability and at FF.

Smallish sensor look (of wide-angle lens stopped down a lot) and a lot of greens (if not colorgraded too much like this on purpose) Verdict: GH2 / G6

I don't know if it's a small sensor necessarily, looks fairly wide. I'd also guess Sony though. could've been captured in 4k, but I'm thinking still 1080p. the edges of the lens might be a little soft, so that also makes me think interchangeable lens perhaps.. maybe a5100? no clue though I guess

The LX100 actually has pretty shallow depth of field opened up at 24mm.

Based on the deep focus, I am going to guess a small sensor camera, so I think it's either an LX100 or an RX10ii or RX100 iv... the lens part was a trick question. I assume I'm wrong, but either way I like the look.

You guessed it, I am It's exactly as Inarritu says in the article (great read by the way) - if they had not toughed it out in nature but instead sat around green screens and CGI workstations all having a merry time with cups of coffee it wouldn't have had the same authenticity. Suffering for an art is very noble. I think we should all do it. It's not as if Inarritu ran an irresponsible set. Many precautions taken for safety. But what they were trying to achieve was difficult, especially since Lubezki wanted to go all out Mallick with his pursuit of real light. Again that word - authenticity. Obviously with something this difficult the last thing you need is a bunch of moaners.

Yeah, that Sigma camera has an organic look to it.

Although the C300 does have 1920x1080 pixels for each colour channel it isn't a Foveon-like image you get out of it, far from it. I believe the main reason Canon wanted to buy Sigma (they were rebuffed) was to get hold of the Foveon patents. I believe they are desperately trying to come up with their own design, but had they been successful I would have expected to see it by now. I am on the verge of buying a Sigma DP3 Quattro for timelapse (nice built in intervalometer). Resolution in terms of detail matches an 8K bayer sensor, maybe even upscales to 10K. Colour is on a whole different planet. It's certainly not the versatile stills camera the Sony RX1R II is but it offers something completely different in terms of how close the images are to film (which is also mutli-layered). I am so glad Canon did not absorb Sigma.

He's right. Read the C300 white papers. I forget the details, but what it boils down to is that the 1920X1080 red pixels, 1920X1080 blue pixels, and one set of the two sets of 1920X1080 green pixels are added together as if they were stacked on top of each other (they're not, but close enough). The last set of green pixels is used for noise reduction or oversampling the first set of green pixels. Or something. So the 1080p image is derived from 3840X2160 pixels, and all the pixels are used to construct it, but there's never a UHD image anywhere in the pipeline because there's no debayering that takes place. There is UHD raw but it's processed directly to 1080p. This might be why the image is exceptionally sharp, like a Foveon image, but also why there's some aliasing in red and blue fabrics and some people feel the image is over-sharpened. If your clients demand 4k, get a 4k camera. If they don't, don't get one. The best buy is whatever offers the best return on investment, whether that return is financial (as a pro) or in enjoyment (as a hobbyist). What makes the decision hard is when you're something in between. What hobbyists admire most about a Red camera–the ability to construct and process an image with no internal noise reduction in high bitrate raw–is what makes it super obnoxious to pros and expensive for producers because of the added time to do that work... The question is: do you want to do the extra work because it's a hobby you enjoy or are you paying, out of your own time or someone else's, to do the extra work? If you're somewhere in between the two, what matters most to you? If I had a 4k tv I might be more inclined to buy a 4k camera, for instance, even if my clients didn't request it. Notice all the Reds being used on low budget music videos? And all the Canons being used on high end corporate? Corporate pays a lot better than music videos. It's a lot less fun. I'm a very big fan of Canon and Arri, but that's just one opinion.

One thing I'd consider when running two systems, depending on your budget, your lens range will be much more limited on both sides. I was shooting with a 5d3 (faster lenses and better AF in low light) and the NX1/16-50s (4k) before moving to Sony and combining both into the A7rII - which is a much better stills camera and still shoots really good 4k. It made life a lot easier, especially with Samsung's crappy lens selection and whispers the NX line is dead. Now I can shoot with any Canon, Sony A mount or Sony E mount lens for AF and adapt pretty much every lens ever made. I've added an A7s for a backup and B cam since most of my projects wind up being 1080p. I also have the a5100 as a backup stills camera and emergency video cam, the body cost $200, a no brainier for what you get.

No HXR required... I think all new FS700s are 4k ready too

I'd use a samsung lens. The 16-50s seems like a perfect fit.

I love how these posts always become a question of my character. If you think I'm pompous and hypocritical and misinformed, and dangerous and blasphemous, and a harm to other impressionable people, that's pretty interesting to me. I assume everyone is guilty? Again, no, because I assume one person is not. There is no middle of a road in any argument, no matter the common saying. No matter if both parties are wrong. There is no middle road. The middle, compromised road allows the people in control to keep controlling all of us. And allows the people at the bottom to not be able to move forward. I know a lot of people started to hate me after I took a stand and supported two women's viewpoints over a popular videographer and test-maker, and that's fine. I asked for that, honestly. It wasn't that I supported them, it was how I went about it. Now the same emotions came up from a user over my comments about "Making A Murderer" and how it reveals how broken our criminal justice system is. Systemic broken. Then that user asked me again about the B&H case. That was reported in the NYTimes and Al Jezera - major news outets. The ones that broke the story on Amazon and their worker abuses, and nail salons in NYC, and many more investigative journalism. I should stop. And I will. It just wastes so much time. Besides, I don't know any of you. And you don't know me. All I know is that there is rampant corruption in our planet. All we can do is shed a light on it? And am I part of this corruption? Yes I am, and we all are. But the difference between me and a lot of people, is that I want to talk about it, address it, try to help make the world a more just place. I do more than just post on message boards

Yeah, this is just my point. Unless you want to fork over the money for a Red Weapon, you are going to be making a trade off. The trade off with the Raven is that you will be shooting using Red's 4.5k or 4k sensor size for your projects instead of the 6k size. I know for people who are used to shooting full frame or S35 this feels like a big trade off, but at least the FOV can be compensated for with lens and framing. It is a lot harder to fix bad color that was shot on an inferior sensor-- and many times can't be fixed. If you shoot with PL glass, spend another $5k and get the Scarlet-w. I sound like a Red fanboy and I'm not. I've just graded a lot of Red footage in addition to Sony, Canon, Nikon, GoPro, DJI, Phantom flex, and others. Red is just a very workable image that gives nice results. Same can't be said for some of those other options. Obviously, different tools for different projects, but I hate to see people write off a Red just because the sensor is slightly smaller than S35.

My R1 has windowed modes for slowmo. IMO its all good. Im not experiencing any "issue" with it. And also, its a crop, so no line skipping or slowmo-aliasing like previous cameras Ive owned. My point I guess is, don't let it ruin an otherwise "perfect" camera (if thats your only beef that is).

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.