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I'm in a similar boat - I do corporate still portraits, product shots, occasional fashion/beauty stills and photo illustration; and I do lots of corporate video. For a schizophremic range of clients. I can tell you with zero hesitation that on a shoot where they want stills and video - take two cameras unless you're in the middle of a jungle with no assistant. My video setup is way, way different than my stills setup, and even simply changing shutter speed bugs me - one more thing I have to reset (or may forget to reset, knowing me). That, and my video DSLR is usually fully rigged with FF and matte box and my HDMI and audio cables are clamped to the rigs, just short jumpers with female ends, which is faster that the fiddly camera ports (and much easier to see and align the plugs) and hopefully reduces wear and tear. I shot D7100 for DSLR gigs the last couple years and recently got the NX1. Which I have yet to take a single still with. My thought was move to the better video and keep an eye on Samsung, with the thought I'd eventually have an NX1 and an NX2, and rely on the NX system for stills with their native glass, but keep my nikkors for video, and have two video cams with good image matching. Glad I waited - I doubt I'll buy an S zoom unless it's a really, really good price. But I'm 2nd nature with both cameras, and I have all my Nikkors with me regardless. Trying to do both stills and video with 1 camera is something I really dislike. But I could understand not getting an NX,even as a 100% video camera, if you have overlords to answer to (I only answer to my wife, who pronounced the camera "pretty".) (Even she was impressed by the view through the VF though…) I'll also add that 4K is a huge game changer, as a guy that shoots solo often. I shoot a bit wider than in the past, do a 1080 edit to get the flow down, and then reframe the 4K on the 1080 timeline as needed. It's very much like having 2 cameras - punch in for the strongest lines, or reframe to hide cuts without using b-roll - and every frame is gorgeous. I'm amazed how effective it is, and being able to catch stuff like expressive hand motions (I don't go crazy wide, but where I shot 85mm in the past, I may be 60-70mm now). Reframing, and the amazing range of detail and softness you can get with the NX and vintage-ey glass, are the biggest game changes for me since DSLRs and large-chip DOF all happened. Not pushing the NX1 specifically, but 4K is really killer if you have the drive space and should be great for keying and motion graphics.

Why don't you keep the GH4 for video and pick up a 5DIII or used 5DII for photos. Any Canon lenses that you get for it can be used on the GH4 as well with an electronic speedbooster. You could also use the 5D for video when you don't need 4K or slow mo.

Unless things have changed since I sold mine... Without the raw option, the Odyssey only records 8 bit 4:2:2 1080p ProRes and it is just a slightly better version of the internal 1080p. The device only really improves when you are going raw or raw > ProRes

use ppros media browser to open dng folders one at a time. (instead of import) or Use this method to import multiple dng folders: click import, browse to the folder containing dng folders > type 00000 into the search box > select the clips you want and import. I would use AE, ACR, PS, or Resolve (easiest imo). Ppro supposedly is basically letting you view the file to edit, but you give up the advantages of shooting raw in the first place. (at least with CD dng's). The fs700 needs firmware 3.01 for 4k. I don't believe the 7q or 7q+ needs the CD raw upgrade for up to 4k 30p prores, but does for raw or any Cd raw to prores variation for the fs700. bulky is an apt description, but the fs700 is actually about 2oz. lighter than 1dxii and can be easier to shoot with depending on the environment. (not including 7q of course, but if nds, mattebox, and monitor are needed for the 1dxii, weight is again comparable) The fs700 +7q files (both raw and prores) are very malleable. I think someone who likes ml raw will be satisfied with the 4k raw of the fs700. *my perspective comes from currently owning fs700,1dc,F35,7d

Tiffen HDTV/FX 1/2 58mm - EUR 11.32 (+ UK shipping c. EUR 9.99; AVIDES, via Amazon.de): http://www.amazon.de/Tiffen-Filter-58MM-HDTV-FILTER/dp/B001U8888M/ref=sr_1_69?ie=UTF8&qid=1454358161&sr=8-69&keywords=tiffen+filter+58mm

No, you can't mount original Canon EF-S lenses on a FullFrame Canon EOS camera, only 3rd party lenses.

After using the PDAF on the C300 II, peaking and manual focus is way too slow (and clunky) compared to full AF with face tracking (works amazingly well). For manual focus, PDAF assist is superior to manual with focus peaking. For live, unrehearsed shots, PDAF is amazing and peaking isn't useful. A full 1080p display and viewfinder are more helpful for fast, accurate focus vs. peaking in my experience (peaking is based on contrast/edges and is not always accurate or easy to see).

Agree, guess it´s a Sony A7s. Pink lips... I am also not impressed from the overall quality of this doc.

yeah, BTS shooters are usually a little behind because the vendors own the gear and aren't going to upgrade until they really need to. The line item for recent budgets I've seen still says "Canon C300 or equivalent".

It looks badly shot to me–not incompetent, just not great–but we're all allowed our opinions and that's mine. Even the interiors are badly overexposed and the lighting and composition on the faces are poor. Again, composition is subjective but this is pretty bad by any standards. "Sharp" is consistent with C300. I've never heard of sharpening in post on a commercial project except to fix misfocused shots. If this is from freelance shooters in LA it's almost certainly C300, that camera is everywhere and practically what you're expected to own. I think the Vice documentaries shot with the C300 (and dSLRs) look nicer. It's definitely the camera I see most in LA, with the Amira and C100 coming in about equally tied for second. This is generally doc work. I don't work on set so it's what I see in the street. When I'm on set I see the Epic Dragon a lot, too.

Poorly lit. Poorly exposed. Poorly framed.

Dear all, after some research I found 3 nice Zeiss in Contax Yashica mount: 25 f/2.8, 25 f/2.8 and 50 f/1.7, all in mint condition. Apart the 25, I had the other two for a bargain price, and the 50 was a new old stock. I'm very happy with those lenses, I like them a little more then the FD I had (also super nice lenses). Do you think there are some other lenses that it worth to have from Zeiss CY? Any zoom? Thank you very much!

I happen to do a lot of behind the scenes work for the studios, as an editor of pieces just like these. 9 times out of 10 the shooters have a C300 package. But i can't confirm if that's the case here.

Whatever it is it's very poorly shot. C300 is believable.

It is quite big and bulky... That is why we sold ours (alot of my work involves things like climbing mountains, glaciers etc). In terms of image quality, it is very good though. I think it beats RED MX and the colours are more natural than Sony's baked in looks. It is very, very versatile too (plus things like NDs, XLRs etc).

So, is that mean 120fps full frame 1080p? That would be really great. No crop like a7sII od c300 II in 120fps? I wonder if they improved 1080p codec quality. Something like in 5ds would be nice.

Wowzahs. Those are the better kind of deals. Good tip! Thanks. They only allow a very select few items to be shipped outside of Germany (or to Austria) it seems though... but I've been interested in the 77mm Smoque 1 and for EUR 29,98 incl. shipping, I'm going to find out of that really does add atmosphere. I'm not one to go ahead and take fog machines with me everywhere, you know.

Incredible AF.... I know it is not everyone's thing, but that could be really helpful for gimbal work, interviews etc. Canon, add C-log then take my money.

The DXmk2 is a dream camera for a breaking news videojournalist like me. Weather sealed and robust as a tank with 4K, 120fps 2K and Dual Pixel AF, it's perfect for shooting riots, sports or any action scenario where a C300mk2 would be too big and obtrusive. With custom picture profiles I don't think CLOG would be missed. But deciding not to include focus peak, when we've been using it in the 5Dmk2/3 for almost three years thanks to the Magic Lantern team, can only be described as one of the biggest GREEDY and I-don't-give-a-f*ck-about-my-customers movements in the history of the camera industry. The could make the best camera in the market for the same money, but they want you to buy 2 cameras or spend more than twice the money in a C300mk2.

That makes sense re: same as 1DC, however computing crop factor from the diagram and pixel count (using square pixels) on this page gives a crop factor of: sqrt((5472^2)+(3648^2))/sqrt((4096^2)+(2160^2)) = 1.42. 1.3 could come from comparing 1080p's diagonal pixels (imaging area on sensor, not pixels per se). Regardless of crop factor, it's not a big deal, the IQ is great.

Thanks all very much for taking the time to help me out. I'll contact Sony and get the body replaced.

Seemed like a bigger, heavier camera with low RS and with very nice audio preamps (could be separate audio, but less likely for a BTS doc) though skintones are dodgy. Guessing Sony FS7.

+1 Not sure if anyone saw this yet: https://github.com/ge0rg/samsung-nx-hacks

https://op-co.de/blog/posts/rooting_the_nx300/#index1h2 I think it would be interesting to talk to someone who already has experience.

looks like a7s and a canon 24-70 L series to me.

We've been shooting mostly C300 II lately. Checking old A7S II footage and tweaking in post did not see anything like these patterns. Definitely worth contacting Sony.

I'm not sure I understand all the critics about this camera. Is it, so far, the best photography camera for sport/event/nature photographer ? My answer is yes. Is there somewhere something on this price range (6000 USD) who can do at the same time (Cropped) 4K 60 fps and (a bit less cropped) 120 fps Full HD (not even the C300 MK2 don't do 60fps in 4K) and the sony 7SII is far away if we consider all the camera aspect (bitrate, battery life, solidity, lens availability, color science, autofocus...) Not that I know of. Yes, the footage will need to be converted if shooted in 4K, but according to the 2 statement below, I don't think it's so much an issue. I also agree if the camera was doing 4 K all-I internally in 10 bit 4.2.2, have peaking and XLR input,... it will be the absolute winner, but come on, please, this is not so bad for now. I completely see some photographer very happy to get sometime very nice 4 K footage during their photo work. And again, Any video camera on this price range is not doing at all photography as this one does. Thanks Canon!

I guess the more you pay, the less you get ? Don started the list of features you don't get with: No peaking. No zebras. No C-Log. Only 1080p HDMI output. Here are some more: No built-in WiFi, needs $600 dongle. No articulated screen. I also have to say what is up with the tiny screen size on such a huge, heavy premium-priced camera? The smallest cheapest smartphones have bigger screens than this monster. With the amount of unused space on the back of this massive camera, Canon could of incorporated a much larger screen and still would of had plenty of space left over. My little Panasonic G7 has peaking, zebras, 4K HDMI output, built-in WiFi and an articulated screen and costs only $750 with a kit lens, versus the Canon at $6K with no lens. The G7 even comes with a high-res OLED viewfinder. The Canon 1D X is a better stills camera and better in low light. But with its high price (you can buy eight G7s with eight lenses for the cost of one 1D X body), the list of missing features on the Canon is disappointing.

Its official. No peaking. No zebras. No C-Log. Only 1080p HDMI output. And while Canon clearly protect their video cameras, Nikon not only do not jump into the video bandwagon but also implement a 3min time limit.

Hi! Cool to hear that someone is accomplishing so much with these humble cameras. Do you have any work with your EOS M you can share? And when shooting H.264, what picture profile settings are you using?

I don't think that there is ALL-I capability in stock Magic Lantern. You can compile a "homemade" version, and try it at your own risk. In addition, you can use the defunct Tragic Lantern, which has ALL-I capability built-in. The first version of Tragic Lantern had more controls for H264, but TL 2.0 gives plenty of control and was developed further than the first version. I believe that there were TL builds for the EOSM as late as Spring of last year, but the TL site is gone. I have TL builds up to December 19, 2014, if you would like to try them.

The patterns don't look like anything I would expect from the A7SII. Pink blotches in underexposed/high ISO shots, sure, but not these geometrical forms. I vote for faulty unit.

Well to be fair, the FS5 is a video camera targeted at video shooters, the 1dxII is Canon's top of the line stills camera targeted at sports/wildlife shooters and photojournalists that also shoots 4k video, while being weather sealed, having one of the best AF systems on the planet, and offering 14fps with a 170 frame raw burst and so on.... Apples and oranges. To the max. People on this forum are not Canon's target with this camera, despite its video capabilities. Look at the shutter count on used 1dx's, in many cases people are firing off 200,000+ frames a year. I've seen used models with over a 1,000,000 clicks on the shutter. The upcoming 5d4 will probably fill the 4k void at a lower price point. The 5d3 was dropped shortly after the 1dx started shipping, hopefully the pattern continues.

This one is phenomenal in my opinion: https://www.reddit.com/r/WritingPrompts/comments/39kbxv/wp_metaphorical_burns_can_now_cause_physical/

there's still time its not Jan 2017 yet

Looks like a nice camera for stills.

Hopefully this leads to a nice price drop of the 1dc in the used market.

True. Although...if I'm looking for a 1.5x crop camera with 4K, great color science, slightly weak DR, and excellent slo-mo, I'll probably just pick up an NX1. Hell, you could save enough money to buy a tripod, lens kit, filters, shoulder rig, external recorder, lighting kit, and a new editing computer. With so many great options available, what does the 1DX II bring to the table that isn't offered elsewhere? What niche does it fill? What need does it satisfy? Food for thought.

Everyone and their mom have been screaming about 4k 60fps in a DSLR as long as 4K has been available. And when its here the codec is wrong.. Its at least a tiny bit funny imo The reason is probably the same as always. Heat. To shoot the 4K 422 the XC10 has a fan. And thats on a 1". I doubt many still photogs would want that. And by looking at the latest sales reports they are still the once in control. Canon still was at the top and I bet they want to stay there. Personally I would just dump the 4K if I wanted the framerates that badly. HD upscale is still on par with 4K on youtube etc. TV is still 720p. Bla bla bla we know this already. But it is true. 4K still is where 6K is today. Nice but not need.

mjpeg.... in 2016?!???? ...REALLY???? like..... WHAT???! i seriously thought that the 1dc would be the first and last canon body to shoot 4k mjpeg wth

I generally bring a shit-ton of lighting to shoots, but I've had several more editorial-style gigs with the NX1 and shot as hight as 3200. 1800-2200 or so is still remarkably clean; and there's something cool about higher ISOs with the NX sensor; it's not that soupy mush you get from previous Nikon and Canon DSLRs - it's just kind of "snappy" for lack of a better word. And really crazy clean considering. I try to get the shadows opened up so I can crush 'em back down - at 4K you can see some fine mosquito noise at higher ISOs. I was shooting a gig last week about inner city grocers, and we were shooting products in a beverage cooler; my grip knew enough to look at the setup and say "are you sure we're not allowed to light this? Mannnn…" and I was like "Dude - look through the EVF…" He was kind of stunned. Punchy shots with a lot of life. That said - watch for deep, deep blacks that really eat the light. Even at low ISO, a black knit sweater can look fine until delivery - then there's something about the NX's blocking that H264 sort of grabs onto and you may get some posterized shadows - kinda ugly and you have to tweak your compression for output. Try to get some big soft fill going, open the blacks, and cut your key a bit, balance it back in post. Or raise your ISO and cut your key back. I don't have months of this camera under my belt, but watch those intense blacks...

What for $6k? From Canon? I doubt it It probably doesn't even have peaking Honestly guys I would not expect a professional video codec on this camera... it will be small file sizes all the way. It isn't a Cinema EOS camera, it is designed for news crews, paparazzi and sports photographers to WeTransfer MOV clips to hacks.

Internet cred. 1337 FTW. +1 Or stick around for the next round and maybe win yourself that refrigerator!

Yeeey! What did I win???

I also wouldn't bother with 2666MHz RAM, the speed difference from 2400MHz is minimal. I went for the cheapest 2400 I could find (G-Skill).

are you from Italy? I have the same cpu. very good and fast. I advise you to get 4 modules of ram. x99 can handle quad channel memory.

I'm a Nikon shooter, they focus the right way round! ;-)

Personally I'd always go for the contax versions. Made in DE or Japan. The ZE/ZF lenses suffer from modernisation of manufacturing processes - open one up and there aint brass mechanical parts in a ZE. I expect the glass will also not be German / Japanese. IMO the 28mm/2 is one of the most over rated lenses ever. way too expensive for what it actually does. 28mm lenses I find boring in general, and paying premium for an f2 where dof is so deep anyway it'd a waste of big bucks - particularly since at f2 it looks like crap. I'd sooner get a contax 25mm/2.8 and a 35mm/2.8 for the same price as the single 28mm. Or plump for the 35/1.4 for the extra £100. Now THAT IS A LENS On the flip side I think all of the faster zeiss dslr lenses should be avoided. You pay a premium for the bigger apertures but when used wide open or even 2 stops closed they really fringe in a nasty way.