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adds h265 support for windows!

If GH5 did transition over to a S35 sensor. It would be great if they can do an mft mode where the sensor crops to mft, to utilize mft lenses. Then you'd have use of both systems MFT and S35. Then mft lenses won't become obsolete, cool idea if this happened.

I've had the Panasonic G7 for about three months now and i'm really pleased with it. It's pretty cheap now a days which makes it a great bang for the buck!

Sure, Here is a test I made.

Anyone that's complaining about what they can get in a camera for 1K these days is ridiculous. You. Are. Not. Limited. The technology that's at your fingertips is more than enough to do whatever you could imagine. Go use it.

Here's a quick grade I did of some footage I shot with G7 and the Super Takumar 35mm f2. It was shot with Natural profile with everything dialed down except contrast and saturation. I know a few other people have the G7, would love to see your progress.

Is Panasonic really playing catchup? I know the sensor is smaller but this seems to be more of an issue if you don't have the right lenses. I mean we don't write-off super16 or the digital bolex because of sensor size. Isn't the GH4 the only 'consumer' camera that can offer a true log profile 10bit 4:2:2 output? If you add the $295 ninja star you get a pretty small 1080P downscaled from 4K 10bit 4:2:2 prores package for v-log.

I got this info from a guy who just tested the 4K video capabilities of the camera: "It records all formats to CF card also. I tested it today. The 60fps @ 4K would bog down my card after about 10 seconds. But I think if my CF was just a little bit faster is would be able to hang. the 24fps and 30fps @ 4k will shoot forever. It’s awesome." So the expensive Cfast cards are only needed for 4K 60p.

This is the best body to come since a loooooong long time. Price and versatily is at its maximum for another 8bits body. AF seems absolutely stunning for video when shooting fast action, it is also speed booster suitable. Not realy seeing moire on the videos, 1080p 120f/ps, all at this price, it looks like a good thing and falls back into the stepup the gh2 body made at its time. More expensive must have at least 10bits and with better codecs. H.265, mjpeg, raw, whatever but it won't justify more if it ain't got more. Thanks andrew for this article.

Thanks for your comments. I agree regarding the bokeh shape. In the case of my test shot the bokeh is actually nine-sided, which is created by the iris shape in the Nikon 135mm f/2 AiS Nikkor that I used as a spherical backer lens. Upcoming integrated primes will use a very circular iris to yield nice smooth elliptical bokeh.

Crop factor is computed from the diagonal length, as opposed to the width or height. You can think of the diagonal as the diameter of the image circle. When comparing full frame 1080p compared to 4K crop (as with the 1DX II), we must use the diagonals of the imaging areas as opposed to the full sensor (since HD is 16:9 and the sensor is 3:2). Since we know the full sensor/pixel size is 5472 x 3648, we can compute the following: Full frame HD mode uses the full sensor width, so we need to compute the 16:9-based height from the width: 5472*9/16 = 3078 height. 5472/3078 = 1.78 = 16/9. The full frame diagonal is then: sqrt(5472^2 + 3078^2) = 6278.29 DCI 4K cropped is: sqrt(4096^2 + 2160^2) = 4630.64 Which makes the exact crop factor: 6278.29/4630.64 =1.3558

Wow... An anonymous insider just revealed that Canon will be producing smartphones! Unfortunately, there's lots of data processing, so the smartphone from Canon will require several heat fans. There are two prototypes at the moment, differently sized... We are pleased to reveal them. Here they go! . . . . . . . . . . . . .

It's 8 bit. That's what bugged me about the A7Sii. If it would've had 10 bit output for SLog3 I would own it right now.

The lack of touch screen is unforgiveable. For all the people that moan that pros don't need a touch screen in models like the A7 and RX series, seeing Dan Chung's News Shooter touch screen demo clearly illustrates the focus pulling-like capabilities a touch screen offers. What's the point of having state-of-the-art PDAF without having easy access to focus point selection?

Apsc 4k video fullreadout from 24mp , 14 stops DR, slog3, and some super fancy AF. I'll copy the specs later. 1000$

I've recently started numerous anamorphic lens projects based on the idea that 1.79x squeeze is the ideal ratio when dealing with a 4:3 sensor . It's often stated that 2x squeeze on 4:3 gives you the DCI standard 2.39:1 scope ratio, but of course this isn't quite true. If you really want a perfect mapping of 4:3 to 2.39:1 without having to crop the sides, then the correct math is: 2.39/(4/3) = 1.7925, which I'll round off to 1.79. So, for the ARRI Alexa, RED Dragon and Panasonic GH4 used in 4:3 mode it seems to me that 1.79x is ideal. Also, if you consider the Alexa in its Open Gate format (1.55:1) you get 1.55 * 1.79 = 2.77:1, which is almost exactly equal to the classic Ultra Panavision 70 (2.76:1 aspect ratio). You might be concerned that 1.79x wouldn't give enough anamorphic artifacts, but based on my experience so far it seems that the artifacts are very similar to 2x, and in addition there are significant advantages in size, weight, cost, and image quality. Some time ago I built a 1.80x prototype that used very traditional rear-group focusing with counter-rotating astigmatizer aberration compensation, and found that it compared very favorably to a similar-spec 2x 140mm Hawk V-Lite: So, my question is, since I'm about to start spending money like crazy developing this stuff, am I crazy to be going in this direction?

Love your work, Brother!!! I have been following your stuff for awhile now. I picked up a G7 not too long ago myself and it is an amazing camera. Would love to read a review and some tips on how you set her up and make her shine. I'm sure others would as well!!!

yea, its visible at sewing machine scene. its because tiffen don't use multi coated glass. maybe putting contrast filter under multi coated clear filter or under multi coated ND filter can disable those green reflections? also additional lens hood can help here is one more example video

I did a test time ago comparing a still grabbed from video to a downsampled raw image. Nr is the biggest difference among the two, so I guess it's heavily present in video. P.s. a collection of suggestions was compiled here on eosHD.

Settings? I always just drag the clip into the little square below the "Project" panel that says "create new sequence from clip." It recognizes what file type, frame rate, resolution, etc, and creates a sequence customized for the file.

I almost feel like buying a BMCC 2.5K MFT... 'cause I think it's a pretty dope camera... but as well as it will effectively be the price of a new BMPCC once you consider the BMCC2.5K price drop and Resolve Studio is included.

Agree, the first interesting, affordable Camera from Sony for my taste.

Right, ML screen sharpening does wonders, much better than their own peaking and the one i have seen in a7sII (a7sII in real life has lower screen quality than 5d3, checked them side by side. Additionally peaking dots was making a lot of mess).

30,65,100mm with 1.8x or 35,70,105mm with 2x stretch would be the perfect for me.

Blank check right??? Small Chorus of Men: "Medium Format... Medium Format... Medium Format!!!" Or even better... "Red Dragon... Red Dragon... Red Dragon!!!" })

My plan is to do a compact "normal" attachment, a larger wide attachment, and then a series of integrated lenses. The attachments will definitely focus much closer than the Iscoramas. Distortion will be very traditional anamorphic style - definitely not the oddball simultaneous combination of barrel and pincushion shown by the Cookes, although probably slightly less than 2x Panavision lenses due to the difference in squeeze ratio.

I was just relaying that info from the description on Vimeo.

I certainly wouldn't complain.

apsc gh5 wouldn't make sense to me. the gh4 was also the first of that kind of camera to have 4k, and it's still the cheapest way to get 10-bit, if I'm not mistaken. the 96fps 1080p slowmo was pretty revolutionary at the time too. that's not really playing catch up. even low light when speed boosted is still pretty impressive, as you know. and it's the best for anamorphic too. others still need to catch up to panasonic

glad you're happy with your purchase zach. filters just aren't for me. many affect the bokeh in a way i don't like, and many introduce green reflections that I *really* don't like. so I decided to pursue lenses that basically have the look I want built in.

oh, never tried the slrm rangefinder, but they were marketing as the solution to remove breathing on photografic lenses... With 4k getting mainstream, cropping isn't that big of a deal anyway. Personally, when I look at all the current cheap and not so cheap solutions, what I think would be cool is a compact, well built, integrated solution. A complete lens you can put into your backpack and use as a normal lens instead of this gigantic piece of almost empty housing hanging in front of a tiny taking lens being held together by a screwmounted clamp.

I'm working on two attachments, plus a series of integrated primes. The smaller of the attachments would have 72mm rear threads, and I want to price it so that independent film makers and videographers can afford it. I'm not far enough along on the other products to have a good feel for pricing yet, but its my intention to compete with the best products out there (e.g., Hawk, Cooke, Panavision, etc.) at a very compelling price.

And make all their lenses obsolete? I can't see that happening. It would be nice just to have a multi aspect sensor like the GH2 with no crop for 4k. That would be a 1.8/1.9 crop and still alow their lenses to be used. There would still be pleanty of options to entice: Global shutter, 10 bit all I internal/ raw.

Looks like a very interesting proposition. Still wondering how Sony can justify the price disparity between US and Europe, though.

I'll say this. Its getting harder and harder for us to come up with excuses for not making films

I have never exported to Cineform. I have uploaded the Clip now with pro res proxy, way better (as H264upload)!!! A good tip found in this topic, thanks! Not a good example, because of the subtle use of grain, but here it is:

Might be my new B-cam to pair with the Nx1 ! This seems incredible !

Sony quote 13-15 stops for all their recent cameras so that's nothing new. I would expect it to perform similarly to the A7R II in its Super 35mm crop mode. What I like about the A6300 is more the promising new AF tracking system and the amount it packs in for a price. New low(ish) budget king!

It has sony colors, I will stick to my eos rebel t1.

14 Stops, amazing, if true. Proper game changer. How it will pack down into an 8 bit 4:2:0 codec will be an issue, but sounds promising.

This is going to be such a popular camera. A real bargain for $1000, you're getting the image of an FS5 with better AF system, better EVF and 4x cheaper in a MUCH smaller body. Shame no IBIS but it is only one third of the price of the A7R II! Samsung NX1 only other APS-C camera to do 4K from 6K readout.

It would appear we have a new member who has shares in Nikon..

Hey guys! Is anyone here knowledgeable about the Olympus OM lens lineup? I'm looking to put together a budget set, but what little information I can find is vague and, in some cases, contradictory. Thanks in advance for any help.

I have used the focus peaking feature on an external monitor. And, to be honest, on a run and gun situation.... I would use it over the old method of magnifying and checking focus, but the new PDAF.... It's just simple... I would definitely use it over peaking any day. If you haven't used it... Trust me... You are missing out. Borrow, Rent a 70D... Also, get yourself a 50/1.2. Play around with the touch screen for day... And it will definitely change your opinion of peaking versus PDAF.

While you can get decent enough details with a good lens, I think the NX1's sharpness and detail is unrivaled in this price category.

I cannot sing the praise of 5D loud enough. I was one of the first people to buy 5D2 and had it for 5 years with not a single issue until I moved onto 5D3. I have been using ML RAW for all my work for last 2-3 years and while it can crash, you simply restart the camera and keep on shooting. Lately I have been having issues with a one random corrupt pink looking DNG file but that might be 3rd party battery grip.. For my style of work the storage is not an issue - I bough 4x 128 GB cards which are enough for 3 hours of shooting - when I need more, I have DIT assistant to copy the files or do it myself. You can transfer MLV files into virtual DNG via MLVFS and then use Resolve to get your footage fairly quickly. I then keep ProRes master and delete MLV files. The only expense at the moment is buying 2TB external drive every couple of months (£80?). I am still waiting for a camera that would actually be better than this and would not cost more than £5K. I think these videos show the colour depth you can get with 5D pretty well:

you can actually rent a 5D3 or 2 with magic lantern pre-installed (and with a bunch of fast CF cards) here in the UK - So am sure you will find someone in the US. The main reason ML development has become less frequent is because the limits of what can be squeezed from those cameras has pretty much been reached. And the main developers are now working on the code for an upcoming open source camera. Most incremental ML updates are tweaks and occasional bug fixes. You really need to invest decent time in the ML forum to learn things properly, it is not exactly 'plug and play' - but the payoff is well worth it.

I might be completely wrong but it looks like the Helios you have might be the more 'modern' type - has more flare suppression coating on the optics. But it could also be completely due to the light source in the setup. Also if you are shooting smaller than s35 sensor, you will only be capturing part of the Helios' potential for flare - as some of the charm of older Helios models are the 'secondary' rings and rainbows that tend to fall at the edge of the frame. When coupled to anamorphic front, this can greatly add to the overall impact of the 'streak flare.' I would expect more flare from an older model such as the 'Zebra' or pre '2' model called simply the 'Helios 44' (simple golden coating) - or the KMZ Helios 44-2 with green and yellow distance markings (this model should compliment your kowa 8z's flare colour the best). These are the better lenses to achieve flares with, as they are the earlier models that have less refined coatings and are more prone to bouncing light inside the optic edges when wide at f2. Having an older model such as the KMZ Helios 44-2 will greatly increase flare when opened up. Jupiter-9 is a good 85mm pairing to the Helios-44 58mm (again look for older model).Other lenses worth considering (not primarily for 'crazy' flares) are the Pentacon preset type, 14-15 blades ensure circular aperture throughout stops - resulting in constant oval bokeh when paired with your Kowa. The 135mm pentacon f2.8, Meyer Orestor 100mm 2.8 and TAIR-11A 135mm f2.8 are particularly good for anamorphic use. Older Nikkor's flare very nicely, but have fewer aperture blades - so they cut into the oval bokeh quite harshly.Older Olympus OM's are a very good choice too - as they are very sharp, flare is not so pronounced but can easily be acquired to make a nice matched shooting set. As for light source, the LED lights in squares will give a blocky diffused streak (as do fluorescent tubes/kino's), best to use a point source (such as the sun for exteriors) or for interiors - a single bright lamp such as a single chip LED desk lamp...or even better a tungsten/halogen light source. A very cheap light to use for some interior shoot's like your example video can be a 'pinspot' - a par-36 lamp that is very pokey and can be easily rigged on a stand or set on the floor to give a shaft of light that you can maneuver to lens in and out of : http://www.ebay.co.uk/itm/Pinspot-PAR-36-30W-Black-Lantern-suitable-for-Mirrorball-Includes-Lamp-Stage-DJ-/181599693906?hash=item2a482f6c52:g:y1kAAOSwGWNUV7Wo There are LED 'pinspot' versions out there that are also good - that have focusable spots, they are lighter to rig but can flicker at some shutter speeds. (but tungsten lamp tends to give a nicer/more natural look IMHO and almost immune to flicker at most shutter speeds).