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The Fuji Premier 14.5-45mm T2.0 ( http://www.bhphotovideo.com/c/product/840519-REG/Fujinon_HK3_1X14_5_F_HK3_1X14_5F_14_5_45mm_T2_0_ZOOM.html ) is pretty well known in the professional cine world. But, if you've ever hefted one in person you know its not only priced like a small house (~$100k), its nearly the same size and weight as well! So, naturally, I'm curious to know how it might perform on the upcoming A6300 in comparison to something much cheaper. Like the Tamron 24-70mm/2.8 with a Speed Booster, which gives you a 17-50mm/2.0. Obviously, the latter is practically $free compared to the former, and you do give up the 14.5mm - 17mm range along with perhaps 1/4-1/3 stop difference in aperture due to f/# vs T/#. But, you gain autofocus, image stabilization, a little extra reach at the long end, and an unbelievably huge reduction in size/weight/cost. I would not be surprised in image quality is nearly equal.

Haha. I can't see that from my phone, so I do not feel stupid at all. Lol. I think now the question remains, how pissed is he at me for thinking it was shot on a Nikon dslr? And I might as well shoot everything with a Nikon DSLR because I think it looks as good as a proper cinema camera. Ignorance is bliss.

hmm... i wonder...

I use Natural (contrast -5 and saturation -5) and I store it as CUSTOM profile 1 .....leave the NR and Sharpening at 0 yes you dial the colour back in in post ,Im shooting alot of night interior scenes in this movie on sets and I want to record a much shaddow detail as possible , I dont want crushed blacks in camera . so contrast and saturation are -5 , it works great this way . I shot a whole moive that way last year and we got superb results with it. this was shot Natural (contrast -5 and saturation -5) with the colour dialed back in in post /grade. all that detail in the actors uniform would not be there with crushed blacks in camera .

Well, seeing how it says #bmpc4k in the Vimeo link I would follow Elagabalus on Blackmagic Production Camera 4k :-P

Think this era in mass media will be known as the BS "listicle" trash era? I do wonder if culture will grow out of the nonsense and the tone of this junk will sound as ridiculous in a generation or two as dialog from 1930's movies. Then again, as conditioned consumers, we're trained to believe that the choices we make in purchases somehow represent our success in life. What better way to justify one's self worth than to find like minded opinion as a way to say "See, I knew I was right! I'm smarter than everyone else!"? Listicles give people that affirmation. Perhaps they'll never go away. Tabloids have been selling for centuries after all. Criticism of this guy is somewhat ironic to me since there's over a dozen pages of comments in the a6300 thread... Oh well, that's my stream of consciousness pop psycology anyway.

My plan was to rent an FS700 this weekend but I found 2 amazing deals and just went for it (used). I bought Shield's FS700 with 2 Metabones adapters. Also bought the Odyssey 7Q with RAW bundle, and 2 512GB SSD's for $2400.

It will be the same weight, and moment. Unless they redesigned every lens for it's mount (which would make them different lenses) they all have the same distance from the optics to the sensor, so the weight of the adapter is inside the lens housing, and the distance from the front to the sensor is the same, as is the distance from the optics to the sensor, so in the end the moment is the same also. You can adapt nikon to canon, just in case you don't know. If you do so, get a good adapter, I have bad ones an they are terrible.

So to recap on the all important crops... 24p = no crop Super 35mm 4K (1.5x crop vs full frame) 30p = 2.3x crop 4K 120p = 2.3x crop 1080p Looks like the Samsung NX1 has an ace card here. But I am sure the A6300 will have the dynamic range advantage... and proper LOG profile.

yes the Japanese Fujinon C mount lenses are very very good , superb sharp glass like no other c mount Ive seen , the 35mm 1.7 is easy to modify , unscrew the rear ring remove it then araldite the screw ring onto the rear of the lens mount then araldite the whole thing onto a c mount / micro 4/3 adaptor , the 50mm 1.4 is a similar mod , the 25mm 1.4 requires a new rear ring making and the 75mm requires part of the rear turning off in a lathe - ALL are worth modifying No Fujian is Chinese soft cctv lens , for fun only ....Fujinon is serious Japanese machine vision lenses - Zeiss quality glass

Tried to capture the essence of the fun, up-tempo and a bit melancholy synth-pop of the 80'ies. The decade I loved so much. I made this with a lot of old gear for the music. As for image I used only a Sony A6000 with the kit-lens and the 55mm 1.8. Some of the shots are also the iPhone 6 with a 4K hack. Most of the shots with that worked ok, but it's not 100% stable.

Just wanted to say hello. Only just discovered this site recently and I'm a big fan. I recently finished a short film (late 2015) and just got around to cutting a trailer for it. Was hoping you'd give it a watch, and, for fun, try to guess what camera was used! Then, we can discuss the camera, my settings, etc. And I can ask lots of questions I have before I get my next camera! Thanks in advance, looking forward to chatting! https://vimeo.com/153575899

Up here in the Nordic we've always had strong laws protecting consumers - even before the 2 year warranty on all electronics that applies to EU. People often ask why cameras are more expensive in EU. Besides VAT, manufacturers tend to put higher prices on electronics in Europe since there's a longer warranty. I wouldn't either buy my cameras from Amazon instead of getting them from the local shops. I rather wait a few months for price to drop and get my nice warranty. For wide shots with speedbooster I'd recommend trying to get a 16-35 f/4 (If you're on a tight budget, have a look for used ones, I've seen used ones for about 500-600 euro in Sweden). Very sharp full-frame lens for 4k. That lens will be pretty wide even at the crop modes. I love the AI-S 50mm f/1.8 with speed booster on my NEX - a good allround pancake 50mm, makes for a really compact setup. Same goes for the AI-S 28mm f/2.8 and the AI-S 85mm f/2, still fairly compact setups with speedbooster, although they aren't pancake lenses.

Cool! Can´t wait to see you shoot some beautiful footage with it. Really enjoyed your VLog and C100II shorts and tests. Where did you get that deal on the Odyssey with 1Gig of SSDs? Did you buy used? You gonna forget about the GH4 Assasin combo? Cool! Are you sure about that? Sorry for questioning. Should have done my research maybe! I just really consider you guys my research partners by communicating with one another!:)

Hey, beautiful Trailer, moody, sincere, coming of age intensity and melancholy! Grade looked maybe a little bit stronger towards an orange and teal touch in certain parts. I´d say 7DII, pretty clean HD and nice colors, S35 look.

I'm not entirely sure about the IQ - its something I would want to test. Its worth noting that inexpensive stills glass is often better than very expensive cine glass. For example, I once did a projection bench comparison of an older generation Nikon 70-200mm f/2.8 zoom against a $20k Zeiss 80-200 T2.9 CZ.2, and the Nikon was clearly superior, especially in the corners. I suspect there is a good reason why you *never* see MTF charts of cine glass! I haven't found a way to do it in a compact form factor while maintaining even remotely decent image quality. There is an infamous Kodak patent that addresses this problem, but the example given in the patent is so incredibly poor that its just not enabling at all. You could do it with a relay type system, which I would call a Keplerian style, or real image focal reducer. However, you then wind up with a huge ungainly and under-performing setup just like the old Nikon E3. Its incredibly nice to learn about this (!!), and I'd like to know as much as possible about your work. BTW, a Speed Booster XL will take an f/2.8 zoom down to f/1.8, which is probably around T/2.0 for most zooms.

The lowlight was very nice. How did you light the shot with the father and daughter leaning against the car? It was very subtle and clean and exactly how a night shot should look in my opinion... Did you use headlights from another car? Anyway my guess is you used a Nikon dslr... Maybe the d3100 or 3300.

Brian , Im using your Metabones XL speedbooster in a similar situation with a Nikon 28-70mm f2.8 (The Bourne Lens) to give me a f2 zoom . I'm DOP on a British Feature film Pandora and we are using this combination as it produces stunning images with your Metabones XL . I'm going to send you a PM about the Movie and Metabones . we are committed to shooting the whole movie with Metabones as it makes all the zooms f2 !! we are using the Nikon 80-200mm f2.8 and the 20-35mm f2.8 all with the XL for the exact reasons you have pointed out in you post , size weight £££ and image quality - which is amazing !!

Hey welcome. I'm guessing BMPCC?

Yeah, my goal in life is to become the next Steve Huff too...

Camera and tech youtube channels make huge profits off amazon affiliate links. Controversial (or wrong) opinions generate views on youtube as videos are more likely to be shared (as in here) and there's profit in that. But then there's even bigger profit from affiliate links. He's not interested in cameras, he's interested in money. Good information is rarely controversial or simple enough enough to be worth sharing. The more incendiary the criticism, and the less accurate, the more money. I thought you had to at least get the money to rent cameras to start these channels, though. Maybe I should give this a try.

I use some pretty huge glass on the NX1 - Nikkor 28-70 (which people called "the beast" when it came out, but freaking amazing lens), 80-200 2.8, Canon FL 19mm… rails and a lens support are pretty mandatory. Especially if you use a follow focus, still lens mounts aren't made for smooth focus pulls and the frame can shift when you first start moving the focus; adding a little tension at the lens support is the only way I've found to totally lock focus down. You can see one edge of the support just under the AF/MF switch:

Well, this is a pleasant surprise! I do a YouTube show that averages 800,000 - 1.5 million views a month, and shoot roughly 3 episodes a week, all on the subject of music production. The A7s has been my go to camera over the last 16 months. "Autumn leaves" mode gives great color & skin tones right out of the box with minimal dicking around. I simply can't afford to waste time grading. (more power to you guys who are great at it) I've been looking for a B-camera for the A7s for the last little while, and the A7rii was looking like a serious (but damn expensive) contender. The Blackmagic Micro even looked pretty good too, although I'm none to impressed with vaporware. But the a6300 is a total game changer! I really need a multi camera setup, and for this price, I might just buy two!

Don't post his videos and give him views, that's what he's looking for.

Nice one! I feel the same regarding HFR... there is a significant quality hit/crop factor in mirrorless models and also the internal FS700 codec. I was looking at Raven/Scarlet-W for next year but I'm going to keep an eye on the FS5 + Recorder options for high bitrate HFR. I hope Convergent bring out a 5" version of the Odysssey. Another important thing is weight. The FS700 and FS5 will save your back. Hope the FS700 works out for you. I've used it loads. Great camera.

With Odyssey you can use Samsung SSD since the update from july last year, so media cost is actually the same for Atomos and Odyssey

Stick with the Nikon, which can be adapted to pretty much anything. Get a better Nikon adapter for the NX1.

I'm no coder and my logic tells me: From my perspective, most of us in this topic have -no idea how to hack the camera -no idea what it actually means or what amount of work or expertise is needed for this -no idea where to start + and we only know what we want + we can put some amount of money into it What about contacting ML coders asking for getting help from them either with coding and hacking itself, or just getting kickastart by fetching info of how to start, what(who) to look for,.. Ultimately, their goal is to get RAW recording into "kind of" budget camera which is capable of handling such data rate and providing superb output quality in smallest cheap body, right? Also GH2 had hackers if I remember it right.

What about 25fps?

to Mercer - that is a great idea - actually maybe I should have had her talk to herself at the end, out loud - that would have been interesting. bringing subconcsious or interhead thought out into the world, with her decision, man that would have been good. oh well next time - i need to plan the films better. all a learning experience. also Canada had Rob Ford. And the previous prime minister was a right-wing bully. Canada has its own set of problems. America isn't the best, but it is a nation of over 300 million to Canada's 35 million people. That's a lot more people to set rules towards and run. Plus America, for better or worse, is the world economic leader - that comes with responsibilites. Granted, America has some real nuts, but so does Canada. While there are many fine Canadians, you also have Justin Bieber.

So the Nikon version is clickless but the canon version isn't? Weird. So, wait... You're gonna get the Ef version and use them on the 5d but not the NX? What will you use with the NX1? Speaking of 5D, have you seen Volker Schmidt's 5D Raw videos? They look great. I think he has one posted on your film grain thread.

Yeah, they're sick. Can't believe they're jpegs. Good on you. And I thought the Contax Zeiss Planar I got the other week was sharp... Well it is but these new Zeiss are next level. Does the canon version have An aperture ring?

I would like to donate for 6.5K H2.65 upgarde even if its for 10 second duration

Dang! Those are some sharp ass pics. The fur on the leopard and the camel is nuts... Even zoomed in a couple hundred percent. But then I zoomed in on the pelican's feathers and... Whoa!!! Is that the San Diego Zoo?

That's awesome, thank you so much. I was bummed that I couldn't use this lens without having it professionally modified. I have been using some old cosmicar f/1.9 lenses with my G7 successfully and they are great, but not nearly as nice as the Fujinon. I also have a set of Canon VF TV lenses that are fantastic, and the 12.5mm covers the entire sensor... With no vignetting.

screw the silver rear thread thing into the cmount adaptor , then carefully araldite all round the edge of the silver rear thread element and then attach the lens onto it make sure your markings at at the top of the lens when its mounted or you will be reading aperture setting on the side if you dont line it up correct

I don't think the G7 has a 4K HDMI output. I have one, will try it with my Oddyssey 7Q+

Agreed, but Sony doesn't seem to see it that way.

My faith is restored in Slog on the A7SII, so it's great the A6300 has this function too and isn't crippled. This sounds like a very cool camera to compliment the higher end models. I've attached a location shot I did in Whitby, UK at the Abbey. Shot on A7SII, Slog2 (modified profile), Sigma 18-35mm (at 35mm).

I assume the real big one is increasing the bit rate; from there, possibly investigating internal sharpening or noise reduction? Seeing what's in the processor pipeline and getting more control over it? Where does the shadow blocking come from, things like that? Maybe the first hack isn't even a hack, but a pipeline view of what's going on, to see what's actually possible. Somewhere out there is the guy who wrote the damn firmware. Wish we knew someone at Samsung… there's the fastest track to this, is anyone from the team still there and could they get the OK to do this on a freelance/spare time basis?

They completely lost what made them such a success by pricing themselves out of the market they essentially created. Every new top end camera got a $100 price hike while Chinese knockoffs flooded the market at $100 or so. The Black is now what, $500? To the average consumer the $100 models are more than enough. I hope they bounce back, but this doesn't look good with 4k cameras like the SJCam selling for $150, and they're late to the drone game.

So the phone hacking guys at xda often have "bounties" for various things, like rooting or unlocking a boot loader. That method I think could be very successful for us. We find an arbiter that we trust, maybe kidzrevil since he started the thread, and pool our money into something like venmo, so that people are actually committed. The bounty would be for something specific like "installable firmware that can increase bitrate to 150 Mbps and increase frame rate to 60fps at highest stable bitrate at 4k". People that want that feature pool their money into that. Once real money can be seen, we might see bigger interest from developers. Of course if everyone wanted we could make the bounty for more or less features... My vote would be to keep it pretty realistic at first.

The GoPro Session was a huge marketing and development mistake. Pretty much killed them this year.

FWIW, my Small-HD AC7 can do 100% custom scaling. Mind you, when you push it, the unused areas of the screen get some crazy digital garbage, but I've desqueezed my Kowa at 2X and cropped it to 2.76:1. Setting up for a non-standard squeeze is just as easy, just some basic maths. Not every monitor an do this, of course, but it is possible. I'd say go for it one way or another. For whatever it's worth, in a year or two I'm hoping to step up to a better anamorphic solution, something between $2-3K. If you've proved one thing with the SpeedBoosters, it's that you don't f*ck around when it comes to designing optics. I have a Kowa with a Rangefinder, and the single-focus has already made a night and day difference, and has reassured me that anamorphic really can be useable in 4K and on professional projects with the right lens setup. I just this week used anamorphic on a paid shoot for the first time, and while it went well, there are a few things that could still use improvement. 1. Field of View. I'm getting about a 35mm FOV horizontally, and that on APSC/S35. While this is decent, it's right at the sweet spot for portraits and just a touch shy of feeling wide. It's so close I can almost see it, but something just under 30mm would produce truly stunning landscapes and establishing shots. What's more, this is just out of reach with projection adapters. Break the "FOV Barrier", I think there's a real gap in the market there. 2. Flares. There was a long phase with the anamorphic hobbyists where it was all the rage to hate on flares, and there's still a negative stigma around it. Good or bad, flares with the current options for lower budget anamorphics are a big hot mess. Some of the projection anas have ok flares, but the new SLR Magic offerings just look strange. What's more, the single focus adapters can't seem to make up their minds. The Rangefinder is tack sharp, but for some reason it has pseudo-vintage blue coatings which put strange blue haze spots in the image. Whatever you do with flares, be decisive. Either nail a vintage look with rich thick flares, or clean it up 100% with modern coatings and keep it all about the bokeh. 3. Lens size. Of course, any anamorphic worth it's price tag will be no pancake lens, but stack a UV filter on a Rangefinder on a step ring on a front clamp on a Kowa on a rear clamp on another step ring on a pancake lens on a lens mount adapter, and you've got a portrait prime lens longer and heavier than a 24-70. I would hope that an integrated anamorphic could be made a bit smaller and more compact than this, especially with the help of modern optics. 4. Lens support. This is a HUGE deal if you go the "front adapter" route. Seriously. I'm considering getting my Rangefinder modded to have a rod lens support, because it's just needed. Let's face it, all the projection anas are a decent size and weight once rigged on front of a lens. There are ALWAYS a lot of parts to get it all hooked up end-to-end. Mine shifts around when I turn the Rangefinder focus ring, causing alignment wobble. Include a way to easily bolt the focus adapter to some rails, so that torque applied while focusing doesn't affect the rest of the setup behind it. Alternatively, this is my prime reason for wanting to move to an all-in-one-housing lens. All the various parts and pieces provide no end of possible failure points. My ideal anamorphic would be a 30mm S-35 in the neighborhood of 2X squeeze (anything significantly less and why freaking bother? Shoot spherical.) Alternatively, 40/45-ish full frame. I'm serious when I say that anything beyond f/4 would be welcome but not required. Because of the way anamorphic renders out of focus areas, I've consistently found that f/4 is not only adequately shallow... It is also sharp and manageable. You want to see the smear, not obliterate it in completely out of focus mush. Around the $2-2.5K mark would be my sweet spot, with of course a 50mm and something longer like 75/85mm also available eventually to fill out a 3 lens set. Again, I'd be most enticed by a wide in the standalone lens department, because anyone these days can grab a projection ana and shoot >50mm stuff. Being able to tell clients that "yes, I have a full three lens set that is reliable and we can shoot anamorphic" is an entirely different ballgame and the wide is what makes a new set better than (for example) a set of LOMOs, along with modern sharpness and usability/reliability. I think wide FOV is a defining characteristic of cinema anamorphic, every bit as much as bokeh, flares or lens distortion, and that's why the projection anas always feel like they just fall short a little. I would leave the single focus adapters to SLR Magic and Rectilux, unless you can beat SLR Magic in quality for the price point. It's a very capable adapter for anyone in the market for a solution to their projection lens woes. Anyone hell-bent on using a projection ana on a high quality level will shell out for the Rectilux. There's a huge hole in the "real anamorphic" prime lens market, basically anywhere below Hawk (and obviously way below Panovision). Go for that sweet spot, kinda like the Xeen lenses. More serious than plain Rokinons, but not quite bank-breaking like CP.2s. Catch the top end of the hobbyist market, and the everyday working stiff profesionals who until you came along hadn't even considered anamorphic.

Sure, Here is a test I made.

Thanks for your feedback on the squeeze ratio - I was definitely interested in what you would think. I own Caldwell Photographic, and I design all the Speed Booster optics.

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.

Tokina 11-16 2.8, 11-20 f2.8 I've got both. You'd have to get an adapter of course. The pull click to manual focus thing sucks, and theres a bit of barrel distortion, but IMHO there's nothing else as fast as sharp. Also the sony 10-18 get very good reviews and less barrel distortion.

I was wondering that, perhaps, the best way to 'hack' nx1 would be writing code for it. I mean, instead modifying the existing fw, why not just leave it as is and write new routines to be summoned from sd at startup? That should be possible as shown by those who have done something for this camera, till now. And these routines should 'intercept' some parameters and change them on the run. Eg. When I select video pro quality, set a higher bitrate. Or: when I set 120fps, run at 240fps and so forth...

I really, really, really want a wired video trigger, without fussing with cel phones and tables. Just push a button. The minute you start using a crane, it gets pretty dang handy...