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I don't know why people are arguing over cameras. They are only cameras after all, with different purposes for different situations and different people. 1DX II - seems like a great package for people who do BOTH serious photography and video.

Easy. 5D Mk II or III with a 50mm lens. Or a 7D / 60d / one of the rebels, they all have similar IQ anyway. Damn I'm good.

Ive been using the luts made for the 1DC Log with good results.

Yeah, I'm a little bummed they're so eager on having a relatively thin camera profile. I don't find the E-M1 or GH4 too big for example. Or the NX1 or A7-series for that matter. If you want to go compact, the thing that really matters is the lenses. I mean, you could pick up a Panasonic GM1 and then adapt the Sigma 18-35mm f/1.8, but if you want to shoot the Sigma, you might as well have gotten the G7, since a sizeable lens will dwarf any camera. I like Nikon's D5300. You'll often find yourself struggling a little with Panasonic MFT, it just doesn't have the same lowlight performance and organic rendering as APS-C, not to mention 24MP is awesome to have for shooting stills. It's just a shame the D5300 isn't mirrorless. But basically the A5100/A6000 kinda share that same sensor. But I think when they rolled out, they were aiming for the average consumer, not expecting people would want to shoot a little more serious video with... so I wasn't really interested that much. Now though, the A7S has proven people do care about video and there's quite a market there. Then they upped it in the video department with the cameras I keep on mentioning: RX10M2, RX100IV, A7RII, A7SII. 4K. HFR. S-Log. And now have transferred that kind of tech to APS-C mirrorless! So... although mostly a MFT shooter, I wouldn't mind a piece of that APS-C mirrorless pie. And chances are... if you're shooting video with the GH4/BMPCC/D5300, you already have Nikon mount lenses that can easily be adapted to E-mount. If you'd ask me to design the greatest camera to date with tech that's out now, it would probably have the Olympus E-M1 overall look and feel, with the grip, dual dials and everything; in-body stabilization too. Would probably have to be A7-series sized in order to fit all the things I want on it, haha. Then we can take something similar to the E-M5II vari-angle touchscreen and throw it on there. From the GH4 the WB/ISO/+/- buttons and battery life. Fujifilm XT-1 or Leica SL EVF. From Leica SL as well the OLED top LCD tech. Gotta have mic-in, headphone-out, fullsized HDMI port, dual memory slots. Sony's FS5 built-in electronic variable ND-solution and their E-mount. 20~24MP APS-C sensor. NX1's chip infrastructure for insane readouts and no overheating. Blackmagic internal ProRes/DNG RAW. Maybe a battery grip with some kind of mSata Speeddrive storage solution built-in when shooting 4.6K with it. You know, the good schtuff like that. (^^,)

I agree with Andrew's points. I've been thinking about writing about my experience of going from an A7s to 1DC and then back to the A7rii actually. It's been a slightly confusing but very illuminating journey in the development of my skills and tastes. In my experience I'm yet to find a 'bulletproof' consistent workflow for s-log. It's maddeningly different depending on the light and color temperature. Having said that I haven't used S-log3, just S-log2. If you're running and gunning then I'm not sure s-log is ever going to be easy. But I am finding the Sony (with the right post work) to produce a more modern look, if that's what you're after. By modern I mean more on trend with adverts and music videos thesedays, but not necessarily a 'better' image per se.

Used my MF Nikkors for the first time and am really happy with them. Also used the Vizelex ND Throttle Adapter and happy with that too !! EOSHD LOG conversion LUT. OSIRIS Vision X LUT from VisionColor. Nikon 24/2.8 Ai-S, Nikon 35/2 Ai-S, Nikon 50/1.4 Ai-S, Nikon 105/2.5 Ai-S. Default Gamma DR settings with sharpening set at -10. MBL = 0, 16-235.

Oh, completely agreed. My film student friends laughed when I bought Blackmagic instead of Sony, but guess whose stuff looks better? Guess whose camera still gets talked about? Guess whose camera cost 1/3 the price of a used A7S? This guy. :D

Im using the Nikon Glass as it is all very consistant and cuts together very nicely , and I do like the look it creates , it doesn't crush the blacks like Canon lenses do , there is alot of detail in the grays too , I use the 20-35mm with a Metabones XL Speedbooster as it has the equivilant of super 35mm gate /field of view . I very rarely shoot beyond 20mm , as Im not a fan of wide lenses much , I know lot of people on here want the widest fastest lens they can get but for me its just not cinematic at all - looks like video due to such a big depth of field . I shoot on long lenses most of the time as thats my style and I prefer the look and separation you get . most of the time I shoot with strict lens decipline on set 28mm for the wides , 40mm for the mids and 70mm for close ups and 100mm for the head shots , thats it ! so I'm never really in the 20mm range much , 20mm is there on the Nikon if I need it and I always carry a 14mm and 17mm incase for extreme wides - but they dont get used much by me! On my last film the Producer was constanly saying - 'Don't use wide lenses they look unprofessional !!' meaning no mega deep focus !! on the Sony Vs Panny theme , if I was filming in moonlight in a field I migh use the Sony , but the Panny is an amazing camera , I use lighting , I play in the shadows alot , thats the look I prefer ,I dont over light and the Panny works great in low light very very clean in the blacks no fizz and noise , I never go over 800 iso , 200- 800 iso is my range and I light for that - it works. The G7 really does hold it own against the RED and The Alexa , its a great clean camera - and you can stream 4k to an ATOMOS NINJA ASSASSIN and record 4K ProRes at 744 mb/s - amazing !!

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.

I enjoy when others make theses things, so to give something back, Guess what camera/lens this is. Clues: Lowlight Grain added

Guys, I am developer but being a developer is different than being a hacker. A developer works with tools that give them the functionality they need. A hacker may have to invent tools for platforms where such tools are not readily available. If we had a publically available SDK and a method to sign and upload the firmware onto the NX1 I am sure I could make changes to it.

But will he have any of those..? Find out after the break when we announce the results and the winner of the refrigerator!

The nikkor 50 1.4 is a high tech lens compared to the samples. Here 2 samples from the first pre-ai 50 1.4 In the opening post the images look like from a very small sensor with a very bright lens = Nothing is in focus. On the samples you can see that the nikkor is totally different.

New Noam Kroll 4.6k vid:

Do you enjoy the process as much as the product? I have an A7s and it's superb for aurora shooting. But it's "horrid" to use (with Shogun and v-loks). The BMPCC on the other hand is something I rather enjoy using. It's simple and elegant and gives you something you can play with (ie grade etc.) back home. And you will be carrying it with you at all times. To me, a lot of the enjoyment is the process - the product isn't the sole or even primary goal.

I got that Nikon is better... I wanted to see a side by side comparison.

I think what he meant wasn't the bitrate but how good is the actual quality of what comes out of the camera over HDMI. Obviously I could record any camera into ProRes at 10bit but that wouldn't turn the content that comes over the HDMI into 10bit if the camera only does 8bit. A lot of cameras have a "low quality mode" when idling in live view and only go to full quality sensor read out when recording gets started (which deactivates the HDMI out on the G7). Cool that you test these things, I think the G7 is still quite overlooked in the shadow of the GH4.

ARRRRRGGGHHHHH!!!! Hate how they'll block connect just because I'm in another country on "copyright grounds". What nonsense!!!

Thanks. Yeah, I reckon the Ai-S lenses give a nice look to the NX1 ... sharp but not too sharp. As you say less distractingly sharp. I was hoping they would look OK as I have a nice little collection already I think half the fun I'm having with this camera is because of the EOSHD Log LUT. It's good fun starting with a flat image and seeing what can be done. It seems to take well to FilmConvert, OSIRIS & Impulz..

If you're going to use it with the Samsung NX1, I don't think there's a more logical choice than using the native 16-50mm f/2-2.8 which is reported everywhere to be superb and will also be great for shooting stills with. No experience with Samsung myself, but I imagine the image being a little more vivid and modern compared to a bit more laid back and classy Nikon. Both will do, depends if you like the look of the Samsung, but you'd be the first I think not to, so... With a M43 Panasonic though, throw on a focal reducer and you have yourself a f/2 hollywood zoom lens with a nice range on it, natively a 12-35mm f/2.8 would get you close, but it has the modern Panasonic rendering. You can throw on a 12-40mm f/2.8 PRO by Olympus but still f/2.8 and you'd have to avoid handheld just as well as with an adapted Nikon. Going all Nikon, so 28-70mm f/2.8 D, 80-200m f/2.8 D, maybe some primes will get you consistency and great rendering and performance.

I just wish ergonomics would be better... Just came from a Lumix G7 to a Fuji X-T1. Just needed much more photo IQ than Video. I guess most of us, rookie/amateurish people, want a camera that just works. That's what i felt when switched to the Fuji. G7 ergonomics are great, X-T1 also, a6000 (and predictable a6300) not so much. This is just my opinion, sure, but i guess Sony APS-Cs would sell much more if they were in a mini a7 body. Or do they gave us the choice of which ergonomics to choose.Fuji gives this to photographers (X-E2s vs X-Pro2 vs X-T1) as do Pana and Oly to video-photographers. Features look great in this camera though. It´s a Lumix G7 and many mid-level dSLR (d5500, 750d) killer, if buyers want to stay with few or adapted lenses. I guess most m43 and Fuji users won't switch or use it as B-Cam due to the costs of good lenses for Sony. This will be for new buyers or b-Cam for a7s/a7R users...

Oh Also, I wanted to say I feel sort of honoured to see all the greats helping out on my little post. Special shout outs to Andrew and Ebrahim. You've both helped out countless people, I'm not sure if you get thanked enough. So thank you

Hey Everyone, Just wanted to thank you all for your thoughts and insights, and for taking the time to help me out. I think I managed to figure out something pretty good. The store is going to loan me an A7s for the job, on condition that I buy the 1DC when I get back. They were also able to knock 10% off the price, so I've got the low light / small files for this project, and a better image / more rugged camera for when I get back. (I normally have access to the a7s, too) so it all worked out pretty nicely. Thanks again, wish me luck. I'll let you know how I get on if I remember : )

I don't know fcpx very well at all, but I found a makeshift tutorial for hitfilm noise reduction which I assume would work in other nle's, in which you "find the edges" and hold onto them, then add slight blurring to the rest. It seemed effective, I didn't have a chance to test it myself. I doubt it would be easier than a plugin, maybe not even easier for your computer to handle. But other than crushing blacks, over exposing in camera slightly, or a plugin, Idk if there are really other options. If you use film grain, you could probably get away with just putting it right on top of the noise and save a step. If you're using like a gh4 (you said m43 right?) with a lot of settings in camera to deal with, it's possible something in there is messing with the noise, making it worse. There was a post on that.. a while ago on this forum. Doubt I could find it again.

"(2) Convergent Design SSD media 265GB" - looks like 2 to me.

Why don't you just stop? Why is it so important to you that you go through all this trouble when you know that people are different? Why not just accept that users have different needs? Otherwise, why isn't Hollywood using the G7? Or skateboarders? Or fashion photographers? You like the G7 for its 4K, detail and price. I don't. I would rather shoot 720p or SD if it meant higher DR and better colors. The D750 has that but in HD. That's what's important to me. I could care less about 4K. If I wanted the most digitally sharp image available I would get the NX1. Here is a side by side. The D750 is cropped waaay more than the G7, and still the G7, has some sharpness in the closest leaves but it all turns to mush in the shadows. To me that is more important than the 4K. But most of all you need to stop thinking me or someone else liking the D750 is the same as us saying that you cant like the G7. You need to grow up and accept that we can have different tastes and needs. Do you go on at restaurants and tell people they are "wrong" for not ordering the same as you? No, because that would make you insane. Guess what, this is the same thing. You like the G7, fine, good for you, I can see why you do, have fun with it. I didn't like it and sold it, good for me. BTW, here is a 4K vs HD side by side. IMO, if your just using it for youtube, why bother.

Hi everyone, I was under the weather this past week, but I did manage to create some new looping tracks. Free to use as always (with proper credit.) I hope they are helpful! “Sky Game Menu”_Looping (on the Fantasy 2 Page) “Horror Game Menu”_Looping (on the Fantasy 2 Page) http://soundimage.org/fantasy-2/ “They’re Here”_Looping (on the Sci-Fi/Space Page) http://soundimage.org/sci-fi/ “Sci-Fi Open”_Looping (on the Sci-Fi 2 Page) “Machine Madness”_Looping (on the Sci-Fi 2 Page) http://soundimage.org/sci-fi-2/ Daily updates are here: https://twitter.com/EricMatyas Have a great week!

It gets simpler if you divide them between "available" and "shipping in January." :P

The sigma 28-70mm f2.8 is very very soft fully wide open at 2.8 ....it is unusable for me so I sold mine ......at sharpens up a bit by f5.6 .....not stellar though .......

Have never used one, but I found a few on eBay. They run around $150, give or take.

just buy a Helios 58mm f2 off ebay for £20 they are already de clicked with a smooth aperture and its a great lens to use on the canon, same with the 37mm Mir 2.8

With the 7Q you can record 4K 60p (and 120p burst) and 2K 240p in raw mode, anyone knows if the new shogun raw update will allow the same framerates? AaronChicago: congrats for your purchase, can't wait to see you test it, I wonder how you'll like the colors.

Why wouldn't you buy a plugin? Neat Video certainly is the best, but it's not the cheapest. For just noisy shadows, Photon Pro (~ $30) can be sufficient, and it's faster in FCP X, because it has no alien GUI, it seems to have been made with Motion (one could build a lot of fast plugins for FCP X within Motion, but you'd need knowledge, experience and patience). You are right about the precision (or lack of) of the colorboards of FCP X. On the other hand, crushing blacks won't help much. Many use Resolve as FCP X's color-app, where you have unlimited precision. But what really helps is to avoid the 'noise floor' during the shoot. Visible noise is low SNR.

nx1 is different from all the cameras that have been hacked till now. it is based on linux tizen, a real os, with the possibility of running apps and programs.

VR is the only thing I have a small degree of hope for, I was totally down on it to start with - but have recently been shown some very good examples of next gen headset displays and camera arrays that really make for a convincing argument for 'immersive content'. But the sad thing is, there still seems not to be a clear Idea of what content (other than games) can really capitalise on the technology. Good VR is worth putting a headset on for - regular 3D is not worth putting glasses on for IMHO (especially in most cinema situations - almost always projected below the recommended foot-lambert level). I suspect GoPro's push is going to be aimed at enabling the aquasition of this content to a somewhat standardised format. At the moment people are still 3D printing rigs to hold multiple GoPro cameras in an array, so it makes perfect sense that they are releasing their own dedicated camera systems and processing software. I can also imagine more of 'the kids' these days wanting a 360 degree video capture of their Run down the slopes, or jumping out of a plane...and to be able to share that experience with others via YouTube's 360 video support or whatever is to come. This has to be what they see as the 'future' of action camera capture. As for their move into the drone market, they've bought and developed a few interesting ip's in their holdback period - so when the 'Karma' is announced, it should not disappoint those interested in such things. GoPro only acquired Cineform 5 years ago, so it is little more than a property they own and can implement. But the flexability of that codec suits 3D pretty well, so no doubt they will put that to task with their upcoming VR/ 360 cameras. As for GoPro cutting down on their action camera product range and expanding into newer realms - it makes perfect business sense. As mentioned before, the GoPro style camera being a unique product is no more. Apart from all the competition action camera models out there to choose from (most of them cheaper) - You can use your smartphone these days for a lot of the same uses that only GoPro could do a few years ago.

From reading the NX1 thread on Personal View, it seems Vitali really likes the NX1 ... maybe he might be interested. He doesn't seem like the sort of person who would just do it for the money though. He would only do it if he wanted to do it ... if you get what I mean. Would be interesting to just hear his thoughts on the matter in any case.