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Here it is! We recorded hdmi 8-bit 4:2:2 out of it and went to the odyssey skin tones overall are nice! and stabilization is amazing. The camera was interesting to use - especially considering that it's a 200 ASA camera and has moire and dynamic range challenges - sometimes this is interesting to have to maximize something with limitations. It's difficult, but I guess it disciplines you.

Mostly pictures of people pretending to be happy and eating food

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.

Evil mattias :p The blur on the window made me think of medium format, it's this ver nice blur. The highlight color gave away it's film even before I zoomed in for the grain Here's a dirty scan from Portra 400 with the Pentax 67, 75mm 2.8 AL (I might have posted this before). You can see this beautiful relation between blur and infocus (excuse the newton rings, shitty scanner without inserts)

I've been looking around the internets, but can't seem to track down all these full frame, industry leading stills cameras, that also shoot 4K/60fps (4:2:2, high bitrate).. being sold by Sony, Panasonic etc for $1000. Can you share the links? I also think it's a bit shameful that in early 2016 we can buy for around $100 some phones/cameras from "insert Chinese brand" that record 4K video, but are being asked to pay a minimum of $1,000 for the same thing from sony and Panasonic... Because that is 100% how the real world works, especially comparing apples to oranges. God only knows the shame that Arri must feel about their prices... Not even 4K lolz

Good morning all! What a round that was. Lots of creative answers of anything from the Red One (on fb) to the 5Dii (which I dont have anymore). Im sorry to say that the refrigerator will go into the next round. Thats right folks, two refrigerators in the next jackpot round of "Guueeeeesss the Cameraaaa!!" (fading boxing announcement voice) Correct answer was..... A NX500 with a Nikkor 35mm f1.4 in almost no light.

I've thought about this too, but...even if people's monitors are uncalibrated it's all relative to the original color. They're used to seeing quality films/series/music videos in a certain "shift". When you calibrate your color correctly they'll associate the "look" as being correct. Just my theory.

If you are starting from scratch, pre-order the A6300. Buy some adapters (get a Lensturbo to achieve the Full Frame look you like), get a Tokina 28-70, buy some cheap Nikon Ais primes or Canon FD primes . Invest in a decent microphone/lavalier set and decent tripod. There is one caveat here though, a good photo set and a good movie setup are not one in the same. I have 2 D750's for my photo work and 2 NX1's for video.

Okay. Attached are the five versions of TL that I have for the EOSM. I think that the only difference between them is the "autoexec.bin" file. Enjoy! tragiclantern-v31337.TRAGIC.2014Dec19.EOSM202.zip tragiclantern-v31337.TRAGIC.2014Sep30.EOSM202.zip tragiclantern-v31337.TRAGIC.2014Jul28.EOSM202.zip tl2.3eosm202_2-14-14.zip tl31337eosm6-9-14.zip

Haha, I was just kidding, but it sure sounds like the holidays with my family.

Gorgeous pic! Film still rules the galaxy.

exactly , a set of matched lenses is essesntial for glass parity - thats why I champion the Nikons so much - the 20-35mm 28-70mm and 80-200mm all match and cut together very nicely

Undecided, a SDK exists to create apps for pc to tether the nx1. You could still request it, I guess. But from there you won't likely be able to change inner parameters, like bitrate, fps, resolution and so on. But some ppl found some 'backdoors' for uploading scripts and programs to nx. And a guy, who totally disappeared, was able to get rid of recording time limit on nx300, by directly modifying the fw somehow.

That's the DS-1609 model, the WS-13 listed above is far rarer and better in many respects. $320 USD for a DS-1609 is actually a good deal!

in the meanwhile, on dpr: http://***URL removed***/forums/post/57238559

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

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'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!

Thanks man, I agree I did. I've been sitting on the idea for awhile too. Sort of my new years resolution/hustle for 2016. Need to get to creating content as I'm already behind!

Ha! Me too :D Though I did just post a picture of a latte so I suppose there is truth to it

Sorry Ken, but I have to disagree with you. I've had 4 or 5 of these small Century adapters, and I still like them a lot. It's gonna be tough selling the last one. The best thing about them is they're small and light. I have tests to prove it can achieve decent IQ even on full frame, which is tougher than smaller sensors. (start at 4m13s) But I still have the WS-13, which is considerably better. (4m57s)

@edwardcdavid https://www.instagram.com/edwardcdavid/

I have put 90,000 shots on my 5D3 plus many hours of documentary video. It is a great camera. I also have an A7RII and my group uses the GH4 and AG-DVX200 and we intercut all those. I formerly used the Zacuto Z-Finder on the 5D3 and that was OK, but the Zacuto EVF Pro really transformed it. That's because it has built-in focus and peaking aids, plus on a hot-shoe mount the big eye cup provides a 3rd contact point which helps stabilize the camera. The downside is you must deal with a fragile HDMI cable, and if supported by a brace that adds complexity. The Canon L lenses are great and I've hand held many interviews with the 70-200 F/2.8 IS II on the 5D3. Of course there is no continuous AF in video mode which is why the EVF Pro helps so much. Magic Lantern is available for the 5D3 which has lots of video capability like peaking, zebras, etc: http://www.magiclantern.fm/ However I haven't used that since we are now transitioned to the 4k cameras. But with a good lens the 1080p from the 5D3 is excellent quality, and it has great low-light ability. When rolling video, the rear control dial becomes touch sensitive so you can adjust volume and other shooting parameters while shooting. The 1080p output of the 5D3 is slightly soft but it's very good on aliasing and moire. You can recover the sharpness in post, whereas aliasing and moire are harder to fix in post. I recommend you verify the shutter actuation count before buying it. Unfortunately ExifInfo and other tools won't provide this from a file but the camera must be connected via USB to a computer and run a utility like EOSInfo: http://www.khalids.com/downloads/SOFTWARE/Canon/ I have tested both IPB and All-I codecs, and I don't see much difference so I usually used IPB which makes smaller files. For H264 video the card speed doesn't matter much but for bursts of raw stills the CF card interface is much faster than SD. I usually use only CF and the SD is for contingency only. Shooting to both cards simultaneously will slow it down to the speed of the slowest card (SD) so I only use CF most of the time, generally Lexar 1000x.

That's pretty cool - does it release quickly? I swap lenses a lot during some shoots. It's not a twisting issue - still lens mounts don't seem to be designed for rock-solid connection, and adding an adapter gives you more points where motion can occur. What I've found is that the first twist of the FF will make the lens bump upwards (or down depending on focus direction). Using an adjustable lens support, if I'm going to do a focus move, I'll add a bit of tension, lifting the lens maybe a millimeter or less, but that takes up the range the lens would move and I get a good pull. I usually add a whip if I'm seeing any motion, the whip removes any vibration from your hand on the knob. This strategy (taking the upward play from the lens and mounts and adapters as a group) could be worrisome if overdone - you're adding some upward pressure to those points. In practice, I've found you're just taking out any available up-down play - just don't crank it up so far that it could warp something! And I usually dial it back off for static focus shots. By the way, get the Fotga DP focus is you're on a budget - really well made FF for the $$, very solid, with 2-point focus stops, main gear can flip to either side in seconds, and spares kits are on amazon (main gear, gear attach screw, and stop screws) for like ten bucks - handy to have just in case.

amazing allaround camera for stills for lacking for video, very soft image, dr on the low side, no peaking or zebras and no evf. The colour science is beautiful but will probably not match to easily with the panasonic and especially with the sony. just my 2 cents though.

@mattiasburling

I'm pretty active on Instagram My Account: https://www.instagram.com/zach_ashcraft/ Side Project: https://www.instagram.com/SurviveAndShoot/

I only have one account @nippon_kogaku

Interesting article on nofilmschool: Cameras Used by Sundance 2016 Filmmakers & Why They Chose Them http://nofilmschool.com/2016/02/cameras-used-sundance-2016-filmmakers-why

Bahahahahaha

Lol mercer, keep an eye on that GAS

Good, really good. When I played around I opted to push out of manual into AF so the ring is a zoom, zoom and then push again before focusing. That way the AF already had it close to focus anyway. Not good workflow for continuous takes, but good from time to time.

ahhh, close on the lens. I knew it was the nikon look

Probably it will vignette bellow 28mm or so. If you have the M42 mount version Krasnogorsk, you should use M42 lenses, as the Meteor zoom will throw the anamorphic alignment off.

http://www.xrite.com/i1display-pro I have a MacBook Retina and an old Dell 23", they match pretty well after calibration. I am waiting for a cheap but good 4K monitor to buy someday soon!

I wonder what people think we did before peaking and Zebra. When I started in TV we had no peaking, that came many years later for me. Same with a histogram, the gh3 was the first one I saw.

Ebrahim Saadawi, remember also for most of us film guys we do not care about the "best" lens, but rather we want the best *SET* of lenses! So we want a cohesive matching collection of lenses from ultra wide to telephoto. So no point getting the greatest ever 85mm if its matching 24mm is a dog, or even worse.... doesn't exist!!

I think I'd heard the rx100iv is a stop or two better in low light than the lx100, plus it has better slow mow, log, and the 5 minute 4k limit doesn't sound like a dealbreaker for you, with the great 1080p it has. Plus it's a little smaller than the lx100. The pocket is awesome. With a speedbooster and boosting the raw maybe, it's not bad in low light at all (or at least meets the 1600iso minimum requirement for sure). I do think the 1080p from it is more detailed than the d750. Some people have used screengrabs from the bmpcc video as stills. So depending, that could maybe cover both bases as well. I just saw a really cool test with a tool in resolve to get great high speed slow motion out of a blackmagic camera by messing with the 24fps. If you want to go that route, slow mo might not be a downside of the pocket very much either. The panasonic gm~ are pretty cool too. Basically super portable gh3s (as far as image quality) with better low light by a stop or two. Not the MOST detailed, but nice. Not sure about using a monitor with it either

Fuji definitely knows tone and colour Also, resolution comparison here http://***URL removed***/reviews/retro-through-and-through-fujifilm-x-pro2-first-impressions-review/9 Looks pretty good but hope the sharpness can be dialled back, along with the highlights. On my XT-10 you can set "Highlight tone" to -2 to show more detail in bright areas. Unfortunately it only works for stills. If it worked for video, I would actually take a lot more of it.

Thanks a lot! The setup process isn't much at all, standard profile with sharpness and noise reduction set to -5, no other changes. The rest is done in post with some help from Visioncolor Impulz, lumetri color panel and curves.

digital bolex and some exotic cheapo tv f0.85 lens.

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 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.

GH4 in UHD 4K, Bolex 16/32 1.5x anamorphic yielding 2.67:1 cinemascope recording aspect ratio. I have several taking lenses. The first is a series of Minolta Rokkors from 35mm up to 100mm with an MD Speed Booster. The others are a Carl Zeiss Jena 35mm Flektogon f2.4 and a Carl Zeiss Jena 80mm Biometar adapted from large format.

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

nikkor ai/ais lenses are really easy to declick, my 35mm f1.4, 85mm 1.8 and 55mm f1.2 are all declicked.

Shit, that IS doable. Let's start contacting everyone we can and get the lay of the land, so if someone IS interested, we can get fundraising going ASAP.

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 .

I'm curious to see the high ISO of the Nikon but I very much doubt either one of these cameras "slaughters" the other. Unless it's video and then the 1D X II definitely slaughters the Nikon

All this raises a dilemma... Blackmagic Pocket (£696 in UK) or wait for this... I have a BMCC (too big for holiday travel), A6000 (used mainly for stills), rx1004 and A7s/shogun (used only for aurora filming). I do enjoy "fiddling" (any other term would be to overstate my competence) with the Blackmagic image so the Pocket is still number 1 but it's tempting to replace the A6000 with the A6300... Pocket is possibly over-priced now? (It's ridiculous to say that, I know). Pocket 2 @ NAB? (but delivery "in May" not soon enough...) I head to Oslo for a long-weekend in March (wonderful light) and want something pocketable. So either I use the rx1004 (and ? buy the A6300 later) or get a Pocket now. Thoughts? Tim