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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.

Looks nice. Squarely aimed at the RED and Arri crowd. I still think they would be better doing a Super 35mm AF100 replacement with that VariCam S35 sensor. Just because the AF100 failed on the market doesn't mean to say Panasonic can't get it right the next time out. Instead it is almost as if they haven't bothered.

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)

So I bought an NX500 since its cheaper than chips, pocketable and can cary all my Nikon lenses. Also the Samsung Pancakes are even cheaper theses days. But I was a bit jealous about the Log LUT from Andrew that people put on their NX1 footage. The NX500 doesn't have the DR setting. I decided to experiment and here is what I have so far. Disclaimer: Im not a colorist. I just want it to look decent and be able to use the LUTs I normally use. But mostly I want the footage to behave like I expect it to. I haven't tried to nail the skin or anything. Im mainly looking at latitude here. Firstly I tried to use the OSIRIS Rec 709 to Log LUT. But that looked like garbage. Next I tried to use Andrews NX1 LUT and curves. This looked much better, but it felt very uneven and un-precise. So I tested to flip through the PPs and found that "calm" gave a pretty decent result. Picture Profile "Standard" This is done with Edit Ready and Andrews LUT Picture Profile "Standard" Here I put on a LUT for Generic Log (same will be used through out) Picture Profile "Calm" Same as above Picture Profile "Calm" Same as above As you probably see, the LUTs can be used with a bit of tweaking and curves. But the big cow on the table is the black in the pillow and on the chart. That the darkest square is crushed, fine, but the entire pillow... no thanks. No matter what I couldn't get it to work. I realized that if I could switch the Luminance in the camera ll would be fine... but thats a NX1 feature... So I gave up. But before I went to bed I thought I try converting in Rocky Mountain and then ad Andrews LUT in post. But when opening it I realized it also supports input Luts (don't remember if it used to). And Bingo! Picture Profile "Calm" Andrews LUT + Rocky Mountain Picture Profile "Calm" Andrews LUT + Rocky + Grade LUT Its late but I feel that Im on the way to getting me a decent workflow. Its no super important for this camera since its a BTS/travel camera for me. But still, I want footage to behave the way I expect it to when coloring. Hopefully Im free in daylight to actually shoot with the thing soon. Will try to match it to the Red as well. /M EDIT: One more with a Osiris Kodak Vison LUT + Grain

Personally, i think the sensor (assuming it is the same as the Varicam 35) slays the Sony offerings, so this talk of it being underspec'd for the price seems a bit skewed. I'd prefer good specs and great IQ rather than great specs and good IQ

How about a different direction, Speedboosters and an external recorder like the Ninja Assassin to get 4k out of the A7s?

If you're not using it for ML raw (which you're not with those puny cards, and besides I frankly feel BMCC MFT or BMPCC is a better deal for raw) then there is no point wasting money on a 5D mk3 when there are so many better options out there available for less!

thanks guys - the other Olympus pieces are pretty amazing - couldn't believe the look the other filmmakers got out of that camera. We used the 1st person rig thingy from some Sweedish person - 3rd Person View camera mount (ALL SPORTS PRO version) - it was pretty good - our thing was making it as far as we could from the person. the other olympus video was closer. Olympus paid paul the director to make a video - the only catch was we had to use their camera and lenses. the idea was all his. and funnily enough his idea was my idea at the time too - which latter became my film chatterhead - which is just the thoughts of someone walking thru the city. I turned mine into a political piece because it was consuming me a lot at the time and i wanted to make a film for bernie. little did I know the film would make me question him and the entire political situation. Oh well.

wow this is interesting ive been thinking about film a lot lately. the other day i ran across a box of ektachrome slides i shot years ago, and i gotta say i was shocked at how good the images looked. i havent seen anything quite like that in a long time. it was an eye opening experience so im a huge x files fan, but i think the new season looks like shit what troubles me is that the creative team is full of key people from the past... although technology does play a role, i think the bigger issue at play here is simply bad taste on the other hand, if the new season was shot on negative film, would it look very different after post? im gonna say yes. what do you guys think? after looking at these next to each other i have to say that the juxtaposition of these two images is a perfect metaphor for how i feel about contemporary cinematography in general

just go for the version 1 and 2 avoid the rest - simple! and make sure you by Nikon mont as it has apperture control , dont buy a conon mount !! no apperture

Get the Tokina 24-40mm f2.8 and 35-70mm f2.8. All manual. Beautiful lenses. This is the Tokina 24-40mm on the NX500.

the free LUT I got from iwltbap gave an effect kind of like this, couldn't remember which one it was before. didn't mess with it too much, but it was a shot with a lot of snow, and all the snow turned kind of teal. and something like skin gets a definite strong orangeish bias. might be what you'd like. don't think my footage was flat enough for me to enjoy it. changing white to that color is a very stylistic approach, not surprising it'd be tough trying to achieve

He didn't say it 'has', he said 'appears to have', meaning: he's uncertain. And things Ken Rockwell says have to be taken with a grain of salt to begin with.

Like I wrote, I have done absolute Zero effort to get the skin right. This first step was all about preserving shadows. Color is the next thing to takle, but not today.

Hi there, I produce expedition documentary movies from very very remote and wild parts of our planet with no help and of course no electricity. Places like Kombai tribes in Papua (Irian Jaya), Amazonia aborigines, Mentawai tribes in Siberut or mountain tribes in Burma and so on... Last time I made a film from Venezuela. It was a 12 days expedition to Salto Angel the highest waterfall in the world falling down from mesa Ayuan Tepui. All was shot on Panasonic G6, very reliable camera as you can see here: So in my oppinion I think that Panasonic cameras are more resistant than for example Sony A7SII (my friend who did expedition to South Pole with A7SII complainted a lot as it is so fragile camera not made to such tough enviroment). And for travel purposes are more resistant and easy to handle. From my point of view I vote for Panasonic GH4 with XL speedbooster + Sigma 18-35mm F/1.8 that is a travel beast :-)

I find it very convenient when shooting to be able to grab stills or video without juggling cameras. BMPCC uses Canon batteries, so you're charging/carrying two sets of batteries and lenses unless you're carrying a 5d3. File sizes are larger too and its not 4k. I see you've traveled with a little larger kit than I do, but not that much. You could do something like the Batis 25/85 combo and with crop mode you also have 42/127. I've owned the 35/1.4, its big and most are a little softer on one side, not a $1500 lens IMO. I have someone that's interested in trading my A7rII for a A7sII, I'm seriously considering the swap and replacing my A7s/a5100 with the a6300, so I'll have high quality FF and crop 4k along with 120fps, IBIS on one body, and the a6300 will have blazingly fast AF and higher rez stills as I find 12 mp a little limiting with landscapes. All my batteries, chargers and lenses will be compatible across my kit and I'll still be very nimble with all my gear in a small bag that I can always carry on a plane. Interested to see where you wind up.

nice @amussabe

Interesting that it's EF mount as well. Does that mean Panasonic might make a Super 35 or FF camera with EF mount on the lower end. Maybe not GH series, but AF?

https://www.instagram.com/ancient_alien_theorist/

For what it's worth, I've traveled the world extensively for a client and she's always been partial to the Sony image and the cameras she's used over the years represent that bias. Her aesthetic and mentality is certainly more from the broadcasting POV rather than cinematic. She insists on 60fps, for instance. Anyway, good luck with it all!

Someone on Quora pointed me to this site https://www.vhx.tv/ maybe its the one you are talking about? But I still think you would be better off self publishing. I just saw this article today about ebook self publishing and think it holds true to video http://www.bbc.com/news/business-35482345

Too much time on my hands ... 5 days off in a row for Chinese New Year Wandered around our apartment all day today ... luckily there's always something half interesting to shoot. Should have probably used some background music but I couldn't be arsed. EOSHD LOG conversion LUT. Used the Alex Rec 709 profile on FilmConvert (Astia 100) so corrected the flat footage myself first and then put the Alexa profile on top @ around 30-50% for each clip. Used a bit of blur as well. I don't mind this look for street stuff. All hand-held with DIS and IS activated on the 16-50/2-2.8 ... amazingly stable. I've put 10 clips from today on the Original Camera Files thread a while ago if anyone is interested. It's a 3.3GB DropBox link. All ProRes422 and converted with the EOSHD LogConversion LUT via EditReady.

Hey !!!!! A little commercial made with a 5DIII RAW with magic lantern : I've got an A7SII now... and i use more this last one... Merely the same results as the 5DIII but files with the A7SII are really REALLY less big !!!! And there are other prox with the A7S : High frame rate, high sensitivity... But, there is always a but : colors are not as easy as the 5DIII when you don't have a color meter... BTW : today my 5DIII is here to take pictures, and my A7SII is here for video.

Look at nikon hacker, the guy finally finds a way to get raw video, and suddenly dissapears forever.

https://www.dropbox.com/sh/y5mybob4z04kbnm/AABIV6WJncenPALOmvQiV45Ra?dl=0 10 Samsung NX1 files I shot from today. These are converted to a LOG style with the EOSHD LOG conversion LUT from H265 to ProRes 422 via EditReady following all of Andrew's in-cam settings and conversion process. Each clip around 3-5 seconds. DropBox folder link is 3.13GB !! 2160p. 24fps. Samsung 16-50/2-28 & SLR Magic Variable ND ii ... all hand held with IS and DIS turned on. Default Gamma DR settings (green set at 95) with sharpening set at -10. MBL = 0, 16-235. I'd love to see how other people can grade these clips

The first thing any potential hacker should do is rlist what simply isn't possible or would be a huge undertaking. Things like log, 10 bit etc, 4K/60fps seem like they would be very tough to implement and test, whereas upping the bitrate might be a simpler task.

+1 including 100€ as donation - no Time limit - higher bitrate - UHD 60 fps - LOG - UHD/30p 10bit

The Samyang 14mm can be cheaper and wider than most vintage lenses!

https://www.instagram.com/melting_bloke/

Still on the fence. I moved to Sony for video (have the A7r2 and A7s2). Still have my 1Dx for shooting sports. So if I get this one, it will be as much for stills and possible a sequence or 2 with 4K/60fps. Anybody who has a comment on editing Mepg, do we need to transcode to prores. I am on FCPX.

Yes, this is very interesting. I have a couple ideas for horror web series that a model like this would be perfect for. A friend of mine told me a about a site (I can't remember the name) where you advertise and possibly host your series and you can leverage episode frequencies with how many views you receive. So if you get a loyal fan base of 25 people. For episode 3 (or whatever) you announce you will not air episode 4 until you get 50 views. Due to the way the site works, the new views has to be from different people. Obviously, the idea is that you want to use word of mouth of fans to help generate more fans. By holding back episodes until you get more views, you can essentially get a bigger fan base and the loyal viewers are more than happy to help. Interesting stuff this world wide webs.

I contacted Samsung regarding the release of a developer tool for the NX1, however Samsung US said no such tool was available for them to release. I have no Korean knowledge so if someone would be kind enough to try contact Samsung Korea because they definitely sit on the tools for the camera, they already pulled it out of Europe, America and Australia. As for the Source code, its at least something to begin with, we have more than what Magic Lantern started with so I am not sure we are in a position to complain but developer tools would be welcomed if someone had them, as far as I can understand its quite possible to unlock features through the Tizen OS however implementation to hardware level has to be done differently as its a seprated code apparently so if we wanted lets say CinemaDNG we would have to go into hardware level code in order to implement it but it should be possible to remove the 29 minute record limit through Tizen OS. I might be wrong though but its how I understood it from reading countless of forums regarding the hacking of NX1, none has ever come to fruit this one has to be the most active one I ever seen.

Quick google search for "Samsung Tizen firmware camera" brought me to this article http://www.tizenexperts.com/2015/08/samsung-nx1-smart-camera-software-firmware-updated-to-version-v-1-40/ There is a post by a gentleman named Nabil who claims to have made the camera record 6K at 240fps in 'debug' mode. We probably need to contact him. p.s. I am downloading an NX1.zip file from here: http://opensource.samsung.com/reception/receptionSub.do?method=sub&sub=T&menu_item=photography&classification1=digital cameras Not sure if it's the full OS for the NX1.

Yup. Seems like March it is! I will wait for final production unit reviews from e.g. The Camera Store TV before I go and get one (dat wordt duimen). Don't want to play guinea pig. And I'm in no rush either. Sure there's something to say for the 5DmkIII. Still nice for stills, and equipped with Magic Lantern up for a challenge! A whole other approach to shooting, but it can be worth it just for having the easy going Canon colors alone. It's been used as professional fullframe camera for the longest time now. Just that newer things came out, doesn't mean it isn't still a serious level camera. Be that as it may... it's 2016, about 4 years of technological advancements have taken place since the 5DmkIII came to be and mirrorless features and benefits can no longer be ignored. They can make your life and your work a whole lot more interesting over the next years. But we all have our own paths to follow, so anything goes, really.

Unfortunately, even wide angle m42 lenses are pricy. You can try the Soligor 21mm, they come in a bunch of different mounts and can be had for less than a hundred. Otherwise there's the RMC Tokina 17mm which you can get for about a $150 in good condition.

I've bought the cheapest datacolor Spyder5 on the Amazon BlackFriday sales and use it with dispcalGUI because it's more powerful than the lowest tier datacolor option's software. I'm really happy with it. Typically when I edit pictures or grade movies I give it cross checks over the computer, my plasma TV and the iPad. If it's in the ballpark on all three, it's good to go.

I have adopted an alternate approach that is capable of turning any good quality monitor into a very nicely-calibrated display. And it does not require first purchasing an expensive HD calibrated display, then purchasing an expensive 4k calibrated display, and then purchasing an expensive 4k HDR calibrated display. And I can even use it on the large format client monitor in my edit bay. I use SpectraCal CalMAN Studio, with the completely automated Virtual Forge pattern generator, and the C6-HDR Colorimeter. With this combination, I create a massive 65-point 3D Cube LUT that I use as a "Display LUT" with various pieces of post production software. The 65-point LUT compensates for non-linear deficiencies in the monitor and allows me to achieve very good results. More importantly, I can test the LUT for accuracy before a grading session. Is this SpectraCal solution inexpensive -- no, it is not. Is it as good as buying a dedicated, high-end calibrated display -- no, it is not. However, this solution is immensely flexible, works with myriad monitors (as long as they are reasonably linear and display all, or the majority, of the sRGB colorspace), and it has prevented me from running after the "monitor of the week" -- in an industry whose technical standards are changing a bit too quickly. The way I view it, this approach has already saved me money.

Phil, how much gear do you want to lug? Travel kit means different things to everyone, for some its a RX100, for me everything fits in a messenger bag, so my gear will not slow me down. IBIS/OS is a must for me, I want everything to be stabilized to some degree. For me Sony's E-mount cameras are the best stills/video options at the moment, but there are great lenses at all my favorite FL's. For some Sony's lineup is really lacking, though speedsters and AF adapters open up hundreds of AF lenses if you get the A7rII and the upcoming a6300. That means 2 bodies, and 4 or 5 lenses tops, along with a Ride Videomic pro for audio and a small LED and reflector for more light or a fill. Right now I have the A7rII, the A7s and a5100 that will soon be replaced by the a6300. I'm pretty sure I'm going to get the new 24-70 GM which will cover about 80% of what I shoot when you include the crop mode on the A7rII, and f/2.8 is a good mix of speed with a decent shallow DOF on the long end. The a5100 usually has the 10-18 as my UWA, so I'm changing lenses less often and they share batteries meaning I'm not carrying chargers for two different cameras. I have the 28/2, 24/1.8 and Batis 85 as fast/light lens options with the B85 being my shallow DOF king. I typically don't carry a tele because that's a lot of weight/space for a lens I'll only use about 5% of the time, but I have the 70-200/4 if needed. I carry a gorilla pod or a small carbon photo tripod for things like timelapses. The tripod (Benro Travel Angel) also has a removable leg to serve as a monopod. I just picked up the Beholder DS1 and I'm not sure if its something I'll travel with often since that's a couple extra pounds and more batteries/charger I need to lug, but when I'm shooting doc footage it'll be in my bag. If the a6300 is as good as advertised I'm considering going much smaller/lighter for extended travel with 2 bodies and all APS-c lenses. IBIS and a couple 2.8 GM zooms would be nice, but Sony is focused on FF so we probably won't see that for awhile. Anyway. If you're going 1080p for the web, the A7s is a great HD camera, used about $1400, and something like the a6300 will give you high IQ stills along with 4k and the A7s will be a low light beast that crushes everything once you go above 12800. Sony's photo apps are great, you have time-lapse, sky HDR (replaces gradual ND filters for proper long exposures without blowing out skies and such) and smooth reflection (which replaces standard ND filters for those silky waterfall shots). There are a few other's I've been wanting to try including the live view grading (kind of a LUT while shooting flat), the light painting, star trail and light trail - all can be done in post, but these apps are real time savers as you're not carrying filters, stacking and blending images, just tweaking the raw to get the final look you want. M43 will give you a smaller kit with some great fast lens options - and Olympus has the best IBIS around - but stills are really lacking behind Sony's FF sensor. You won't find a wider range of native lens options unless you go Canon or Nikon DSLR. Anything Blackmagic isn't an option for me since it doesn't shoot stills and also generates some large files. ML raw is out just for storage needs, but also because even with a small lens the 5d3 isn't very compact compared to something like the a5100/10-18 and a 50mm prime. Again I travel small. I'm going to be taking an extended trip starting later this year - my wife and I will be traveling around the world for a year and shooting a doc about the experience - so I'm trying to whittle everything down to a bare bones/covers as much as possible kit that's not too large/heavy/cumbersome. For me this means IBIS is so valuable since I really won't need anything other than a gorilla pod for support - and that's mostly to get low shots while keeping the camera off the ground. This got a little longer than intended, lots of options and I'm still working through them myself.

nikkor 20mm f4 and 24mm f2.8 are easy to declick and very sharp, you may also look at a used samyang lens.

ML changes everything. Unless you need 4K and HFR, you will struggle to get a more pleasing 1080p image than the 5DIII with raw

Highlight rolloff is not as good, but in my opinion it's only marginally "not as good." If you're pixel peeper, then you'll also notice the the EM5II isn't as good as a LUMIX. I have two other Pany cams and they shoot better video, but I hardly ever film with them anymore. Since I like to shoot with the camera, and the stabilizer let's me get fun creative shots while handheld, the "neat-o" use of the camera outweighs the inferior IQ. But again, like you, I'm sending most of my stuff to web video and that's kind of a IQ equalizer. I'd suggest giving it a try for a day or so. You never know. Sometimes a piece of gear just feels right...or not.

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.

One thing I will add.... If you are travelling to places you will probably not return to, IQ should be top of the "pros" list... There is nothing worse than getting back and looking through some 8 bit, 4:2:0 junk. As someone who traded up their 5DIII for an A7s, I speak from experience... I traded up image quality for tech specs and regretted it. I know you have ruled out the 5DIII Raw.... But it might be worth a rethink... You will look back at those raw files in years to come and still feel satisfied with the look and quality. Same with Blackmagic.

Wider means less vignetting for using the same prime lens. I still own it. It has similar size as 16F. But shorter, and have bigger front glass. So it could be used on wider taking lens. So I just simply said it is wider.

Yeah that is frustrating. I always wonder how irritated the hardware designers of iPhone feel when most people cover the case in a piece of rubber.

Exactly. I can sell my 5D3 because there is a finally a camera that completely replaces it. You can still get close to 2k for a used 5D3.

New Noam Kroll 4.6k vid:

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.

perfect description of their color science. It shouldn't be so difficult to wrangle into something pleasing to look at.

jbCinC_12 , will you go with the 2x SLR Magic or the 1.3?