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Finally got a few minutes to do a little "trailer" of the wedding I posted a few pics of a few weeks back, here it is...It was "rushed" because Im really in a very tight schedule lately, hope you guys like it : Let me know what you guys think ! Ps. I still havent figured out how to render properly, quality is destroyed when I upload it somehow..

Let's put a "1" in front of those numbers and give it a shot! 180 Mbps should do the trick.

This camera seems super cool and lovely and stuff, but there is a MASSIVE gap in Panasonics camera lineup between the GH4 and the Varicam LT. Where is their competitor to the likes of the C100, Ursa, and FS7? It wouldn't be too much of a stretch to see a GH-Pro Video camera with: MFT mount with Super35 sensor. 10 bit 4k up to 60fps. HD up to 120fps. V-Log. Ergonomic handheld style (like FS5). Built-in LCD/viewfinder. Priced around FS7. Compressed RAW HDMI/SDI out to recorder. Would you buy it?

IMHO, most films are shot on ARRI (because people were making movies with ARRI cameras from a long time) or RED (because they "invented" RAW for video + high resolution and high fps). Panasonic is trying to enter this market from the top without ever succeeding. Maybe it would be easier to make a next-step camera for GH4 users, so trying to arrive to the top from building a base of users at the bottom. I would have gone from the 1200$ GH4, to a $5000 one, then this 18K$ and finally proposing a great all-out cinema camera. Hope my english is clear enough...

I've managed to build secondary income from YouTube. If I continue to grow at the same rate, I'll out earn my day job in a few years. It's taken over two years (started in Jan 2014.) Managed to do it without running a single ad on my channel. Is it what I originally set out to do? Nope. But I learned to pivot and "sell out". My first few ideas were idealistic. But they had no market. Totally unviable projects. You have pander, especially to your strengths. I realized an opportunity and exploited it for gain. The experience has made me humble to be honest. When I hear or read someone's idea, I hope they succeed. There's nothing like grinding out a win. That said, my experience has made me shrewd. I am very critical of my own ideas. I very rarely entertain things that I'm interested in. Instead, I consider projects that know I can outcompete others at. I still expect to fail, but everything I do is so thought out. The work isn't fun, earning the revenue is what I like now. Business income is damn sweet too. Camera gear, computer hardware and other things can be written off. The money is burning a hole in my bank account, if I don't spend it, I hit a higher tax bracket. --- As an aside, I started out in video doing real estate spots. High end stuff. Know a few realtors. I shot HDR style for a unique look. Also aped some strobe-like compositing with a motorized slider and head. Was able to do multiple takes and stitch the video together. I burned out after a year of working whenever I had spare time. Used the earned cash to start a studio. Hit YouTube with a sorta of video pinup girl channel. Stupidly used big IP. Quickly got slapped with a C&D notice. (Don't fuck with big corps, especially if your selling your take on their TDs.) Sulked. Raged. Considered selling my gear. Learned about monetization. Did some research and found an epic opportunity. Spent a lot of cash up front and slooowly began to earn.

Agreed. Panasonic desperately need an updated AF100 so the *HUGE* influx of new users they got with the GH4 can stay with Panasonic and then provide willing and easy customers to buy into a Varicam LT. But doing GH4 to Varicam LT in one giant leap with no intermediary stage of an AF100 v2.0 in between? ? That is too much to ask of a GH4 user.

True that! They're like 'hey, thanks for getting the GH4! Yeah, we are the go-to guys for video! We did it first and the longest in the segment!'... 'what's that? You evolved a little and like to get more serious? Well, hey, we got you covered... pay for this V-LOG L update and add the BLEGH brick underneath, now it's just like a proper cinema camera!'... 'And the GH4 will be relevant for quite some time ( http://www.43rumors.com/ft3-new-larger-gh4-firmware-upgrade-on-the-horizon-gh5-ready-for-early-2017/ ), don't mind the competition out there, they're not us and you've bought some native lenses anyways and video on Olympus cameras is something to laugh about, so watchya goon' do anyways?!'... Me: ehh... I would want a serious update, have you seen the competition? Varicam means coughing up way too serious dosh as an upgrade from the GH4 and good alternatives would come from the likes of Sony and Blackmagic! Could even get myself a proper 2nd hand cinema camera! Ball's in your court, Panasonic! The DVX200 actually looks like a pretty sexy camera I'd like to pick up. But why they do not offer us something similar with interchangeable lens mount is beyond me!?

I downloaded the source code a while ago and looked at it briefly but never found anything but after reading this tread I was inspired to take a second look and I found a whole folder of C++ files in the kernel package under driver\media\drime5\hevc. I even found this comment in one of them( d5_enc_host_ctrl.c). // Target cycle of 32x32 CU, P-slice // Mode1, LD_LC: 870 -- UHD30p @266MHz w/ 20% margin // Mode2, LD_HE: 1307 -- FHD60p @200MHz w/ 20% margin // Mode3, RA_LC: 1752 -- FHD60p @266MHz w/ 20% margin // Mode4, RA_HE: 2420 -- FHD30p @200MHz w/ 20% margin // Mode5, AI : 870 -- UHD30p @266MHz w/ 20% margin Does anyone here know anything about GNU licenses? My thinking is if they are using the drime5 CPU to code and decode HEVC it would need to be built into the Tizen kernel and would need to be open source. But I dont know for sure. I think its all there folks we just need a Linux/Tizen master to take a look at it.

I do think the model will change (is changing), but let's not forget that Louis C.K. earned the luxury of being able to thrive on the vanguard of this new model simply because he established his credentials in the old model. On the other hand, it's proven that mass media is possible with youtube.

did you see the semi-recent thread by kidzrevil about using grain for the web? Rich101 had an interesting post in it, not a hundred percent it works wonders, but he seems to have thought it through gorgeous btw, love your stuff

Why do you want to go to all this trouble with a Canon DSLR, when the most obvious thing to do here (to me) is getting yourself a BMPCC or BMMCC and adapt some C-mount or KIEV-16U lenses for example??

Hopefully many more iterations to follow such as AF100 replacement with same colour science, Prores and EF mount. Have a GH4 with PCC Speed booster and an A7S II, Still prefer GH4 as main camera, wishing for a GH FF camera with same attributes so that i can get rid of A7S II.

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.

We forget that these days. These cameras are all powerful tools. We dwell in minutiae.

Film Piracy. The two dreaded words to filmmakers. Is it even worth it these days? Look at this shocking information. http://www.culturalweekly.com/sundance-infographic-2016-ample-distribution-paltry-deals-and-the-cost-of-piracy/ Imagine plunking down $100k - 500k for your film. Piracy happens. Your film is all over the Internet for FREE before you even leave the festival you got into. Careers ruined. Money and time gone forever. How do you stop it? Hope for a big buy out from a major distributor? (Not likely) Pray the piracy doesent happen to you (not likely) Keep the budget so far down for your feature film (50k or less) that it doesent matter? (Possibility) Listen to this interview with a fairly known horror director whose life was ruined: http://tinyurl.com/hfxuwqt Another post that questions is it worth shooting a feature film? http://tinyurl.com/jolx4wh And another: http://tinyurl.com/h7p72yq Scary and grim facts for independent filmmaker working today.

I use the Carl Zeiss tessar 45 mm f2.8 with a contax yashica to canon EF metal adaptor ring then I mount it on my metabones xl speed booster its a great little tiny lens with a lot of character I like it a lot , the metabones does sharpen it up too as the tessar is not as sharp as the distagons and planars in the Zeiss c/y range Metabones is the best speedbooster no contest , I have almost all the others and metabones beats them all , tbe zhyongi lens turbo is the next best then the RJ in my book ! Stick with metabones if you are on a 4k panny the metabones xl is essential as it gives you a super 35mm field of view it gets rid of their x2.3 crop

My understanding is that RJ makes the best off-brand SB. I use a Roxsen and have no complaints. The others may be fine, but I don't know enough to say one way or the other.

Oh god, I just found a distagon 28 2 and a planar 50 1.4 for peanuts, but there are already 4 guys in line for the deal, fuuuuuuuu

If I were you, I would go with the FD or the Olympus. With either, you can grab a cheap, excellent 50mm for $50 or less. With FD you can get a 24mm f2 and a 35mm f2 for around $200 each. With those 3 lenses you will have a nice little set. Then you can look for the 17mm f4 later on for around 300 and then a zoom or two. For less than a thousand you can have an excellent set of lenses eventually. Stay with a lens maker though.

The 21mm? Because it's unique. And very, very good.

masters of none looks excellent - nice clean blacks and motion looks really nice. I am impressed. Haven't seen much else shot on the varicam but this camera looks to be nice. I think this camera, a red, an alexa, or a sony f65 for higher end stuff and you really won't notice as much difference than the person behind the camera and the colorist. They are all getting to a nice place. Now it's a question of ergonomics, workflow, power consumption, weight, recording media, etc etc.

If its your first camera than just shoot h264 in camera, no need for raw. Focus on the fundementals of film making for now, telling a story, learning about light and how to properly expose your camera for a scene. Only after you are starting to get a grab about those things then i would recommend you messing around with raw.

This is really interesting. I'm not sure it will be __that__ easy, but I guess that some variables are passed that can be changed with a hex editor.

that is litterly the softest lens ever made. also the m43 flange distance is way lnger.

Get an Helios 44 lens + adapter for your 7D and forget about RAW, Magic Lantern and other technicalities!!! 30$ best spent in your life!!!

i guess it's 80mbit

Looking at the information found about nx300 hack (the one which disables recording time limit), it seems that one way of doing some hacking would be with a firmware update. Another way of doing it might be through wifi or connecting the camera to pc with a cable. If it would be possible to enter the camera as a developer/debug mode, maybe some code could be changed right in the camera. As I understand, that nx1.zip file contains the updated firmware 1.4 which is running on the camera. Now when we have access to it, we can find the parameters, that describe the things we need to change, let's try the bitrate first. I just used search and was able to find many mentions of "bitrate" in the zip along with numbers like "min = 6000000" and "max = 8000000". Don't know what these numbers are for, but that is a start. So we need to find the right numbers and pack them in a new firmware update, like the nx300 hacker did. Here is a description of that process: https://sites.google.com/site/nxcryptophotography/diy-firmware And then someone needs to be brave enough to test it :D

This model is already nearly a year old. I think I will wait for the new version instead.

Yeah, but how does it render skin tones?

re: the middle ground camera.... Pretty sure Panasonic got burnt with the AF100, so no surprises they are tentative to go back there. I actually think the DVX200 is a nifty bit of kit and a better bet for them to make money from event shooters and such than joining Sony in the race to the bottom. We all want the best for our money, but I can see why these companies are not so quick to jump into the murky world of the $5k +/- camera. Also, isn't it well know that the photo and cinema divisions are completely separate?

The EOSHD article make it sound like it's a 4K Prores camera, but it only does Prores in HD, you might want to correct that. This doesn't seem like anything overly special compared to a Scarlet-W or Sony F55, except that it can do both analog gain and digital EI adjustments which no other camera does. RED Scarlet-W has a slightly better sensor at BASE sensitivity but has trouble in low light, and F55 can adjust EI in CineEI or gain in Custom but never both so you are stuck with flexibilty or sensitivity. This is the one feature that seems especially unique about the VaricamLT. Unfortunately it still doesn't even do 4k 120fps like a Scarlet-W will or like my FS700+7Q has for a while... Anyone know where specs/whitepaper on AVC-IntraLT etc is? I can't seem to find it. FS700+7Q still seems to be the only one that does 4k 120fps prores and can adjust analog gain and EI (using LUTs) at the same time (not to mention being able to use a speedbooster)...

sigma 8-16mm is good

But is it UHD? 4x 1080p????

We were kidding kaylee, they really should give some volume to that hair, looks like she didn't had a shower in some time. And yes, mulder is older too, but I have seen him over the years in californication.

Masters Of None (on Netflix) was shot on the bigger VariCam 35. It looks outstanding in my opinion.

In my humble opinion doing that it is not the best way to get a deeper sound: most of the time you have phase cancellations that give you less bass frequencies when you listen it in mono. If adding another track - in order to have a real "double" - it is impossible, I would prefer to reamp it or to eq in some ways.

I remember seeing something like that. Today Im gonna re-render it when I get home, most detail/sharpness is gone and the grain is mushy as hell and its not doing any justice to the cmera at all. Thank you :D

I was just looking for a constant aperture zoom. I looked on eBay and saw the 35-105mm and then found this. For 30 bucks I thought what the hell. I had a small set of FD lenses. I sold all of them... Some of which I paid 3 or 4 times more, but won't sell this. The only issue I have with the lens is that the filter ring is recessed, so it is hard to mount and nd filter. But even at 5.6 you get good bokeh. In fact, I don't think any of the shallow focus shots in that video were shot wide open.

Yes its the canon FD hidden gem lens , very good and sooooo cheap

If you are on a budget sand want a superb cinema quality constant appperture zoom that is just as good optically as the tokina/angenieux then get the canon FD 35-70 f4 and put it on a canon FD speedbooster that makes it f2.8 and even sharper ......this lens is optically amazing its small light internal zoom and about £30 on eBay .......everyone should have one !!

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.

I too use the M43 system. Sometimes with a speed booster. Last thing I did travel-wise was Indonesia; urban, coastline, and jungle. Had a heat wave and also lots of days of rain. Man, the humidity. Yikes. The LUMIX and Oly cams I had on that shoot did fine and it all fit into a very modest camera satchel. During the trip I shot a dark Church interior as well as a few bat caves. A handful of work at night too. With a f1.2 prime lens and a speed booster one can get decent exposure at stay below 3200iso. Need that low-light ability. Depending on your environment situations, I'd also suggest putting durability and weather sealing up on the priority list. And while it would be great to travel with robust pro gear with RAW capabilities, the work I do in the field just can't support that kind of commitment, so consumer 8-bit is the compromise. I've not felt terribly limited, but things do depend on what you're aiming for regarding the end result.

From www.lightformfilm.com

From 4.6K by https://www.facebook.com/thedreamersnl/ I recommend going to their FB page... the compression from these copies looks quite bad.

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

There was a pretty decent video on that a while back... However, we need to see stuff like that on like sub-10k cameras. Agreed on 'Super 35mm AF100 replacement'. That would've been a little nicer.

hi, i bought NX1 couple of weeks ago, so this i'm also following this 'hack' initiative.. found some header files in the NX1.zip. Unzip packages and go to standard-armv7l\usr\include\video\drime5. I'm no C++ programmer, but i guess there are definitions for the video settings there .. so maybe that would be helpful to someone who 'knows'...

Its come to my attention that no one has posted the Open Source code to the NX1, its a 1.3GB sized .zip file its simply just called NX1.zip, maybe there is something in there to help you guys? http://opensource.samsung.com/reception/receptionSub.do?method=sub&sub=T&menu_item=photography&classification1=digital%20cameras

I liked the super 16 at either 50 or 100.

I've found this very useful when I stumbled upon it one time... He's got his info from Alexis van Hurkman, author of the Color Correction Handbook and the Color Correction Look Book: http://www.amazon.com/Alexis-Van-Hurkman/e/B001IODHRA/ .