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First unofficial videos are coming from China...and I think that they looks superb!

Didn't get the focus and framing identical, but here goes. :p It's just that with the R I often notice the better resolution, especially at night with long exposures. But it's hard to really pick what's better, there's always the variance of settings/framing and shit involved, as well. In the examples I just shot I found the colors of the S better, it picked the White Balance differently, as well (readjusted that for the R in Lightroom). All in all, I don't know, I'd rather not spend too much time with stuff like this, because there's so much variables involved and I like both cameras. For stills I usually go with the R, just because of the better AF and the plus in resolution and for video I prefer the S for full frame 4K and for lower light scenarios, because it's always so clean. Image 1 + 2 f8 (both 1600 ISO, 1/160, standard, no PP, matched WB), first a7sii, second a7rii. Image 3 + 4 f1.8 (both 1/160, standard, no PP, matched WB), first a7sii 125 ISO, second a7rii 100 ISO. Lens: Zeiss 55 1.8, S uncompressed raw, R compressed raw (should have matched that but forgot). Edit: Tried both uncompressed and compressed and there's no visible difference.

The camera has 1 S.Bus connection which lets you plug it in to a radio receiver and you can have control over focus, iris, start/stop etc with a much longer range than wi-fi. This way you can control the camera with the same radio controller you use to control the gimbal and that is much better for drone ops than dealing with a phone or a tablet.

Like most Ive read about 1000 comments saying "a7rii if you also want to shoot stills and a7sii for video only". Since I mostly use medium format film for stills I couldn't care less, but ultimately went for the S because I wanted minimum moire. But I do use Instagram and take some photos around the family and for that I could use any camera really. So I have taken a few with the a7sii. And I must say... wow. I think they look stellar. I cant really put my finger on it exactly but they have an "organic feel" (lack of better word) that's very pleasing imo. My theory is that its the low 15mega pixels on a large sensor. I guess it takes away the "digital" sharpness in the same way as the HD vs 4K thing. And also how a full sensor read often is more pleasing than a binned down sample. I see the same in the NX500 4k crop vs the NX1 6K down sample. Here is an example compared to the D750 which has a very high megapixel. Bot are nice but I think the less sharp a7sii is nicer. A7sii D750 The pic above as well as the once bellow are almost straight from the camera. Standard jpegs. I might have added a vignette or so but no "Insta filters". Im not claiming to be a good photographer or anything, but what I like is how there is tons of detail without the "digital sharpness". On this I added some sharpening. So anyone else seen the same thing? Anyone have any stills to share? (Could be my mind playing a trick on me to justify the quite hefty price on the a7sii, even though I got a 10% discount ) At the end of the day I think it will serve me well for most pics and when I need something "richer" I use good old Kodak

Some good tests there. Have to say both the image and AF look stunning... And very little hint of rolling shutter on the street pans.

I have the Pilotfly H1+. If you are a run and gun one camera one lens guy, this thing is perfect. But prepare to spend hours tweaking it to perfection. Not only do you have to tweak for smooth motion w/o vibration, you also have to calibrate it for battery life. But once you get it tuned, you really can just hit the trigger and capture amazing video. The organic camera movements are what I like about it the most. Walking, panning, still etc. The battery life however, is abysmal. About 1.5 hours if you've calibrated it optimally. Badly calibrated (too much unnecssary power to any of the motors), you can zap the battery in about 15 minutes. Where this power goes is beyond me. A well tuned CameTV Single can run for 10 hours. The H1+ for 1.5 hours. Even a perfectly balanced and calibrated H1+ will die in 1.5 hours where the motors are not doing anything. The external battery attachment to the base sold for $65 is actually an amazing addon because now you can shoot for 7-9 hours no problem. All day without worry. But keep in mind while the H1+ looks like a well crafted professional piece of electronics, the battery attachment's make and quality is insanely poor. About the quality of imitation tupperware that you get at a dollar store. But again, the batteries inside of it is what counts. Switching lenses is a hassle for every time. But as long as you got the recipe down, you can do it on your smartphone, and it's not too bad. But don't even think about trying to switch lenses on set if you don't already have the perfect set of numbers written on a notebook. Change bodies on shooting day? That's crazy talk unless you've practiced switching bodies like how a soldier practices how to disassemble/reassemble his rifle. Then you can balance it and change the PID settings and calibration under 5-10 minutes. Another thing about the H1+ is that it uses LiPo batteries. The battery inside the H1+ is LiPo. The batteries inside the external battery attachment, LiPo. The alternate external battery solution they also sell is LiPo. LiPo batteries are extremely high maintenance. If you are going to buy a H1+ you should become an expert on the maintenance of LiPo batteries. The fact that Pilotfly doesn't tell you to do this is a bit irresponsible. my guess is because Pilotfly comes from the hobby R/C business and they just kind assume people know how to take care of LiPo batteries. There are probably dozens to maybe even hundreds of LiPo battery fire videos on YouTube. In hindsight, should I have bought the CameTV Single? For the battery life, the ease of changing lenses, bodies, I think this was the CameTV Single would have been a better purchase. Reading about so many people with CameTV Single's battery issues, although I'm sure a handful of people are indeed experiencing battery issues, I believe most of this has to do with the lack of balance, lack of knowledge about calibration. People have it so poorly balanced that the motors are working overtime, and on top of that, they probably are told to not worry touch the PID settings which leads to people not really knowing how to troubleshoot their issues effectively. It's no surprise the battery dies really quickly for some people. Becoming an expert at the H1+ makes me believe I can rock the CameTV Single for 10 hours on a single charge without battery issues. But without becoming an expert in 3-axis gimble calibration and Basecam SimpleBGC, I don't think I'd know how to troubleshoot a CameTV Single if I bought that first because I would think my battery is defective.

Disclaimer: This is for fun and games. So if you are the assburger type of videographer that can't see the joy in anything but sharpness and high numbers... sit this one out. Im reviewing the Microsoft Lumia 950. As some of you know, the Lumias have had manual focus, exposure and 24p for years. They got 4K well before the iPhone as well. Also first with wide apertures and IS. A new party trick is the macro, which is really close. And while playing around with it in the house, one thing lead to another.

I saw the Hobbit in 48fps in theatres, and I didn't like it at all. I rewatched it in theatres at 24p, and I knew why. I dont' mind the sharp sharp images, but if its getting into people's faces and you can see the make up and prosthetic stuff... all fake props like the axes looked plasticky... How can anyone like that????

details: http://www.reduser.net/forum/showthread.php?141427-FORGED-Shot-on-RED-Weapon-8K

I've seen people here (Andrew perhaps?) in the forum recommend using the "autumn leaves" picture profile. Might be what you're thinking of.

Either a SpeedBooster or this is nearly mandatory: http://cvp.com/index.php?t=product/sony_sel1670z.ae

Here are 4 raws, 28 1.4 @ 2.8 and 50 1.2 @ 2.8, with the D3 and the D800. I focused so the aberrations are the same = focus point is the same. There is a sandstorm over my place now so there is no direct sunlight, the subject was picked for medium-fine detail (the wild cats in my garden won't hold still ) https://www.wetransfer.com/downloads/61e154d4c7d570c739ef4545d238f96d20160222140446/b4bd4f2154c342fd1f4306b6256c90e320160222140446/dd4e9a

Not sure how this flew under my radar. I've been wanting a product like this for ages. Definitely going to pick one up

I'm using hitfilm 3 express. I had to pay for a small upgrade to get curves. for $20 total, I'm definitely a fan. but mostly I'm using the white balance tool with RGB adjustments until skin seems to pop, and then adjusting the colors in the highlights a little bit

thanks, Mercer. I've been messing with grading a lot lately. sometimes hard to know if it actually turned out well. definitely prioritizing skin

Thanks, dudes I got back in touch with the composer of the first film, Mitch Welling. He's back for the new film.I know other good composers who would/could do it, but I'm glad he's on board for this one. It just wouldn't be the same.

Nice job. Her skin looks great.

Hardly think Blackmagic Pocket Camera price or release date was too much affected by the screen they put in it. Stripping down the Micro, based around same sensor, probably pays for the redesign and faster processor for 60fps.

A unique, shallow lens mount would be awesome, but I doubt it considering they already slapped Canon mounts on their high end cameras. It's a modular system. The central hardware has great longevity, the rest is upgradable, and (unlike RED) none of it's proprietary. I'd love to see more first party accessories from BM! They have a nice little array of cameras that cover a range of needs and price points. They should focus on delivering and supporting those. In the meantime, bring out some tools to keep people in the ecosystem. A few ideas: -a small, cheap Ninja Star-style recorder that uses SD cards. Maybe give it dual SD slots for simultaneous ProRes HQ and Proxy recording. -an audio preamp/recorder with XLR, phantom power, dedicated volume knobs, and dual headphone jacks -a battery solution that works like a base plate or battery grip. Include a few different plates for different types of batteries-- LP-E6, Sony BP-U60, Panasonic GH4 batteries, etc. Bonus points if it could plug into the camera and provide dedicated buttons for ISO, WB, REC stop/start, etc. -combine the last two ideas--make it like a YAGH box for people who work in real production environments, except with battery plates on one side as well as DC power -a higher end ~19" production monitor -4K Video Assist with a 7" screen Pipe dreams mostly, but wouldn't it be nice?

Plus you'd be forced to pay for those components, even if you don't need them. With BM, you can shoot as stripped down or as rigged up as you want.

I've now finished and posted my review of the ISCORAMA 42 for anyone interested http://www.vintagelensesforvideo.com/iscorama-42-review/

Exactly! If they put all that stuff in it would double the price and more importantly it would never be released because they would never finish it.

That goes against their entire philosophy which have always been: a box with the best possible, uncompressed image at a low price, you do the rest.

Hey guys, Yesterday I did some grading to relax- it´s still cold ouside, so nothing better than to enjoy some tea in front of Davinci:) I came across a very underexposed and wrongly white-balanced shot. Filming was done with the Panasonic G6 in Natural all -2 but color at 0. I think, quiet amazing, though some posterization and false color cannot be ignored! So I bet GH4 would be a fantastic camera in many ways and natural is a tested and well received profile.

Yeah, and the best part is that you get both.

Rectilux is a tad sharper than FM Lens. My story between these two is following: I first ordered the Rectilux. I was in the line for the first patch. Well when got it there were some quality check issues in first patch. So the focus wasn't as smooth as should and there was few screws missing... So I was a bit disapointed after the long wait and for the focus quality. So I returned it and bought FM Lens instead. But I ordered the FM Lens from one German guy who customs FM lenses. anamorphic-germany.com And here is the guys Vimeo profile: vimeo.com/user37855100 He makes possible to mount Kowa 8z inside the FM Lens, but I had to send it for him to but it insde. So it's Kowa lens only now. But I don't mind. He made it focus as close as possible (40cm), installed focus gears on it and made possible to mount very good quality ND fader infront of it. SO the conclusion. Both have goods and bads. Rectilux is a tad sharper which I regret a bit. But FM Lens was so much betterly assembled straight from the box. Also mine focuses extra close now that I asked that option to be added. Kowa 8z by itself is one of the best glass investments. Really like how it performs.

Man... I'm not sure why, but this stuff looks better than the 4.6k footage I've seen so far. Something seems "off" the Blackmagic-Mojo with that sensor... it looks like high-quality GH4/GH3 footage... not as organic as this stuff. Maybe it's too clean?

"Infinite" is not a word that can really be applied to any aspect of any camera or lens. It's not that they make the image or the lens better - it's that they increase your incoming light by at least one full stop - that's A LOT - and they widen the field of view of the lens you're using. This is exactly the same effect as a). using a faster lens, b). having a larger sensor that does significantly better in low light. c). in many instances any focal reducer will have the effect of slightly sharpening the image - it's an optical property of a focal reducer. It's not a lot, but it's there. No. Not "hands down". That's just you own opinion - and everyone will have them. Very very few people who have used both say that about the GH4. I've used both and I completely disagree with that. The ONE big thing misleading people to think that is the SAMSUNG lenses are very clinical and can give a more "video" look. But there's no reason that you have to use those. I don't even own one.

Though the whole marketing seems to be focusing on the fact that its 8k. to those who look at it properly it's all about the fact that it's a scaled up dragon sensor. so all the magic from the 6k dragon, but with much more sensor area meaning the larger format look is possible. a 35mm f1.4 lens can be used to get the same fov as a 25mm f1.4 lens, with the associated advantages such as better lens performance, shallower dof when needed etc. It's not that the 8k is making this stunningly clean image 'pop' it's the fact that the camera was being shot with the forefront of full frame glass (otus) - using longer focal lengths than would be used if it were the 6k dragon sensor. there are no s35mm lenses that can be used wide open at f1.4 and deliver such optical resolution and that separation between in and out of focus areas we see here. I'm certain that if Sony made a pro version of the a7s, with 4;4:4 or proper xavc intra onto cfast2 keeping the 4k res, and you shot with otus lenses the image would have the same perceived resolution. I see the power of a full frame sensor and superb optics outputting raw as the big thing here. not that it's 8k. I expect if that sensor were 2k it would still look as good.

The force is strong with this one.

I agree as of February 2016. I'm starting to wonder though. Guardians Of The Galaxy 2 is shooting with the Weapon, and I know alot of big budget movies will follow suit. I think in a few years the hyper-realistic look will be accepted and requested. Of course there will be alot of people who are nostalgic and want the old film look. Most likely myself included. Curious to see what the "standard" will be in 2020.

I think its a bit of a generation thing. A guy I have working with me is 10 years younger than me (im 33). Both me and him are movie fans, we both saw H8 in 70mm. Both of us use analog film for our stills. I use medium format and he shoots large format and is getting into wet prints. We share similar tastes in other vintage stuff, we like the same movies, video games, etc. But we differ on one subject. He loves the look of Loord of the rings, CGI, 48fps, sharp sharp images etc. I like practical effects, film, 24p etc. And when we argue about it, its clear to me that we simply don't see the same thing. When I point at the bear in the new dicaprio movie and say "look how fake" he just scratches his head. He has no idea what Im on about. When I used Jurassic Park as an example of practical vs cgi, he thinks they look equally good. He is simply used to it. That's what movies have looked like all his life. He doesn't remember the pre digital era. Another example is dubbing. When Im in Germany I think, "how can they watch this, I mean its so badly done its comical?". Then I ask a german friend, "What do you mean, its in perfect synk and the voice matches spot on, no one could ever tell the difference". They are used to it. Ok, totally off topic from the Weapon. But a thought On topic, It looked stellar but Im not blown away. URSA 4.6k, Dragon, Weapon, Tomato, Tomaato.

Un-foogin-believable. The rendering of the smoke was like nothing I've seen before - looked like it was going to come right out of my screen. This 8k thing is a whole new world for Documentaries, educational, and other types of super-realism stuff. But I'm becoming more convinced than ever that 4k is the cutoff for "Movies". It's just too sharp and it starts hurting the feel of the experience instead of helping. In fact the 2.8k Alexa or even the 2.5k Blackmagic Cinema Camera are about all I'd want to deal with if the intention is something that "looks like a movie". But it's interesting - we now have cameras so advanced that they are creating new genres. That's fantastic. And the ability of 5k, 6k, and 8k to convey a realistic experience is a gift to Humanity. As a teaching and world-sharing tool there has never been anything like it before. There is very much a parallel in Music recording. - Audio technology has advanced just like video technology has, but when the audio you want to make is MUSIC then the new advanced tech sounds 'worse' and everybody reaches for "tube this" and "tube that" and "tube emulators"... all that DEGRADES the audio - but it does it in a very specific way that just so happens to sound "better" to most people in the context of songs. So "movie" cameras will be the ones that render a technically less advanced image - but one that is far more suited to the particular application of creating a "movie". Interesting times.

Looks beautiful... Colour, contrast, detail, DR and general IQ all have a touch of magic. Really like it. The IMAX shooters are gonna love it!

optical viewfinder is a brilliant idea Check out the Sigma ones. They did a few for different focal lengths on their DP and Quattro cameras. 14mm (21mm equiv.) and 30mm (50mm equiv.) are two I am aware of. And the utterly superb Zeiss finder from the RX1 (35mm equiv.) http://www.amazon.co.uk/Sony-V1K-Optical-Viewfinder-Camera/dp/B009O06XAS/ref=sr_1_2?ie=UTF8&qid=1455806726&sr=8-2&keywords=sony+rx1+viewfinder

Damn! There was always a chance that this little thing could get lost in all the 4.6K hype, but no chance...amazing image! I want one.....

I could get this thing rigged for $500 or less. Besides, most of that is unnecessary if your cameras spends most of its time on sticks, sliders, and shoulder rigs (which mine does).

Looks great! It's a perfect drone camera.

No, no, no! Dear Panasonic, please don’t listen to Andrew. He’s a nice guy, but this time…. :-) I don’t think, businesswise it would be a clever decision. From my consumer segment point of view, it wouldn’t be an attractive one either. The main benefit from the MFT is not the FT, but the “M”. Micro! If somebody wants “full-frame”, than buy a full-frame camera. MFT gives the best size/quality compromise. There is no perfect camera, no “one size fits all” system. Size-quality-price is all important but antagonistic factors! I don’t want to invest into speedbusters and co. and I certainly wouldn’t buy a camera, i.e. pay for features, I could only use with other lenses. That’s the whole idea with having a system. I want a light and efficient gear, exactly as MFT is. Actually, I would rather ask Panasonic for the opposite. Make the new sensor with fewer pixels. I would love to see a native 4K MFT sensor with app. 8 MP. but with excellent low light capability. Aka a7s… Full pixel readout and no mathematics, how to make 4K from 6K, instead of that, using the processor for more color and dynamic range. God forbid it, even RAW :-) Of course, 8-10 MP would not be so attractive for some photographers, but that’s why, there are other cameras. You can’t please all. In business strategy, segmentation is like DoF, it’s about taking choices, focusing. I certainly hope, Panasonic would not change their focus :-)

NO, I wold not like an APS-C sensor on Gh5! A multi aspect m4/3 24 MP sensor with 6K video recording, 4K downsampeld from 6K, 10 bit and 4:2:2 internal recording, better AF (especially for video), a better audio DAC, Vlog 2, 60p 4K, better DR and Low light capabilities and a better body would do the trick at 1799$ for me.

Interesting post, Andrew. However, I do not believe Panasonic would change the sensor size in the GH line to S35 for many of the reasons already mentioned. I also don't want them too. I've been using the GH line of cameras for my business for the last 4 years. They are small, have a lovely detailed image, and most importantly of all they have never let me down. With the GH4 they finally got to a professional standard body. It is rock solid, has best-in-class battery life, it never overheats, and has no recording limits. Panasonic have played to their strengths beautifully. Apparently they sold way more GH4s than they were anticipating and it would be a strange move to throw that progress away when they now have a fan base. I hope to start make narrative films this year and will have no qualms using the GH4 for the job too where I can use my Nikon lenses with a speedbooster and achieve an S35 look if I desire.

If you think that Panasonic will abandon the M43 format for the GH5 then you are crazy. Not gonna happen. I will live stream my seppuku on EOSHD if that happens. What will happen is that Panasonic will eventually introduce their newly developed "organic" sensor tech into the GH camera line. This will give them performance better than the current generation of full-frame cameras but in the small M43 form factor. I'd guess 2017 or later. As for 6K, why? There is approximately zero demand for 6K and it's technically unfeasable for any number of reasons. A more reasonable step would be for for Panasonic to have the GH5 record 10-bit 4:2:2 4K internally, but even that would be beyond the capability of the SD card format for reasonably low compression.

We all have our wants... Personally I don't want to see Super 35 in the GH5 as I prefer the M43 format. As long as they can squeeze ISO up to 12600 and improve DR it's golden. I much prefer the smaller lenses and portability of the current Lumix lineup. If I wanted anything larger, Sony already has it, but you don't see me jumping ship even with all that ISO range they have. Based on the recent news of Panasonic sensors something tells me they can achieve these small bumps in features. 6K or 8K would certainly be nice as an option, but really if I had a choice between that and clean 4K 60fps or 120fps that is the route I would prefer.

A s35mm sensor with m4/3 mount is available in the JVC LS300 camera, so, yes, still a posibilty. But i don't think that Panasonic take that route, but yes the GH5 need to make a huge step forward to compete against Sony offerings. 2.5k RAW recording, 13 stops, clean 3200 ISO and in body stabilization is what I'm waiting for the GH5.

Bigger sensor size is good and all. But I would like more DR, better highlight roll off, less noise and improved color science even if only at 1080p in a better codec.

Last week you were saying you didn't care about 4k... Now it's all about 6k?! I'd much prefer internal 10bit 4:2:2 (or compressed raw)... Better DR and low light.

I could live without 6k. Want high DR. And 4K RAW to the Shogun instead. Otherwise I would probably buy it. But the NX1 sounds pretty close to it. A NX2 would be nice, if they pick it up again.

But how about the lens? They don't have any s35 lens to support a new format yet. It could be very difficult to step up for them imo.

I was pretty sure it was to do with some in body noise reduction or something. like it's insanely clean at low isos because of it, but higher isos it just stops helping and starts hurting. feel like you won't see that on all h.265 compression codecs from here on out. a shogun or other recorder may help this I've heard? - lettinging it keep it's grain throughout, more like a gh4. pretty uninformed though, so don't take my word for it. it is an issue of the camera though, not just vimeo or transcoding, I don't think