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I own a lumix cm1 and find it offers superb performance as a camera and as a phone. battery life smokes an Iphone. the images are also superb. It aint just a smart phone. It delivers stills just as good any fixed lens premium 1" sensor camera. and it's always with you! compact cameras take up another back pocket alongside your phone, car keys, wallet etc.

Hi Andy, I picked up the Nikon 80-200mm AF-S a few months ago after doing some research and coming across your original thread about the lens. Thank you - it's a special lens. I combine it with Brian's Metabones ULTRA and use it with the GH4 in 1080p and it performs admirably. I actually owned both the Nikon and the Olympus 40-150mm for a few months, then came the financial decision to sell one. I did some testing and the Olympus is sharper (damned sharp) and it didn't ghost like the Nikon when pointing directly into light sources. My brain was saying keep the Olympus; it's newer, it's sharper, more contrast, is smaller, is lighter and has autofocus for day job and can double-up as a handy photographic lens for my m43 bodies. But my heart wanted the Nikon; the colour, the contrast and mojo of the Nikon were just more appealing. Also, and sometimes we forget this, the handling of the lens was better. I enjoyed using the Nikon more. That combined with F2.0 with speedbooster and just had to sell the Olympus. I doubt I will ever sell the Nikon. I use it for wedding/commercial filming at the moment, but it's part of my Nikon "cinematic' set for when I find time to make a narrative film. Hope to add the 28-70mm to the set down the line! Thanks to Andy for actively sharing all your knowledge, thanks to Brian for designing something that allows us to combined these beautiful optics with our preferred camera bodies! And as always thanks to Andrew for hosting this space to share the love.

Beholder DS1. Wonderful. Be prepared to spend zero hours tweaking it. Be prepared to spend zero hours balancing it. Be prepared to switch from a heavy camera to a light one by pushing a little button 3-times. I think the Beholder DS1 wins for exceptional engineering. And it is EXTREMELY compact and easy to tote around. Got mine with 2 sets of batteries that each last about 3-hours. So 6-hours of shooting without a recharge. This thing has changed the way I approach nearly ALL my shooting.

According to Japanese news outlet Nikkan the Panasonic GH5 will get a resolution bump to approximately 20MP, with 18MP stills pulled from the 6K video mode in 16:9 aspect ratio. 4K at higher frame rates such as 60p, likely with a crop of the sensor is rumoured to be possible. Read the full article

Canon reacting in any major way? Not likely imo, for fun I just checked current sales here. Their 5Dmkiii is only $300 dollars cheaper than the 4 YEARS younger A7sii. Its $1000 more expensive than the NX1 + 16-50 S Combo. But still outselling both of them. If I was a major shareholder in Canon I would say, don't do anything. Just wait until its really needed. It would be cool, but I doubt they will do anything revolutionary. Some C-Log in rebels or 5Div would be lovely though.

http://froknowsphoto.com/nikon-dl-series-camera-preview/ http://www.engadget.com/2016/02/22/nikon-dl-compact-series/ 4k...1080p 120fps... Seems like it might do 60fps raw burst too

While the DS1 could take the total weight of the pocket PLUS speedbooster PLUS the Sigma 18-35mm..... I don't think it will work with a lens that long. But it's funny - I've never even tried it. I should. My assumption was that the center of gravity with a bazooka like the 18-35mm wouldn;t ever work. I'll see if I can use the lens support of the Speedbooster as the mounting point. The DS1 also has a small extender plate for center-of-gravity issues, and I suppose if I mount the Sony NP970 battery holder I have directly ON top of the BMPCC, it might make the center of gravity work out. Now I kinda feel silly for never even trying it. Guess I'll go test it all out.

I don't think CineD is your enemy. If I were you I would use the basic settings and only reduce Sharpness and Noise Reduction. And invert it's (profile)curve during grading. Here i only adjusted the color and LiftGammaGain a bit. This is what happens when the curve is applied. ...that, or use Balazers LUTs.

I've been waiting a long time for some good quality portable camera with 1080p at 120 fps. In 2016 it seems like it's going to be tough to decide which one to get...

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

This one is with the Tokina RMC 35mm f2. This is also cinelikeD with everything dialed down. His skin looks orange here, but it is showing good on the vectorscope. His blotchy, Scottish skin is proving to be difficult. This one is the same Tokina lens but I used the Natural profile with a variation of Andy Lee's settings. I left everything at default except I dialed down Saturation. This one is still with the same Tokina lens and Natural profile, but I used Andy Lee's settings for the G7, which are... Contrast -5, Sharpening 0, NR 0, Saturation -5 And here's the last one. This was shot with the Minolta MD Rokkor-X 28mm f2 using CineLikeD with everything dialed all the way down.

I'm a Pentax owner. As for video capabilities: Until the K-5 (launched 2010) Pentax cameras had SR during video. It worked very well. I like the look of the SR more than what Olympus is doing, although you can get away with more with an Olympus. Then they introduced electronic SR, and it is easily one of the worst implementations of electronic SR. They call it movie SR, and apparently it is mentioned somewhere in the official documentation or so that the K-1 has that. Movie SR does not even make use of the sensors the camera has, so it tries to detect movement by the image. a) there is always a crop. Even when deactivating Movie SR. b) What you see on the display is not what you'll get in the file. c) Massive rolling shutter amplifier. d) Random motion blur. e) Wobbling lower half of the image. For years I and others have been complaining to Pentax, and for years Pentax ignores it. When asked, Pentax said that the SR mechanism creates noises, and thus they deactivate it for video. Stupid explanation, there's always the option to use external microphones and recorders (plus the SR mechanism on my K-5 is barely audible during recordings... only when it is really quiet in the room it gets picked up). I'd greatly appreciate any support in convincing those fools at Ricoh/Pentax to re-enable IBIS, because it is gorgeous, it works very well (you can see it in action in live view...). Another issue with Pentax is that bitrates are rather low, and the encoder they use isn't good. Basically a same bitrate file out of a Panasonic or Sony or Samsung will look better. No idea if it has improved, I have my doubts cause the video specs sound exactly the same as their older cameras. Same processor perhaps. As for the mount and lenses... Pentax has amazing lenses, some of the best ever made. Especially their primes are top notch. IMHO with activated SR/IBIS, a flat color profile and higher bitrates it would still be a wonderful camera for videos. The sensor will be fine I think and that flippy screen looks like it is rock solid and really useful (and which other FF DSLR has a flippy screen?). In terms of ergonomics Pentax beats Sony and Canon hands down, and is IMHO even better than Nikon. The body will be weather sealed, and properly so...: These things are tough as ..., and reasonably sized.

I still don't understand Sony's crusade against touchscreens. Yes, you can do pull focus with button scrolling, but why not have a touchscreen for focus point selection in addition to buttons? Every other manufacturer seems to be implementing touchscreens, so I'm not sure what Sony's business case against them is.

A bit of curiosity, I was reading their feature page and come across this, a build in 3 stop ND filter on the 24-85 model ( no mention of this in the other two ) but its not stated on the spec sheet ... interesting one there. Anyone had any idea

Quality is much better from the full size 4k image I didn't know about. Quick 2 minute job in FCPX. Again would need house proper footage and see what it looks like in motion.

I have been using nothing but manual primes on the NX1 since 2014. When I had to shoot a wedding in 2015, I decided to rent the 50-150 and take a chance. Overall, the 50-150 performed well enough in a dimly lit church and reception hall. My settings were around f/2.8-f/5.6, ISO 400-2000, and shutter 1/50-1/100 using burst rarely. The photo AF is not up to par with your classic 70-200 f/2.8 Canikon lenses but it did deliver when I needed it to. The 50-150 photo AF definitely struggles with faster movement in low light/high iso and is literally hit or miss. With slight movement it was pretty accurate most of the time. The pastor did not allow any flash during the ceremony which would have helped my shots big time (grain/noise and photo AF). Using the 50-150 outside was a dream (nice and sunny) and it didn't miss anything. On a different note, the one thing I really enjoy about the 50-150 and NX1 combo is the video capability. During the wedding, I also shot about 30 minutes of 4k footage using the video AF and OIS. The 50-150 video AF and OIS is the best I have used to date. The video AF actually out performed the photo AF by a large margin (shooting the same scene) and this is while handheld at high focal lengths with high iso. In conclusion from my experience on a paid gig, did the 50-150 perform well enough for photo AF in dark and fast situations? Yes. Did it perform as well as other popular lens/body combos? No. Would I use it again for a wedding? If I can use my flash or it is a sunny event, Yes. Funny side note, as much as they liked the photos I think they liked the Bluray more. A few shots from the wedding I spoke of.

Well not the sensor, it's a Sony. The OLED will be either LG or Samsung I think. And it isn't a mirrorless camera, it is fixed lens. Nice try

Mirrorless, Oled screen, 4k, 1080p slow motion....maybe Samsung did sell some tech Nikon's way?

If it's only 20MP, how would it get 6K? Especially with a 4:3 sensor. The A6300 crops from 3:2 to 16:9 to get 6K from its 24MP sensor as it is...

I use my phone for snaps. Little moments that don't have to be top notch quality. That kinda goes for any smartphone what I'm concerned. That said, I've seen people (e.g.) pulling amazing things from e.g. the Lumia PureView smartphones and we've seen not too shabby things from Samsung indeed as well. Remember when that Note 3 came out and Philip Bloom took it for a spin. But things like the DXO One or the CM1... nah, a smartphone = smartphone. If you want to go up in quality, don't add bulk to your phone, just get yourself a nice premium compact. The RX-series is an obvious choice, Panasonic has some great things, I adore the LX100, Nikon now joined the party. I think that is the way to go... not phones. But of course, it depends on your quality standards, what kind of flexibility you need, what kind of creative control you can exert. All of those things, so if you do end up getting a smartphone for its camera features and really fall in love with it: awesome! But for me, it isn't there. Especially if you leave out the big sensor in the equation and a nice decent range of optical zoom. My 2cts.

Yup, waiting on an upgrade of this (1").

I think the mirrorless is totally awesome (for stills obviously) and the estetics gave me a gear-kind of hardon.

disapointed that there are no viewfinder in a "premium" compact.

Blackmagic Design Cinema and Pocket Cameras. 1. Record in Film-log RAW at native ISO. (No other settings needed.) 2, Bring into DaVinci Resolve which automatically converts it to a normalized REC.709 output. (No other settings needed.) 3. Adjust color or exposure a little bit to suit each clip. (No other settings needed.) 4. Render to DNxHD or HR 10-bit as a master file to be uploaded anywhere or encoded to small compressed files for whatever. OKAY - I'm sort of joking...a little bit. But not really. All those other lengthy complicated steps others listed? Yeah, I have to do all that stuff with my cameras that shoot compressed codecs too, but not with BMD RAW. Once you go RAW it is very....VERY hard to go back.

I would like to see see how good this autofocusing is with a third party lenses and adapters or do you I have to buy into the whole Sony system. Either way they are about to get my money.

I need to see more image samples out of this camera; I'm still not convinced the skin tones, motion, and overall "look" are to my liking, despite its impressive spec sheet. If it is, I'll buy one. My work gives me a 40% rebate on one Sony a year, so trust me, I'm rooting for them.

That doesn't seem like it would go well during recording as those hard presses can potentially cause jitters. The 7d Mark ii looks plenty robust and weighty to offset that kind of force, but Sony a6300's little body on the other hand is definitely questionable for that sort of use. I would definitely prefer using the camera's respective smartphone app for any touch focus application even if it's a bit out of the way for quick shooting.

Wow! Those samples are impressive. The next generation a7r and a7s are are going to be insane.

Yeah, I'm all for waiting for real life comparisons. But Andrew sure has a nice bite "...although Canon’s implementation of the technology is A-ok, the marketing of it is highly targeted at Video Oligarchs and people who like moire." ZINGGG

Sure. The Nebula 4000 started all of this, but was kinda iffy to work with, I mean, one of the reasons you might pick up one of these is because a mechanical glidecam takes too much practice. But this in turn takes way too much digging into balancing and tweaking of PID settings. 'Ain't nobody got time for that'. That's why I skipped the Nebula at first and waited for better days to come. Of course we had the Freefly MOVI that boosted the triple handle (2x sides, 1x top) gimbal stabilizers... then DJI came out with the Ronin and Ronin-M. Then we had everybody doing these kinda of things, especially the GoPro/smartphone ones. Feiyu Tech for example really jumped on that one. Then we started to up the controllers to 32-bit and dual IMU. One of the latest things is including 'encoders'. We get to see a lot more toolless designs for easier set-up. Slowly but surely it's getting to the point that you can bind-n-fly sorta say. DJI also released the Osmo, one of the first to really have a ready-to-go character, but from what I've gathered it needs to mature a bit more still... any one of these solutions for that matter. I was really impressed with that one Pilotfly H1 video where they followed the kid on this little train. Motion looked so fluid, organic and effortless compared to for example the Nebula 4000 which always seemed to have some mechanical correction going on, kinda throwing you off and distracting too. Don't know. I know Dave Dugdale went with the Pilotfly because it's nice and low profile. Doesn't attract too much attention and is one of the lighter solutions. I kinda like that too! At the moment people seem to enjoy the Beholder one. I've seen good things with the MinisturdyFlight as well. There are a couple of things I really think are important: organic movement (latest and best tech!) easy set-up (maybe self balancing, you put it on a plate and mount it, the handheld gimbal will move the plate to a neutral position) no arm bracket on the left of the camera, but moved to the right. This way a vari-angle screen can still flip-out! low profile: compact & light, yet able to carry a little load remote control (perhaps even motion control system possibilities like Kessler's Cinedrive) battery life support price! Still don't have any of these solutions, because I don't think they're ready for prime time quite yet. But it's getting there. The next generation of Pilotfly handheld gimbal stabilizers could surprise us. It will probably have encoders. And atleast from what I get from the picture... it might be the case that you can get one gimbal solution, to be 2 stabilizers. With the 2-in-1 unit you can use it as a pistol grip handheld stabilizer as well as to configure it in a Ronin-M kind of way. Actually, closer inspection shows one is branded T1 and other H2, so probably two separate units. They did seem to have swapped the arm bracket to the other side as well, allowing vari-angle screens to flip out. At some point someone will come out with a terrific solution that does most things well... and with all these rapid advancements I think it could be any day now.

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.

Thanks, I just requested it as well. The one you're pointing to is pretty locked down. The important stuff comes in binary format not source code.

This looks amazing. That "Elmarit" line of Leica lenses in incredible.

Here is a still from a 4K shot on the NX1 with the Leica 100mm F2.8 macro Elmarit-R: Original 4k: 80% Crop:

Doubt it, Sony have heat issues. If size is what matters I agree, but if one just wants a s35 4K camera I think one definitely should look t the much cheaper NX1.

In Sweden the NX1 is 25% cheaper.