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Ok, few short notes. First of all, there are two operating systems running, tizen and t-kernel based real time OS. What we see and can access is just a nice front end that issues messages to RTOS that actually does all the hard work. If some function is not implemented in it it's unfeasible for us. Regarding GUI - I'm working on it now and it's the most hostile toolkit I have ever worked with - EFL. Android is walk in the park compared to this hell. As you can explicitly set readout to 120fps it either works slower (why?) or faster (240fps declared in the same NX1 launch event that also declared CGRA). Cpu cores are most likely based on 1600MHz A9.

Right, so I downloaded my original file from vimeo (a 1gb file lasting 7mins, so you do the bitrate mathematics - lots of the original 50mbs xavc-s data lost in the original export). The original file had seen no adjustments at all. just an interpret from 50p to 25p. - as we all know the 50p mode on the a7s isn;t as good as the 25p mode, so the sony was at a disadvantage in bitrate terms from the moment i pressed record. Camera was set to auto exposure, and auto white balance. s-log was disabled. i was using neutral creative style with contrast and sharpening dialled down to -3. I just put the vimeo downloaded file into premiere and applied a contrast and saturation boost using 'ProcAmp'. - this provides a 32bit workspace adjustment of brightness -24, contrast +146, and saturation +140. No grading was applied. if this was shot in s-log all I;d have to do to get the same contrast is to adjust contrast and brightness in procamp more strongly. The biggest problem with users is that they overcomplicate things. if accuracy is important an image doesn't need ANY colour correction if the wb is set correctly at the start. all it needs is a change to the levels to provide the blacks and whites, then finally a midtone adjustment. a flat rec709 profile just needs less adjustment than a log profile. Anyway, I'm done with this thread. go use your nikon if it makes things easier.

According to this Anandtech article Samsung uses something they call the SRP (Samsung Re-configurable Processor) in the DRIMe-5 SoC. They call it a CGRA (Coarse-Grained Re-configurable Architecture), which probably means it is less flexible than a FPGA but more flexible than traditional IP blocks. I have no idea what their source is, but Anandtech is known for being very reliable. Details about the SRP online are very sparse, but there are a few research papers about it being used as an experimental GPU. Apparently it is used in the last generation of Exynos SoCs as an audio processor (not for their latest chips, though). The SRP is definitely not being used as the GPU in the DRIMe-5, since the kernel source shows it uses a conventional GPU just like in the Exynos SoC it is based on. It also isn't being used for HEVC encoding, since Samsung has special-purpose hardware blocks to do that. As to what they are using it for, I have no idea at this point.

It was in a cpu config file. But in early firmware, I am plotting the changes and original values to see what sort of leverage can happen with them. This is something that I have also been looking into. With luck it is just the change of an output flag and see if things can be pushed to a higher limit. HEVC and other compression systems are less intensive with less compression, so in theory it should be able to bump up to the bus limit and have less compressed files. In the later firmware the change from 15fps to 25fps for the raw output sort of shows the ceiling of bandwidth the processor can handle. Give or take 30MB raw file x 25fps data stream is 750MBs/6000Mbs My goal is to see how close to the spec of a red weapon the nx1 can be. HEVC is sort of a pain but the way it works is more like the wavelet based .r3d files when HEVC is at lower compression rates. But the more I find the more interesting things get. And the things they did for this camera make it vastly unique compared to a canon or a sony. The complexity of the nx1 makes that quite hard, if I am correct and there is an fpga/cpld core on board it gets more tricky. I have seen some signs though. No confirmation yet. More work will be done tonight on the dive though. I have compiled a large data sheet already on the things I have found in the first firmware update. But going though the code takes time. And if people are having issues with HEVC I highly recommend getting a GTX960 so far the only gpu with fully enabled on board HEVC encode/decode and boy does it work well. And they are not very expensive. If you go by how HEVC does compression, when you transcode it would be in the Gbs if the data rate is doubled on camera

Sony A7 with the neutral picture style -3-3-3 and graded with film convert.

Canon have a knack for this. When all around them is a circus of silly menus, bad ergonomics and underperforming images given the raw power under the hood, Canon with their underperforming specs have over-performing images with very good automatic white balance, well thought out menus and no frivolous stuff to get in the way on a shoot. I like the simplicity. Clearly you get a lot more colour information in a 300Mbit or 500Mbit 4:2:2 file like on the XC10 and 1DC, plus it helps the colour science is bang on in Canon LOG unlike in S-LOG. Clearly Sony know something is wrong otherwise they wouldn't have added 3 separate S Gamuts to the FS5 for different WB temperatures. Sony seem hell bent on squeezing every last drop of dynamic range and colour gamut out of the image, then packing it into as small a file as possible... the end result is a bit of a car crash. The A7S II was almost the 'dream camera' wasn't it... but I've barely felt compelled to use mine... I keep picking up my NX1 instead. That's because the body design of the A7S II is soulless, feels awful in the hand - it has the ergonomic charm of a brick. They went backwards from the A7S and that wasn't exactly perfect to begin with. Please Sony hire some designers from Fuji or whoever were responsible for the NX1 body at Samsung. Then sort the menus out - it isn't rocket science. I think they underestimate the importance of this... the shooting experience. I feel a little bit guilty when I see someone struggling through a shoot with a Shogun bolted onto the top of a small Sony mirrorless camera... great specs and we should support the push, in the face of Canon's paralysis... but it's a horrible shooting experience isn't it...

"with what editing software? Adobe premiere afaik doesn't support hw decoding of hevc" latest update of adobe cc2016 does. Davinci's latest does as well

Agree, but please avoid Magic Lantern as menu inspiration as well. IMO the Samsung menus are pretty nice. But Blackmagic really have the menu thing down. Easy and intuitive.

pretty compressed, sorry. but fuckin beautiful. took about 3 seconds. Ed David is also mostly using Sonys, and not just the ones anyone would love. we can just disagree though, everyone. don't think any of us are too heartbroken for the topic starter who's "stuck" with a d750

I thought "YAG6T" is another/new type/variant of the YAGH.... the thread title fooled me!

Talking to a few people I know who do front end. Seeing what can be done about having a set up like magic lantern for ease of use. That or writing the menu itself to add in the options. If its a possibility we will try to keep is as far from sonys menu as possible. If anyone has used their gear.

At least I now have an excuse as to why my videos all of a sudden look bad...

People are all entitled to not like a film for whatever reason they care to choose. It does not make them misogynists. I honestly don't think anyone 15-35 of my generation even know what sexism is any more. The term is applied so liberally to so many things. People need to learn the difference between prejudices, tastes, personal preferences and the -IST words. You might prefer pizza over burgers. This is a preference for pizza, it is not a form of food-racism. I am sure many of the people upset at the new Ghostbusters movie are just saying that the don't like it, rather than saying that they think men are superior to women, whites superior to blacks, slimer superior to marshmallow man. I think if they substituted Lara Croft with Rambo in the next Tomb Raider, fans of the series would be equally disappointed. And that is mostly the sentiment here. I am sure we all have our preferences when it comes to much loved 80's films and what made them work in the first place. For me the male buddy-comedy central characters were a big part of that. This does not make my opinion sexist. Now some will say that preference for a male cast is sexist... some will say it is anti-feminist, anti-woman, even anti-ghost. This shows they do not know the definition of terms like sexism and racism. Do I like the trailer? Nah. Fan edited one is better than the studio's own! It is definitely not a feminist film despite what the marketing and the gender of the cast wants you to believe. Crude vagina joke, lame script, poor VFX. The reboot is far more a cynical box office plot to appeal to a larger female demographic than anything else.

After ejecting yet another Sony camera that looked great on paper (RX10ii) I thought I'd make a little comment about this... its been replaced by a Canon XC10. On paper a crazy idea, but in reality it's an upgrade. No ultra high speed, but no problem TBH. Slow lens? Yeah, but great colour great battery life, brilliant menus and autofocus... If you look on paper at the specs and the choice looks silly, but actually use the cameras and all becomes crystal clear. Sony menus are so bad they ruin the experience of the cameras for me. The build quality is also questionable, probably partly due to an obsession with miniaturisation that is becoming counter productive. The colour is so obviously Sony because it's always missing something. The F65 looks great, but once you get down to consumer/pro crossover level I'm afraid it's just a bit piggy unless you want a kind of odd bluish Kodak emulation on everything. its not that you can't make it look nice, it's that it restricts you to a certain look that isn't always suitable, so I find unless the situation is very controlled I can't cut it with Canon C footage to my satisfaction. its so disappointing because Sony specs are great, and their innovations like the memory CMOS for high-speed footage, as well as continuous ND are brilliant. But every time I get one of these things into a high-pressure situation or back into post I just feel let down. i actually WANT to like them, but I don't! So I'm venting. ill add some XC10 footage to the pinned thread shortly...

I dont give two shits if they are women or not. And I was a hard core fan as a kid in the 80s. But seeing the comments and disslikes. And people like all the other CGI crap that gets rebooted. So to my eye the only difference is that its girls. In a way it makes me even more happy Sony whent this way. You know, spite. Sticking it to those irritating troll kids. So in a way, Sony used one of the most mainstream, mearchendise pushing genres, that I normally avoid for a good deed Good for you Sony. Might buy a RX100iv after all. Just to support. Thoughts?

Make shure to see some samples before getting an old 50 1.4 nikkor, it's a little bit "peculiar" wide open.

This is the settings I used for the Slog. Played with it some more and got the skin just right. But still to much work imo. Better to just shoot Cine. From this thread. http://www.dvxuser.com/V6/showthread.php?326049-A7S-PicPro-Settings Black Level: 0 Gamma Slog: 2 Black Gamma > Range: Middle , Level: -3 Knee > Mode: Auto , Auto Set > Max Point: 95 , Sensitivity: Mid Colore Mode: Pro Saturation: +8 Color Phase -2 Color Depth > R+1, G-1, B+2,, C-2, M-1, Y-3 Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0 White balance > Manual > Grid setting B 1 (one to the left) 3000-3600 = Tungsten 5000 - 5600 = Daylight 6100 - 7000 = late day or shade/shaded interiors in daylight

are we talking about hevc support or gpu decoding? they're not the same

Or use a [Insert Camera Brand]. Just kidding

Get a cheep speedbooster - the new Zhongyi v2 aren't a bad investment for about £100 & you should be able to go wider (you could go wider now if you crop in post - use the 4:3 guide on the pocket cam menu). Or just get a better tripod secondhand or a monopod (there's a topic in the general forum from Zac who recommended a good cheap monopod). I use a BMPCC + 35mm + x1.5/x2 and a krasnogorsk-3 pistolgrip/shoulder mount with a cheap z-finder clone - 3 points of contact & no micro jitters. Krasnogorsk-3 pistolgrip/shoulder mount - about £30 on ebay. Z finder clone - £5/10 on amazon.

If I may chime in here. The ideal interface for me would be to drop some files in the sd with names like 4KMax.config, 1080pMax.config for example. The GUI should just get all the file names that end in .config and show them as options. I pick one and the settings from within that .config file are applied. This way, the system could be made very flexible and extensible and people can share settings. The file should probably be in a human-readable format like json. I am very interested in bumping up the HEVC bitrate to whatever maximum is allowed. I think that will improve the image quality a lot. My PCs have high end GPUs so I am not worried about decoding. I am prepared to contribute $$$ to the effort as well.

The used prices of the C100 mark1 is so low that Ive got a tough time not getting one. Feels like I would give up the ridiculous detail of the NX1, Raw, etc. Instead get something I would be able to use in pretty much any situation. And most of all, with 100% confidence in the gear.

too much money asking for a lens that sells on ebay for no more than $350 ($400 shipped)...

Thank's Oliver. You are right, and I think everybody made his point. I just wanted to say to richg101, that I too liked his misty-morning-clip and that I didn't mean to sound like an asshole.

50mm makes sense on BMPCC - as that's about the widest taking lens without vignette. Often going as wide as you can helps reduce apparent shake when handheld. Sounds like an extra point of contact would be of benefit, either as a detachable stock like you mention in the pocket rig, or by making your own by using a baseplate and rods...extending the rods backwards towards the body and make or buy a pad to create a stock brace. Luckily, you can often find cheap parts on eBay to experiment with - to find what works for you. Another thing to try which can work very well, is by using a monopod (even a very cheap one) - will allow almost the same amount of freedom as handheld, yet allow a solid point of contact to the ground, whilst you can still move the camera around freely. This is the best compact solution for shots where you are going 'handheld', but the camera is to be repositioned quickly - rather than holding the camera steady by hand (and introducing shake) - the monopod takes the weight. You can also retract some monopods (with a ball or fluid head) down to be small enough to tuck into your belt to make an angled brace support. I've often found a combination of monopod and higher shutter speed (to help stabilise in post) is a superb way of achieving smooth handheld results from a smaller camera.

This.

with what editing software? Adobe premiere afaik doesn't support hw decoding of hevc i can help as well

upon rereading my giant post about ghostbusters, it seems like that subject struck a nerve with me lol of course i cant edit it now... and i have to look at "youre" staring me in the face for the rest of my life smh but, yeah, mattias has a point which is worth underscoring without me going on an sfx tirade: if this were any other movie sequel with 4 male leads recast as 4 female leads, the reaction would be the same: a massive amount of dislikes for the trailer on youtube which is wildly disproportionate to the trailers for other mediocre films which are virtually identical

i agree mattias, i was making two different points. the massive amount of dislikes are absolutely a picture of misogyny

feminism is the radical idea that women are people – crazy, i kno... feminism is about equality, not about replacing men with women ? although theres a ton of misogyny in those youtube comments, mattias has a valid point indeed, i dont see how this particular film benefits from 4 female leads btw: i fucking LOVE ghostbusters. the original film is one of my favs of all time when i watched the new trailer, i thought it was pretty good, but that was based on my expectation that it would be HORRID why? an all female cast sounded like a would-be money grabbing gimmick to me, the particulars of the casting didnt change my mind, and i figured that contemporary half assed vfx would be the icing on the cake one of the keys to me about ghostbusters – a film with a premise about "ghosts", campy, campy ghosts, that do not exist – is how the film feels real, in a way that many 21st century movies do not i have a theory: the more absurd the story youre telling is in terms of general believability and moreover supernatural elements, the more it benefits from feeling like it takes place in the real world ghostbusters feels like new york city – not just a city but that city. the cinematography and sound design just kills it. i feel like i can smell the exhaust from the cars on the street the photography based sfx in ghostbusters feels completely tangible imo compared to vfx characters. for example, stay puft? is MADE OF MARSHMALLOW. hes a GIANT MARSHMALLOW MAN. for me, effects like that are more convincing than anything made from 3d vfx models, from lord of the rings to transformers if i was directing ghostbusters (or transformers) in 2016, id take the same approach used in the original ghostbusters: id build models, shoot them carefully, and use the awesome technology we have at our disposal for compositing, with a subtle vfx sprinkle of sugar on top to tie it all together in closing, the most fundamental thing i need to do as a filmmaker is: use storytelling to make people wanna spend money does this trailer do that? maybe so, but i think it could be a lot better

Not to stray too far off topic, but I've never understood this. Currently 32 and have no problems remembering what is like to be 22, or even 12 for that matter.

Ouch. And that's on a laptop connected to your home wired internet? My mobile connection even on 3G is faster than that. I feel ya, bro! Gotta admit, that's one thing I really appreciate about living here. I pay about 40 bucks and get that kind of glass fiber internet, tv and free landline calls within Austria (I mean there's one with 125 and 250Mbit as well, but let's not exaggerate, I'm already faster than 85% of AT according Ookla as it is). It gets really awesome if you consider their mobile tarifs. I pay about 12 euros monthly and get unlimited mins/sms within Austria as well as 6GB @ 30 Mbits down and 5 Mbits up. To me that's just nuts. Especially compared to what family members pay back home in The Netherlands, and those are considered pretty good rates.

I agree. I have the same problem. I select HD and sometimes it will bounce back or just stop playing all together. NICE WORK VIMEO. I don't see the point in renewing my pro account at this point.

Also if your video is embedded in a website, good luck ever getting that to stream in non-mush quality!

Yes, my fault ! I used the wrong file (the H.264 and not the original .MOV as I thought...) I made another test of color grading and no macroblocking or banding. Also this time I have not used a LUT to "delog" but I did it manually.

Internet culture is just a reflection of real life - there's a vast majority of stupid people in the world.

Top 3 for bokeh on NX1 (native lenses) is, IMO: 85/1.4 50-150 45/1.8 After that I'd say 50-200 and 60mm macro. Only after those, there comes the 16-50s Top 3 for AF: 50-150 45 16-50s Top 3 for sharpness: 60 macro 50-150 30mm

I'm a massive, massive fan of the original Ghostbusters. For this new iteration, I think it's a great move to have female Ghostbusters - especially with some of Hollywoods best female comedy actors and Paul Feig. There is a BUT though. The original films worked because the humour was so deadpan, dark and offset by silly yet terrifying visuals. It also had this kind of weird realism to it. It was serious, yet ridiculous. This trailer shows us this in reverse. To me, it looks like the Scooby Doo films (visually) and the humour seems to be a gag based affair, kind of like an Adam Sandler or Martin Lawrence movie. The tone seems very cartoonish and parody-like, reminiscent of the Scary Movie series - complete with "fat jokes" and "sick" gags. I feel the VFX from the original is superior, it's far more "black humoured" and equally quite scary for kids, whereas this would fit straight into a ghost level on a next-gen Mario game. The appeal does need to cater the new audience, however, they have done themselves no favours with the typical Hollywood comedy edit of this trailer for audiences who know the original. The female cast isn't the issue, but there a lot of other factors to be worried about if you're a fan of Ghostbusters. This is still a trailer and may not reflect the real movie at all. I remember the mouth watering Man Of Steel trailer which was almost art house like, very emotional and brooding - yet the real film was a Transformers style Superman destruction fest. Hardly the film I saw in the trailer. Maybe when we get to 27+ in age, we can't grasp this modern sparkly filmmaking because we have the nostalgia of the past versions. In my view, I much prefer the original Teenage Mutant Ninja Turtles to the new one as the characters felt real and grounded, based on the practical effects and smaller budget. The new one is like a video game where Shredder is the Final Boss and he's going to kill you with this Transformer mech style rocket blades. Just doesn't seem as good to me, but I'm not 10 years old with memories of the 90's eh? I want this Ghostbusters film to be good, but in my personal opinion, this trailer isn't a good start. I think Hollywood should "cut down their production scale. The visuals no longer look convincing or tangible, plus the studio has far too much power over content and creativity. Take the route of Netflix, who obviously give a massive degree of creative freedom to their talent.

Which ISO? I used a mangify glass I also turned off OLED colours. I put it on 3200ISO in darkness also grey background and nothing, if I go to 4000ISO I see RGB ISO noise. I honestly cannot see these blue line streaks you are speaking off in the live view but I can see them in the HEVC files out of the camera. I checked both in photo mode and video mode, I will take a picture with my Canon 400D using a macro lens, if you could do the same even with a cellphone if you got any. It would be interesting to see. Perhaps you have a faulty camera or it could also be the OLED colours for all I know.

Looks great! How close can you get without the diopter?

Mercer, I am both hobbyist and prosumer in the sense that I do short movies (+- 3 minutes) to place on vimeo to satisfy my "artistic" needs AND shoot shor clips with commercial value for Microstock for living. Because of that I'm of course always looking for best possible quality gear for value/money. So while profesionalism is the goal, minimalism in terms of quality for easy transportation for on location shoots is needed- for things like these, just gimme a year or two to get better in the edit part So when you mentioned the sensor is demanding, you actually pointed out the reason why I asked. If I may ask you for a bit of your time: what do you mean by that in connection to lenses and output quality? A few people already mentioned it, but I'm hoping for deeper explanation.

So? That doesnt change that Slog isnt exactly concidered most peoples favorite Log. Of course there are good examples. There are good and bad examples from all cameras. Im no colorist but its only Sony thats challenging imo. And I feel confident enough to dismiss all the "thats a user error" comments. Because its with me as with most, relative to other brands. Its like in Hateful 8. "No one said the job was supposed to be easy." "Aint nobody saying its supposed to be that hard either."

Just to give closure, I'm sticking with the NX1 for now. I like the easy to achieve colors and except for low light it's quite good. I'll sit out until after NAB or maybe Photokina before making any decisions. ...even though I've just got the offer for a 1Dc with 2 years warranty for 4000$ but it's a quite big camera.

Actually yes (and sorry because I have a BA in anthropology) - this was how the majority of the world operated for roughly 70,000 years. There was no farming. There were no lords or slaves. We lived tribal-based. And we worked 20 hours about a week. The world of today is based on the simple fact that life became unsustainable with the increasing population growth. Not enough nuts on the ground. Hunting animals was actually more done recreationally, as it wasn't easy back then with rudimentary tools to hunt down animals that are faster than us and stronger than us. Agriculture started because of the population increase. This is when different structures of society formed. In China, it was more a rent-based farming structure. Rice was the main crop. You would have your own rice paddies, and give a cut to the person who owned the land. In Europe, it was feudal. Most people were serfs. You worked for a king. The world of today is run primarily by the military-industrial complex, as president Eisenhauer mentioned. Our lives are dictated by those who have the biggest guns (nuclear weapons) and the most money (corporations). We can't ever go back to Hunting/Gathering. There are simply too many people and not enough resources. It's this world we were born into. We can choose to run and participate in our countries in a fair and just way, such as many European countries and Australia/New Zealand, or side more with the USA, Russia, and China, which run their countries based on fear.

Lens sold

Decided to take the lens off the market for now. No longer for sale

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 :-)

Funny. I showed her 16 clips on VIMEO for a blind test. 8 with the BMPCC, 8 with the Sony. Including landscapes, people, low light. She said all were nicely done but with some of the BMPCC clips she commented on soft image and after giving comments on the movies she was surprised when I told her that her three least favorite looking ones were all with the Blackmagic and her 3 most favorite looking ones all with the Sony. I was quite surprised myself. Gives me a certain drift to go for the "compromise system".

Get a LX100. As a famous Dutch designer would say: 'It's the art of leaving away stuff'. It's a no excuse camera 'oh, I'm just going on a short stroll; no need to bring all that gear' -> oppertunity of a lifetime has to be taken with your smartphone! 'Not sure what lens to use... this one... or this one... argh, the choice!' -> one lens to rule them all! No choices, no hassle, no excuses! Sure. I get you want a little bit more freedom and flexibility too, because in the end the lack of choice can still be restricting and compromising quality and look. Well, what other lovely addition to a Panasonic camera than another one? The GH4? You'd probably get a 12-35mm f/2.8 OIS with that. Or scratch that and get either the E-M5II or E-M1. Get one as a kit with the excellent 12-40mm f/2.8 PRO. People have shot impressive stuff with those combos! The in-body stabilization! You can now adapt vintage primes (e.g. HELIOS 44-2 58mm f/2) or a SLR Magic Hyperprime CINE 25mm T0.95 for example and shoot stabilized footage! Olympus glass is of great quality. The 75mm f/1.8 is a real treat! Get yourself a Cullmann Magnesit Copter mini tripod and a RatRig V-slider Dual Mini. Don't even take much more and just focus on experiencing instead of carrying stuff around. Especially if it's web content, then you've got to deal with compression of your hosters anyways. And people will watch the footage on their smartphone or tablet. So here you are with the most sick quality setups in the end making hardly any difference and the average viewer who's not a pixel peeper seemingly only cares about the content! Damn you average viewer! When does good become good enough? ... just one way you could do things of course...

Ok let me back up. There are a handful of cameras that pump out a decent HD image. I'm a renter so ive tried all of them. There are no cameras under 10k that I would consider buying due to deal breaker issues. The C100 2 comes closest as far as HD image quality is concerned but that camera is still brutally overpriced for what it is. I also like the Canon 1dc, lovely image but even at $7k, it's still overpriced and with no high frame rates and difficult post, it's also not worth buying. Blackmagic is hit or miss. They have a great filmic look but their cameras are notoriously unreliable and I pretty much can't trust them for paid work. Panasonic have backed themselves into a corner with m43 which will always be a disadvantage in the low light department. Nikon has never even spoken to someone who shoots video for a living so their cameras are almost always DOA. The Sony A7s has a stunning sensor and very lovely 1080p but their color science is bogus, I had to turn picture profile off and no slog 2 in order to get decent gradable skin tones but when I did that, there was a 2 stop hit in dynamic range. Since it's still 8bit color, the image falls apart quickly. Basically every camera company is run by morons when it comes to video. Canon literally hate their customers. They will give you the quality you want but they will charge you twice as much as you are willing to spend. Seriously, the c300 2 should cost $7k at most. It's especially frustrating since Samsung are literally sitting on a gold mine of video tech that they have decided to waste on cell phones. Fuji color can't be beat their video functionality almost always sucks and I'm sorry but I'm not seeing the image quality in these samples. The motion cadence is pretty unpleasant and I am seeing aliasing which at this point, is totally inexcusable. Everyone always talks about how many great tools we have at our disposal but I don't see it. I think most sub $10k cameras are garbage when it comes to image quality. I'm slightly hopeful for Panasonics new camera but with Varicam branding, I have a feeling it will be a pricy item. Keep in mind that Panasonic have the GH5 due later in the year so I doubt they would produce a Varicam in the prosumer price range.