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Hey Jordan No way! It kills me to have a misunderstanding like this I am an avid follower of your videos at The Camera Store, I absolutely love then I featured your video on the blog purely out of love for what you do and to draw attention to it. I'd have a hard time passing that off as my own!! Berlin might be cold but it's not that cold!! I do not have a stunning beard. I do not have Chris's strange accent either The PR comment wasn't aimed at you guys *At all* I get involved with the manufacturers and try to build a relationship, I go to the events organised by PR companies to try out the cameras early when I can fit it in, nothing wrong with this and all reviewers do it. I didn't realise you and Chris just got back from a Sony press event so it was a really stupidly badly timed comment on my part. No one can deny there's generally a subversive whitewashing going on due to so much PR in the consumer electronics world but YOUR reviews are NOT like that... I like to think we remain balanced about negatives and unbiased and thinking of our content rather than our relationship with the manufacturers and this is totally what sites like ours do... We shoot from the gut and we are outspoken. I can't tell you how sorry I am for this misunderstanding it is terrible... I'm up for a chat on the phone if it helps solve any issues Sorry - Andrew

Where pots of gold hide and unicorns roam.

Hey Andrew, I appreciate the response, and I'm glad you like the content Chris and I put out. We look forward your feedback on anything we produce, and I've gained a lot of useful information and insight from this blog and the message boards. However, I feel that essentially calling out the entire review community for being in Sony's pockets is excessive. If you were in North America and wanted to test a production A6300 before launch, the only way to do it was to fly to Miami for the press event. I wish that it was an option to have the camera shipped to us in Calgary for testing at that time, as I have other productions and a family to focus on outside of my TCSTV work. But the A6300 is such an important camera that we agreed to spend a few very busy, not at all relaxing days testing the camera out. You have to remember that this is a time when a huge number of enthusiasts pre-order their camera before launch, so these pre-release videos can serve a very useful purpose. Most of the other journalists and reviewers I spoke with felt similarly. I'm sure a few odd ones didn't use the time to properly test the camera and wrote puff pieces about the camera and G-Master lenses, but many of us spent 16-20 hour days trying to make sure we had accurate impressions. I'd hate to see all of these people lumped together as shills for Sony. It's a huge compliment that you see us as an honest, respectable source, and we appreciate you embedding our video on the blog post. Chris appreciates your beard-envy. We hope you keep watching!

I have been shooting on BMPCC for years and have had some great experiences with the Digital Bolex. Sure its a really odd camera but there is some sort of mojo about it that can't be explained. Its got that Kodak CCD that is truly unique. I shot a shot film on it using their own Kish lenses and REALLY enjoyed the process.

1. - Spike Lee is an astounding film maker. 2. - That Digital Bolex is amazeballs. I have seen people put up footage where the people's skin not only looked incredibly natural, but the realism of the skin tones was so great that it looked like the subject was a little person living for real right there in my monitor. Like I could just reach over and touch their face. I have never seen that out of any other camera. It's UNCANNY. Yes, it IS a cameras that requires one to learn some pretty specific methodologies, but I think the results are worth it. Just rip the stupid handle off the bottom as soon as you get it. You don't want to be Zachary Zapruder. Now, I'm not saying you're wrong... I just happen to know that you're wrong. I'm also totally NOT saying that a couple hundred finished URSA Mini 4.6k's are ready to go out to the earliest pre-orders. I'm not saying BMD isn't always late with their new models - I'm just saying they all have eventually been delivered. Well....it's eventually.

you dont want to be ever using auto white balance either , that is handing over one of the most powerful creative descissions to the camera's internal processor - not a good idea - always set your Kelvin manually - this is the great thing about the Panny cameras they have total control of the colour temperature you are shooting it , you can do this also on the RED and the Alexa .its an essential film making function. I dont use the presets isos and I dont EVER use auto WB, dial it in manually to fit your scene you are filming , this has a massive impact on the colour of the image and its a creative tool so use your eye and set it so it looks good , all the Panny cameras work better this way ,I found out 5 years ago that they look better when slightly warmer in Kelvin than you would normally shoot. EG shoot 4000k when you use 3200K Tungstan lights - you get nicer skin tones outside I always shoot 6500k , if its sunny rainy overcast clouds ...it looks so much better than 5600k which is your standard go to film in sunlight Kelvin setting . Be creative and push the camera into good looking colours using the variable Kelvin of the Panny. Distrubutors still want 2k masters so I edit 2k Proxy files and conform the 4k files for the master , grade in 4k the output 2K ProRes deliverables

Wow, nx1 Italian community! I feel less lonely now :-P

Or save a ton of money and get a Beholder DS1. I did. Love it. Tool less. 1.6KG max payload. $699 from the main importer Owl Dolly. The dual-weight programability is lovely. So I can go from a really light Pocket with a Voightlander 20mm pancake to a 5D or NX1 with something like the Samyang 16mm or 24mm on it. Essentially it duplicates the 3 basic modes but comes with, and allows changing of, the motor strengths for the two groups. This is critical if you're going to attempt to use more than one camera on it...ever.

test shot with Lomo Foton-A 37-140mm and Canon 50D. test shot with Iscoramas (pre36 and 54) and Canon 5D3. I have plenty of test videos with various lenses on my channel, but most of them are like you described (I always try to get people on all my shots), but shooting narrative is hard and expensive and requires much more preparation than a plain test. If you're shooting narrative, you're not testing, because it would be stupid not to bulletproof the workflow before heading down a narrative path with other people involved beyond the cinematographer (aka: me). That being said, I recently shot a 1.33x anamorphic shootout that I'm editing which is somewhat narrative (there's a very basic plot to it) and it should be up in a few weeks.

Im shooting 16:9 and extracting 2.40 in post - framing for 2.40 in camera using the guide line and tape on the rear screen . I always shoot natural profile saturation -5 , contrast -5 I put the colour back in with curves , no LUTS no Cine d , no LOG profiles , keep it simple and it looks good . use your eye - its the only way for me

That is something that would be very simple to remove compared to what I just explained. A secondary task though, first we get to the good bits, and everything else is second. The way the srp even loads in is something that isnt well documented, let alone on a camera.

Good news, bad news. Good news is that I have learned a lot about the srp( samsung reconfigureable processor) architecture. Bad news. It is very very very very complicated. Machine compiled c into binary. Unknown yet when it is loaded into the firmware and if the .cpp files that are listed are infact that, or just other hard ware controls So the srp is like an fpga in the way you can change what it does on the fly. It differs in the way that it uses VLIW instead of bits to do its magic. Reverse engineering the binary into something workable.. is possible, but time will tell if and how much can be changed. The plus side of a simple isp changing values in softwear can do something like what the gh2 hack did. The downside being you are stuck with the hardware. The plus side of the srp implementation.. Building a custom algorithm to..exchange the hevc codec with something else.. Could be possible. Unknown yet if the nr is a part of this or just a software implementation. Also if the rumors were true about the ml guys approaching samsung, this would be why it didnt happen. They dont release the srp compiler. One instance of them giving access to it at the SAIT school in Korea is all I could find. very very proprietary. But the dream for me of having a cheap 14bit 6.5k red competitor is what keeps me going. The confirmation of the UHS-II bus sweetens the deal. Going to investigate the possibility of a SD-SATA converter.. I wouldnt mind having a 1tb ssd attached to the back of the camera. TL:DR This camera is complex and things are not getting easier but still progression is being made.

S-LOG 2 with Stills colour mode seems to avoid the worst of the white balance problems S-Gamut introduces. Weird reds in sunlight, that sort of stuff. S-LOG 2 is of course good for LUTs, better than any other profile, so if you want to make use of your custom looks in post shoot S-LOG 2. S-LOG 3 is a joke and to be avoided due to the banding in skies, etc. S-LOG 2 however does sacrifice tonality and colour for more dynamic range. The Creative Styles are all a bit naff and will toss your highlights onto the fire, very very bad for dynamic range. Vivid however has lovely contrast, colour and a punch to it, with no effort in post. The Picture Profiles are a weird mess of old video profiles from Sony's boffins, a lot of them hopefully fired by now because they did a terrible job. ITU 709 for example looks like a Canon C300 that somebody threw up on. It's so far away from Arri, Fuji or Canon that it is quite laughable. Once you realise there is only one good Picture Profile aside from S-LOG 2 and that is Cine 4, matters improve a bundle. Cine 4 preserves the most highlight detail of any of the non LOG styles or profiles on the Sony cameras. I dial up the saturation and lower the black levels to improve colour and tonality, gives it a nice saturated Canon-like feel direct off the card and it doesn't then need so much fuss in post. I really like the results and dynamic range is very close to S-LOG 2 once the latter is graded and normal contrast introduced back to the image. I would usually prefer to shoot with Cine 4 as it avoids the weird colour and compression issues that so many people seem to have with S-LOG 2 occasionally.

Absolutely, we all owe you one for the early A6300 coverage and you guys went out of your way to deliver... Yes very unfair of me to make it sound like I was lumping people together. If I had judged everyone the same I would have had to include myself in that as I have been to Sony press events for cameras organised in Berlin. I went to one for the a7R II for instance. They served us free champagne. I drank it. Went home. Wrote that the full frame 4K image looked like a dog had done a crap. I think this is really important in the industry. The PR company hasn't been in touch since. Sony however... have. I think they prefer honest feedback above the relationship bridge building bullshit any-day. Personally I think their influence is becoming pervasive and it is rare to see someone come back from one of these events and raise an issue with the camera in public. When you and Chris came back from Miami though you did a balanced video on it and the information was extremely useful for everyone thinking of buying the camera or not. In the end people can tell if we are being balanced and they can tell when a site like DPReview is going down the drain with advertorial. Hopefully also a site which still refuses to carry advertising (like mine) still means something. I'm not sure it does any more. Anyway, from the bottom of my heart be sure that I did not mean to lump your superb efforts in with the real intended target of my barbed comments, which were aimed at a minority online and not the good guys like you. I mean that. Also, it's great to see you on the forum, hope you stick around, despite my occasional rants Cine 4 is looking superb on the A6300. None of the colour issues of the Creative Styles or the vast majority of the other Picture Profiles (ITU 709 particularly horrid) I've graded it lightly with Fujiflm Velvia in Film Convert's a7s profile for Cine4. I am astounded by the image quality of this camera for $1000... Take a look at that detail close up in 100% view if you download the frame grab below... it is FLAWLESS. Whatever 6K to 4K scaling method they have on the new processor... it works. I prefer this image to my FS5.

People are saying the 1080p 120fps looks soft. Doesn't look to bad to me... Also colour in the Vivid profile is very "Fuji-like" S-LOG may give you dynamic range, but if you want the most effortless out of camera colour just set it to Vivid. In 120fps with centre-spot AF and enough light to feed the phase-detect pixels it rocks... locks on superbly to what is in the centre of the frame, no hunting. Dim the light and contrast detect AF kicks in and it's still a bit poo. Rolling shutter is the biggest issue I have had so far with the 4K 24p. It's the most I've ever had. Locked down shots no issue but this definitely isn't a tool for violent handheld camera work. However in the 1080p modes especially 120fps the rolling shutter issues almost disappear... And 30fps is a BIT better...but crops.

Haha! Ya! I shot Ben's wedding also on the Digital Bolex

I too love the look of Canon and Blackmagic cameras. I have owned both and currently own the A7Rii. It's a great camera, but I've yet to find a picture profile that really excites me. I plan to do some extensive fooling around this weekend to see if I can happen across anything that has that "spark" to it. In any case, I caved and purchased the Canon 1DX Mkii so I will have something to fall back on that delivers that magic straight out of the camera. I did consider the Blackmagic Ursa mini 4.6k, but from my past experience I'm certain that camera will be filled with bugs and quirks and will be awful in low light. So I'll skip the Mini for now. Besides, knowing Blackmagic it will be another year before the Mini 4.6 is released.

I think you're being too harsh really. Running a 6K sensor fast enough to reduce rolling shutter takes a large heat sink and an FS5 or even FS7 size body. I don't expect them to do that in a tiny tiny mirrorless camera for $1k, why do you? You've gotta understand what it is trying to do here... read out 2160 lines of 6K in 34ms with no fan and pretty much nothing in the way of heat sink apart from the poorly heat conducting composite shell of the body itself. By all means take a Canon that line skips through 1080 lines of 2K, pixel binning as it goes... in exchange for a bit less rolling shutter (20ms-ish instead of 30ms-ish) Doesn't seem like much of a deal to me. Plus rolling shutter you can fix in post. Moire you cannot. No touch screen and questionable button placement, fair enough... it should have been better in these areas. I am going out to buy mine now in Berlin and will report back later. If the X-T2 gets 4K then it also gets less or virtually no moire by default, as 4K is almost always a full pixel readout aside from when the megapixel count is ridiculously high like in full frame mode on the A7R II (42MP).

FYI I will be posting some comparos of settings this weekend. And BTW: just bit the bullet and pulled the trigger on a Canon 1DX Mkii. I'll let yhall know how that works out.

Exactly what Tito said about the fact that you can't spend loads of time & money on tests. Here's some of my stuff: This was a test of a cheap anamorphic lens I bought in a drunken ebay bidding moment a few years ago at Christmas time (Canon 60D + Iscomorphot S8/x2: This is Short film I shot for a friend, using the same set up (60D + Iscomorphot S8/x2): And this is a short sequence for another Short Film, which I didn't like at the time, but have now gone back to the footage and am editing up for a quasi fake Documentary (60D + Iscomorphot S8/x2 - aspect ratio/squeeze is wrong on this one)):

I stopped using a meter when I stopped shooting film ten years ago , I didn't use zebras or histograms , I just expose by eye , I like to play in the shadows so I'm up to 3 stops under at times to get a moody look, the g7 is so forgiving you can under expose and not worry about noise in the blacks , I don't like to over light subjects on sets , if I'm outside I'm stacking NDs to keep a f2 stop , focus pulling has to be spot on at f2 so I'm now using the gini rigs follow focus which is big and very smooth and you can reverse it which cancels out the Nikon Bourne lenses focusing the wrong way , this is an amazing thing I've discovered about the gini rigs follow focus that I can't do on any other make of follow focus . will post some pics soon of this nice trick I also shoot my day interiors at 4000k not 3200k this looks alot better on the pannys and I find the skin tones nicer - warmer, I shoot day exteriors at 6500 k and night exteriors at 2500k , ,

Well well there is a practical answer.

Italian nx1 user number 3 is here! I'm ready to make a donation!

when you are working on a Movie you sign a contract and NDA ! and that contrat says there is an embargo on anything going out without premission from the film company - they own everything they paid for it including all my tests - now we live in a world of Facebook and twitter film companies dont want any leaks beore their marketing department decides what people can see and when . So yes I can tell you the results of all my tests right now - just take my word the G7 kicks ass , with a Metabones XL - Nikon Glass and Atomos Ninja Assassin all rigged up on my Gini Rigs cages it s a serious film making tool Now Colour grading is all in my eye - I shoot flat and add the colour in post - alot of my colour is on set I light always with coloured gels and get the look I want in camera - just on a flat profile so I get cleaner blacks with more detail - not crushed out

So far they've only managed a picture of Darren Aronofksy Too bad

Hey Andrew, After all the dumping you've been doing on every reviewer, I was surprised to see my video at the top of your blog post. But hey, we all need content right?

No, just a mic jack. Things are looking promising so far. The noise is a little fizzier than Panasonic's, there's more rolling shutter, and the highlights still go a little weird when blown, but it's a damn fine image. A bag of compromises--hard to wrangle LOG mode, limited DR in the modes with good color, limited battery life, no headphone jack, a dearth of good native APS-C lenses, cruddy ergonomics, an LCD screen that doesn't flip out, poor white balance, no 30p without a big crop--but for many people, I can see it being the right mix of compromises. Something tells me this camera and the G7 will be our go-to recommendations for most of the year. Also interested in this. Do the A6300's EVF and LCD go dark during 4K like the A7X II's?

Histogram/Zebra fix, disables V-LOG L exploit over wireless app (which got updates as well). Talking about V-LOG L, Shane Hurlbut did some latitude testing some of you might find interesting... ~ https://www.hurlbutvisuals.com/blog/2016/03/panasonic-lumix-dmc-gh4-vlog-l-latitude-test-cinematography-education/

Hitfabryk - Friendly forum etiquette tip... Please don't quote long posts unnecessarily, just reply straight under them, as all this quoting doubles up on itself and makes the page extremely long to scroll through. Yes worth the upgrade from the A6000 definitely, unless you have a compelling reason to go for a different model entirely like the A7S II or NX1. Most people won't, I don't think.

OMG at the image grab above! Im sold............

Yeah, no, I would not bother with the Nebula either to be honest. Did see that CAME-TV updated their line accordingly. The Mini 3 is out now and that handle looks almost identical between Pilotfly and CAME-TV... ~ http://www.came-tv.com/camemini-3-3axis-gimbal-camera-32bit-boards-with-encoders-p-810.html / http://www.personal-view.com/deals/stabilizers-steadicams-gimbals/came#came-mini-3-and-mini-3-air-gimbals The H2 has over that that it's convertible to be a single pistolgrip gimbal. This seems rather Ronin-M style. Seen good things with the Beholder and Ministurdyflight, but the H2 has the latest and greatest features and sounds and looks very promising. Don't see why it wouldn't be as good or better than the options out there already. I've been following these developments closely since the Nebula 4000. But that seemed like way too much of a hassle. If you don't want to learn to fly a mechanic glidecam, then you probably also don't want to spend a great deal of time, even just a fraction of what a traditional glidecam would cost ya, getting things right with anything. Traditionally, I was with the other Andrew on this: And sure, you could go handheld with a wide lens and slowmo the shit out of it like so: But of course you want realtime imagery and you just want it stable and might not want to go wide all the time. But back to the time consuming point of traditional stabilizers... same goes for electronic handheld gimbal stabilizers. Balancing, messing around with screws, PID settings... ain't nobody got time for that. So at first I felt like... if I'm gonna do this, I'm going to wait for the technology to be actually there to support it. It needs to be idiot proof. It needs to be me-proof. And for the first time, I feel like it might be worth getting one. And the 2-in-1 is just pure genius. I likey. Shouldn't keep you from considering all your options, but I think this might be it.

AF in stills mode with Canon lenses on Metabones adapter is mindblowingly fast in good light. Can't seem to get them to track an object in video mode though. The Sony lenses track but rather unreliably in low light. So mixed bag with AF but I am loving the image so far.... seems better than expected... mainly due to NR and codec improvements? The rolling shutter is pretty severe though, like NX1.

In stock everywhere now. Its a bit tempting still...

Just shot a few tests with the A6300 in 4K. Sony have completely changed their noise reduction and the way the codec handles noise... Behold... A fine noise grain in video mode!! This is really nice to see. Shot at ISO 6400 by the way. One thing I have noticed with the copper sensors (X Pro 2, NX1, A6300) is that they really hold onto colour and dynamic range well at high ISOs. More coming soon.

I would to a test in 50p and compare before your decide your main camera. Keep in mind that the G7 only has 28Mbps while the GH4 has 200Mbps and the GH3 has 50Mbps in 50p. The G7 definitely has a nicer image in 4K and probably also 1080p even with the lower bitrate. I agree with everything TheRenaissanceMan says especially regarding the Leeming Lut and Cine D. Before I got the Leeming Lut I shot with the Natuaral profile like Andy recommends. Check out this thread for amazing tips:

That was the reason I got Kinemini back in 2014 it shots raw 2k and 1080 in 60p croped 120fps pass: cinematic

Thanks man! Yes we made it last year for the "myrodereel" competition. But mostly just made it for fun

Nice work, Bioskop. Love that opening timelapse!

guys im in a place call it cgpersia where there are a lot of people crack program like premiere element 3d etc etc..i can open 3d and ask to this people if can help us to do somethink to this camera....

I'll do short videos of Pets and their owners indoor and outdoors. I'm happy you guys are praising D750 also for video even though it took only the 14 place in the "EOSHD video quality charts – 2015/2016" article. TheRenaissanceMan, I already have a LCD loupe and a Manfrotto fluid head but no monopod. Thanks!

Maybe you are right.... Personally, I still prefer a beautiful 1080p image to an ok/good 4K image. The amount of activity on the BMMPC thread seems to suggest i'm not alone. The only reason I sold my 5DIII was the need for 60p... I still regret it every day though and the minute it is possible to get 60p raw, I will buy whichever cam can do it. Also, talking about sub $10k when the two new models are $1299 and $599 seems a bit pointless.

NX1 rolling shutter is pretty awful, too, and many people complained about it. Rolling shutter, 1080p is fairly soft, 1080p 120fps is very soft, no headphone jack, questionable button placement, no touchscreen, battery life. If it fits your style of shooting then that's great.

Also the Nikon D5500 does great looking 60p

NX1 rolling shutter is pretty close and I haven't seen many people complain about it. But heck why spend just $1000 for a oversampled 4K log-capable camera with very good low light quality capabilities and very good AF in a tiny body when there are so many more expensive options right?

I owned the Nebula 4000. A total bitch to calibrate but it was super small and I've seen a number of people that can make it sing, but I never really could. I now have a Came TV Single, the fact that you can't tune it without violating the warranty is a serious bummer and its pretty big. I suspect with a lot of careful practice and tuning you could get good results with if you dare messing with PID on it but I find out of box that it's mediocre. If was doing it today I would look at the Beholder, which is tool less or the new PilotFly--presuming you can tune it with its new encoders. It's got a rich (for gimbal guys) ecosystem of settings that people share making it easy to configure. I would also never buy a gimbal that is not tool less at this point. With NAB around the corner it's probably better to wait but if you can't I would say in this segment that the PilotFly H2 is ticking all the boxes at this point.

I think it's mount, balance 'n play.

Yeah, BMMCC, more like they Better Make Me Cameras, C'mon!

Slightly less rolling shutter, nicer colors, no more moire. Otherwise, pretty identical.

I'd include in the Panasonic G7 as well! A Panasonic G7 should be the #1 4K camera a person first looks at Some people even prefer it over the GH4. Best feature about it is..... CHEAP! :-D And this is more important than you think, as it is still very very early days for 4K in consumer stills cameras. I bet within a year or two we'll see a huge flood of new 4K cameras having been released. So just get a camera for *now*, then upgrade to something else in the future. And the G7 is perfect for that case for a *now* 4K camera.