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My workflow process (works with any camera. Is universal!): 1) Hand over media cards to editor. 2) Go home.

hear hear on a side note, I got a response from the filmconvert guys today with regards doing an nx1 profile, seems promising.. "Hi Aaron, Most likely Not quite definite yet though. Best Regards"

Not many clients ask for either.

Hoping for a 4k ninja star or similar. Maybe GoPro will respond to the DJI X5R ... Time to finally put cineform raw to use. BMCC with the 15 stop sensor would be amazing

Files for download! Here are some files for download so you can play around with them. One is a test of the Dynamic Range. It was shot in s35 with a m4/3 kit lens so there is severe barrel distortion, but no vignette. The other is a portrait of Gunpowder with a vintage Yashikor 55mm My advice for grading is to treat it as Rec709 and don't push the shadows to much. The mids and highlights can take more of a beating. DR test Ungraded No highlights blown, sky is preserved for the sake of the test. With a quick grade Gunpowder ungraded Quick Grade 1 Quick Grade 2 The files can be downloaded here: http://www.filedropper.com/jvc

That film is gonna make ALL the money! I can't wait to see it. Is it "high art"? No, probably not. But it looks MASSIVELY entertaining!

if you miss BMPCC crappy screen you always can get something like US $20 5 inch High Resolution HD 800X480 Car TFT LCD Monitor Screen and connect it to analog video out. also it helps if you have very limited budget or shoot in dangerous situations where lcd can be damaged. 2.5" inch LCD WRIST CAMERA CCTV TESTER Resolution: PAL 500(W) X 300(H), NTSC 510(W) X 290(H) 4.3" TFT LCD Monitor CCTV Security Surveillance Camera Video Tester Monitor 3.5" Digital TFT LCD Screen Rear View Monitor For Car Reverse Camera DVD VCD 320 * 240 resolution

lol no ive never heard that before

This nifty thing showed up a couple of days ago. Have been playing with it today and I really like it. Its sweet to have it pretty much permanently sitting on the tripod. That way Im never to lazy to bring along a slider. Did a quick revive as well.

Leica are really going to after pro video shooters with the SL. Meanwhile RED are persuading medium format photographers to use a 6K Dragon or Weapon. A gap in the space/time continuum captain?! Step forward the next specialised tool to turn camera-chameleon: the Fuji X Pro2. Read the full review on EOSHD here

That is quite good but price wise it does not make much sense for NX1 or even GH4. Unless the hackers for NX1 can unlock huge MJPEG streams via the HDMI or RAW output, then external recorder would come in much handy to deal with huge data flows. H265 is still terrible for post production but I see they use it for streaming which makes a lot of sense, HEVC is great for streaming, awesome quality at low bitrate.

Yes, Deluts, but I dont remember which exactly.

Two new Blackmagic cameras that will feature amazing specs and "will ship in August." I'm already mentally prepared to preorder and then wait for a year for it to actually ship based on previous experiences.

I think for web delivery you can't go wrong....However, I was DP on a doc that had a limited theatrical release and I shot a lot of the film on my BMPCC but the footage that looked best on the 70ft screen was the C100 without a doubt...and that was shooting in the internal codec! It was a super cheese ball documentary...but it was still a cool thing to see my work on the big screen. C100 below:

Lol! No kidding. I agree but again, as boring as the camera is...its been a workhorse. Fair enough. I need to get my hands on one and do a test myself. My buddy just got his so maybe he can let me borrow it. If the XT-2 has 4k and more video centric features, I think that would be a great cam to get.

Glad you got a 1D C as well. This is going to be interesting...

In decent light and with a human subject, you'll be surprised at how close the X Pro2 and C100's images are. Ergonomics wise, of course the C100 can do longer takes, massive battery life, easier to manually focus, a tad easier to expose with zebra, waveform, etc... but the X Pro2 is smaller, lighter, more simple, more direct, and has a MUCH better EVF. So again it's not quite so simple as writing one off because it is mainly a photo camera. Biggest difference is on the audio side... Obviously if professional onboard audio and XLR is a priority then C100 is going to give you that.

This is all great and dandy and good for fuji for finally stepping up the video quality for once...but by no means should anyone go buy this camera only for video. Photo is another story obviously because this camera is a beast for images...but if anyone here is reading this review and is thinking to themselves to go buy this camera for video alone should definitely consider the fact that you can buy a Canon C100 used on eBay for essentially the same amount. The C100 is a camera people seem to dismiss and forget about. Sure its older and has a less powerful codec than others and doesn't shoot slow motion...but the skin tones it produces and the ease of shooting it gives you in a professional environment is hard to dismiss. POINT OF THIS POST Don't forget there are SO many options out there and please rent and do camera tests before you make any purchase decision. RESPONSE TO ANDREW'S FUJI POST I really loved the article and am genuinely excited about the possibility of a 4k capable, more video suited Fuji X camera. They are the sexiest looking digital cameras right now and they make a gorgeous image without a doubt. I just dont think X Pro-2 has what it takes in 2016 when it comes to video. If it was 2012 it would be a different story.

This is how

I loved my Pocket files, but for easiness of use I switched to a GH4. I tried using Cine-D, V-LogL and Andrew' settings, but I finally find that Natural (with contrast and saturation all the way down) is my cup of tea. Of course I miss that nice flat profile and now, with MicroCinema (60 fps, better batteries' life etc.) I'm thinking to buy it with a monitor, maybe the Video Assist (or some cheaper that does not record). Do you think it could be a good choice for a less-digital look or the Sony A6300 (APS-C) with his S-Log is a better option? Thank you very much for your tips p.s. (I don't want to use any Speedbooster, I have an Olympus 12-40 f/2.8 and a nice set of Zeiss CY)

Oooooooo indeed. I have to check reviews to evaluate the screen quality. Are those mini SDI connectors reliable enough though ? The thing is, it costs more than half the price of my camera. A rig should be still higher on my priority list ... Too many options, too few cash :s EDIT : Just saw that the BM Video Assist doesn't record interlaced (no internal 3:2 pulldown), which my camera outputs (AF100) .... I'll have to go with a Atomos Samurai Blade (which also seems to record DNxHD BTW) which has proper SDI inputs but no HDMI (not that I need it though ...) and is around the same price. Thank you Mattias for having pushed me on the right train of thoughts

The 5m limit would work brilliantly. If Nikon has chosen to limit the D5 to 3 min (or is it longer now?) then it won't harm Fujifilm's reputation a jot to limit the X Pro2 to 5 min and stop it from being used by people who need 2 hour takes for live event shooting. Sony's mistake was to not mention a sizeable limitation and allow such long continuous recording times. What do they expect to happen? You will get people like me taking it to shoot a 5 hour recording session for a band, that's what...

So cap 4k at 5 minutes like the RX100IV or the upcoming Nikon. Fuji's big blunder was simply revealing its capable of 4k. The RX isn't suffering under a wave of negative reviews because of the limitation. The a6300 is getting hammered (and rightfully so) because the Sony junket testers said there was no overheating at all, but actual buyers are reporting shutdowns not only shooting video, but just using the camera for long periods while shooting stills or even while navigating the menus for long periods setting the camera up. Focus groups are a good way to make sure you have all the "must have" features covered, but will stifle innovation. As the Jobs quote says, you never know till you see it.

Ohh, and the blackmagic video assist, so basically any camera with clean hdmi out.

Basically after reading as much as I could about the Blackmagic micro camera, I still think maybe the Sony RX100 IV is the better deal and camera for small POV crash cam work. The micro to work as a decent handheld rig requires something like a smallhd 501 and a small rig - so looking more at 2k plus cost of lenses - so around 3-4k total, vs the 1k for the sony rig. the micro camera will definitely have a better look, no doubt about that - what I have seen looks great - but it basically needs to be rigged out and turned into a rival to the Sony FS5. but without a small wireless option yet, it makes it even bulkier. I'm curious why it doesn't have built in wifi to transmit to an ipad like the dji phantom? I think until that's available, I'll hold off. But as a camera to use vs FS5 - I think it will have a much better IQ and compact feel - and you can rig it to v mount batteries and it will still probably weigh less. That's the comparison I'd love to see.

They do but the look is very different. BTW, I ended up buying that 1DC. Less than 25k clicks and it cost $600 less than current A7rii retail.

I have a loose one and a tight one. The latter still goes on my Micro but it is little stiff. If you want, Metabones is still offering new back mounts if your fit is too tight. I know because I just had them send me one yesterday by emailing support through their web site. no charge.

Hiya, it's the Snap version. I haven't tried shooting 60p yet. Well, I switched it on to 60 and got an error on the screen Unsupported Format (1080p). Guess not. Darn! And it says in the FAQ section. I probably should have checked that out first. I guess the Zacuto is gonna have to be swapped with the Assist. But hey, if you have a big HDTV with a car battery attached, it works just fine! It's the Nikon F speedbooster. It was tight on my Pocket Cam and worse on the Micro. I'm assuming I got a bad one.

"Theri" or "The Spark" looks like a lot of fun to watch. I like the colors. Interesting article, http://www.firstpost.com/bollywood/tamil-nadu-politics-and-the-big-screen-amid-polls-will-vijay-make-a-comeback-with-theri-2692040.html Cheers.

Maybe the Zacuto EVF without the loop might work? It would be closer to what you'd like, albeit expensive.

Sure... this is probably your best bet as ideal companion: ~ https://www.blackmagicdesign.com/products/blackmagicvideoassist -- Or did you mean like GoPro LCD BacPac, in which case I'm afraid not.

Had to test the used Canon 35mm f2.0 I bought before the return period was over. So I just brought it for some boring random shots when I went in to town for some shopping. The IS works nice. In many of he shots Im not even trying, just holding it out onehanded, works fine imo. I don mind shakes. I want my handheld to look handheld, shoulder rig to look shoulder rigged, or I use a tripod. Steady cams and gimbals is not my thing unless it serves a purpose.

right, but be careful with that trigger.. would be a bummer to ignore everyone who's said something you don't like..

I found this topic after searching info about banding and dithering. I have got very good results with my GH4 by using dithering filter when playing GH4 4k videos. GH4 makes quite much banding in skies but when adding dither in playback the dither pattern is perfect because the is no re-compression when playing files. GH4 8bit 4k videos look almost like true 10bit videos because the dithering filter "rasterize" more tones for eye than a 8 bit file can record. It is just like a printing raster which is 1 bit but can still show perfect gradients.

Just got my a6300 yesterday. From my very limited use so far, the rolling shutter doesn't seem to be as big of a deal as people are reporting. The overheating issue, however, is very real and very disappointing. I just did a test in my air-conditioned office where I let the camera run shooting 4K, and after 24 minutes it shut off due to heat. If it can't even hit the continuous clip limit while shooting indoors in a cool environment, that's not great.

Fuzzynormal have you tried the FLAT profile in your videos? I still have to see a good real use of it as the interwebs are clean of any footage from this camera lately, It looks it came too late to save the EM5II from oblivion, even though I still think it's the best all around Olympus camera. It's funny the 80D is starting to be mentioned a lot now. I thought I was set on the a6300 but the overheating could kill me in events and the touchscreen and variangle would be greatly missed; I would consider the G7, but Dual pixel AF still has an advantage over it. At the end it's what I always thought about Canon; too little, too late, they take away features like log, peaking and zebra but damn if their things keep working. I hate them for that but probably I'll end up buying 80D too. Let's hope it peaks some interest in the ML developers to hack it.

This is a MOVI 15, famous gimbal. Written on the photo you uploaded. Other than that I do not find the video amazing but actually pretty cheap and superficial looking, and I can't bear the sounds :D Just my opinion

I think I'm very much in the same place as you - I'm seeing stuff I absolutely love and I have no idea how to replicate it - I'm finding a lot of mileage in grabbing a notebook, dedicating a double page for each scene, writing down everything I can tell about the scene from: a writing perspective - how the scene is communicating to the viewer and what information it is giving a photography perspective - The physical layout of the subjects in frame, and what is not included in frame a cinematography perspective - How the frame changes through time then I pick up a camera and spend a week trying to perfect that scene, using the second page to make notes of what works and what doesn't. What I'm finding is that the most important things will get me shouted at if I write them here, but after you have those things sorted, you get to really hammer down how to make the scene work bit by bit, and each time it gets easier, more natural, your instinct gets you closer straight away and your natural style incorporates those elements. It's not the quick easy way, but I feel, for me at least it is the best wayt for the long term.

Since its a smaller improvement from what we expected, a price cut would be nice. How about the old $500 summer special.

^^^^ completely agree 100% im personally looking forward to getting a used 5d3 later this year if nothing that i like better comes along before then. the work that i need it for wont start until the fall so i have plenty of time to see whats new around and after nab

As far as image, I've yet to see many cameras, including professional high end - surpass what the Mark 3 does raw. It clips gorgeously within the 11 stops, the color is something it has that most don't. I don't think I've actually seen any camera do what the ML raw colors on the Mark 3 do to be honest.. Other than that, it's still a hack and the idea of dropped frames is something that makes me second guess it when I've scheduled and paid a crew and a cast to be somewhere. People may not have problems with it, but I'd have to test it thoroughly before I trusted it. Besides that, I've always loved the 1DC. Out of the current C-line, it's my favorite image. That said however, I would hold out to see what's coming at NAB, or the Mark 4 for that matter. Then I'd make a decision.

I have the 5D mk III and A7SII. Both have pros & cons... But in fine, i use more the A7SII for its Quality/space ratio... 5D mkIII RAW is just wonderful to work with... true... Convert your mlv to dng and boom !!!! Resolve and you got it graded in only few minutes... Mixed lights ? No problem... (not too much...) Errors on set with white balance ? No problem... A7SII is a different animal : don't like at all mixed lights and don't like AT ALL when you put the wrong, or average White balance... and i'm not mentioning white balance with Nds etc... which needs the right correction (I love you Sekonic C700...) For me, after using these two beasts, i can say i do love my A7SII. And i only like my 5DIII Raw. (Video speaking only...). Files are waaaayyyyyy smaller and the dynamic range looks superior on the A7SII. I admit, colors are difficult to work with... but taking care of it on set and you have your post production more or less effortless. And to the advantage of the A7S, shooting by night is just a pleasure : deep depth of field even in dark conditions... Time saving when you have to stay focused on a moving subject... You have strong enough isos to be pushed to close your lens... For me (and my focus puller) it's been a pleasure to use... in almost every light condition... Have you used the A7SII enough to judge it to its real potential ? Colors are a bit of a pain to deal with but with the right tools it can be ok. The only big problem i can see with this camera is the rolling shutter that produces that big jello effect... Can be a pain in some cases... Shoulder rigged with no stab for example... and some fast pans too... Why don't you LOVE it ?

1DC as it stands, but I'd keep that sort of cash until the NAB announcements

The way you use cameras, seems like it could definitely be worth trying the 1dc. For stills and 4k and if you dislike the a7sii, 1dc for that price would be awesome. You wouldn't use your nx1 in the same circumstances?

I would use the 5D mk3, now looking for a good price. With Sony, my battery died last thursday on a paid gig, switched to a new battery but lost a must-have shot. Also I don't like the colors, I don't like the buttons which make you change too easily the aperture or shutter speed (back and front dial). With a 5D mk3 and a 35mm f2 IS, I'm happy The only problem with the 5d is the workflow. I remember having to convert all the files and taking so much space, which slows down your creativity. Now apparently there are new tools so you don't have to convert anymore.

Try upscaling it to 4K and uploading again. That will give the HD file roughly tripple the bitrate. Works wonders for my videos at least. Just 1440p will double it but save some space/time.

Never mind... figured it out. Works. Thanks guys, I'll blog this.

Well that is exactly what I am saying about the noise and compression.   Compression hurts the noise-dither, making banding more apparent.   And buy the way, I shrunk your banding image...     Guess what, the bands are thinner on the shrunk version... Whudda thought!?   Downsampling 4K to 2K clearly has makes gradation finer...   And if everyone agrees on the 4 8bit numbers = 1 10bit number, then surely when we take dithering, finer gradients and grading a ProRes file into consideration, you are going to see less banding aren't you?   For those with 10bit LCDs can you download this 10bit TIFF from a 16Bit Photoshop gradient and tell us if you see the banding. I do on my iMac display. http://www.eoshd.com/uploads/16bit.tif

8bit has easily enough to give you a sky with more than 4 bands gradient. It has enough for 256 shades in that sky.   The banding in Ebrahim's sample was caused by compression in-camera and then compression of luma in post, with a high contrast. I can break 10bit footage in the same way if I ramp contrast all the way up. Just tried it.   I just did a quick test, nothing special... But clearly the gradient is handled just fine by 8bit HDMI and 8bit 4K. The 8bit 1080p has banding caused by compression. The compression removes the dithering between shades.   Peep carefully.... :)     In conclusion...You only REALLY need 10bit if you want to grade heavily. You shouldn't normally notice the difference between 10bit and 8bit footage. Bodes well for the A7S doesn't it?

  Here's an example from me...   Top shot is 100% crop of the 4K image. You can see some banding. Bottom shot is 100% crop of the 4K down sampled to 1080p. Much smoother looking and crisper.