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Minor update, still doing what Im doing, still digging and documenting what changes Im finding in the firmware, have started to explore with telnet and the camera. Its looking good. Have a few ideas on how it utilizes firmware updates but nothing solid yet. But I like how both stages are progressing. Although i wish I had more to show haha but dumping c isnt going to have a point! I should have a major update in a few days though!

Yeah,agreed. And if one wants just image quality. Not ergonomics, NDs, features, bla bla, just image quality and time isn't of the essence. The IMO, we passed it along time ago. All these new cameras pushing and pushing. But at the end.... and I might get trolled for saying it... I think the Raw images out of the D16, BMCC 2.5K, Red One MX and the 5D Mark iii Raw are the most good looking images ever. Nothing can beat them. If its all about image and nothing else then screw 4K etc, go raw. But cameras like this is about a "good" or even "great" image, coupled with ease of use, tools for speed, audio, you know what I mean. Its a Rally Car and the raw shooters are an old classic Aston Martin from the first Bond movie.

Someone wanted to see what JPEG 15 fps image burst was compared to the HEVC, and to say the least the difference is massive not just in the dynamic range but the pure colour information presence in the images, now I have chosen to use 1080p to show the difference as much as possible because its not as noticeable in 2160p, the only difference at such high resolution is the dynamic range, now its clear that JPEG will always be superior to HEVC in 1080p mode and perhaps even in high resolution as well simply because they contain more information per frame. The JPEG have superior resolution as well compared to HEVC even in 1080p, both JPEG and HEVC have the same settings applied to them including sharpness. Both HEVC and JPEG where colour graded in After Effects using the GammaDR2LOG -> VisionLog - LOG Generic_FujiColor 200_CIN -> Cineon to Film Contrast 01 -> Lumetri Adjustments In camera settings used for both HEVC and JPEGs are: 1/100 - F/4 - ISO100 JPEG are super fine and resolution: 2048x1152 (Downsampled to 1080p in After Effects) HEVC are Pro quality and resolution: 1920x1080 GammaDR settings: Red X1.00 - Green X0.95 - Blue X1.00 Sharpness -10 Contrast -10 Luminance 16-235 Master Pedestal not touched Picture Style Normal settings: Red X1.00 - Green X0.95 - Blue X1.00 Sharpness -7 Contrast -10 HEVC LEFT - JPEG RIGHT GRADED TOP - UNGRADED BOTTOM I uploaded these files for everyone to try them out if they want to: 103_0326 - 100ISO - https://mega.nz/#!DctRFaIY!eMeqsd-3incYu2IqBZQGW7zINRtwwF8aKO8AFd1gixQ 2592p15 - 3200ISO - https://mega.nz/#!PN0zQIIQ!7tcNWhfTOKDsUYvqZNocFb9bpnMyChdTamdawx5gbzI 3648p15 - 4000ISO - https://mega.nz/#!WdFHkAgZ!8MoMydWK55KXkOnDLR5AlwFslkC4PjZ2YDr2LKSN8KY

The more I see of modern cams, the more I'm convinced that as long as one knows what they're doing, they can accomplish anything and make it look awesome. It's only going to get cheaper and better. Based on these sorts of examples, I'd only be hesitant to shoot with the JVC because of build quality rather than IQ...and only because I've been burned with some of their cheap camcorders in the past; might be different now. What one can do with $1K in gear is staggering to me. And if you can spend 10K, you should be in IQ heaven. Feels like we're all sort of on the other side of the pro-level IQ acquisition hump for consumers, the sort of reward that the 5DII promised those handful of years ago. Man, that was fast.

I ended up purchasing lucabutera's lens and I love it. It works great with my Samsung NX1 and 50-150 S lens.

That's a very good performance for a mobile phone. I like the popping colors. Try Cinema4K app with 200Mbps codec and flat profile. The camera wobbing is very annoying, does Galaxy S7 use it's lens stabilisation when recording 4K or only at 1080p?

as superb as @Brian Caldwell 's glass is, I've found that on nearly every speed booster I've used or modified the optical cell is usually not perfectly concentrically aligned in the metalwork. the small set screw that prevents the cell rotating pushes the optics off centre and also at an angle (skewed) meaning the projected image doesn't fall onto the sensor perfectly flat. so centre will be sharp and corners will be out of focus. - one side will be focused forward of the in focus middle and the other side will be focused behind the in focus middle area. my fix has been to remove the set screw all together, remove the lens cell, and then apply a heavier grease which fills the threads more effectively - this means the set screw is no longer needed since the cell wont rotate or move unless you physically adjust it by hand. if you want to see what I mean, follow metabones's instructions on how to adjust the back focus of the speed booster: http://www.metabones.com/article/of/infinity-adjustment-speed-booster-only you'll see that when you untighten/tighten the setting screw the cell will shift sideways as the screw makes contact with it. i think it's because the thread between the optical cell and the metabones adaptor metal work is a bit too loose allowing wobble/skew of the optics. The application of a heavy silicone based grease fills the thread up so the optic is perfectly centred. Only then do you obtain the best from the glass in these great adaptors Obviously without a locking screw the cell is prone to adjust through hand contact if you regularly remove and fit the adaptor, but if it remains on the camera all the time the cell won;t ever change its optimal position.

I think we all do that sometimes. It depends on interest. Some find researching cameras boring. Therefor they look at a video they like and buy the same. Im pretty sure people have based camera purchases based on what you own (of me to). I do the same with other stuff. I dont know jack about sports gear. I run, ski, skate and swim. But I hate researching the gear. So I go to some friends who compete all the way up in the Olympics and just ask them. What they say, I buy. More time for researching cameras, which I enjoy

You break out your Samsung NX1, and say, we can do that!

http://***URL removed***/news/7168986570/canon-shows-dynamism-eos-80d-breaks-new-ground-for-canon-low-iso-dr I can't believe it. All the people are like wow it's incredible and a good news for 5D4 blabla. But I mean, just use the tool of DPreview and compare the 80D with D7200 or even D5500. It looks absolutely hideous in comparison, full of noise and false colours. Since when should we applaud a premium and very expensive company that makes an improvement compared to its own ridiculous products when they dont even meet the competition level of 2 years ago???

but best of luck

For sure. Those 4 always have the nicest mojo, other than the really high end (ARRI, Dragon etc..) It's nice that high quality images can be had for 1000-2000$. In the past, you always had to pick the best camera that suited *most* of your shooting needs, but there was always compromises, because no camera can be suited for every scenario. Now, I feel like it makes more and more sense to own multiple cameras for different situations. Here's my run and gun camera, my cine-style camera, wedding camera, slow mo camera etc... You can travel light based on what you need that day.

Well Panasonic look at this, maybe there is a hint here for you (GH5).

Some Footage We where heading out for a walk in the park today and I grabbed the LS300 for a test run. Unfortunately I underestimated the wind, which was quite strong, and brought a low weight tripod. So prepare for some shaky footage. I used a dumb adapter and two Canon EF-Lenses, the 35mm f2.0 and the 24-105mm f4.0. This resulted in no aperture control and no stabilization… yeah, even more shakes. The reason for this was simple. I tend to shoot vintage glass, soft filters and use heavy grading. Lots of people like myself find it appealing. But some want a clean and digital, sharp look. And just to get that out of the way I used “L” glass and just a mild grade. Next time we will go full “Instagram”. The shooting experience was great. Its easy to use, everything works nicely. Again, its a camcorder, like riding a bike. Screen is a bit though in the sun, but using the EVF helps. Not the best EVF either but totally usable. I also uploaded a version with grain to Vimeo. (Youtube kills grain) The Prime Zoom On the way home I saw some beasts and though it was a great opportunity to test the Prime Zoom. For those that dont know what it is, the camera uses its ability to use different cropped sensor sizes for a zoom without loosing resolution. Using the prime zoom is awesome. Just push the zoom rocker and its smooth. It also turned out that it works in 4K. No where near as much of a zoom but still.. its cool. The only real negative I see from using it is moire, but aren't we all used to that... This is at 105mm (roughly 155mm FF equivalent) With the Prime Zoom, dont know exactly but its a s16 crop so maybe someone knows the math.

If you like Samsung NX products tell Samsung to keep them alive. Have your voice heard by easily signing the petition below: http://www.ipetitions.com/petition/samsung-keep-nx-alive

You can find info about it on here - https://diehroptic.ch

Are you a shill for them? Because your post is nothing but dismissing and downplaying issues other people have with the camera. The overheating issue is a huge one, I'm not telling the talent "sorry we have to wait a couple minutes while the camera cools down to do the next take/ask the next question/start your song" or "sorry can you do that take again the camera shut off in the middle of it". The NX1 (which came out two years ago) has the same size sensor, never overheats, has better RS, a better 1080p mode, and a headphone out for monitoring audio, and can be had for about the same price. Operationally it is a far superior camera. Don't make excuses, the only reason this is a 4K camera is because someone in marketing demanded it.

A very nice Baby Hypergonar anamorphic / Cinemascope lens in great shape! This lens has a 1.75x ratio which is true CinemaScope and when used on a 4:3 sensor, it produces a 2.33:1 Resulting Aspect Ratio. I don't see any scratches, mold or haze in lens. Very macro cleaning scratches, which don't show up in footage or pictures. Lens in in great shape for 60+ years old. It comes with custom Rapido clamp for connecting lens to taking lens. The clamp connects to a 52mm thread but with different step up rings you can change this. http://www.ebay.com/itm/Baby-Hypergonar-Anamorphic-Cinemascope-lens-Rare-Great-condition-Rapdo-clamp-/281981378426?

Yup, never had an issue with using a white card to set balance. There are settings under Kelvin to adjust the green/magenta, nudging that just one spot in either direction should fix this as the camera will no longer be guessing those values. This is just a guess though, still need to test it.

Thinking of getting one of this, or a pair. Sound decent enough, and I'm getting tired of sound syncing all the time. Thanks for the review.

Sad, but very true. Unfortunately. It unfortunately is out there almost the Biblical Truth that "Canon is best for video"!! :-o Exactly, for a DSLR then Nikon is currently best for video! (yes I am ignore the insanely priced 1D C, so sue me)

Hi guys, I've until now been proudly and strictly amateur, and really learning for the sake of learning and the enjoyment of the process. Recently, a friend of mine has started his own business and it has been going really well for him. He is going to an expo, and has asked me to attend, to shoot video of the event. Normally I would have said no straight away for any number of reasons, but, this guy has gone above and beyond for me and my family in recent years - to put perspective on it, he has, without question or complaint, or recompense in any form took my learning disabled son out every week for over a year when I have been bed bound with illness, and built a log cabin for me in my garden - so I owe this guy big time. He hasn't got the budget to pay anyone, in fact, I am helping to cover accomodation for his team, so me being there isn't taking away the chance to get a pro in to get better results than I can achieve. He understands that I am not experienced or professional, he obviously knows my health and emergencies with my son may cause me to be unable to attend or stay and is still happy for me to try, which is why, I said yes. Obviously I want to do the absolute best job possible, but, I'm a overawed by it all. Firstly, the expo has a press accreditation application, but I don't know if that's appropriate for me, also it allows members of the public attending to "snap away as long as you don't sell the photos for any purpose" , but doesn't mention the exhibitors, presumably the rules for the public apply at a minimum. Secondly, I have an equipment list which isn't going to do me many favours, this kind of work wasn't on my radar when I was getting my kit together. I have manged to beg/borrow/steal the following which I think will be a suitable kit to take: Cameras: A Sony a6300 & NEX 7 C/Y adapter, C/Y Speedbooster, C/Y Zeiss 35-70, C/Y Zeiss 80-200, 50mm f1.8 OSS. I have two Sony batteries, one brand new, one that came with the NEX and has seen years of work along with a year of storage, but seems to be working just fine. I also have two relatively unused off brand batteries. For the above cameras, I have two 256Gb Sandisk Extreme 95MB/s cards, also an adapter for the go pro's card below, that accomodates the NEX 7's video without a hitch A Canon XA10 that is barely used but been in storage for years and is in an unknown working state, no cards etc A go pro hero 4 silver and a metal housing which solved it's plugged in overheating problem. I have a sandisk extreme 64Gb card for it. Sound: A Shure Lenshopper with the built in recorder An AT875R with Rycote Softie A Shure MV51 A Zoom H4n Very good (for music) earphones Stabilisation: A Gitzo tripod A Sirui Monopod with feet and ball joint, which seperates into a normal monopod and a little ball jointed tabletop tripod A manfrotto 502 head Lighting: Two large and one small cheap and nasty LED units Computing: A surface pro 2 with a 1.5Tb external HD iphone with it's camera and app ecosystem including a surprisingly accurate enough light meter. Italics indicates gear I have been promised by a reliable person, but, as always, until it's in my hand's I can't be certain I will have it ------------------------------- The Plan Day 1 - setting up, Im going to take the go pro and a6300 w. lenshopper on the monopod, NEX-7 to hand (spare in case of failure, photography), and just document the team setting up the stand. The go pro will do a time lapse while I get cool and interesting shots of the process Day 2 - Trade. a6300 + monopod. I'll spend this time around and about the expo getting interesting shots of other stands, interesting people, interesting locations within the center itself, the signs etc. This is the teams most imortant day and I don't want to be there putting them off or being a nuisance to the people they are hoping will become customers. I'll have some of the product and will hand them out to people to hold while smiling for a photo - models and notable attendees - if they will allow me to take them and my autism doesn't turn me into a puddle of antisocial water, and again if they are willing, a few signed products. Day 3 - Public. Go pro in an unobtrusive corner, a6300 on monopod, nex to hand. I'll be hovering around the stand, getting shots of the great unwashed being, hopefully very enthusiastic about the products and the team being pleasent, lovely people. Day 4 - Public and tear down - Another Go Pro timelapse of the teardown and more public shots admiring the product Evenings - Candids of the team (go pro, a6300) and a few more formal "interviews" (MV51, tripod & lights) Obviously if the Canon is is good working order, I will be using that in place of the a6300 with the AT875R mic, the a6300 with become my backup and photography and the NEX will stay in the bag. ------------------------------------ So, what do you think? Am I mad to even try, have I overlooked anything important, am I overthinking this way too much, will I get kicked out? I would be extremely grateful for any and all advice, ideas, guidance and wisdom. The expo is in May, so I have time, and I can afford to invest £500 or so, but that's only justifiable if it will be useful to me for what I actually use my cameras for - short films & family stuff! It's worth pointing out, that gear that I have (or have access to) which I'm not taking includes: A BMPCC in a decent rig with sigma 18-35 with a tilta follow focus and a z finder pro, big external battery, 5 internal batteries A Phillip Bloom Slider of unknown length (but almost certainly won't be the shortest if the guy who will lend it to me is anything to go by) Beyerdynamic M99 with cloudlifter, NI komplete Audio 6 A bunch more lenses and adapters for the e mount A metric tonne of mounts for the go pro. Cheers!

Depends to be honest, average JPEG in this sequence are 1,49Mb so that would translate to 22,35Mbps bitrate for 15fps which is hilariously tiny If you pumped that up to 120fps for 1152p you get 178,8Mbps bitrate. Of course Samsung has given us JPEG compression so even at normal it still outperforms the HEVC, imao. Now the 6480x4320 JPEG's at super fine compression has file sizes from anything between 4 to 15 from my own experience but lets say 15Mb then. 375Mbps bitrate for 25fps at the full output of the camera which is 6.5k at 3:2 aspect ratio, like the ol' television cameras, gonna need some BIG memory cards for this one or else you going to run out of space real quick but seeing how the bitrate is still quite below the limit of UHD-II speed and according to the Samsung mem dev test the Lexar 2000x can do 546.99Mbps average now whether this dev test is reliable or not is different question. But still it gives us a good estimate, now these are all rough poorly done maths but just to give us an idea what the camera could potentially do. We 'might' be looking at 50/60fps 6.5k MJPEG video here (750Mbps for 50fps and 900Mbps for 60fps with super fine compression), remember that MJPEG is barely processor heavy and at such extreme bitrates its laughable low CPU demanding, there might be other technicalities that would render this dream of 6.5k MJPEG video completely useless, but I suppose we just gotta wait to see what Chant might unveil in the holy grail for now. Yes the JPEG have even less sharpening so there is indeed more in-camera sharpening happening behind closed doors. From what I can tell on the shitty 480p MJPEG mode it does not seem to suffer too much from sharpening but imao its 480p its low res so its hard to tell non the less. Hopefully someone turns off the in-camera sharpening, and yes I did do post sharpening but not a whole lot and both the HEVC and JPEG got the same amount of sharpening, this was done deliberately to show the effects of what sharpening does to HEVC compared to the JPEG and its drastically, the in-camera sharpening is bothersome to say the least.

Hi, how does it perform with the nx1 and a heavy lense? THX for the review. I subscribed

Feels like it should be the other way around - the large flange distance would (and has been a factor) prevent me from buying the camera, because I couldn't use a lot of glass on it but should I already own one then buying the NX lenses would be fine for me because of the flange distance as they could be adapted for a great many other cameras

Not anymore, as long as you're cool with 1080p. Some of the best DR and color science on any 8-bit camera.

My rig is looking similar to this but just the monitor and a top handle. However I like your hotshoe rail and F&V ball head... where you get them from, any links to the actual items so I can order? PS - 1.74x crop with the BMPCC Speed Booster... nice. Canon APS-C is 1.6x crop so not far off fully using the image circle of EF-S lenses. Sigma 18-35mm F1.8 very nice on it. 35mm F2.0 IS also. SLR Magic 10mm T2.1 best one without Speed Booster I have used and the Panasonic Leica 15mm F1.7 best ultra small option.

No, but come on... The C100 is such a dull little work camera. An office tool in comparison to something like a sports car. I'm not saying it's a bad camera... It's just that is designed to be a work tool, by a company that also makes photocopiers

The latest 4K camera offering from Samsung has a new hybrid focusing system, in-body stabilization, a 5.1" AMOLED Quad HD display, is waterproof, has built-in GPS and wifi, and can stream live video to the internet. Takes calls. This 4K video was shot handheld in Brighton, now a traditional setting for testing out new cameras. But this was shot in daylight, and graded in Sony Vegas Pro to emulate the look of video: The original UHD video is downloadable.

Yes, Motion JPEG with high bitrate is far superior to HEVC and there is a Motion JPEG codec in the NX1 already for the 480p mode, Chant said he would look into it for me regarding the increase of resolution and possibly bitrate. It was a good move by Samsung to include the Motion JPEG codec besides the HEVC

For batteries I'd get these: http://www.pts-trading.de/patona-premium-battery-f-sony-np-fw50-nex-3-nex3c-nex-5-nex5a-nex-7-p-4945.html .

Thats not the point im making, look at people like Casey Neistat. He uses the 70d (now 80d) and the G7x and soooo many people people have bought those cameras just because he uses them, its a big part of why Canon is still seen from the masses as the best dslr for video.

I would not take advice on anything from vloggers, much less about cameras. /rant

The 60p out of this camera is unbelievable. Shooting some stuff this afternoon. This is the camera I have always wanted. The level of stress I have shooting with this vs a larger setup or a 5D3 raw is so much lower. It looks great and is really fun to shoot with. The Small HD with LUT support is really needed to get the best out of it. Running Hook's Basic LUT in the still below. Obviously don't judge the quality of the image on that, just showing how effective it can be for judging exposure. Screen grab taken within Small HD monitor. Rig: Eazy Handle V2 (Really nice well balanced skateboard handle. Can be configured to fit basically any DSLR. Made in the USA. Really good price, multiple versions depending on your needs.) http://www.eazydolly.com BMMCC Small HD 501 Canon EF 35mm F2 IS HOYA IR Cut 82mm Singh Ray Variable ND 82mm

stop worrying about your equipment.. it´s fine ..ask yourself of the legal status of the project.. where will it be shown.. filming people in public for commercial is.. well.. not excatly legal.. at least not in my country.. and remember that every sound you hear.. if there is music somewhere in the distance.. you have to license for that right of use... I´d advice get in contact with the expo, you probably need a permission.. and also make up the story you want to tell.. don´t just hold your camera on things 4 days long.. good luck, do it and enjoy your learning curve

Well yes precisely. Honestly any time something like that comes up in a professional sense they just assume a rental. So I just say my day rate and a rental fee and they always are fine with it. Thats why the camera's I own need to be the most versatile tool possible. Most minimal versatile tool. Anything beyond that is just rental. HAHAHA!! Of course

Some new stuff im working on : All videoframes, im thinking of probably starting that stock footage thing sometime near.

Don't own the BMMCC, but I do own the pocket and GH4, so I figured I'd throw my 2 cents in if it helped. Image quality overall is better with the pocket. Solidly better in pro res, and a lot better in raw. I like using it more when I can. The GH4 has been very useful for the low rent jobs that I make my living on for a number of reasons. Battery life, ,memory card space and reframing with 4K in post being the biggest. I must say, coming from the GH2/GH4, I'm disappointed with the prevalence of moire with the BMPCC, particularly on wider detailed shots of architecture. I'm used to never worrying about it with the other two cameras, but it's often there with the pocket. Still though. I llike the pocket the most overall.

Not many clients ask for either.

What do you tell those clients to whom you deliver the images then, when they want 4K and 120fps?

Yep.

Your reviews are great Mattias, I followed them on Youtube before knowing you were lurking here! JVC has a beautiful JLog. I'm still very interested in this camera but the ISO performance wasn't stellar. Still, for the price is hard to beat and I would love to see JVC winning at it. The viewfinder is not great and it's a pity they didn't get rid of it ala FS7. It's a weak point and still takes precious centimeters in the bag. Also they need to put JLOG too on the GY-HM170 and the GY-HM200 so shooters can have other camera options to match the footage in multicam shootings.

It came the same day, was a great view when I got home I will do my best to test it through most shooting situations. Cant help you with the speedbooster thoug, don't have one.

Sony A7Rii / Sony A7S Neutral creative style, sharpening dialled down to -3, contrast dialled down to -3, saturation boosted +1 Auto White Balance with 2 points downwards (towards magenta) on the wb adjustment. (important to allow awb enough time to adjust before hitting record) 0.0EV on the camera ev meter (multi mode exposure meter). No matter what the scene is the highlights are always recoverable. Premiere cc - use only 32bit effects. import footage into 4k timeline (even if footage is lower than 4k) - scale up if required apply ProcAmp - brightness -8, contrast +16, saturation +25 - allows easier visibility for curves adjustment below:- RGB Curves - start on red. lower or raise midtones until happy with overall hue. adjust highlights and shadows to compensate for over warm darks/highlights. move to green and adjust, move to blue and adjust. Apply unsharp mask (1.4px) while viewing at 100%. adjust until it starts looking graggy. back off to half the amount it took to get graggy. apply and overlay of film grain or monochromatic noise (higher res than the footage). adjust so it matches the prominence of the footage noise in the shadows, but finer due to the higher resolution than the actual footage. - tweek contrast/brightness of noise with procamp until it sits on the footage without affecting perceived contrast or shadow levels. Nest everything. then apply unsharp mask at 1px as before - this glues the grain and the footage together and creates the perception that the actual footage was aqcuired at a higher res than it is. it also provides fine detail for vimeo and youtube to bite into and retain during their compression export at 2560x1440 or 4k at a very high bitrate, 2pass, h264. 100mbs target, 200mbs max - as high as I can before reaching maximum upload limit. upload to vimeo. delete big file knowing I can retrieve the original from vimeo at a later date if required. drag project files into external drive for future, freeing up SSD system drive..