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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!

This was shot all on Kinemini 4k (except the drone shots). Some pretty weighty grading especially where we had to coax magic hour out of scenes shot at high noon. I would say I pushed the camera pretty well but still had more latitude to give. Lowlight is an area where the camera suffers- shadows can be quite noisy. I am currently upgrading to the KineMOUNT which will allow me to attach a speedbooser (Kinehancer), getting the crop factor down to about 1.15x and adding another stop of light. I am considering grabbing a KineMAX as well, but feel as though while it is a great value camera, my money would be better invested in glass right now. But I would highly recommend it to anyone looking to upgrade to a cinema-style camera.

I've been shooting on their system for about year and had no issues with reliability whatsoever. The system is just rock solid. No issues at all. Cineform Raw is just so great to work with. Raw 4k at smaller file sizes than Prores. Support is quick to respond to any questions. I was disappointed when the URSA Mini was announced just weeks after I purchased mine. I've been shooting for a year now while the URSA Mini is where?

My Kinefinity is currently in China receiving a mount upgrade. This system has a lot of potential. They're like the inverse of Black Magic. No buzz/hype about them, but they actually deliver.

They need to stop going after Red and Arri and focus on bringing out something affordable enough so that people will pick one up out of curiosity. That way they can build a reputation. Especially if the new cameras are bang for the buck stars.

I was curious if in-camera playback will work with high bitrate hacked video. Andrew mentioned in old article ( http://www.eoshd.com/2014/04/nikon-d800-hacked-50mbits-high-bitrate-recording-option/ ) that D800 was not able to playback its own hacked videos. So I have put Vasile's high bitrate hacked clip to SD card and try to play it in my NX1 ............. and it works without any issues! So now I am curious how high can we go with bitrate to keep playback working :-) BTW - ISO in his clip jumps from 400 (brightest parts) to 1250.

It's a combination of things - 1. Sony cameras don't handle difficult white balance situations with any grace 2. Sony offer a huge degree of options that control the sensor 3. Sony give you profiles that require grading - and I mean, proper, years of experience as a colourist grading, not just drop on a lut or tweak sat and curves Combine this with low prices and any tom, dick or harry can grab one, stick it in pp9, wave it around a baby with leds, sunlight and an incandescent bulb and wonder what happened to the skin They aren't cameras for everyone, thats for sure, you can mitigate many of the issues, but they are cameras that demand, in certain modes, a very high degree of cameramanship and skill. 1. Desaturating the higher luminence can work wonders to help take the green and yellow gills away. 2. Stick to pp0, and your fave creative style, if that's too limiting, stick to cine 4, s.gamut.cine. If that's ever too limiting, then you are going to have to start reading technical documentation to understand what the options do and how they do it. 3. Just look at the size of s.gamut 3, and think what is going to happen when you cram all of that into the comparitively tiny space of 709 and understand why colourists can charge what they do. Then never, ever use it. Or just grab a camera you can get decent results with because clever engineers did all that for you and plenty more besides

Looks awesome. I've always wanted to try out kinefinity. Until they work out a US presence though, I'm just not comfortable at shelling out the money for a camera I can't have serviced in my own country.

Look at the price of the kinemax. it's pretty much as good, if not, better than the red weapon with dragon 6k sensor, and costs less than an FS7. The capabilities practically blow everything black magic have to offer out of the water, for very similar prices. It's not about price with these cameras, it's about the fact that their press releases are written in Chinese that very few people invest in the equipment. IMO they'd make more of an impact if rather than developing new cameras they simply put the money into sending out complimentary kinemax's to shooters for review. I've seen work from @Rob Bannister using his kine-mini 4k that leaves nothing to be desired - that camera is less costly than the fs5!

So I was offered a 1DC with low number of clicks and for $600 less than the current price of a A7rii retail. I thought "What that heck, if its bad I can probably turn profit by selling it". Ive only used it out and about twice so far. Also for a product review. And to be honest, I don't think its a keeper for me. The reasons are: Awesome image, truly great. But imo the 5D Mark 3 Raw matches it. Lower res but better color and lower crop. Even at the low price, a used 5D is half the price. The 5D is much easier to use due to zebras, raw meter, etc, etc, etc. The 5D is smaller but I like the big size of the 1DC. Easily fixed with a battery grip. The 5D workflow is tougher in post, needs converting. But worth it for the Raw imo. Ive been offered a used c100ii or two c100i for the same price. And those where my reasons against the 5D. But if you dont care about Raw or to have "Canon Colors" there are tons of cameras in the same price range that will make your shooting so much easier. As some might know I currently have the LS300 on loan for review. And today I had both in the garden just shooting random stuff in the bright sun. It is of course night and day in workflow between a fully featured camcorder and a mostly equipped DSLR. And at the end of the day, watching the footage Im not seeing a big enough difference. The 1DC looks nicer imo, no question. But not that much better. Im not saying that I will buy the LS300, 5D or c100. But Im pretty sure I won't keep the 1DC. Maybe I change my mind after some more testing but the initial thought is, not for me. Here is the LS300 and 1DC. Same lens same settings JVC 1DC JVC 1DC And two short tests, 1DC JVC For reference, 5D Mark3 with a soft vintage Nikkor lens.

i love michael stipes vocal in that song i wanna see more of this video lol thanks for sharing this ben

Maybe someone will make a control unit for it that attaches to the COM port!

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

Welcome to my rolling review of the Sony A6300. Like the rolling shutter of the A6300 this review takes a long time to get from the top to the bottom so grab a hot drink (be careful not to overheat) and enjoy the ride... Read the full review on EOSHD here

About to begin http://www.filmaker.cn/thread-66142-1-1.html

I am really enjoying using the new BMMCC. Black Magic basically fixed everything that was wrong with the original pocket. This was all shot handheld, used two IS lenses, Canon 24-105 and the Canon 35mm f2 IS. I know that this sensor will really shine when you use the Sigma 18-35 and other shallow lenses, but I do think having an IS lens makes the setup incredibly fun to use. Some thoughts: Moire seems improved. (There is one shot in this entire edit that has moire. I shot at around f4-f8 for the whole day.) The battery life seems to be at least 3 times higher than the original pocket. The menu system is incredibly easy to use, despite having less buttons than the original. Using the Small HD 501/LUT preview is really really nice with this camera. I used HOOKs LUT to judge exposure. The grade is just simple three way in Magic Bullet Looks.

THIS is what I'm talking about. I really enjoyed the grade, great work. Stuff like this, well done professional work with the camera, is what I want to see before investing.

I've never seen a file manager report a file size in bits. It's always bytes. Computer hardware typically cannot even store or operate on a unit smaller than a byte independently. Megabits are almost exclusively used for data rates, not storage sizes. Just to be sure I downloaded the files and checked them myself (on linux). Sure enough they are all at least 1 million bytes. Therefore the correct calculation for the 2048x1152x15fps stream is 1.5*10^6 bytes/frame * 8 bits/byte * 15 frames/s = 180*10^6 bit/s, which is approximately 180Mbit/s. Which is exactly what one would expect from typical JPEG compression ratios.

Windows never displays bytes keep that in mind its always bits. Mbps = Megabits per second MB/s = Megabyts per second

mmm i wonder if they have a service agent here in GZ, China...

Just for accuracy, the crop on the BMPCC SB is 1.67 which is that much closer to APS-C. It's been misunderstood using vertical vs rectangular sensor measurements and Brian's admittendly inaccruate stats on the original SB page. But the calculaion is as follows: BMPCC SB affect on any given focal length is x .58, multiply that number by the sensor crop, which in the case of the BMPCC is 2.88 to a full 35mm sensor. So, for instance a 50mm lens on the BMMCC with BMPCC SB is 50mm x .58 = 28mm x 2.88 = 83.52. This is why the Sigma 18-35mm is such a great one lens solution for these two cameras with the SB ad MB dumb adapter. With the MB SB It gives you a relative 30 - 58mm f/1 lens and then with the dumb adapter a (rounding off) 52mm - 100mm f1.8

Indeed ISO in raw is done in Resolve, there is a control for ISO in the Camera DNG box in version 12 now However for ProRes shooting of course it would be useful to have an ISO button.... no... a dial, it should be on there but isn't. I miss the BMCC's cute touch screen. The Micro is pretty darn cute in itself though. Here's my rig... Kept it simple and small: Wooden Camera top handle Blackmagic View Assist via HDMI Metabones Speed Booster (BMPCC) version for 1.74 crop, almost Super 35mm Tamron 24-70mm F2.8 VC Heliopan vari-ND with hard stops Articulated hinge mounts the screen (I hate the spidery arms) - this part was a cheap generic part from eBay Base is my quick release plate!! It needed something to stand on even when not on a tripod because the camera body is so insignificant!

It was just a cheap Dolica monopod (that's why you can see it bending!) About the invert mode, I know I've seen a couple of videos where the gimbal is just flipped while it is still on, but those videos didn't show the camera view. I haven't tried it (I don't have the DS1 with me at the moment), but I'll try it and see what happens.

Oddly enough I am using the Sigma Quattro DP3 for 5K timelapse. Actual resolution is closer to 8K and it has a built in intervalometer. Writing a blog on it now.

I think the OP just wants to remove the shutter limit in video mode which can only go to 1/30, Samsung most likely put it there to prevent people who do not know what they are doing from go below the recommended shutter angle for video. Camera should do just fine if you remove the limit as there is no restriction for video mode regarding shutter speed, its just the amount of times the shutter closes every second, video mode can function even if the shutter is set to BULP mode on some cameras. Low shutter speeds in video mode can help create cool blurry art shots which is probably what the OP is looking for.

Oh god, PR people using google translator.

Basically an ARRI Mini killer then. Dang btw, that one has gotten interesting. Too bad it's not really an accessible system for normal human beings. Which means... there's still market segment left for the taking. Hint - hint. I think something max Sony A7-range (but preferably GH4/NX1/BMMCC) priced as an entry level might get more people trying out Kinefinity products and upgrade within their system line-up as they grow.

Yes, bring a BMPCC killer with 2.5k aps-c sensor

It would be interesting if they'd bring a BMPCC/BMMCC killer... but I take it, it will be more serious than that. My Chinese is a little rusty, so Imma gonna keep an eye on https://twitter.com/movcam , http://www.newsshooter.com/category/news/ 'n stuff I guess.

Dang indeed. Who needs 3D glasses when it pops like that! Sick depth layering. Details, color, it's all there, isn't it (well, maybe some typical M43 noise in the dark mids)? Pretty impressive. From the comments: downloadble via Vimeo and there's a YT behind the scenes.

Good post Day, I agree with every word

Cool. Glad you're enjoying it. Agree on all points aside from the menu system... Although the menus are very nicely laid out, the physical controls on this camera are completely laughable. Better have a lens with an aperture ring on it and hope you don't ever need to change ISO or shutter speed in a hurry!

I'm in love with the Panasonic g7, the headphone hasn't been an issue since I use an external recorder with a shotgun mic. been using the kit lens and the new 25mm 1.8 that I got for 50$ on b&h, just got the 12-35 2.8 and I'm ready to take it to the next level.

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).

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I'm seriously thinking to buy it but not to work, to use it on my spare time and I think it will be enough. For real work I think at least an A7SII or FS5 is necessary . At that price (A6300) I don't ask more. I want to really know about the overheating... that issue bother me.

Yes. And, as the client, they also tell me what visual style they want in those videos in order for me to get paid x amount of money. Which, in their case includes a lot of slow-mo. Delivering to the client what they want is usually standard operating procedure in a client/vendor relationship. Sorry if I'm misunderstanding what you're on about, but it seems contrarian to me. Regardless, I'm here to tell you that a client will indeed make requests for things like slow-mo, and that being the case, I use cameras that can provide it. As it happens, I have a shoot tomorrow in which I'll be at a race track for a client and I plan on shooting slow-mo for the piece. 60p conformed to 24p, but I would have certainly provided 120p slow-mo if the client could have paid a bit more in the budget. Also, it'll be the first time I use the Xpro2 on a paying gig (as the B-Cam). We'll see how it goes.

"Ouch"... Im sorry but if you thought that was suposed to offend I appologize. But I stand by my statement. Lots of nice videos are shot on c100, 5D, a7sii, NX1, etc. And no one watches them with the nose to the screen. You dont have to agree. Plus, there is also the 4:2:2 YUV. Doubt they would let me "hang onto" it, thats not how these things work (I wish.. )

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.

John Barlow has the following advise: "Yes some customers experience issues with the grease and some with noise. I have traced the issue to when the package is in the low pressure cargo hold of the aircraft. This causes some grease to be sucked away from the helical during flight. The noise or movement is because some part of the helical is without grease. Rectilux was designed for easy self-maintenance as shown on page 37 of the manual. Sometimes it is best to use a brush to spread the grease uniformly. Rectilux will be smoother after a bedding in period and will be a lot quieter - the more you use it the better it will become. Mobil grease can be obtained here: https://www.silmid.com/products/mob2800400-mobil-grease-28-390gm-cartridge-m "

I had the same problem with a bit of metallic vibration and it just felt a bit loose so I re-greased mine. It's stiffened up nicely now but be careful not to put too much, the more you put the harder it will be to turn plus it could 'leak' all over the glass.

I dig it, whats not to dig? This was quick and dirty while getting the GFs birthday present. Now I might focus on the LS300 for a while but then I will give the 1DC a run through. To early to say 100% but I suspect its the 5D3raw. But that includes a longer workflow. The 1DC I just drop in FCPX and go.

Core DNA is a far better use for your money.

I've cleaned the thread of most of the non footage posting stuff. It was arbitrary job, apologies if your post has disappeared, but the thread need to be mostly footage links and footage requests in order to serve its purpose properly. This is proving to be a valuable resource. Feel free to continue discussion, just be aware that it may be cleaned up intermittently to keep the thread useful to newcomers. Please try to keep your links alive insofar as you can.

Post a frame of yours where skin looks as good on a Sony as on a Canon. This just a LITTLE important for wedding shoots...

Nice-a! Ok. Such lushness to the image. The other looks a little stale in comparison.

It sounds like the C100mkii would be the perfect camera for you. Lightweight, internal NDs, great colors, very small file sizes, awesome ergonomics, great lowlight, XLR audio, auto focus, etc.