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Zactly. A6300 is unreliable. A7S only if you need the lowlight performance. Might want to get an external recorder. Actually wouldn't bother with Sony, unless you can cough up the dosh for the A7RII or A7SII. Canon. Same, wouldn't bother unless you can cough up the money for a 1D C or 1D X mkII. Their 1080p cameras aren't really exciting. Maybe the 5DmkIII with ML RAW, but storage 'n workflow. Nikon. They have the D5500 and D7200 which are actually decent options... if you care for solid 1080p without all the bells and whistles. If you really want features, you got to go mirrorless. As we've already crossed Sony offa the list, there's Samsung with the NX1. Body only within budget, maybe you can score a cheap prime to have something native electronic, else it will be all full manual and there aren't any smart (electronic) adapters (for Canon glass) or focal reducers. Olympus. Sure... if you want mediocre at best 1080p... atleast you'd have sick in-body stabilization. Panasonic. I think this is your best bet actually. Especially if you'd be looking forward to use 4K. The G7 (or G70 depending on your location) is a great deal. Most Panasonic cameras are. Let's throw the BMPCC and BMMCC in the mix for good measurement. But you got to rig it up quite well and sort out some issues to make it work for you (battery life/monitoring). Of course, this is just my personal opinion. Nikon, Panasonic or Blackmagic. Of course, if you were perfectly happy with the 700D ML... it's not like they're expensive and if that worked and would still work for you, you can put some of the money you saved into other things that would up the production value.

Tommix, as far as I can tell, the process is all but simple. As pavel wrote, patience is a keyword here. Otto created some nice scripts. Vasile seems to have upped the bitrate. Chant is delving into the main code. Three must be the conditions joined by a logical AND: - Interested in nx system - higly knowledgeable in sw development and Linux system - have time Not that easy to return a TRUE value ;-)

Just had a brief time with the boxed up retail model. I say brief. I sent it back almost straight away. I might upload the clips to the original footage thread, but there's hardly any point. You know the score with these cameras. Soft, aliasing ridden, huge moire problems, not even 1080p resolution. Very sad - they have a brand new sensor in this thing and had the chance to step at least the 1080p up to 7D Mark II levels, or even in line with the rest of the market, or the Nikon D5500, much cheaper. This is a 1300 euro camera!

I kind of hope you're trolling, but I feel compelled to respond anyway. tl;dr: Nobody has been making any implied promises, and your suggestion had already been tried and failed before you posted it. First of all, nobody is claiming to be working on super-duper secret projects. Everyone has been very clear that they are doing this for fun in their spare time. From what I have read, nobody is releasing much since there isn't much interesting to release. For what it's worth, there have already been results, in particular from Otto and Vasile. Both of them made no promises yet delivered exactly what they said they expected to do. Vasile claimed to have found how to increase the bitrate, and provided a video as proof. Yea he could theoretically have faked it, but I see know reason to think that at this point. Otto stated his intentions very clearly and his results have already proven useful to people who want to take videos of events longer than 30 minutes (as well as anyone who wants to investigate their camera further). You got radio silence on your suggestions because people were already working on that and ran into problems that you did not address at all. In case it's too much trouble for you to actually read what people have already written, the issue was that if the camera app is killed it freezes the camera. It's hard to replace an app if you cannot even remove it. If you think you know how to prevent that, I would love to hear it. If you want "traction" in this discussion, try actually being helpful. Regarding the DRIMeV SoC itself, I mostly agree with your educated guess. It is almost certainly the same die, and the ARM cores are 100% identical. Unfortunately that's not saying much at all since most modern ARMv7 cores are identical as far as the software is concerned. It's the details of other blocks that would determine whether or not the important components of the camera application run or not. I can't tell just from skimming the kernel source code. It takes under 5 minutes to find and download the firmware update from Samsung's site. If you really don't have 5 free minutes in your life, I don't understand why you are wasting time criticizing people who have actually accomplished things and posted them here. If you are 1/2 as smart as you make yourself sound, it should take you less than an hour to unpack all the components of the firmware. I had never unpacked a firmware before, but it only took me two evenings to get all the major pieces out. The offsets, sizes, compression, and filesystems are almost all documented right here in this forum, so there is no excuse not to take a look if you really want to test an idea. I totally agree that the ratio of people waiting with high expectations to the people working on it is rather high. The Magic Lantern forums are just like that on a larger scale, but that doesn't change what they have or have not done. You need to keep in mind that this forum is a community of filmmakers, not hackers (or even "photographers"). The point of this thread in the first place was to show interest in modifying a camera, at which I'd say it has admirably succeeded! Finally, nobody cares that you're a busy person. So you like your HoloLens and want to play with it. Cool story. We're all busy people too, so suck it up and either contribute or go back to lurking. Sorry for the tone, but that's because I can never stand people who drop into discussions and claim that they could do it all better if they didn't have so many more important things to do, yet don't contribute anything useful. /rant

Chris says in this video the 80D is better. I had to squint very hard to see it. It's a bit like squinting at the bottom of a football league table. I'd rather look at the top. Canon are ripping you off guys... Panasonic G7 walks all over it for video and it's less than half the price.

Wow, a conversation about a new camera release has turned into arguments over ProRes licensing? Kinefinity are actually a small unit in a huge Chinese astronomy imagery company, I'm sure they have all this stuff sorted. Aside the negativity... this camera is a very compelling option which needs better worldwide support. I'm excited to see more of this camera soon.

Depends on what you think 'DP' stands for.

I have had the LX100 for a little while. By no means a professional. Shoots pretty decent video. In case you were wondering what a cloudy day on the beach in Florida looks like...

People are getting huffy about Kinefinity not being on the approved ProRes license list and are using that fact as a club to knock anyone who praises the company and their cameras. I think. If I had the capital, I'd plunk down for one of these today. Looks like an amazing package, and the image off the 6K Kinefinity sensor is just beautiful.

I've had LX100, GM1/5, X100T, RX100 over the years and decided I wanted a truly pocketable stills camera so went with the GRII. Incredible stills, malleable RAW files, top notch fixed 28mm equivalent lens, APS-C sensor so decent low light and dynamic range is excellent, out of camera black and white JPEGs are some of the best I've seen. Ergonomically it is incredible - you can operate with one hand, which makes more of a difference than I expected for the kind of casual or experimental off the cuff shooting you'd do with a smartphone. The level of customization and your "workflow" with the camera is great, it just gets out of the way - other camera manufacturers could learn a lot from this camera. It was clearly designed by photographers and has been refined over the years. The LX100 is a great hybrid camera, but I was never happy with the stills quality. But really great camera. The RX100 packs a lot in, but was ergonomically a mess - got used to it, but no enjoyment, always fighting the camera. GM1/5 are great, excellent stills image quality (I thought much better than LX100 when paired with good glass like the 20/1.7 or 15/1.7 or 45/1.8). X100T is great, but that's getting kind of big, and I'd rather shoot with my A7s/FE 35 2.8.

The KineMAX 6K does not have ProRes. Only the JUST ANNOUNCED 6K camera does. I doubt that Kinefinity would switch from Cineform to ProRes without getting proper licensing. Considering that everything Kinefinity has ever promised they have apparently delivered on time and time again. Just because it is a Chinese company doesn't mean they indulge in seedy business practices. Personally I'm looking forward to picking up the 4K after this lowers the price of that camera. 2K cineform is plenty for me Especially with that locking Nikon mount speedbooster.

I think it's also super important to light it well. I think for the 120fps mode you want ISO 100 - 200. I'm slowly grading my Spain material and I see why people could judge the NX1 too sharp when downscaled to 1080p. I think I'd rather have only 1080p / 2.5K resolution but more color bit depth. What a pity that we directly jumped to 4k and now discuss 6k/8k but never even got really good quality Full HD (10bit 422 thick codec) on a wide front.

I just got back from holiday where I travelled with just my LX100 and a 3 and 6 stop ND filter. Such a great little camera, especially for video. It has all the features that you could need, including excellent 4k, good Image Stabilisation, built-in time-lapse and decent HD at 50fps. In fact, for the things I do (kids, community video), I'm not sure why I even own any other cameras. The Raynox 250 macro converter connects directly to the filter thread (49mm) if you are into that sort of thing. For the next iteration, I would appreciate a tilt/touch screen, a better EVF, and AF-S while recording in M mode (works only before recording - my G7 does this during recording).

We will be expecting eagerly your hacking/moding advances, until then just keep it humble, so to keep this thread useful and without any grey noise.

Makes perfect sense. For the things you value most in a camera, the A7S seems to tick a lot of your boxes. To me fullframe means fullframe covering lenses (who uses a fullframe camera exclusively in crop mode to match crop lenses, right?) and I like small native lenses as an option. Also, if something's decent up to say ISO1600 I'm good. Of course, it would've been better if it could go all the way up to ISO6400 or ISO12800 without cracking, they'll get there in due time. Until then, if you have planable shoots like shorts and music videos... don't see why you can't light your scene, something you'd want to do anyways! It will look better than waving a lowlight camera around without any lights set up (don't mistake the A7S for allowing you to be lazy). I don't need to shoot at ISO102400 or anything, personally, not to say it isn't a fun gimmick. If a 1000 bucks is your budget, the A7S will eat a whole chunk leaving you with nothing much left. And no internal 4K and recorders aren't exactly cheap (yet). BMPCC is a really cool choice, it has the footage going for it. On all other bits, it doesn't really excell. It's the crop, fixed ISO you'd want to be at, battery life, poor screen, poor audio, dials/buttons situation. There's work arounds for everything, but that makes it a little cumbersome and expensive. A camera like the Panasonic G7 (which Andy Lee is shooting a feature on, he has 4 because he likes 'em so much and it's able to surpass the GH4 in some ways) almost has it all. It is a little plasticky, your card slot is co-located at the battery compartment, missing some of the GH4 features, but has a lot going for it at quite an affordable level (leaving room for lenses, stabilizer, etc). And it does internal 4K. Sure light sensitivity of M43 might not be your thing (but shouldn't be a problem unless you're don't light and want A7S nightvision; besides there's affordable focal reducers (Lens Turbo's) and excellent Metabones options). The crop. Personally, I don't mind the S16, MFT or S35 look. FF is bokehlicious, sure; but it's also tricky, because you'd just blur out everything in the back, maybe not even get a person completely in focus and the viewer might lose overview of the surroundings, because they don't get to see any context the person's in. If you pick a nice location or build a set, show it off. Colors. To be honest, there's some good Sony shot stuff out there, but there's also a lot of pretty bad ones. You really got to know your color correction and grading and spend some time on it in post. And there's the color channel clipping with the Sony cams, so if you shoot a bit of a performance with catchy lights to put in a music video, chances are you need to be really careful. That said, that's just how I would approach it. Of course, everybody has other needs and wishes. I always say 'a certain camera wouldn't exist, if they didn't think they'd have someone to buy it'. And there's different people, so there's different cameras. I'm sure the A7S would treat you well. Anno 2016 any camera does a great job (you've been shooting the old sensor tech 700D ML up to now yourself and was fine with it). It's just a matter of nittpicking which one is the better suited for your needs.

Cry all you want... canon have nailed the vlogger market with this one .... great AF and beautiful footage with minimal/no need to go to post. Want Canon for cinematic needs? Use ML, the C line or the 1DX II... Can't afford it, not really Canon's fault now, is it?

i have never used the SLR, so i cant comment on that. But what i do love with the voigt is, that (especially at 0.95) this lens is far away from being perfect with tons of purple fringing, but still a very nice picture. Every once in a while i look back at an old snapshot of mine that i took in combination with the GM1 and the Tiffen Ultra Contrast Filter and after watching i always have to resist the urge to buy that combo again. Fuck GAS.

Not really, no. Maybe you're thinking of the AJA Cion. The Kinemini doesn't have global shutter. It's usable at ISO 3200, and very good at 1600. ~13.5 stops of DR vs the Ursa's ~11.5. The color science is very, very different, as is the native tonal response. The Kinemini takes generic 2.5" SSDs vs the Ursa's CFast. Kinemini has Cineform in addition to uncompressed CDNG and 3:1 KineRAW. Kinemini has an OLPF. The Kinemini has DCI 4096x2160 over the UM4K's nonstandard 4000x2160. The Kinemini has a 1.4x crop factor vs BM's 1.7x. Kinemini has 92fps slomo, BM only 60p. KM has interchangeable mounts and the option for the short flange distance Kinemount. With the UM4K, you're stuck with either EF or PL. A big one for me: the KM has downscaled 2K Cineform in camera, whereas you can only get full-res RAW out of the BM. It's a lot lighter at 1.5kg vs 2.3kg, has support for anamorphic shooting, and even uses less power than the Ursa Mini. The only real advantages for Blackmagic are the bundled software, XLR jacks, and larger local userbase. I'd have to send the camera out for repairs/servicing either way, so that's a wash, and word on the forums is that KF's customer support is outstanding. They are both cinema cameras, with the same base needs as anything else in that class--power, storage, monitoring--but imo, the Kinemini is a much more capable tool. https://vimeo.com/100913781 https://vimeo.com/117008129 https://vimeo.com/109413357

A reported 1 million pre-orders for Oculus, a reported 3 million pre-orders for Playstation VR. Once they are in stores and getting rave reviews (which they will)... the landscape will change fast. Obviously dictated by games, for the most part, but 360 video is going places too. I've used prototypes at trade fairs and it is pretty special now they have tightened up the latency.

I'll be keeping an eye out for quality 360 cameras too.... With VR about to hit the mainstream, it could take off.

Panasonic g7 with speed booster metabones Xl , superb camera and you can get the colours right all in camera it is a very powerful camera with its internal colour processing , you can get away with not grading , I have four of these camera they are that good

Here's a comparison of 4k high iso on A7R II and D5:

We will be seeing a few 4k cameras for $1000 or under being announced...making many people who just bought an A6300 feel a little uneasy. Craft camera is one of the intriguing cameras yet to come: http://comingsoon.craftcamera.com/?kid=90WTC Apart from that, NAB 2016 will be the year of 360 cameras,VR systems and HDR monitors...and the big players announcing 6-8k cameras that will have no firm release date. In a nutshell, this is the worst possible time to buy a new camera, as whatever you buy now will very become very 'old hat' on April 16th (I you care about such silly things).

I don't think you will need something faster than a GTX 970 since in my test at normal playback the titan was sitting ~40%. But I would first try to find out the bottleneck before buying anything .

You do bring up similar points about the nx of which I was thinking. But unless we can get the chips uncapped and analized there is no way to know for sure. The power requirement of the srp may have made samsung switch to a asic block for the nx500, as the drimev-s also shows up in the fcc docs as running the not released nx mini 2. Now as I stated before there is not much I can post showing what Ive been doing. Dumping ip code is not something I wish to do as that opens a whole lot of legal grey area. Theres a reason the sources dont include everything. They reuse a lot of their ip, and just update the functions inside, as I said I have seen much reference to the nx300 but when you compare the two files there are changes conducive to the hardware the nx1/nx500 runs. By all means I did not promise anything, although my goals have been stated. With the warning that it may not work the way I intend and doing the due diligence to document and track changes over versions and to compare the findings to the nx500. As you seem to know your way around coding you understand the complexities of binary blobs and reversing them back into c. The script stuff that otto k and vasile are doing show promise, and in the past month things have moved very fast. If you were around when the gh2 was being modded it took quite a while for ptool to happen. Not saying they are the same but having the ability to up bitrate and access other parts of the os is nothing to scoff at. I can either keep posting tiny parts of what Im finding and documenting as I go or do what I have been the past two weeks and work and ignore what is going on here until situations like this arise and I feel compelled to reply.

As a Kinemini4k owner I'm really looking forward to these two new cameras (or one camera with 2 sensors). I admire the progress that Kinefinity has made since Kinemini days (only two years since the annoucement, along URSA which I was considering but the size and weight turned me off), To me the guys behind Kinefinity listen to the customers feedback like nobody else and dont hold anything back. I remember when they released their last firmware upgrade and for kinemini they improved the log color science, increased slow motion from 100 fps to 120, added ability to load your own luts into the camera :D added prores to their transcoding software, all of that for free. With these new cameras they addressed all the past issues and all my personal concerns, like sound, ergonomics, changed grip battery system, redesign the grip (that was my big concern), finally added in camera prores. Plus keep in mind all Kinefinity cameras have the ability to put on them their active EF Kinenhancer which makes them the only cinema camera that allows you to put on speedbooster like adapter on a EF lenses. Something I have always wanted to do with BM cameras. The only down side to their EF system is no support for IS yet? (not confirmed anyway) which would be amazing especially now with this smaller run'n'gun like form factor that Terra camera has. So in essence, Kinefinity Terra, a small form factor S35 cinema camera with a weight of a Canon 5d mk3, with 5K or 6K sensor which records 12 bit loosless RAW video with pretty amazing high speed frame rates, 15 or 16 stops of dynamic range, switchable global or rolling shooter, ability to shoot full frame (with kinenhancer), one of the most organic images for around 5k euro

Weirdly enough, it looks like the biggest improvement might actually in the white balance. The 70D footage seems to have this murky greenish look to it, whereas the 80D's whites are a lot more crisp. Then again, there were one or two spots where it looked like the 80D was actually worse in terms of aliasing than the 70D... though that might just be YouTube's encoding at work.

Well, funny part is that the "look" was accomplished simply by adding FilmConvert. This was in the days where my experience was nearly zero. Settings were Standard -5/-5/-5/-5 as suggested by @Inazuma. I am pretty sure this was done using AWB. Just the FilmConvert GH4 Standardprofile. I will dig up my original files over night and try to reassemble the filmconvert settings for you.

Then the new Panasonic ZS100 might be considered - it has "excellent 4k, good Image Stabilisation, built-in time-lapse and decent HD at 50fps" plus a touch screen, much better autofocus (new technology) than the LX100 (or RX100 IV), and of course a 25-250mm lens. Like the LX100, it crops in 4K, so you get 34-340mm! You give up a bright lens, but you get a lot more versatility and better performance (focus).

Maybe Sanveer's onto something with Panasonic and I doubt they play April fools jokes in Japan... I'd actually fancy a mirrorless mount LX100-a-like cam. http://digicame-info.com/2016/04/gx8-3.html

I think it depends on type of benchmark - even if you test it on PC: Kingston Mobilelite G4 USB3 UHSII reader Sandisk 64GB UHS-I Extrem PRO 95M/s R/W USBDeview - 42MBs / 92MBs SpeedOut v 0.5 - 85MBs / 88MBs USB Flash Benchmark - max. 91MBs / 92Mbs BTW - I have received my cheap Lexar 2000x 64GB UHSII ( http://www.ebay.com/itm/181946939074?_trksid=p2060353.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT ) . It is little bit suspicious as Lexar brand is taped up by some Chinese holografic signs. But I have test it and seems to be OK. NX1 - average around 66MBs / 88 MBs USBDeview - 67MBs / 220MBs SpeedOut v 0.5 - around 220MBs / around 220MBs (here is limit USB reader) USB Flash Benchmark (it depends on file size) - max. 220MBs / 220Mbs (here is limit USB reader) I simply do not trust NX1 benchmark - camera definitely writes faster according what I have already tested with burst shots.

It's like a more serious C-mount APS-C version. A little quirky, not the best wide open, so don't expect something like that to be Sigma ART level. Kinda goes towards the Zhongyi/ZY Optics style. It's decent. Great if you take in the price.

I think I already made my point three times about that test. With fw 1.4, the writing speed to sd increased considerably. Based on that test, I had bought the samsung pro card. After fw 1.4 came, I bought the lexar 2000x and wow, such a huge difference. I sent several emails to that site asking to retest, but they replied they hadn't got the nx1 anymore. So no new test. But they should at least add a disclaimer about reports from users about 4x higher speeds with fw 1.4.

Sanveer... You missed out on a great chance to beta test the 7D Mark III it was in the Philip Bloom video which had a link.

The Alexa is going head to head against the Raven, the BMC, etc. Been in the works and kept secret for quite some time. Management felt it is time to offer the Alexa to the masses. Dry run of 500 cameras to see how the market responds. Price $5500! 2.5K basic model with aluminum shell. No Raw. Alexa proprietary 5 to 1 compression. Alexa Colors. Check the link out for the picture! https://www.flickr.com/photos/50066720@N03/6257015898

Bist du deppert!

So if I buy this camera I will become a professional DP?

Oh, but I spoil myself. Not all, but I got a lot of it. I don't think GAS is a bad thing if you can actually afford it, lol. Doesn't mean I don't like sensible purchases, for a certain amount spent you've got to have some return on it that matches it, if that's not the case, I don't bother and rather spend it on something else. But I have Veydra Mini Primes, I have Contax Zeiss, Tokina AT-X PRO, Olympus PRO, you name it, the list goes on and on. 25mm concerned... not just the SLR Magic here, there's the Veydra 25mm T2.2, Contax Zeiss 25mm f/2.8, Panasonic 25mm f/1.7, Zonlai 25mm f/1.8 and some 'Mirrorless' C-mount APS-C 25mm f/1.4. Zhongyi/ZY Optics 24mm f/1.7 if you want to count that. All have their own qualities and character. Don't have anything Leica branded though. The 42.5mm f/1.2 I found too expensive to justify for a single focal length (whereas for something like the Olympus 40-150mm f/2.8 PRO with 1.4x teleconverter I mind a high price way less, especially to match the f/2.8 PRO 7-14mm and 12-40mm; but still think the value isn't there for the telezoom, especially if you'd use one on a Panasonic camera: no stabilization). The Leica 25mm I don't see much point getting, when I've got that range pretty well covered with different character to choose from and atleast one that's not fully manual, but electronic. And that's an another good point too... you like things to match, so do I. There's 4 Leica MFT primes. And I already don't want the 42.5mm f/1.2 because of it's price. 25mm I've got covered. I have the Olympus 60mm f/2.8 and Panasonic 30mm f/2.8 OIS for macro, so I don't really need the 45mm f/2.8. The 15mm f/1.7 actually is kind of interesting, also since that's DJI's pick for their multirotor gimbal camera, I see how that would work nicely on a handheld gimbal stabilizer as well. It's somewhere in between the 14mm f/2.5 and 20mm f/1.7 and then supposedly has some Leica mojo. Olympus makes great lenses too, though. Just about everything in the M.Zuiko line-up is very nice. When I started out on with the GH2, one of the first native lenses to get was the Olympus 45mm f/1.8. Brilliant little lens. The most recent addition is the 75mm f/1.8 which I finally found at a justifiable price and is superb. But they've got a couple of nice others. 12mm and 17mm, but as well a 25mm for example. Just, I don't know, they aren't really begging me to buy them (others are really like 'hey buddy, hey you! Look at me! Man, dude, we should team up! I can be your wingman! Man, I'm so chill to hang out with! I'll show you a good time! Show some faith in me, man! You won't regret it'; don't worry, I'm in GAS therapy, my therapist says it's a good thing I'm not in denial ).

First of all, KB 64 1000x is too slow and too unreliable card for ml raw. I have one and had many stopped recordings either. Now i use sandisks 128gb 160mb/s and have no problem at all. No recording stops with 24/25 fps ever. I used the camera during the summer in italy with air temperature about 40 degrees centigrade with no overheating issues, internal temperature was about 60 (on ML termometer) and no recording stops. I shot many short, 1-3 minutes clips though so in fact the camera had some time to cool down. The card was very hot indeed but everything worked as intended.

Wow! All the clips look really nice! There's certainly some noise but the performance is really surprisingly good! I feel that a good cinematographer could take a feature film with this (if only just to make a statement). The grain/noise looks very random and pleasing because there's not much chroma noise. What is the bitrate? And what level of manual control do you get?

Would love to see some footage with 110 lenses on the gm1? That camera, those lenses and that cool GM1 60p sounds like a killer combo. I hear the next GM will have 4K, so that could be interesting.

As an a6300 user, I could not reccomend it to anyone using it in a profesional capacity, from the overheating issues alone. It may be worth it IF you were interested in 4k, as it's 1080p is nothing special AND you had a solution to the overheating - I'm experimenting with Ram heatsinks AND you didn't mind the rolling shutter, but that's a tough sell - I see it more as a camera to learn on

I'd love to see a Blackmagic take on the DJI Osmo... And have it ship at the time of announcement.

My prediction is Canon will carry on being predictably boring. And BMD has never made a "mk2", why start now? No, instead it will be something new, or a twist on an existing product (like the BMCC => BMPCC => BMMCC progression was, each one a little twist and improvement on the way before. But not a "mk2"! Ditto the progression of: BMCC => BMPC4K => URSA 4K => URSA Mini 4K

Today i made some tests with dual ISO mode which lets to record with two ISOs, there is possible to gain additional 3-4 stops of dynamic range for the price of aliasing in highlights and shadows (where resolution drops by half) but midtones retains full resolution. So, about the test - I exposted ETTR on the sky to avoid clipping, processed the files with cr2hdr and than did some grading in resolve 12. I lowered the highlights -100, shadows +100 and than raised the overall exposure + 3EV. I had to make some tweaking in nodes to avoid clipping in the bright sky after that.There was some noise in the shadows but i get rid of it with the neat video resolve plugin. I get a quite flat image so added some contrast and little bit of arri lut to the taste. And a film grain on top of that. The sky was quite bright despite the clouds, with ETTR the car interior was very underexposed, without dual iso recovering of such amount of shadow information would be impossible. I didnt use dualiso feature so often before but now i am more and more confident using it in some situations. In this test i used 100/800 isos, there is aliasing and moire especially visible in power lines and car interior elements but it is not very distracting and i am very satisfied with quality and especially dynamic range.

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?

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

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.