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On Dpreview user called Mangokid uploaded this video where was used "only" 140mbits. I also done few codec stressful tests but nothing I would like to upload. All I know is that macroblocking is almost gone in 4K30p 160Mbits in most stressful scenes and panning is smoother than before.

Well well well, do 30-days for a minor felony and I come back to THIS! A bit-rate hack. Outstanding. Now, I'd like to make very clear that in the case of the GH2 just increasing the bit-rate often caused as many new problems as it fixed. Generating a compressed image involves a whole slew of data factors that affect each other. That's why there was like 200 different hack patches folks made as they tried experimenting with the different data points. Many of the attempts simply crashed or injected all sorts of other instability. Some made certain artifacts worse. Some fixed one thing but broke another. The fact that this mod can double the bit-rate is amazingly promising. And remember - you often won't see any "overall" difference. Especially because this camera generates such a great image already. I would advise looking only at the areas that previously had been problems. That's really all we need anyway. Just those few problems fixed. Then this camera is much more of an all-around winner. SD-Cards: I would not even attempt to record at these new high bit-rates without a card like the Sandisk Extreme PRO or a similar card. You're begging for heartbreak if you do. We may very well find that there are hidden data matrices that need to work in conjunction with each other to do things like lessen macro blocking, over sharpening, and noise. That's what there was on the GH2's. It's reasonable to expect some similar complications. Rock-On everybody!

An interesting point with this announcement..... Canon and Nikon might respond to this and finally bring raw vidro shooting to DSLR They don't give a shit about Sony, lumix etc... But when other big hitting still cameras make a move, they might follow

Its an awesome idea for a thread, but I rather have footage straight from the card, no exports. And info on camera, lens, and PP. Then we can see the difference in how we grade and discuss how.

I have both the BMPCC and BMMCC and I do not see the same vertical striations in the my Pocket footage. No trace of it. On the BMMCC it appears in shadow areas (but not in complete black). I rolled a few frames off with the lens cap on and it's not there. Only seems to appear in parts of the frame that register in the neighborhood of 5 to 30 IRE.

I had a tough day out filming with it today ;-) (totally stock camera however)

Look guys, we established this YEARS ago, you can shoot with a T2i or any old shit like Kendy did and do great work, especially if it is a low-fi look in the first place that you're after and you rarely use a lens other than 50mm equivalent (a wider lens would show up the lack of resolution). We have also established that you can then upload this to Vimeo and if the content and shooting is compelling, the locations and characters cinematic looking, well lit and they kept the ISO below 800, when the viewer watches this at 720p on a laptop or TV, they won't notice that it isn't 4K wide dynamic range. But image quality advances exist for a reason, they help to evolve the art of story telling and make the tools more flexible so they can be used in more challenging circumstances and a wider variety of situations. I love slow-mo for instance, it's a great creative tool, and I love LOG as it is a substitute for raw when you want to apply a stylised look in post and get a couple of more stops dynamic range, without the much larger file sizes. I shot this in slow-mo and LOG for creative reasons and they made an interesting subject look beautiful - Couldn't have done that on a T2i or 80D, or indeed any Canon camera I can afford. Do they even have decent looking 120fps on their Cinema EOS stuff??! And when I shot this on the A7S, GH4 and Nikon D750, the pinsharp details and lack of moire, plus the slow-mo again, helped creatively bring out the look I needed. If you don't want to focus on this kind of thing then fine, get the 80D and enjoy your AF. Nothing wrong with that. You might tell some great stories and do it really stylistically. But in my view... image quality and frame rates and extra features are there to be USED. Pointless writing a blog about cameras otherwise. If everyone was happy to stick to 80D level of image quality and features then my job would be much easier and I'd have far fewer cameras!! And then there is also a lot to be said for the motion cadence of a global shutter and vintage super 16 lenses too, which is what gave this shoot the look I wanted, down to a tee... So before you write off all the exciting specs and just nerdy pixel peeping, consider what they give creatively and stylistically and consider what you are missing out on when you sacrifice all this for convenience's sake with the 80D!!

Cross post from dpreview: As promised I was working on alternative way to run scripts off the SD card without entering the factory mode (as it limits several functions important to me). Full text here https://github.com/ottokiksmaler/nx500_nx1_modding/blob/master/Running_scripts_without_factory_mode.md What it does: it modifies your root filesystem in camera so it starts a shell script from SD card (if present) every time you start WiFi. Yes, it's rough. This is a first release just to enable everybody else to test and play around. Touchscreen works. Bluetooth works. Camera works faster than in factory mode. This might help with increased bitrate as well (don't know, can't test). Have fun

I agree with Mattias. You have to provide the original footage for this to work. I gave it a try but it falls apart so quickly that it cannot be used to create unique looks. Edit: Here are some frame-grabs from the same color grading across the video: Edit2: With the Prores version I could push the colors a bit more:

This. x100 x1000 x10000 However it is easy to see that NOW with hindsight. But when the first NX camera came out the MFT system was still very young, & it probably seemed easy to catch up with at the time.

If its an interview and I don't really care if the background blows or not, then i go 70%.

Honestly i make too the test but i didn't notice any update in my camera..for my side is always the same i never have problem macroblocking in my nx1 so i didn't notice difference for flat profile here there is a test and explanation how i do

I've seen the fixed pattern noise from the bmmcc that wouldn;t be apparent from the same shot in the bmpcc. I'd actually say the bmmcc might have a slightly reduced usable dr because of this - you can;t pull detail from the shadows as much as you can with the bmpcc from what I've seen so far. I say this with a pinch of salt. the image is still lush, and the 60p capability is worth taking a 1 stop hit on dr. It just means i can't pull shadows up as much as I like to on shots where I;m exposing to retain highlight information.

I agree, their cameras are cheap and they have the best image available, even spending 3 or 4 times more you can't have that look. Anyway their customer service seems very friendly and helpful, maybe my camera is more prone to that problem, I hope they can fix it or replace it, we'll see.

Yes, I have noticed that too (especially in 4k), but I thought it is just my opinion. Anyone complained "motion cadence problem" in NX1? I think it is gone now!

Imagine what they could do if they'd not only tweak the software part like they did but as well the hardware part... and then rebrand it as Panasonic AG-AF300.

very good quality to my eyes

You know what Samsung should have done. Used the m4/3 mount. Its free to use. It covers the sensor. Many MFT lenses cover the whole sensor, some would be good for crop mode. Their own lenses would have been very popular among GH4/e-m5/etc users. More people would have taken the plunge or bought the nx500 as backup.

I had some fun with the 1080p 120fps function of the NX1. There are a couple 4k shots in there as well, but 85% of the video was shot in 120fps mode. Sharpness was turned all the way down in camera. I also added 1,5% - 2% blur to the shots in post.

I was about to give him the benefit of the doubt. Then the other comment just below yours made it pretty clear.

I found switching to 70% brought a huge improvement in general quality for me, focussing on people instead of some small patch of sky in a window in the corner of the frame (for example) I think gives much better results.. 70% zebras plus simple histogram is also a great combination

I have been predicting the 5Div will have 1080p raw.

GH2 was 2010 (October) 6 years later and Canon haven't matched its video quality, overall. Like I say time and time again, only Canon seem to be able to get away with this year after year. If it were any other company, people would be astounded. At the same time, since 2009 their APS-C stills quality has inched forward only a bit from 18MP to 20MP and now 24MP with a tiny bit cleaner shadows.

I think everyone would want to use the Sigma... I'm just afraid it will push the possibilities weight & balance wise... you can shift the center of gravity only back so far... the question has been asked on their FB a couple of times and not sure anyone got a reply on that confirming or denying the compatibility. True, I think it's just not of importance to Dave, since he likes his set-up small and not attracting too much attention. But yeah, it would be worth to atleast mention. Exciting you'll be getting yours soon, saw they were a little overwhelmed with how well this is received and are trying as hard as possible to meet demand but can't avoid 3-4 weeks delays for some. Yeah, that's pretty typical Chinese practices unfortunately, I recommend sticking around on their Facebook to ask questions. Dave mentioned contact through Yanherlin is pretty good, just know that he uses his channel and Gmail userhandle (yanherlin at gmail) for Pilotfly: https://www.youtube.com/user/Yanherlin ). Thought they had a set-up video, but I guess I'm mistaken. I guess you could kinda figure what Yoshihide is doing here: -- they now also feature a drone-capable version of the H2, with 2nd arm (no open side) and lockdown mode bracket called the T1... (click img > 'Full size') -- FB info regarding GH4 + Sigma 18-35mm compatibility update:

Strange that he didnt mention the 2-hand handle which I think is one of the most important features. Not only for stability when running and walking but also for fatique. There might be an updated version of H1+ soon also so if youre not in a hurry... I will getting mine next week so if there is anything you want to know thats not been mentioned by reviewers just let me know.

I honestly thought that was the point of this forum? I've tried to make similar points so many times but figure that's just what this forums all about..

Dayraven: The way you like it, what is "natural" for you and show some "filmic grade, like Mattias above In my mind: "dont burn the highlights" and most contrasty scenes i can find Mattias: I'll tell you tomorrow 35Mbps H264 export, maybe next time im doing a littlebit higher bitrate export. At the tree scene it falls apart even without grade I like your grade, but your footages usually have this look, so that was expected from you

Don't know how others grade but to me its 100% relevant. Did a grade that usually looks nice but the codec fell like a house of cards. Its a trial and error until I know and that just takes to much time So I just did a quick thing treating it as rec709. Nothing special, leveled it 1 degree as well.

From Panavisions site: "Photographed by Greig Fraser, ACS, ASC with Panavision's new anamorphic ULTRA PANAVISION 70 optics." http://www.panavision.com/new-rogue-one-star-wars-story-trailer So I guess they're a new version of the ones Tarantino brought back?

definitely looks like more than 1.25x squeeze. The defocus looks more pronounced and resolution is better than what I saw in the Hateful Eight. With such a CG orientated production I doubt those old ultra panavision 70 lenses would be up to the job. I wonder if the new Hawk 65mm anamorphics got a test drive on this?

This thread is now 20% facts. 30% misinformation and 50% "Waghh! Why won't canon put their 4K cinema tech in a camera for $500 bucks just for me." Gotta love the Internet. I've had the 80D nearly two weeks now. It's fine. Video quality is actually improved regarding moire as has been mentioned in countless reviews but nobody wants to hear that. I noticed Andrew didn't reply to my mention of him bashing the XC10 on release and now buying one months later. So I figure if we fast forward a year he'll buy an 80D and label that a 'cinema dark horse' too.

Be careful when using zebras at 100%, because the zebras on some cameras are misleading in that they "sum" the color channel levels to determine if the threshold has been reached. In such scenarios, the zebras don't indicate when a single color channel has breached the threshold. So, if one sets the zebras to 100%, one (or two) of the color channels could be blown out, and you might not see a zebra. If the camera also has an RGB histogram, one can get a good idea of how the zebras handle individual color channels. Personally, I tend to set the zebra higher on raw and on some flat/log profiles. I often ETTR when shooting raw.

Give me a break. We don't live in the dark ages any more - other people can test the camera and you can go view the results on youtube or vimeo. You can tell the footage coming off the 80d is glorified 720p. Other cameras have their limitations. There is no perfect camera. But there is no excuse for a company with the equity of Canon to be producing cameras that shoot soft, moire-ridden 1080p in 2016. I expect Fuji or Sigma to do this, but not Canon. Not a company with a well-established Cinema line and a low marginal cost of letting innovation trickle down to the enthusiast level if they only wanted to. I think Canon should be openly criticized for this approach and I don't need to order and go through the rigors of testing and posting low-grade footage to substantiate my frustration. The camera is intentionally hampered, the codec is outdated and the resolution is not up to snuff. I have no qualms in saying that. I've seen enough test footage posted by others - including Canon themselves - to make that determination. Those who needlessly stifle innovation deserve to be bashed. But I also expect legions of apologists like yourself to stubbornly try and find a silver lining in what they do. I don't understand it, but I nevertheless expect it.

i've only shot in RAW and RAW 3:1 so far.

How does it perform when the taking lens is wide open? Is it soft? CA?

Ooh, I'm always curious about what Dave thinks, especially since he likes small set-ups like me.

You got my attention now!! :D Could you (or anyone) upload a short example of this onto vimeo/youtube?

They are nice & do their best to solve problems. As with all electronic devices, there's always going to be some bad apples & the internet just makes things seem to be a lot worse than they really are. Just remember that these cameras are not low light monsters, they do need a minimum of light. The image that they produce is really so much better than a DSLR, but they do have their limitations just like a DSLR does & people tend to forget that.

I've just switched from sony a7s to BMPCC, just for that incredible cinematic look that's impossible to achieve with the sony, despite being a better overall camera reguarding reliability. I've sent my pocket to them a couple of days ago, let's see what they will do. But there's one thing for sure, we all have to complain to them!

I rest my case.

Thanks, Yeah i hear ya. Its just i got access to both camera's with zeiss compact primes. So it is not a cost thing. Strange that I hear the 5d is better at grading, I should test that as grading will be a important factor. The only thing that scares me is the highlight rolloff of the c100. The highlights are quite hard edged in comparison with the 5d. About exposing the c100 and the 5d. I should not worry about overexposing 2 stops like the a7s or underexposing a stop on the gh4 for getting the best image am i?

mmmmm tasty diffusion... nice blooming highlights...Now that's a battle! Tomas Bangaltar vs Ice Cream Coney. On another side of things, the super 8 revival is looking really interesting with the Logmar and Kodak (coming in 2016 supposedly) cyborgs! It seems that the film scanning technology is getting really good and affordable. Kodak is claiming they will provide 4k or 5k resolution for super8 scans when you use their film stock!

I love the Coney Island video above...but i'll raise you that Ikonoskop video, with this one - made by one of the guys from Daft Punk, just...

Here's a video that compares the dynamic range LS300 against some "affordable" cameras. Don't know if I would call the FS5 affordable, but still interesting to see the dynamic of this camera in JLog. I'm impressed with what this camera can do. Yes, this guy tried to match the cameras as best he could, which might not be the someone else would have done the comparison, but still worth looking at as a data point.

Looks like a lovely camera with a great workflow.

Im looking forward to completing the review, test all kinds of vintage glass like c-mounts and my K3-Bayonets. Unfortunately I have to return it this week and don't really have time for another two weeks.... ..so I have bought one Here are 5 Reason why. Im hoping to get my own copy in a week or so. Ordered it from Germany and they seem a bit slow. I suspect they bring them home on order.

I still see some macroblocking in shadows in 120fps but I think it renders details better. Buf for now I will stick to 60 fps when using hack. I think best benefit is in prevention of macroblocking - image is stable and I think also gradient is better. But I did not make any comparsion. Below is screenshot from graded (and one ungraded) 160Mbits, 4k30fps, Standard, 0-255 videoclip

Give it a mount that can use S16mm glass and this would be a pretty cool competitor to the BMPCC/BMMCC.

Depends a lot on your location and what you want to do. But I'd suggest buy two cameras: A bigger one for those benefits such as XLR inputs and ND filters, and just looking bad ass to the client. Sony PMW-F3 gives maximum bang for your buck here! (US$1.5K ish secondhand, plus US$495 BMD Video Assist gives you 10bit 422 1080 60fps). A Sony FS700 is also reaching very low prices these days, so maybe consider that. Or a JVC LS300. Plus a smaller camera for when that is more appropriate (such as on a gimbal, or when you simply need to go multi cam), for this I recommend a Blackmagic Design Micro Cinema Camera. But a Sony A6300 / A7s mk1 or Samsung NX1 would also all be solid choices. Then get a set of lenses, either Sigma ART (Nikon F mount), or Nikon AF-D, or Rokinon Cine DS. http://ironfilm.co.nz/rokinon-cine-lenses/ Buy a Tascam DR-70D + MKE600 + RodeLink + Zoom H1 + Aspen Lav + Boom + Rode Blimp v2 + Senal SMH-1000 headphones + Samson C02 mic + Rode WS6 windshield. For lights get a basic kit of: http://www.came-tv.com/3-x-800w-pro-red-head-redhead-continuous-light-lighting-stands-p-158.html http://www.came-tv.com/1%C3%83%C2%97650w2%C3%83%C2%97300w1%C3%83%C2%97150w-fresnel-tungsten-light-video-spotlight-p-318.html (plus dimmers) http://www.came-tv.com/index.php?main_page=product_info&cPath=19_23&products_id=503

Yesterday i took my 5d3 to the airfield to test the recently added new S16 crop feature. Correct framing and fluid live view (two the most important improvements) are just essential to shoot fast moving objects. What a great new tool!!! Almost everything was shot with 70-200 f2.8 IS II with 3x 1:1 crop at 1080p 25fps. Lens set at f8. No single damaged frame (recorded on sandisk 128gb 160mb/s card), just perfect. I have to get canon 2x extender now to have 1200mm lens