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eoshd is the "other" board mentioned here :-) http://***URL removed***/forums/post/57589144

No idea but I doubt it w/o replacing the codec. Chant might eventually be able to do something about it but don't hold your breath. At the moment I see a slight chance to get: more resolutions (i.e. 2.5K on NX1) the high rate 2.5K on NX500 (subject to dangerous manipulations on burner cam) maybe higher res and rate MJPEG out of NX1 (although TBH I do not think it would reach the quality of 150-160 Mbps hevc) with a lot of luck disable or reduce video NR (I might take a look at this at some point in the future but this will definitely involve weeks of work so not too keen to start). Basically Chant is looking into adding true new stuff. I have been looking more on the side of tweaking what's already in there - easier than Chant's ambitions but I already picked the low and medium hanging fruits.

I see... yes... something's going to happen in the future...

That's why I'm still using Sony. They have the features I need with the compromise of doing more work with the colour. I think Sony should focus on the colour science and white balance for the next A7 cameras (and battery life!!), among the predictable other upgrades (every spec higher and a bit better). I do this all the time. Just recently wrapped up shooting, lighting and editing this video. FS7 + A7SII. Extreme lighting that will make pixel peepers sweat with horror (the degradation of extremes is intentional).

I'd jump in and say that most of the colour problems are a combination of lack of understanding of picture profiles and wb user error. I rarely get 'accurate' colour when I use a camera because i'm busy 'getting the shot' rather than being anal about it. If i were to enjoy moaning about the colour of Sony cameras and be obsessed with shooting s-log when really I have no need to be doing so, to the point where I discard the sony for an vastly inferior camera that doesn't offer true Log anyway. I'd first make sure it's not my own error. If you're using a picture profile without understanding highlight rolloff and it's response to red, green or blue no amount of white balance accuracy will help. TBH we're lucky Sony even gave us S-Log on the A7 range. Canon don;t give you true log. If you want to yield results from it you need to learn how to use it. simply setting your WB to 3200 because your LED panels say they're 3200k ain't enough. Setting to 5600k outdoors isn't enough either - since sky temp changes drastically and you can't do enough to 8bit footage to correct for being 1000k+ off the ture wb. you need to shoot a grey card in the light you're shooting in, look at what's happening on the scopes and dial in a custom wb offset to suit both the light source and the response curve of the profile your're using. Unless you;re willing to do that, either stop moaning, or shoot with canon and lose the vast lens options, dynamic range of true s-log and evf with punch in, as well as the ibis with manual lenses, speed boosters, 4k, etc.

110 is already a nice jump from the standard 80. Almost 40% more, actually.

Don't be so snide, there are people who do just this all the time. It's just that most of them don't post about it because their clients are paying millions of dollars so no one knows what the footage used to look like before the grade. My friend had some AF100 footage he cut for a promo graded by Stefan Sonnenfeld and it started rough but looked brilliant once he was done. I wouldn't be so hubristic as to assume it can't be done, just humble enough to admit you can't do. I can't do it, but I have a Canon so I'm not worried. I still can't fathom how people deal with hard chroma clipping, though. Apparently even CO3 gets stumped when it came to baked in hard chroma clipping, but where there's a will (and a lot of money) there's a way. Maybe they have it figured out by now. Or if they don't maybe someone else does. But in theory, I agree. I don't have the skill to fix that kind of stuff, nor the patience.

If I don`t see any new small 4K camera at NAB with 10bit 4:2:2 codec, most probably I will get a GX80 with a metabones XL, I just hope it at least shows the same image quality than the G7……and no the killing issues we just saw in the A6300….what a disappointing!!!!

who lit the fuse on your tampon? That's twice now you've replied to a post of mine with complete assholery I guess you are the first person in colour grade history that can completely CC bad white balance from a baked image... High five

755 RAW Megapixels Up to 300 fps Up to 16 stops of Dynamic Range Integrated High Res Active Scanning Systems POST-CAPTURE REFOCUS & EXTENDED DEPTH OF FIELD With Light Field cinematography, creative camera controls transform into flexible post-production processes, liberating shots from restrictive on-set decisions. COMPUTATIONAL FRAME RATE & SHUTTER ANGLE Adjust frame rates and shutter angles in post-production, so motion blur becomes a flexible creative decision. DEPTH SCREEN With depth screen, it's as if there is a green screen for every object in the scene. But it's not limited to any one object. It's anywhere in space. LIGHT FIELD CAMERA TRACKING Combining an integrated high resolution active scanning system with the Light Field data, Lytro Cinema is providing precise camera tracking information that greatly simplifies the task of CG integration and match moving. https://www.lytro.com/cinema Media Coverage: "This camera is essentially military-grade technology, so Lytro is initially working on getting this camera in filmmakers’ hands when they need it rather than selling the entire solution to studios. Lytro says rental packages start at $125k for utilizing the Cinema hardware/software suite." techcrunch "The cold hard fact was that we were competing in an established industry where the product requirements had been firmly cemented in the minds of consumers by much larger more established companies," wrote Rosenthal. "This issue was compounded by the fact that the consumer camera market was declining by almost 35% per year driven by the surge in smartphone photography and changing consumer tastes." theverge "" That means there's also nothing stopping one from simulating short dolly motion or perspective shifts in post, with nothing but a static camera at the time of capture. "You can shift the camera to the left... [or] to the right, as if you had made that exact decision on set. It can even move your camera in and out" says Head of Light Field Video, Jon Karafin." dpreview

Holy shit. This is a dream come true for VFX movies.

Some pretty crazy shots in there, very nice indeed

I have no experience with the post focus feature, but I thought it is more for static objects since it takes multiple photographs. Isn't that the case? With one picture of the Lytro you had controls like this: Definitely and that is probably one of the reasons that Lytro cameras did not have that much appeal.

A friend of mine had bought it and I was playing with it so unfortunately I have no pictures. The quality was not that great, but since then I believe it has improved a lot. The biggest drawback for me was their design. It appears the same design works much better for a larger studio cam...

I'll never understand if it's better 0-255 or 16-235. In the profile that Andrew made for nx1, 16-235 needs to be used.

Another option is the Shure VP83F shotgun with built-in recorder (and line out + headphone jack).

I love the colours in raw. It is the only reason I still have the A7s

IMO the A7R mk1 had the nicest image (arguably the same sensor as the d800). the a7r2 is incredible in resolution and post production capabilities due to the dynamic range, but somewhat doesn't deliver as nice images as I remember from the a7r mk1. feels a little noisier for raw stills. The a7s mk1 makes amazing still images but I always feel 12mpx isn't enough for landscape shots where you might want to apply a little sharpening. None have a problem with colour. I expect if there are wb issues then the slider in camera raw allows for fine tuning. - with 8bit 4.2.0 workarounds need to be done before you hit record. in raw I'd say the a7r and a7r2 have such amazing capturing abilities than it's harder to get an image wrong than it is to get it right. - much like the d800

Imho, I would stick to f2 lenses. For example, if going with ai-s, 24 2 (the worst of the list), 28 2, 35 2, 50 2, 55 2.8 macro, 85 2 and 105 1.8 or 105 2.5.

Obviously too heavy, but it should meet your CA and sharpness requirements: Sigma 18-35 with both a dumb adapter and focal reducing adapter. On a BMPCC that gives you a range of 32-106mm f1.0-1.8. If you're on m43, pretty hard to beat. The hyperprimes from slrmagic are also awesome, but much pricier and their housing differs from lens to lens. The art zoom is a rig up once affair that can be get any shot wide to portrait. I'm in love with this lens. And after renting a Zeiss Otus set in EF, I'm still convinced the Sigma is an amazing choice.

Yeah, it is a bit heavy! As @bluefonia suggested, Yashica ML primes - a lot cheaper than Zeiss Contax & in the same ball park. Useful info about Yashica: http://cargocollective.com/yashica/About-Yashica-ML-Prime-Lenses Or Nikon ai-s, I'm starting to get these & took a punt on a cheap 24mm f2.8, which focuses really close & is lovely. Here's some really good/useful info for Nikon lenses: Evaluations (which are spot on): http://www.naturfotograf.com/lens_surv.html#rating Serial No. list: http://www.photosynthesis.co.nz/nikon/serialno.html#35

Which means that the encoder block cannot deal with more than this bitrate at that size/fps. No other possible explanation so do not expect more from the camera as far as 1080p/120fps is concerned, unless you are willing to overclock.

120 fps works fine with 110Mbit as max bitrate. 100fps should be completely fine even with 160Mbits...

Since 120fps doesn't play nice with the bitrate hack has anyone tried PAL 100fps? I feel like that should work without issue since the hack brings the 120fps recordings down to 106fps.

Overall top fps depends on multiple pipelines: sensor=>CPU, CPU=> memory, memory=>card, as well as on codec intrinsic speed. Hard to say which one impacts in this instance but my guess is that it's the codec (and by codec I mean the software and hardware together). You might think that the encoding CPU is less taxed with higher output rates but IMO that is not completely/always true.

To wait for NAB, at least, it has happened before... :-)

Maybe yes, maybe not. I still think Blackmagic has finally a real competitor to enter in their own market field. And it also does seem they don't show off with vaporware a year earlier nor FPN or similar awkwards. Pocket 4K can be a plus for such race, out of competition, though.

Looks like I found a button On topic: I dont think Blackmagic needs to worry about Kine cameras just yet. Shooters are still very brand conservative. Blackmagic has just recently been acceptaded as an option. Still most would choose something else if they can on bigger productions. And the full frame DSLRs still have a strong grip on the smaller circut together with c100/fs700 type of cameras. Not long ago I did a freelance thing for company that shoots blackmagic on a regular basis. They also use GH4 and D810. I asked what they wanted, Blackmagic or D750. They choose the later. Full Frame was the reason. So I do think BMD will show a new camera. But not because of the KineX (EDIT: just as I wrote this I got a text that said a news paper network wants to buy a doc me and a friend shot on BM. So its DSLR 1 - 1 BMD so far this year on the Moonlight side of work.)

and sharpening. I also dream of having Gamma DR on the NX500, but all the effort so far is very much appreciated

I have captured many 0-255 scenes in H.264 and never had clipping in Premiere. It has only happened since using HEVC so I honestly believe that Adobe has made a mistake with this codec and that it does not recognise the correct luminance range. A simple test: take a frame capture in camera, bring the resulting capture in to the Premiere timeline and there is the correct tonal range, bring in the clip and adjustments will need to be made, can't be right. I use the Brightness & Contrast filter on an adjustment layer: Brightness -3, contrast -15, this seems to bring the scene back close to the original point if comparing to a single frame capture, some use Fast Color Corrector and adjust input/output levels but I find that colours still appear to be over saturated.

I shoot with native m4/3 glass, the oly 7-14 pro, oly 12-40 pro and the pana 35-100 f2.8. I also shoot photos, so I need the AF. I am looking to move to the oly 45-150 pro, but its too much more expensive than the pana to make it worth it, just for the pumpy focus ring. I would love to shoot with nikon speedboosted glass, but I honestly don't need the extra cost of a speedbooster (aud$1100), the weight of full frame lenses, or the extra shallow DOF.

No probs man:) Be aware that what Allister Chapman says might not be what others believe is best for certain scenes. - so often s-log might be very viable for certain low light scenes where you need the huge dynamic range advantage in highlight detail. for instance just after sunset, shooting towards the sun. for the scene in your images you;re dedicating a lot of dr to the strret lights - which will be blown out even if you had 20 stops of dr.

I think this topic has been up on Eoshd right after GH4 hit the market, since it allows to either shoot in 0-255 or 16-235. Can´t go wrong with 0-255 as this video shows. I think Floris pretty much did this video just for the people of Eoshd back then.

I think it is great indeed. Nice cinematic energy and beautiful to watch. Great job!

Its a good video, I would have loved it a little bit darker and more playing with the light. Also screen direction wasn't optimal (when the boy was running). But it's a great spot.

The way HEVC works is definitely contributing to macroblocking and the NR specially which is present even at low 100 ISO. I tested HEVC extensively by converting my huge 400GB Pokémon in original Japanese to 750kbps HEVC. I did probably hundreds of tests and this was back when the X265 was quite young I also tested the H265 in Adobe Media Encoder CC 2015, same issues as always it seems to cause macroblocking in dark areas I also tested a 1080p version with fine grain option of the first episode of Pokémon and HEVC smears the details away, its gotten slightly better with more modern releases but NX1 has old HEVC from 2014 unless they have updated it via firmware which is possible but even then its still out of date from today's versions. Interesting enough I found 8bit saves grain details more than 10bit does which is funny. Not saying recording is same as encoding but HEVC is designed for compression and not for details. When you go higher in bitrate the point of saving space becomes completely lost as H264 10bit seem to perform as good if not better, and this is witnessed in cameras like Nikon which has under 100mbps H264 yet produces beautiful images with very high dynamic range and good shadow details.

You know. The units left unsold and causing them to leave the market don't just disappear with Samsung quitting. So of course there's still some that need to get sold. Doesn't change the fact that it's stil discontinued. Don't get any ideas.

I think a used C300, Red One MX, or Battle-tested Kinemini 4K are your best options. Kinemini has the best overall IQ and flexibility; RED has brand recognition and 4K; and the Canon is super popular with clients and offers a solid image with little fuss. The Ursas are really cool and create great images, but imo aren't quite ready for prime time yet...and that's coming from one of the biggest BM apologists out there.

It only sounds impressive until you consider what the competition did years before when nobody was looking because it didn't reach the popular conscious yet and have a Canon or Nikon badge. The on-chip ADC converters were pioneered by Sony years ago and it has taken Canon, dragging their heels along the floor for 6 years, to implement the technology. and then only in a very small selection of high end models in 2016. By the way, we've moved waaaay beyond on-chip A/D per row, to gluing and integrating DRAM directly to the back of the sensor as seen on the latest 1" CMOS from Sony. So Canon are only just catching up to yesterday's advancement in CMOS deign. Yesterdays. The on-chip ADC cleans up the readout noise so you have more usable blacks. If people choose to interpret this as more dynamic range then fair play to them, that's their interpretation. I would never max out the dynamic range of any digital image, because it creates Digital Sick™ In reality for all the quoting of 14 stops by DXOmark for Sony and 12 stops for Canon, there's not as much difference as the specs imply. However as soon as Canon start doing sensors that might get closer to 14 stops on DXOMark like Sony have been doing for almost half a decade, everyone pisses themselves. The power of the brand manifest! As for the number of phase detect AF points, you need millions of them on the sensor because they get so little light and are so small, compared to the smattering of a few of them in the viewfinder of a DSLR. Needless to say I find the 400+ on the A6300 work better than the millions on the 80D, so go figure. It's as if Canon have turned up to a party 5 hours late with a 2 euro bottle of fizz. There's no denying Canon get the ergonomics right in a very solid way mostly, but as for the images... The facts are: 70D = shit video 80D and EOS M3 = slightly less shit 7DII = 2012 vintage softness C100 = Same, but very expensive 2010 vintage Panasonic GH2 resolution (albeit better in low light) C300 = exactly the same but even more expensive 1D X II = slightly worse than the 1D C's image quality, but $6k and will likely be superseded in under 6 months by the 5D IV, GH5, A7S III or any number of others And this my friends is why I will not be wasting my money on any of them. Although the AVCHD quality on the C100 is very nice given the specs, I must admit that much!

Bump. I didn't end up buying the 19mm, but Ed has been incredibly honest and easy to work with.

You misunderstood my point a good DP makes a great shot in the first place, so it won't be so ordinary He maximises the tool all that is obvious However beautiful image quality can add 'spice' to just an 'OK' shot where the DP is limited in terms of his location, poor light, and boring subject matter... You have to work with what you've got sometimes and that's why a flexible and powerful image is important. Slow-mo, insane resolution and a wide dynamic range can have a wow factor in themselves, even if you're shooting very ordinary subjects on ordinary places as for the bad DPs, no hope for them, no matter what the camera. And yes even an Alexa can be mishandled and made to look rubbish. Meanwhile a drone shot of a spectacular volcano would look great on just about any camera, be it a small chip GoPro even or an iphone A challenging location which isn't so beautiful and is poorly lit demands more of the camera and absolutely more of the shooter too.

No that's not the message I am trying to get across. I am just trying to help you guys make informed decisions about the relative image quality of cameras. A shame you feel the need to shove this back in my face, just because it doesn't quite align with your choice of purchase. The core EOSHD readers get it. You're just an ungrateful hanger on with 19 posts to his name who feels he can leech all the knowledge from others on the forum, without giving anything constructive back in return. Almost all of your posts have focused on annoying the hell of the forum owner himself, which I might add is a rather rude way to introduce yourself into somebody's house. Ah you have an FS7 in the office though! But I thought 80D is all you need?! Hmm moire. Hmm aliasing. Hmm clipped highlights. Lovely. Oh but it's "bashing". Bash bash bash!! Can't mention the moire! Oh noooo That's biased! (No I'll think you'll find it's just a fact)

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!!

I hope they'll feature the 5 axis IS in the GH5, but I'm not sure. They excluded it from GH4 after introducing IS in the GX7. Then again, they'd be foolish not to include it now that it's a feature of the Sony flagships.

I pre ordered the 5k one . If you shoot music video/fashion, you need clean slow mo and there is nothing else in the price range. It s basically a red epic MX ++ for 5kusd ... It s more compact/light than blackmagic , color science is better than panasonic/sony/blackmagic (you should play with the DNG they provide and the image is great , I was amazed by how much you can recover on the landscape/lake shot). There is a shoot comparing multiple cameras from GH4 to alexa and the tester said that the kinefinity images where the closest one to red/arri from the lot. And the mount system look great , that mean you can get fast zoom easily with the focal reducer. I understand that because it s a unknown Chinese company, people are skeptical and if it was their first camera I probably would not have pre ordered it . But if you look at Dji , they are also a Chinese company and they have great product .

Im not going to read the pages and pages of wining going on here from people who have not owned a camera from kinefinity so please forgive me if I say something thats already been covered. Kinefinity is totally a reliable company. I actually get great access to support online and they have been very open to suggestions. They added an anamorphic mode within 2 versions of the firmware. Kinestation is great, their codecs are great KRW is a lossless format that can be converted directly back to DNG (if its not shot in highspeed mode which is 4:4:4 not raw. I would say they push their cameras way further then any other company because they have no top end to gouge so why not make the cameras the best they can be. Now for the cameras. Ive owned the Kinemini when it first came out and then upgraded my body to the Kinemini4k. I was about to upgrade to the kinemax but then the Terra got announced. Who doesnt want this camera??? You are crazy, just go and spend more money on a Red Camera then. I personally dont have $40k+ to spend on a cinema camera. The image on the kinemini4k is already lovely. A good mix or the red and Alexa honestly. The noise pattern is organic and the range is there.The kinemax 16fstops in Golden 3k, this sold me along with the highspeed options. Now with the Terra comes global shutter and 15/13 stops in a smaller body. I want one so I really hope none of you do so I get one faster. I got Rich off the forumn here to modify a speedbooster for my Kinemini and then Kinefinity made one shortly after. They are a company who does listen I feel. The mount is awesome, its a sub PL mount with many options. The sensor is Super 35..... I dont know what else to say really, its a sweet vcamera and Im glad I didnt go with the black magic cameras in the end or other cameras. If you really want to know more then just speculation you can join us users over at Kinecommunity and the Kinfinity User group on facebook. Rob

Absolutely. This is So much more camera for $800 than almost everything else in the market. The only thing they didn't really include is a mic jack (apparently), which is bad, but then one can always use a mic like the Shure LensHopper VP 83af or something. Apart from that it seems very good for the price.

You're mistaken. sony cameras are shooting 25p (25 individual frames per second), it just so happens that the sensor is gathering light for 1/5th of a second then closing, then gathering light for another 5th of a second, five times a second. each 5 consecutive frames are the same. if it was shooting just 5 frames per second, when I open the file in premiere i'd see 5p, but I instead see 25p meaning there are 25frames there. there might not be 25 different frames, but I have 25 frames none the less. Tell me one mirrored camera that can shoot continuously for 25mins at 5 frames a second with each frame exposed continuously without a gap. it isnt physically possible to open and close a mirror that quickly, continuously for 25mins regularly. even a 1dx or d4 will eat up its shutter count and mirror will be dead in 2 months. with the a7s you can shoot these clips at 4k, speed up by 500% and you have a timelapse with a rather interesting motion blur created practically, and in small file sizes.

for this technique you want less frames per second. Shooting at 120fps means you will degrade image quality for no reason since each frame will be sharp, and low light benefits no longer apply. for instance, 25p at 1/5th of a second confirms perfectly when sped up to 500% since the 1/5th shutter equates to 5 frames being exposed with one image. hyperspeed by 500% smooths as if it were 25fps. shooting 24p and 1/4 sec means you need to speed up by 600% to keep the perfect conformation. 1/4 x 600% = 1/24th sec or 360degree shutter. this was shot on the humble NEX5n, more than 3 years ago at around 400iso i think. imagine how clean the a7s would be when in this mode.

Sony allow as slow as 1/4sec at any frame rate. shooting at 25p and 1/5th sec then speeding it up by 500% gives beautiful low light results for timelapse type stuff. with the motion blur which is very pleasing for thing slike cars in the dark. https://vimeo.com/52579247