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Mod update for NX500 users here: http://***URL removed***/forums/post/57619677 NX1 users can stay on v2.0, no change - yet ;-) - for them. Enjoy...

TLDR; Get the RED because making videos these days is not a frat whereby you need to do time in the ranks. I respectfully disagree. Not trying to troll, but I think we like to create barriers that don't exist in this profession, as it is a natural response to the commodification of industry that technology advancements are driving. It is the same feeling the taxi drivers had in France when Uber started to be a threat, the natural reaction is to try to protect the many years and hard work you have put into becoming a professional. But the 'technology of things' is allowing the next generation to get to your level of professionalism faster than it used to. Filmmaking went from being a craft to a skill to a hobby in such a short amount of time that my head is still spinning. In every profession you start as an amateur and at some point you realise that you are in fact a professional. For doctors, lawyers, scientists and other professions where your blunders can possibly kill people, there are obviously a lot of hurdles you have to jump before you can pop that MD on your business card. Film-making is not one of these professions. In fact the whole allure of independent filmmaking is that you grew up hearing stories of people who begged, borrowed or put on credit (or stole, in Werner Herzog's case) the monies to fund their first feature. Did Rodrigeuz or Tarantino know the benefits/ limitations of every single camera on the market before they decided they wanted to play with the big boys? I doubt it. They figured it out along the way because they knew they were not trying to build a jet propulsion engine. They were making a movie. Now we cripple ourselves by thinking about the mechanics and science of every last detail that we end up making really 'safe' choices that add up in time and money over the years trying to plug holes in deficiencies (sound capture, monitoring, ergornomics, time in post...), and most would have been better off just taking the big risk to begin with. To make an analogy, I feel like we are car enthusiasts, in a sense that, DSLR users are like the guys who buy a Ford Escort hatchback and spend money on souping up the car so it sounds and speeds like a high end sports car... but it is not a Bugatti, no matter how hard it tries. But what is happening is the price of the jacked up Ford Escort is coming closer to a base model BMW, metaphorically, so you might as well get the beamer. But in a sense you are right that, due to pure statistics of how many people have failed at making a living in this business, both hollywood and work-from-home/ small office video production... it is wise to advise someone against putting themselves in financial distress over a camera system when something much cheaper essential would satisfy their potential clients/ cinematic needs. Its a fools gamble to take if it affects the well being of you and your family. But if you are suggesting that there is a learning curve that takes "months/years/decades" for someone to learn how to get the best out of a camera you own and could afford, that is a bit pessimistic. With Andrews guide, the manual, vimeo project descriptions/ comments, youtube tutorials and a few weeks trial and error - I think you would be very well informed about the GH4. Especially if you have been using prosumer cameras for a few years. I just feel that if you feel you can afford it, get the best camera you can buy and spend the years learning how to use it to tell a variety of stories or projects, rather than a camera that is best for niche subjects. The idea that training wheels are still needed in the video game is not as true as it used to be when every aspect of a production was a mystery. 12 years ago if you wanted to know how to focus pull, someone would physically have to train you because who the hell could afford a follow focus system. The same with motion graphics, who had a computer powerful enough to learn at home in their underwear. Who could afford anything but a zoom lens for their XL1, if you wanted to understand how lenses worked you had to assist a pro. Anyways, I conclude that we should not discourage people from punching above their weight because it is never a matter of IF they will ever figure out how to max out the camera, it is only when and we should not underestimate the power a young, hungry individual with time and the power of a google search. I would advise to spend those months and years with a Red rather than a GH4. It makes no difference really. I'm playing the name the next RED game. It's fun, you should give it a try! Think of the most macho words you can imagine and up the specs!

For gods sake people. He makes hundereds of LUTs in all shapes and forms. Its a matter of adjusting them. I dont care if its Deluts or Impulz, you have to adjust in post or expose for them in order to get them in the styles you want

thats honestly awesome i was searching for overtly masculine/aggressive terms but i just kept coming up with pro wrestling moves my example might be funnier but yours is more accurate satire lol seriously tho, just for the record: i supported RED since before day one. im not a hater i want them to do better hell, id be the first person to (partially) defend a camera called "RAPE-X MYSTERIONGYNY®™" if i was in love with the image. id be like "I kno the name is problematic but...!!!!" when i was brand new to filmmaking before the red one even came out and "old people" [translation = cynical assholes] were like 'Whaaat lmao an actual digital movie camera pffttfttt no way impossible" and i was like Uhmm what why...~? Ive been shooting STILLS for years and it seems like things are trending in that direction...? I mean im no scientist but pretty sure that If you think that pure technology is going to be a barrier in the near future then youre an idiot...??? many ::sigh:: years later here we are with a violence party of specs from red cameras, but how much better are their latest/greatest vs their earlier cameras? to me, in some ways, there may have been a regression... p.s. i love "specs", im renting a 5ds soon to shoot some special purpose stills that a d810 couldnt ~quite~ resolve, i did tests. but in cinema, more than any other medium in the arts imo, the whole is more than the sum of its parts lmaoooo ?

You guys have it all wrong, except for the weapon... all RED products had an affliation with the Word RED, like RED scarlet, RED dragon.... So, with that tradition the next one is going to be RED® BABOONS ASS™®

Calling all NX1 owners: 16-50s brand new back in stock for $800 http://www.bhphotovideo.com/bnh/controller/home?O&sku=1022903&gclid=CKD1zqy0lMwCFclkhgodSlkBEA&Q&ap=y&m=Y&c3api=1876%2C92051677442%2C&is=REG&A=details Edit: Looks like tons of lenses are back in stock, majority with HUGE markdowns. 12-24,18-200,45 mm all marked down $200 50-150 is only a grand. Crazy deals.

remove from the metal housing and wrap the element in masking tape draw a line down the middle drill lots of holes along the line using a glass/ceramic drill bit - like an arrow head shaped drill bit - make sure the elements are in a shallow pool of water to aid cooling/lubrication during drilling. don;t apply pressure - let the drill do the work. high speed, use a battery powered drill for safety - 230volts and water don't go! using a tile cutting fret saw slowly cut along the line - the drilled holes will mean you have less material to physically cut through using very high quality 'wet and dry' glass paper from 240 grit down to around 1000grit to grind the edge flat. the courser the paper, the more likely you are of chipping the edge so go steady when using he course grades. grind 'edge ways' not 'across' to avoid chipping once flat, apply a very fine chamfer to the cut edge using 1000 grit wet so remove any tiny chips. thin down some enamel matte black paint and apply to the ground edge - thinning will mean the paint natirally absorbs into the frosted ground edge dry in oven for an hour at 90degrees since the cheaper single element diopters from vivitar are crown glass they are less prone to chipping start on the diopter you;re less likely to actually use so you can practice. DO NOT attempt this with cemented doublets! you'll think you;re doing really well, then when that drill bit gets through the first layer and hits the second it'll shatter.

Also adds an 'auto' setting to the electronically variable ND filter. Released May 2016. Read the full blog post

Looking forward to your review Mattias!

I have to say, that video has stopped my gear envy of 3 axis gimbals!

I've got a Flycam Nano lying around. If anyone wants to pay shipping i'll send it for free.

I like the example video Ed posted. It's super stylized for sure but there's nothing wrong with stylized for the right occasion.

This is depressing.

No, thats the RED® EXOSKELETON® RAPIDAMMO SENSOR™® Please do your research before posing on this forum.

Right ! "not a frat whereby you need to do time in the ranks" Thanks HZ, You nailed the pyramid-thinking well-meaning people exhibit and exert on others ... And speak about automatic reactions & recordings : A ROBOT-camera that shoots the whole movie for You ! The RED® WARPDRIVE 666 w/ TERMINATOR-X SENSOR™® - 32K (3.000 FPS)

Agreed. Their cameras don't try to do too much. (And I was there for the Tom Antos Kinemax test posted earlier in the thread). On the Kinemax the menus were very straightforward, responsive. The color science gives a nice flat image that's ready for grading. No wonky "Sony colors", no BS. There were some issues with that camera, though, as Tom pointed out in the video. I believe the team at Kine are working overtime on the engineering side to add features and solve issues. But the biggest question mark before I pay that much cash (admittedly much less than similarly-spec'ed cameras) is whether the box is production ready? Does it work in the cold and in the snow? In the Rain? In blistering heat? How reliable is it? That's the $5000 question that separates the Terra and, say, a used Sony F5, or Epic Dragon. If it were priced to compete with the Ursa Mini 4.6k I'd be ready to buy, but in that FS7 range the reputation of the company, and resale value does carry a little more weight. That said, the Terra looks very promising. I want one. Or, at least, to test one.

This is great comparison. I am using glidecam almost every day (couple years now) - the best tool in my toolbag I can imitate tripod, dolly, slider, jib, if i had to take just one thing with me beside the camera i would take the glidecam. No firmwares, no batteries, easy to handle, can take it as carry on baggage, can take it to the mountains for a hike, can use it in the rain (DGS version with improved gimbal), most people doesnt pay attention to it, it is quite stealthy, can go through the crowd with it. It requires a lot of training but it pays of.

OK, some advancements - namely a way to speed up applying mods as soon as the camera wakes up from sleep. See more here https://github.com/ottokiksmaler/nx500_nx1_modding/blob/master/doc/Boot_Process_and_Speeding_up_Mods.md Also, a small poll and explanation: If you don't want to do it from telnet, wait a few days, there will be a nicer, more automated way to do it. If you are starting other things (bitrate hacks, whatever) - please do check if they are running already. You can use keyscan as test as it will return 0 only if it's not already running, like this /opt/usr/devel/bin/keyscan /dev/event0 /dev/event1 /opt/usr/devel/bin/ && my_program Just to make things clear - it's not modifying the firmware.I have no intention to mess with firmware as I have no easy way to repair my camera. We slightly tweak the "read only" rootfs (like we already do for BT hack - we just change a single line in script) and move our scripts from SD card to internal filesystem - the one mounted under /opt as "read write" by default. It's not going to brick a camera, I have even put a swap file to extend RAM on that filesystem and everything worked. NB, I have been using and testing this for two days now - no side effects. The main difference is that right now, when you pop out the SD card with mods and put in a clean one - your camera acts as if it was neved modded. With this it would be modded even without a SD card (ie, it would be modded with every SD card). All modifications are fully reversible and would be reversible from aforementioned utility. So, a small poll - do you want me to make an installer that will install mods to the camera internally in order to work faster?

Whores'n'Heroes A short comment about the situation in Thailand. A film by Jaquet Music: glantz.cortez Used gear: Sony A7S M2 Leica M 135mm, F2.8 Nikon 20mm AIS, F2.8 Mostly shot in sensor crop mode with 100/120 fps and sensor stabilization. No sticks. Hand-held. Picture Profile: cine4, S-Gamut3.Cine Edited in Premiere Pro CC. Graded with Lumetri (Deluts) and Filmconvert. Noise reduction with NeatVideo in AE CC. Thanks for a lot of useful information on this blog. Enjoy!!

Terra 6K is the same sensor as the KineMax $6000 Terra 5K is a new sensor that includes global shutter. $5000

Nothing new of note for us, aside from the FS5 firmware update. Going to be a very boring pro-broadcast industry orientated show this year I think, with the prosumer and consumer market shrinking back.

For everything over 50mm I would use IS for handheld. 50mm and under is ok. EF autofocus works nice. Watch my test video. Never used an fs5 so I cant tell you.

this is pretty damn amazing stuff. wow i need to rethink this camera. I just wish the thing wasn't 200 ASA. that makes it pretty difficult to use nowadays. Brings us back to lighting in the 90s. And a lot of things have smaller crews and move faster and have less bigger lights. Also the limited dynamic range. But still a really nice camera.

Never shot a timelapse on the BMPCC, let alone in ProRes. Experimented in upscaling some of the footage by 100%, in order to zoom in - its possible but has its limits. Looks Ok on a phone or tablet, but you'll notice the zoomed in bits on a computer. Oh, wasn't mean to look too sharp - just in case any sharp freaks watch this!

I think MJPEG is without noise reduction - could it help to find where it is set?

Apple not supporting Quicktime in Windows is nearly criminal

Update after uninstalling QT: Resolve is not recognizing any video and became useless. Is there a way to configure it to not depend on QT? Premiere is working as before, other than losing its ability to export most codecs with mov wrapper. Fortunately Cineform, my preferred low compression codec, is working with mov. I am lucky since I don't have a prores workflow, but this will be a big problem for many people. I just hope camera/recorder/NLE manufacturers learn their lesson and provide an alternative to prores (that nonetheless had to pay in order to use, but only with Mac support) & QT, preferably an industry open standard such as Cineform and not a proprietary codec with no support. As @Hans Punk posted, adobe is working towards that direction.

Cheap chineese flycams and similar stuff are nowhere near glidecam quality (and usability) unfortunatelly. I tried some small flycam and it was impossible to balance it properly, there was many small issues with handle, gimbal, loose screws etc. With such a simple construction those little things and quality overall are super important, i think there is no point in buying cheap versions because they just dont work properly. I had glidecam HD2000, HD4000 and now i have DGS, they all were great, they were precise and consistent in balancing, i could calibrate gimbal when needed etc.

Didn't Kraft already make a camera?

To be honest, if there was a difference in color depth or anything else it was marginal at best. After performing several test shoots side by side to see if there as any gain to be had by recording to the external recorder, I ended up returning it and now just shoot internal. To me the slight gain in quality was not a good trade-off for the much larger file sizes. But after reviewing my post, yes there was a difference, but just not a big enough difference to warrant the extra bulk and larger file sizes. Also, I did not find that I could push the colors further in post by using the external recorder. This leads me to believe that the bit depth is still 8 bit. The difference is sharpness is down to the codec.

It's right that you don't need 4K for delivery at the moment... but it's great for stabilisation, compositing, tracking, reframing and so on... And hard to let go of absolute need and reasonable desire aren't the same, but the latter can often swing a decision

The GX8 has a more recent sensor. I am guessing the issue with processing may not be with the sensor at all. It may be with the available processing power as well as not stepping on to the market of the higher end cameras. If that is the case, then the GH5 should concentrate on something like 4k ProRes or 10-bit AVCHD or something on those lines, instead pf moving to 6k. Though 6k would be excellent for post photo and other photography needs. Also low light can seriously improve on the Panasonics/ M4/3rds. And this again I feel may not be an issue with sensor alone. Also, from the look of things, the GH5 may be moving more into the $2000 range. Which would, frankly be justifiable.

On James Millers Vimeo site are other LUT examples, which I like very much: https://vimeo.com/millerandmiller

Painterly is a good word to describe it in this instance.

Because most vlogers dont use Log, or MF, or CC. They do however use SDOF, AF and selfie screens.

Yeah, good Spielberg-quote ! I like his (at least claimed) social attitude to filmmaking as a building-team, but I actually use a Clint Eastwood-like effective production and try to direct the beautifull way he handles actors ... One of my actors told me I was directing the same way Susanne Bier did which I don't think is a compliment, so I hope to grow as great as Clint, become as skillfull as Kubrick and balance mainstream with depth ! Talk about marathon-ambitions ... NB : A smal notice for Ebrahim Saadawi - Scarlet is just a reference for me ! -Resolution : I may have to settle with 2K (if 4K is too much to handle) for the project waiting, but I really look forward to Ratio 2,4:1 -Frame rate : Not decided as Europe uses 25, but 24 is said to give a better look; could be due to electricity frequence-difference US 60 Hz/ Europe 50 hz and then I would like to use some Slow Motion frame rates which has to be shot at 2K since Scarlet don't do Slow Motion 4K and it looks like used Epic MX are still way too expensive . -Low-light ISO performance you shoot at : A few scenes outdoor night, but mostly indoor evening, a little bedroom-darkness -Colour grading/push-ability of the images : I would like to have some post-room if I get extreme or creative ... -Dynamic range, super important? : The Scarlet range with HDR as an occasional possibility, is very OK or do you light your stuff creatively? : I use the "normal available light + 2 variable spots for creativity -Shoot doc type or narrative/controlled type? : Next project mainly fiction, so narrative at the moment -Need good in-camera audio? : I hate bad sound in movies, but hope Scarlets inputs wiil be sufficient XLR microphones or use external recorders? I have both jack and XLR-mikes and is newbie at sync, but considering external recorders -Need internal NDs, Auto exposure : Nah, will use matte ND's ... trying to avoid auto exposure -Want Auto focus? : Auto Focus would be very wellcome, but not so imperative -What lens mount lenses will you be using? EF (at some future-point I will start using PL as there are obvious benefits) -Battery requirements, will you be wanting an internal small battery that shoots all day I often use available AC-plugins at indoor-scenes since my old lamps used 230 Volt .... or fine with a V-Lock? : "Internal small battery that shoots all day" ? Has it been invented ? V-lock is perfect -Size/weight? : A 10 lb RED ONE is for emergency-plan C ... 5 lb and below can you use a DSLR to rig or If I wanted 8 bit I'd go for Sony FS5 or even consider Sony A7S2 want a modular RED/Cube or A 12 lb FS7 is for emergency-plan D ... 13,2 lb ? + I hate C100/300's bad ergonomic grip an FS7/C300 camcorder type? : Modula RED used Scarlet MX (or a cheap Epic MX) looks good, Ursa Mini 4,6 K is changed to emergency-plan B -Does the brand of the camera affect your clients : Not the present one, BUT the BM-support seems mediocre and Kinefinity's Chinese support is unknown ... -Do yo have a preference to a certain company colour sceince? Not really, I was a Canon-Cam-fan and discovered the un-ergonomic C100 ... Then looked at Sony VG900, X70, A7S2, FS5 and then BM Ursa Mini 4,6 K failed the promised global shutter until REDS Raven and now i look at old REDs ... Some people really hate Sony colours and S-LOG and love Canon and Sony RAW can be fixed in post, Canon C-XXX should have great colours, uncertain about BM's, but ARRI was amazing in "Game of Thrones" ! ARRI colours or REDs? However RED seems to do fine in many movies ... -Maximum budget in US dollars Raven basic package in EURO AND I cannot agree with You on bit-importance; I have recorded before on 8 bit, but I can see it gives a cartoon-like neon-result, I have wellknown danish painters on both parents side and able to see the difference in amount of colours ! I can actually taste Umani as well as taste red from white wine blindfolded ... Fortunately . 8-bit 256 different values, 10-bit 1024 different values, 12-bit 4096 different values,14-bit 16,384 different values, 16-bit 65,536 different values Movie Pro's use 16-bit or more and some directors or photographers might have some supersenses making pictures more beautifull for You all ?

Adobe Creative Cloud issues statement recommending Windows users uninstall Apple QuickTime http://www.newsshooter.com/2016/04/17/adobe-creative-cloud-issues-statement-recommend-windows-users-uninstall-apple-quicktime/

This is all very subjective, but the reason I'm excited about future Kine cameras is that to me the images coming out of the Kine sensors all have a nice matte like characteristic as opposed to the glossy feel of a lot of modern cameras. Feels very organic and cinematic. I know those words get thrown around a lot, sometimes to the point of wanting to claw your eyes out sometimes, but I can't think of any other way to describe it.

This is what you are talking about: http://www.reduser.net/forum/showthread.php?143854-RAVEN-and-KWAN-(Footage) In my opinion, I like the ISO test the guy does... not so much the first clip but the second clip (in the dark with a lighter) thats the kinda stuff I'd like to see... I wasn't a fan of the 3rd clip, which was the outrage of most of the people on reduser.net. But then people settled down, after seeing this: http://nofilmschool.com/2016/04/rare-new-footage-red-raven In my opinion, just cause you are buying a RED camera does not automatically mean that every single thing you take is going to be gorgeous. The only thing the Raven is bringing to the table is 4.5K resolution, high frame rates, 16.5 stops of dynamic range, and may be some color differences. That's it... It doesn't automatically make the video for you. Don't be disillusioned by the specs either... See Eric's video... If you can't do a similar video with a DSLR.... A RED camera isn't going to change that... Let me reword that, if you take footage of dog shit with a DSLR... It's still going to be dog shit with a RED camera... It's not going automatically look like a painting of the Mona Lisa. If you want Mona Lisa, you figure out how to paint well... Which takes time and effort. Now, remember Carrion... Some people were complaining here (on eosHD) that with big production, you can do anything... or something to that effect. If you can't do that... even with a DSLR and a couple of lights (cause I can)... you have A LOT to learn... The only problem I would run into is location, model, dress and make-up... but even then I can fake that like no tomorrow.

I dunno Ed, I wouldn't shortchange the A7S II. White balance issues and 8-bit colour aside, it's a fucking hell of a camera.

Agreed, they are great for S-Log.

I honestly doubt it. I think even mjpeg 4k would be huge improvement, but Vasile is more oriented towards video hacks, I'm more on basic and low level functionality as well as stills.

In his original post "and I need versatility (as far as possible) for all types of work and durability" A6300 might be okay for Narrative work, but live event coverage?

A6300 has 3 dealbreakers for me: 1) Shut downs due to heat, even in moderate temps is unacceptable for professional work unless you have a second camera to use as a backup 2)Horrific, worse than any other camera ever rolling shutter.(http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue!) 3) Horrid battery life. Get a used GH4 and a speed booster for your canon glass, you won't be disappointed.

Its all mine Felth good to unbox instead of the used review unit.

Hope so. It's listed as "GX80" in the UK though, where the euro tax law also applies. So I assume it is more a PAL / NTSC region distinction. GX85 seems to be a German thing. They are weird. It is also G70 and TZ101 instead of TZ100. Very confusing for the customer I think.

Waking this thread since its the place we have talked the most about the D16 and I just thought this looked great.

This is a common misconception among stupid people and the facts are very different. I have seen market research at meetings with Sony and Panasonic, also information on how the cameras are marketed. You have not. Canon's market and marketing is not that different. By the same token you can also argue an iPhone is for stills. Yet a lot of iPhone owners use those for casual video shooting. The 80D is quite an expensive consumer camera - more prosumer and hobbyist, middle of the pyramid, than something a super-casual consumer would use. It's in exactly the market where video usage peaks. In fact I cannot believe you are still bothering to put across this kind of argument in 2016, when every DSLR press release mentions video (and a significant proportion of the text too, sometimes as much as 50-50), a GH4 sells like hot cakes and the manufacturers are spending vast amounts of R&D putting 4K into stills cameras.

That's a REALLY wierd species of Canna if the Canon has the best colour here - it look's like it was the one grown in the radioactive wasteland!