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What this can't do is replicate the movement when you have objects in the foreground because the lens is stationary, so no sliding out from behind objects and such. I think that's what Phil was talking about. With IBIS you can do slider like movements and take advantage of the parallax effect and stay in 4k. I don't think I'd ever use the in cam feature, I'd just go handheld for the better visual or do it in post. Just my opinion.

Hi guys, I have been using the A7R II and the RX100 IV for travel in Cuba, check my video if you want to see the result. So far I loved the RX100 for the slowmo (I filmed everything in 120fps with it) and the A7R II was good too. The IBIS is not great but better than nothing especially when you dont have an IS lens. No overheating problem (this is mostly a problem for people who record long times). The biggest problem that made me sell it is ergonomics (body and menus, ..). It is atrocious. Also I am very disappointed with the AF. Actually my 2 biggest challenges during my trip for video were focus and ergonomics shits of the A7R. Having to set everything all the time was a pain, and the AF was not satisfying. I had no time for manual focus for the type of shots I did so missed a lot of shots because of this. I did focus manually 25% of the time though but it was a pain too. The only solution for me is DPAF from Canon or A6300 AF (I did not try it). Rolling shutter is insane on the A7R. I used the 60p FHD mode sometimes and also the FF mode instead of crop mode sometimes without noticing a big difference. I used a Pilotfly H1+ that was ok. Used it only for the RX100. The good thing is the combo RX100/gimbal 120fps and the A7R II for DoF shots and 4k. Who has used this combo successfully? What do you think about the video? I feel horrible about how Vimeo destroyed it, the original file is SO clean on my screen... But I guess we are all in the same basket here.

Hi cisco150, Well, the effort is/was spread between various contributors (in temporal order of first contribution): Otto - initial break in the camera (through information gleaned from the NX500 service manual, which allowed access to a root shell); also various utilities that are enhancing the photo side of the camera as well as providing the user interface you can see used by various mod packs, and the bluetooth hook; low bitrate 2.5K mod for NX500. Myself: all my work to date was basically about video: access to DEV menu to (among others) disable video recording limits, high bitrates for all video modes for NX1 and NX500 and high bitrate for NX500 / 2.5K. I am also looking into other more difficult aspects of the camera operation but I won't comment about it because nothing came out yet. Kino Seed (and maybe others) - packaging and fine tuning the results of 1. and 2. above. If you would like to recognize the above work there's no one place for everything: Otto suggests you contribute to a charity as a recognition of his efforts. I am looking to get some more NX lenses (so far I am about 1/3 :-( of the way to my first wish (take a look here), and Kino Seed did not mention anything. In addition, you might pledge here to help make a camera available to me to (a) stop using my own camera for my investigations - two months of intensive research use resulted in a loose power button that needs replacement and (b) to enable some dangerous experiments for which I do not dare risk my own camera but which might benefit the user base - an example would be a permanent hook that does not depend on bluetooth and would be instantly available upon power on. Hope this helps regards

Yeah man, I emailed because of your thread! Now we're on the Ballot!!! Good work dude,

One lens for me would be a standard zoom, 24-70/2.8, the Nikon Bourne f/2.8 zoom, or a good copy of the 24-105L on FF - or the equivalent on smaller sensor. If you're talking one FL, it'd be a 35/1.4 for me.

Thanks for the interesting comments. I agree that people are more laidback in Cuba, and that my editing is on the fast side. I did not use this technique specifically for this project but just because I wanted to try it (never did this type of edit before). I took 600 clips in Cuba in 2 weeks so it was the good opportunity. I tried to be slower though than Watchtower where it's so fast you sometimes dont even know what is happening. Maybe a classic edit would have been more adapted to this video. For the people, I could have put more people in the video. But on this point Cuba is just not the people but also the lands and animals which are all fantastic so I tried to put a mix of them. The thing with Atomos and LCDs is the weight and volume and the equipment you need which is not practical when traveling with your GF and doing this not as the main purpose but on the side of the travel Thats why I need good AF.

sigma 24-105 f4 is a great zoom lens

All reports on this camera as the one to get for your intended use. I agree the Zoom H1 isn't the greatest, but it's a heck of deal for 100 bucks. I just use it on a boom stand 12-18 inches away or with a lav... seems to work well that way. It's got a cheap build though. The IBIS in this camera, from what I see from preproduction models, is quite good in static shots replacing a tripod or walking type shots. It removes micro jitters, but it doesn't do well in panning- seems to play catchup when moving a little too much. It might be optimised a little more when the production version is released. Another point is that with movement comes blur... 4k needed? Just saying... As for the stills, it will do great for my needs. Will it be the best? No. I think other cameras are better, but not leaps and bounds better. I would say single digit percentage better, not new category better. For that, people should be looking at medium format. Also, when was the last time you printed something bigger than A3? We're at a point in photography that the problem with most people's photos is not the camera. I include myself in that category.

Here is the finished video. Everything was shot on the UM46 ProRes UHD. One shot on a beach was with an iPhone 6.

Went to Porto on vacations this past week, what a wonderfull city ! Will be doing a video of it soon (trying to go for a watchtower of turkey feel). Anyway, I found a new 16-50S for 499€ and couldnt afford it, still bummed about it, but I might be able to get it, but its a shame I just got the 18-35mm...I dont really know what to do... Also, tested some new in-cam settings, here are the graded results !

Forgot to mention the cheap Tokina 28-70, shot this awhile ago with the NX1 and mainly that lens. Has a great look to it.

Contax 50mm 1.7 MMJ on a GX8 using a standard CY to MFT adaptor. Shot at F1.7

Oh, I forgot the Tokina 28-70mm f/2.6-2.8 AT-X Pro. It's an Angenieux design--creamy and beautiful, with excellent skintones.

Damn it, I'm almost out of chinese viagra...

I don't even have to think it over - lately almost all my shooting is with the Nikkor 28-70 "beast". Lots of corporate stuff. Sharp wide open, great IQ, out of focus areas get a nice glow. Aperture ring and built like a tank. Wide open you can let it flare in high-key setups to get a nice softness with sharp details, or flag it off for deeper contrast. Very low distortion wide and the 70mm end is lovely. Takes a heck of a focus gear and generally needs a lens support, but very glad I have it. And kind of a steal used, they can be found under $1k, and since many of them had lame focus motors, you can find one needing the motor repair for a steal if you don't need the AF. The only thing I miss with it is that 80mm Nikkor look for interviews, but having the zoom is really convenient for one-man corporate gigs - makes it much easier to get good framing in a tight office, and then you can grab your b-roll without swapping lenses.

Maybe try Artem! My go to guy for Russian lenses can be found here: http://www.ebay.com/usr/artemstore . Always a pleasure doing business with him. He has standard and occassional gems (as well as NOS (New old stock)/surplus). I always find myself going through his offers ever now and again. There's a couple of more stores like it in my favs. Zenit/KMZ/HELIOS/JUPITER/etc never disappoint on character. Contax Yashica Zeiss, it has been said many times before, they have that Super Speed/Ultra Primes-touch. I wanted to go with Leica R as well, but you know... for a whole set you'll be spending pretty crazy money and a fair CY Zeiss set can be had for perhaps what one of your Milvus lenses goes for... just the 21mm f/2.8 is a very rare and expensive one... the 100mm f/2.8 is priced outside of the range of the others as well, the 25, 28, 35, 45, 85 and 135mm aren't actually that mad expensive. The 50mm -> f/1.4 would be the exception to the f/2.8. The 45mm is a bit of an oddball there, it's more of a pancake lens that kinda takes a slight hit on performance. But a very solid line-up otherwise. Not sure how they'd match with the NX1... but I take it there's enough people who've tested the particular combo. I also 2nd the Ai-s! Especially the 28mm f/2.8. It's kind of a legendary one. Very sharp, hardly any distortion (sweet for landscape with D5300). I had gotten mine through: http://www.aclub.com/product-p/nik_28_2.8_mf.htm . They might give you a small discount if you ask nicely.

@kidzrevil here's a 4k screengrab from a project I'm working on right now, shot with the NX1 and 50mm 1.7:

You have CS6 and I think Mercury Playback was only introduced on CS5. It probably got a lot more use via nVidia/CUDA than OpenCL/AMD, so maybe that accounts for the reliability issues you saw. Re ProRes, this helps performance due to eliminating the need for H264 decoding. Long-GOP encode/decode like H264 cannot be greatly accelerated by normal GPU methods so using Mercury hardware playback doesn't help that per se. However Mercury hardware playback makes a huge difference on effects. Since virtually all editing requires effects the net result is GPU acceleration makes a big improvement even though it doesn't accelerate encode/decode by itself. ClipWrap can either rewrap AVCHD which does not transcode but is faster to convert, or it can transcode which is slower to convert but will run faster on the editor. In your situation I would suggest transcoding. The tradeoff is ProRes takes about 8x the space of AVCHD and also requires more I/O for that lower-density data. However it greatly lowers the CPU consumption of editing and improves responsiveness. In general I would suggest moving from CS6 to some other editor, whether that is Premiere CC, FCPX, or Resolve. CS6 is really old, is not being maintained, and you will get better performance, reliability and features on any of those other editors.

Figured as much, you come across as a classy guy with good taste - hard to imagine you rocking a series-E! (But as I said, if money is tight, the Series-E 100 2.8 is really more special than the reviews would have you believe. If you can't afford the classic 105mm, it's a steal at $70-$100 or so. The Series-E 28 is pretty much mush wide open, OK at F4 or so).

voted for the NX1!

Unless you're flying an Alexa Mini and need that last bit of highlight detail (like in the Revenant or something) I think you'd be foolish not to go with the X5R. The smaller platform is more stable. Lots of price/performance there, too–I expect the image to be competitive with anything up to and included the Dragon–but with less flexibility in terms of lens changes. But if you need to buy a new A camera, too, and are already getting a Ronin MX for it, then maybe it becomes less obvious a choice. Also, the Osmo and Z axis would be amazing.

I've used C100 AVCHD native in Premiere for a couple of years with no problems. You don't gain any grading latitude by transcoding to another codec even if it is uncompressed 16-bit or whatever, as the Mercury Engine is moving around in a 32-bit space anyway using acceleration to decode and render. Just be sure to render your final with "render at maximum bit depth" ticked and you'll be good. Transcoding is for when you don't have a native engine or your computer can't handle the playback so need to make it iFrame. I've A/B tested it with Premiere and unsurprisingly, there was no difference. Most of the ones where there's difference are people not ticking the right boxes on export. That's my experience!

my ticket. not sure why they have decided this. I don't why some can't get the video even in. I would get something like the klite codec pack and the avid codecs. I don't why that would make a difference.. I have 3 pcs all win 10 and there's no issue with the video importing. I think it's absurd they just decide not to support aac on windows. bleeding arbitrary. After discussing the matter with our development team they have confirmed that AAC is not a supported audio codec on the Windows platform. I will mark this ticket as a feature request for the attention of the development team. As we are technical support we cannot comment on the possibility of future features or support for future versions of Resolve.

vintage Vivitar lenses (come in various lens mounts) have some pretty nice looks (its hit or miss though). I got a Vivitar 28mm f2 in c/y mount for about $30 that is has good contrast, but still pretty low contrast when it comes to modern lenses and surprising sharp wide open. Old russian lenses like the Mir and Helios (lomo may make some Still lenses too) but those are usually the most organic looking in general

Yeah on the g7. I may have a screengrab. I'll check and post a little later if I do.

Thanks for all the comments from you guys, doesnt make it much easier, though I checked my needs again and if I try to put the GAS aside, I think the RX100 fulfills nearly every of my needs except shallow(er) DoF. However as you guys pointed out, there is no THE camera. Stabilization is definitely wanted, so that removes the BMPCC since there is no IS lens even with speedbooster that would give me nice DoF except the Canon 35 2.0 IS... yet with the speedbooster this will be sth like a 57mm FF equivalent which is too wide for my taste. I ruled out the 5D mark 3. As nice as it looks like, it will be a waste of money since it will be pretty soon outdated due to the successor and I would need plenty of CF cards, etc... I think you guys reminded me of the fact that the process will be kind of cumbersome, especially when just being out their with my backpack. So long story short, I think RAW is not really an option.

Tokina rmc lenses are beautiful, especially the 17mm f3.5 and the 35mm f2. They are my favorite lenses after the wonderful nikkor 55mm f1.2.

Any craftsman or tradesman will tell you that you use certain tools for certain jobs... I, personally, love the look of the 4K mjpeg coming from this camera.... Even in a measly 8-bit. I hope this codec trickles down into their cheaper models.

So should we refrain from criticizing tools with flaws?

Resolve is interesting, but from what I've read, we're a release or two away from it being your main editor. I'm in the same boat - STILL cutting in FCP7 and using AE for much of the stuff a modern NLE does natively. I finally have some time to upgrade hardware & software, I'l probably start with FCPX and see what I think.

the pix e5 may be a good recorder but the media they use is not much better then SD cards. you get 2.5" SSDs anywhere and can use HDDs for fullhd but where do you get enough m.2 for a long night of shooting?

I was onsite for NoFilmSchool and actually talked to the SoundDevices guy about this specifically! I asked him whether he felt threatened by the development of a sub1k 4k monitor-recorder, since they have the Pix-E series, which I own. He says no, because he was wondering about the feasability of Prores 4K being recorded to SD cards reliably. Also, the PIX-E is fully kitted out with scopes et al and is super rugged.

I have a Surface Book and I just finished editing a little piece in Davinci Resolve. I have a macbook pro as well but picked up the surface book because I like do all my non video work in Windows. I have the i7, 16GB RAM, and dedicated GPU. I was editing 4k 24p XAVC-S 100mbps files for this project. First you can forget about 4k editing. I used Resolve to generate proxies at quarter res. Those still wouldn't play back smoothly in the 4k timeline, I turned on smart cache and proxy viewing and still no luck. It would play back very slowly and was unusable. When I set the Timeline resolution to 1080 the performance improved dramatically. There was no stutter and no hesitation. A good editing experience. I did my color correction with a couple nodes of corrections and it still played back well. When it was time for outputting I switch the Timeline back to 4K to export. I found a bug/ limitation though as I could not export 4k using the dedicated GPU. I kept getting an error saying the GPU memory was full. So for the final render I just detached the keyboard and exported with the built in graphics and cpu. It was slow though about 3-4 frames per second going to a UHD h264 for vimeo. So does it work? I am personally good with this performance because it's not my main station and I will probably edit most of my personal projects with it. I don't need to see 4K working in the small viewer on my laptop, so working in 1080 and then changing to 4K for export is fine by me. But I do wonder how the Vaio Canvas would perform with it's Iris Pro.

…and after the last few major upgrades I've done, I've learned that grownups CAREFULLY SAVE THEIR PURCHASE CODES for plugins… the serial numbers or whatever, the download link, and a master list of plugins for everything, all in one place. It can be months after an upgrade and I'm mixing in protools and realize "that vintage comp emulation would be tits on this"… and it's not there… grrrr. Trying to remember to do that every time I buy something. One thing I miss about the previous Mac Pro? All those places for hard drives. It was so easy to pop in an SSD and boot back and forth - and still have your older OS drive accessible if you needed to dig through the library or whatever.

One day, when Canon finally releases a 4K shooting camera with Canon Log and an ideal codec, I'll be able to make a film. Until then...

I am buying this cam for runn gun web journalism. Not having a mic forces me to give proper atention to audio recording, not big fan of the zoom h1 though, porbably the juicedlink with a good and small directional mic. I am not convinced yet about how smooth the 5axis is... On the stills side every time I see a Pen-F photo it looks like another league.... I keep trying to convice me that new pana stills are almost as good as, say a 7d, but they actually look plasticky while the olympus not so much.... Still, this camera is so small and practical. I am buying it

As well as the aforementioned comically giant 8-bit files, every film I've watched so far seems to have clipped flat highlight areas knocking around. It's not the end of the world but it's not that nice when even cheap cameras come with log now. What's the excuse? It costs 4 grand! Sony give you log in a pocket compact. Why make you use an ancient 800mbit codec at 8-bit with no log? Because this doesn't have a "C" on it, so you aren't allowed nice things. I do start to cringe when the "well it doesn't need it" defensive arguments come out, it reminds me of Mac fanboys who tried to defend the Mac laptop with only one USB slot that doubled as charger. "Well... I DONT NEED IT! I LIKE NOT HAVING IT! ITS A GOOD THING" Yes you do, no you don't and no it's not. You're trying to feel better about being stiffed there's no prizes for It. And also it has no peaking right, or so I hear?! and I suppose no one needs that either? So a 550D with magic lantern still has a bunch more video features than this?! I'm a canon fan, I have three video cams of theirs. But I'm not a fanboy, and won't cuck it up and pretend that cheaping out on features is somehow generous. It's not, they've really held back on video here quite obviously because it's not C series. maybe if you're a still+video guy this is a good option. Weddings etc. Shoot stills, roll baked-in 8-bit video. But It all seems a bit ropey for video only use. I can see no reason to drop that kinda cash on it TBH and in hiring terms the C300 mk ii has it beat. still, each to their own. It's not a bad camera obviously, but as far as I can see it's just more proof that they're determined to separate stills and video.

The real takeaway here is that both companies are doing good (in a declining market) and that both systems have a future. Maybe Canon is doing a little worse and will have to innovate and Sony still remains an underdog that has to innovate hard. Hopefully, Sony will soon have the luxury to slow down and start on polishing the quirks and provide the absolute best system money can buy.

Premiere really needs to add support for BMD's compressed Raw files!

So, if you using one of the Kino Seed's packs, here is the one, which didn't freezes the camera if mod boots with EVF, version 1.37 (and following I think)

I think it's never, but at some point there is price/quality question, like hmm I can get 100 minutes of pretty much FINE footage or 40 minutes of superb, and also it about keeping footages after you acquired it and so on. Maybe the price is high for one and nothing to other, well it's just it As for me, here the deal - I can easily say that I don't see any dfference in some scenes between 80 and 180, and in some scenes I can spot the difference between 160 and 180, and can predict that there is scenes, where 250 mbps isn't enough. It's really just question about how much is enough and how rare is not

If I may present to you: screengrab of 240 mbps test footage. Yep. Did try this and seconded your result - camera need to battery pull off. I'm using 1.30 version and get this bug, Which version you use?

Stiils from 180 mbps video of that gig

(1) and (2): Some explanations. Scripts are stored on the SD card. SD cards are optimized for sustained writes and generally slower than internal emmc flash, especially for mixed read/writes. When you start to mix script reads and video writes you are confusing the sdcard (internal) flash memory controller and since the card is optimized for large writes it will behave badly for short reads like those of scripts. Especially when these are comparatively rare in between long sustained writes. The ARM core running Tizen and the user interface is single threaded and not very fast (the fast ones are running the non-Tizen T-Kernel operating the camera hardware). You WILL see slowness because the UI has to wait for the keyscan to finish which in turn waits for the scripts to finish which in turn get read from a (comparatively) slow card the SD before it (the UI) can continue with whatever it was doing. the scripts heavily use the Linux shell, launching it every single time a script is launched (and remember for us scripts are launching other scripts - nested scripts). Bottom line, there are several things someone will need to do before you will get better performance: RUN, don't walk, from storing any script/mod/hack on SD card. This is the single greatest reason for slowness, and to make things worse, it is highly dependent on card model (and more expensive cards will not necessarily make things better because it may happen that high end cards will work less well for small reads than cheaper "non-optimized for writes" cards. Otto is doing something about this but AFAIK it is still experimental although not rocket science. But you will also have to overcome your fear of storing mods internally. After all, once you did the BT mod, you basically did 95% of what is required anyway and successfully passed the "dangerous" phase of changing camera rootfs. I do think that we need to improve that mod to enable mod bypass during boot just in case something goes wrong with any of the internal mods, and that we need to have a "mod witness" permanently on the screen to show that mods are enabled, but this is minor. Eliminate multiple scripts from "production" mods. Scripts are fantastic for getting functionality in your hands and to allow fast test turnaround and mod interface evolution but ultimately there needs to be a consolidated mod that sits in ONE binary. This is, by the way, I think, one of the reasons for the fat di-camera-app that runs the entire camera UI. Script support needs to stay (both card and internal) but over time, all mods should aspire to be part of a main mod binary. Ideally, a mod should go through multiple stages: SD card based while it is evaluated and goes through fast changes and updates and while we are NOT CERTAIN that it will not damage the camera internal when determined as safe for camera and changes are not so frequent once stable and generally accepted, optimize and integrate as binary (non-shell script) in a main executable mod for fastest speed. There you go. Also, from what I can see in the firmware, it seems that the data flow in the camera goes: Sensor => DRIME (that is operated by T-Kernel) => Tizen kernel => write on card. The reason Tizen and not T-Kernel writes on card is that you cannot have multiple operating systems write on the card at the same time. This means that if we bloat memory use on Tizen, its capacity to maintain sustained writes is lowered compared to what it might achieve with more free RAM. In turn, this means: avoid shell scripts or heavy programs (like my gdb bitrate mod version). This, IMO, is also the reason the "poker" method allows faster performance than the "gdb" method. It is also the reason I am working towards an even better method than "poker" which will consolidate the "memory change" mods in one binary without the need to stop the di-camera-app multiple times (which is very time consuming for the CPU). Finally: Would anyone mind starting something like a gofundme campaign for a NX500. Mine needs a replacement power button (I kind of abused mine I guess) and I am reluctant to keep working on it after I get it repaired. It is too bad because with time, based on what I see in the camera, and if there was a developer community built around it, the hardware could achieve wonders. And to be clear, Otto, Kino Seed, Chant, and me do not "community" make IMO, like for example Magic Lantern. If you guys want anything close to ML you will need to do a lot more about spreading the word and competing for developers time/recruiting new ones. Regards Vasile

Yes please! This would be huge for me and my uses. a sort of loss less digital zoom/crop. Range from 1.5x(std APS-C) to about 2.4x. I think we are just dreaming though.

Yeah, I am pretty excited. I had zero regrets or remorse listing those lenses today. I wasn't planning on getting this lens so quickly, but one came up and I threw out a lowball offer and they accepted it. Now I need to raise some money to get the GX85 because I want to make sure I like it before I sell my G7.

preliminary test is wiping out the lines 100%. 1. Shot gray card out of focus at a light level that seemed to maximize the vertical lines. 2. Brought that clip into DaVinci and used Temporal NR to remove noise, leaving the lines intact. Raised it to 50 IRE. Removed all color. Then applied the inverted color LUT. 3. Exported that as a single frame 12bit dpx. 4. Re-imported and applied as a matte. Layer mixer set to Overlay blending mode. and that's it. right now there is a slight shift in gain. which means I need to dial in how neutral the 50% gray is. it's a little too bright right now. I want to get it so it doesn't affect anything but the lines. Also wondering if I could use a luminance secondary to limit it just to the shadows.

give the crew a $60k budget to shoot, and a $20k budget to pay for the edit/post for a promo video for the nex5n and the results would be just as awe inspiring. The level of production value on this video makes it impossible to judge the camera because in real instances with these budgets they'd just add another $2k for the rental of an Alexa Mini for the couple of days of shooting. $80k for 8bit acquisition and a lens mount incapable of using real cinema lenses, or $82k for arriraw acquisition and the ability to use cooke s4's.. Nothing more annoying than consumer advertising techniques selling a dream to people that they'll be using a dslr to shoot these types of projects.

btw... is filming someone welding/cutting metal the high end equivalent of making a "cat in the garden" demo video?

If we could all pitch in a bit more about feedback on work and less on camera specs, a lot of people who actually take action, like yourself, would greatly benefit. Not that you need advice to create good, professional work - as you have done - just as a general discussion/ support to get creative juices flowing for next projects or moral support, idea generation etc. To me that is a true community. Feedback, feedback, feedback, tech specs, more feedback, newb questions answered, feedback... Not that I have anything to add of use! But we should feel obliged to review the work of our peers if they ask for it from our own weird spectrum of experience. Thinking more about this famous 'story' everyone keeps talking about. Here we have someone who has created a story and... no response. Anyways, I digress... Keep up the good work! edit (additional stuff): I think most people are shy to give feedback because they don't want to come across as assholes, but then there is also a few who simply think anything done by anyone else is irrelevant to their life experience so they don't even bother to look. Both extremes are products of our anonymous age unfortunately. Again, not that I have anything useful to say, I just see this as a good opportunity to get others who DO have something useful to say, to say SOMETHING. Sorry if I politicised your post, I tend to do that:)