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I feel that Sigma are now one of the most innovative of Japanese manufacturers, certainly the most adventurous. Just look at the products. There are 3 Sigma creations I've invested in recently that have blown my socks off and bazooka'd the tea out of my cup... Read the full blog post

200mbps test with 20mm f2.8 Short test Btw, sandisk extreme sdhc uhs-3 class10 (60mb/s) works great

My Micro has arrived! Such a little beauty. My VS-2HD looks huge when mounted on the Micro

All will be revealed soon enough...

for now.......

This must really be a taste thing, because I've seen lots of comments both ways on various forums saying the Kinefinity or the BM had better color. It's not a very definitive comparison; we don't know enough about the settings and conditions to draw any hard and fast conclusions. Also, keep in mind that the 6K sensor only captures the full 16 stops of DR when downsampled. The full 6K has slightly less at 14 stops. Personally, I think the Kine color looks a bit richer while the BM is more neutral. Kine has nicer motion, BM has cleaner shadows. Kine has higher resolution, BM has less rolling shutter. There's some amazing footage out there from the Kinemax, whereas the 4.6K...it looks good, but has yet to really wow me from an aesthetic standpoint. I'm excited to see what we get from the 5K, as that seems to be the more comparable sensor to the Ursa Mini.

Not kool-aid, more like finely aged CCD wine.

just in case anyone missed it and wants to help: vasile started a gofundme for a sacrificial hack camera. all details here: https://www.gofundme.com/22d7kj8

Still not even had time to install the new firmware... and the little time I have for cameras outside of work is being stolen by the M8. But here is some footage. A quick edit of material gathered for a BTS to a friends photo exhibit. As some may know I shoot a lot of analog film, so when he needed a BTS for his Large Format project I was game. He is doing two things, recreating old pictures of his home town. And also takes portraits in the same old stiff ways they did back in the 50s, but in todays environments. In this "draft version" I left in some shakes, zooms and sound for the sake of reviewing the LS300. The final version will be silent, probably B&W and much much longer. (its going to loop on a monitor in the museum) Its shot in HD 4:2:2 using only a Canon 35mm f2.0 IS lens. All closeups etc are done with the marvelous Prime Zoom. It was a good test of something I already knew, the LS300 is a killer Run-n-Gun camera. There was no directing, blocking, or retakes. Everything outside was was done in an hour and I have loads of footage. Like I said, these are just some random shots from the material, I didn't spend more than 10 minutes on grading since its going to be B&W. I might do a short version of the final video and put it on Vimeo later on.

I am flying Phantom 3 Advanced (2.7K cam) for 2 weeks now, the first 1 crashed into the water ( Quality failure) I got a new one and just 3 days ago I made the mistake trying to fly under a little bridge were it lost GPS and I was to unexperienced to fly in ATTI mode and react real quick. I thought about quitting..but I like it so much that I will try a third time..this time thinking about a Phantom3 Pro..(4K) it has almost the same camera quality of the Phantom 4 and even the Inspire 1. Now I will take more time to learn how to fly (also without GPS) If you want to know some more, just ask. Here is my 'Bridge to far' Siep

or should i call it "Kawa & Kowa" ??

Yep but honestly I do not shoot video with ND anymore, it is a hassle for nothing. I think you can achieve great look without the 180 rule. Only interest for me in ND for video is to shoot at 1.4 in daylight which I have to agree is a pain on this lens. Other than this, I happily shoot at 1/500s if I need to, with a great look out of it. Guys like Brandon Lee and so on do not use NDs either. Its a pain in travel, and something to always look after (with focus, aperture, ...) The lack of ND for a 1.4 lens though.... limits the lens mainly to low light use where it should perform top.

Yes, the Sigma Art lense are amazingly good for the price. I have the 24 and 35 version but the only problem (for me) with the 20mm is the lack of filter thread.

Let me know what you think of my reel. Thank you! Cameras used are the Canon T3i, and Samsung NX1. Everything shot in Oregon.

No. No. No. Its mainly this, with some minor corrections: +1 I don't know when they started thinking this way. They added 1080p from 5D2 all the way to the rebel... They had 4K and the cinema line since 2012, since then... only the price of the 1DC just kept dropping, from what? $15000 to $7999? Now, instead of introducing a new DSLR altogether... lets add few features here, take away a few features there, call it a 1DX2 and price it at $5999, perfect! Now the 4K crowd can't complain. Might as well price the 1DC there and call it a day. EDITTED to add: do they even have a R&D or research analysis department? But lets see... who knows right???? NICE! Soon I will be right there too. Only different cams.

LEL! My Scarlet standard setup is 7kg with a small prime lens. So if i can I'm happy to use a little camera, if I don't need the nicest image quality. Every Red should come with a set of these: *** In this situation battery life would be a real problem, as batteries massively underperform in freezing conditions. You'd need a huge sack of them for an SLR. I'd definitely want to run with big goldmounts or v-locks, and yes 10-bit at least for smooth transitional tones.

White balance on the A7 camera line doesn't work. No maters what you do, it's never right. Something in the image always has a compromise. That said, I setup a custom white balance for every scene with the A7SII as the presets don't work at all, and very scene is very different. Normally there is a shift down to magenta to take out the ghastly green cast on skin tones. In post, I find myself having to dial out a blueish purple out of the shadows. Just the way it is.

Then I would need a stills camera too. Why can't people grasp that everyone's needs are different and there is no perfect camera for every single job?

The AF works ok, never use AF but tested it with the 24-105. No, there is no Sony color issue at all IMO. It looks great. I hope they don't. Like you said, Sony has already provided us with really bad 4K so Canon can wait until they can make it good. The Panasony 4K is not better than good HD upscaled imo. To get good 4K you need a big camera with a fan and a high bitrate. That's why there is no 4K bmpcc. C300ii, xc10, ls300, bmpc4k all have cooling. Sony even overheats their smartphones when shooting 4K, deliberately. I don't think Canon is ever going to release something that's half ass. And if you ask me, 4K is still just a little feature like 120p or an extra battery. Some cameras have it, some don't. Its a minimum of 10 years before its needed. That's how long it took for 720p to become a "standard". HD is not there yet.

I have this lens... Currently selling it on eBay. It's a nice lens. Constant zoom with the zoom mechanism inside the barrel. Good macro. I haven't used it with a 5d, but most Nikon lenses work well with Canons.

Yeah , but If you had the budget to go do a shooting on a glacier, you should probably rent/buy something like a c300 mk2 that is weather sealed with pro camera functions and internal ND. Because I don t think you want to go shoot a space where everything is white without zebra and peaking and on a 8 bits codec.

The manual zooms above looked really nice. I want one! Thanks for sharing.

It's good, not exceptional. The Dual Pixel AF is pretty nice, although you're hamstrung by the lack of touchscreen AF. Solid 1080p, but no 4K.

There was a bit too much of that 3D VFX space ship thingy but other than that, impressive stuff!

I like the red one mx a lot more now. I really finally appreciate a nice high-resolution sensor, thanks to now having the Sony F65. Seeing the difference. I still like the sony f35, but I think I was overdoing it on the kool aid over at dvxuser. If anyone wants to buy my last, f35, let me know. Will get you a really good deal. It works great.

Nick Driftwood's GH4 V-Log L Atomos Shogun 10-Bit ProRes, 6 sample clips : https://www.dropbox.com/sh/eek5jx5j7hzk5x9/AACzLTCNjdnCzm57nJ9yGYEta?dl=0

I would perhaps even cut it by 30 secs or a minute and leave some of the shots that are more of the same or not as powerful as some as the others out. There's some really cool stuff in there.

Just the video then:

So I've played around with them for a bit won't have time to upload a video until later this weekend but here are my impressions after using them for an hour. - Great Build quality. I enjoy the weight, not overly heavy. - Manual focus great for AF glass. Smooth. 120 degree throw on 85mm, 180 throw on the 35mm - Both lenses breath, but not very badly. - VR is like Nick says above, it's not aggressive at all, just seems to smooth out the "shakies" from handholding. Works really well and doesn't jump at all when panning. Enjoy it so far, thought it is not on the same level as the Samsung S lenses. But the samsung glass can jump on fast pans. - Both lenses are very neutral in their color. I think I will like it for post, but not for straight out of camera looks. - Both are very very sharp. - Electronic aperture mechanisms means you need electronic aperture adapters to use the glass, otherwise you are stuck at f22. No way to shoot with these on the NX1

Im just puzzled why people still are surprises when a pro stills camera meant for stills doesn't have enough video features to replace video cameras Specially when it has something like 4k at 60fps.. Pretty advanced for a stills shooter imo. Its one of the, if not the best, sport's photography stills cameras out there. Pretty obvious that's why they bothered with the 60fps. It actually makes perfect sense. Making the camera you intend to sell to sports journalists full of features for the "Indy" crowd on the other hand would be seriously wired. Take the 1DC as an example, it costs way less used than a 1DX mki. Because the target audience would never buy some wierd "cinema gadget".

Hey Guys. I've been building and flying drone for years now, long before it became mainstream. Here is what I would consider: - Before buying a 4-5K inspire, get a a dirt cheap used Phantom 3 Standard (the cheap version) for $300-400 and play with it a lot. The control and handling are similar to the Inspire but this is the one you want to experiment and crash (because you will crash at the beginning). I would even start with a $35 Hubsan X4 to get familiar with the controls. - There are a lot of brand but the ready to fly package are DJI, Yuneec and 3DR. unfortunately the inspire with X5 is the only one that can provide enough IQ for real pro work. - Matrice 600 Vs Inspire X5R ? Beside the big size difference, the main aspect is redundancy. There is no room for failure on the Inspire. If one ESC/Motor/Prop/battery/flight controller IMU or compass fails, the whole drone is going down. The new Matrice 600 offers in its Pro version a new A3 flight controller with 3 GPS antenna and 3 IMU in order to prevent failure (like in modern airliners, the 3 sensors check against each other and the computer eliminate the one unit that would give false reading) The Matrice can also handle the loss of and ESC/Motor or prop and land safely, albeit with limited control. A quadcopter will spin an free fall in this case. There are solutions though with safety parachute and automatic deployment systems such as MARS and NorthUAV mayday board. Last the Matrice 600 has a multi battery system that can handle the loss of power on one battery. This multi battery systems also offers the advantage of not having to carry large battery like other drone in this class. Large batteries are a problem because they are legally impossible to carry on board aircraft (check IATA policy). - As for flying, all these machine offer dumb proof assisted flight mode (GPS, ATTI, Return to home). No need to be an helicopter pilot. Any kid can fly a drone these days. Just a matter of practice. Feel free if you have other questions. https://www.facebook.com/profile.php?id=100010518735843 https://vimeo.com/oliverkmia

4K is the standard of 2016 and future proof. Furthermore 4K is the only way to get true 1080p or 2K res out of a DSLR or mirrorless camera. None of the 1080p cameras shoot 1080p. It's just a sticker on the box. They are really shooting a pixel binned or line skipped image. The exception are the full sensor readout 1080p cameras like the A7S which down-sample better on the image processor, but shooting 4K is still preferable over this as it's future proof. In most situations you also have to shoot 4K to avoid severe moire & aliasing. So in short, 4K was necessary to move us on from the crappy line-skipping and moire era of DSLR video. It's not so much a resolution obsession, even if you deliver 1080p, it helps to have your acquisition quality 4K. Now we have two kinds of 4K... that from a full sensor readout is preferable for the full lens circle to get used, whilst a crop of the sensor readout is a stop-gap until the sensor & image processor tech gets better - although sometimes it has its benefits - like a Super 35mm mode on a full frame camera, and 1.3x crop (1D C) doesn't hurt as much as a 2.3! True, rolling shutter and heat issues can occasionally bite you on some of the lower end models, but it's still in the most part preferable to have some kind of technological progress than none. Without progress, we wouldn't get through this early phase of imperfect 4K and onto better things. The only times I avoid 4K these days is if I am shooting hours and hours of live footage and need very small file sizes, or the other aspects of the image outweigh the benefits of the alternative 4K cameras for a particular project - such as full frame RAW on the 5D Mark III with magic lantern for the best colour and keying, or high frame rate 120fps 1080p which can be lovely for certain things.

I still have some chinese lens-pills lef over, they make any lens 2 stops faster and 30% sharper but organic looking. PM if you want one. Payment goes over Western Union, I am currently in Dakar.

Why buy a drone at all?...unless you personally want to specialise in that , I'd side with hiring in a qualified and experienced pilot is often much more cost effective for many projects. Hiring an experienced person with top of the line gear is always going to give far better results, plus they'll have liability insurance, safety training and any relevant flying permits/ licence. any chump can buy a drone these days and get exactly the same results as everyone else - like most things, if you want special results from a piece of equiptment, you get a specialist to operate it for you....or make the decision yourself to focus just on drone piloting and spend a lot of time and money on it as your business. I'm a big believer in maintaining the 'craft' of things...realising that there are reasons why people specialise in such things. The same thing has happened with gimbals - people buy or rent those over an experienced steadicam op who actually know how to make a shot work technically as well as creatively. Now with all these cheaper options to hand, it seems like a race to the bottom, when it comes to quality cinematic movement of a camera. saying that, the Inspire is a good all-round drone if you were to take the jump for your own video projects.

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

Yes, to stop the forum turning into a spam bucket of Russian and Chinese viagra offers.

Mr. Lee is a great director but he's so wrong, on so many levels on this one, I don't know where to start. I think by now its been proven that audiences don't like High Frame Rates... They don't even like 30FPS, let alone 120 FPS. Lets first take 3D. It has come and gone at least three times already in the history of film and the reason is clear. It will never be the generally accepted format until they can do 2 things. #1. (As someone already pointed out) It needs to be projected in a hemispheric format with no frame because a frame destroys the illusion. #2 (and perhaps more significantly) It will NEVER be THE format until you can get rid of the glasses. Audiences don't like the grimy glasses and the headaches they create. In a film-making sense, there are things that just don't work in really good 3D. Close-Ups for instance, They don't look like close-ups anymore, they look like giant things, If you've ever gone to an Imax screening and see a close up... it's weird. RE: High Frame Rates - I don't think anyone wants the 6 O'Clock news look for motion pictures. High frame rates get rid of blurs. Blurs are your friend. (Learn it, know it, live it (Judge Reinhold -Fast Times at Ridgemont High") Blurs ad smoothness to the image. The higher the frame rate the closer to reality. Motion pictures are not, and have never been, about reality but are about varying states of dreams. The best motion pictures carry you away from reality and imbed you in that dream. 24FPS is magic..... Don't destroy the magic....

Currently I shoot 16-235 in camera and edit directly in Premiere. No transcode. For web I output 4K Constant Bitrate at 100 mbps.

Charbax, you are either a serious optimist or you don't read many photography blogs! (It's cool, I like optimism…)

That's the reason people make tests. First stick to rules, then go wild. First WB manually, then try going over/under. Nobody makes art with a preset.

As Jim said, you can edit ProRes but not the DNG files. However, I use "Raw Photo Processor 64" (its a free download) to convert the DNG files to 16-bit TIFF files. RPP has the best Highlight retrieval of anything that i've used, it has 4 different curve types (Film-like, L*, Gamma & Colorimetric Gamma), Custom or Auto White Balance (which is v.accurate), a load of TruePaper & TrueFilm simulations and so much more. Oh, did I mention that its free! So no need for Resolve...

Could it be that finally, RED and BM are both busy with actually manufacturing their cameras? :D

Very Insta-resting.

I'm facing similar situation: I've been looking at A7s II, FS5 and Ursa mini As many of you i prefer the blackmagic's colour and disliked the sony's color science and as i doesnt want to bother with so much colorgrading (with BM its quite fast if i just make a basic colorcorrection). I was looking for a LUT that i can just drop on the shots and look nice and right without the need to work a lot on it to get it basicly right. And i found a few really great and since than im thinking about getting the A7s II after all - especially as i found an adapter that has built in vari ND filter and smooth aperture control! that prevents a lot of headache for me - chack that out: http://www.amazon.com/gp/product/B00OI98BBO/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00OI98BBO&linkCode=as2&tag=caseywilsonci-20&linkId=6W5GY5LGQSEA7W6G And here are the A7s luts i'm talking about: And some other fooatge i started to like the Sony camera (a7s): What you guys think of them? Was it problem for you to get a great image quickly in post for you before as well?

I feel the same. I would like to like Sony so much. Specs/$ is amazing but the result isnt. BMD, Bolex, Canon and lately Nikon delivers the footage I want. So Im done trying. Ive had 8 different Sony cameras. Feels enough

Same here. I tried it out and I'm not a fan. I've tried so hard to like Sony but I guess it's just not for me.

Your 24-70 lens WILL NOT match the resolving capabilities of the samsung lens. It just won't. The 24-70 will have been designed with an approximate 30lp/mm onto a full frame sensor. full frame capability of the lens 30linesx2pairs x 36mm(sensor width) = 2160pixels (wide) optical resolution onto full frame apsc capability of the lens 30x2pairs x 24mm = 1440pixels (wide) = not even full hd resolution Add to this that the lens is marketed as a digital and film lens meaning it's not optimised for either, its a middle ground. It was also developed before 35mm sensors were any greater than 4mpx. It's old technology. Red strip or not, it aint a stellar lens by modern standards The samsung will likely have been designed to 60lp/mm meaning for the same image area 60x2 x 24mm = 2880pixels wide. immediately the lens is delivering 2x the optical resolution onto the same image width, and 4x the optical resolution onto the total area - That's a big difference. The samsung will have been developed to cater to the 28mpx sensor of the nx1 - some of the most tightly packed pixels on any sensor yet. It'll also have been designed specifically to be APO corrected for the thickness of the sensor cover glass. I'm not saying the A7R2 matches the overall res of the nx1 - it's clear the nx1 is doing great things. but when attempting such a test you should always use the same lens, or at the very least, if one camera is being used with a lens optimised for it, both lenses should are optimised for each camera. I'm pretty certain that if you;d used the 55mm/1.8 on the a7r2 the results would be closer.