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Well, but that's with a freaking fan on the body.

Make lenses great again!

Parts List: 4ft Fluorescent Shop Light, Ballast Included: On Sale $20 4 x T8 Bulb, 5000K, 98 CRI: On Sale $20 C-Stand: Used $100 Grip Head: Used $20 Baby Wall Plate: Used $5 Sandbag: Used $5 Total Cost: $170 By comparison, a 1 light Kino kit would cost around $1,100 sans Lamps or C-Stand. Cons: Ugly as **** Non-Dimmable (However: You can pop out lamps to have 4 levels of light.) No Barn Doors Heavy (10lb total = Fixture 8lb + Bulbs 2lb)

Sure, when good is good enough for your own personal projects and travels... but on actual collaborative and paid projects it's more like... And of course you want consistency, apply good practice and get the best motion picture quality...

Wow, amazed this is a real thing.

Seriously? Do you think a crap job using high-end gear makes everything else less "special"? Here's an amazing idea - it's not about the gear. The only way to make a WalMart spot "special" is with great concept, writing, talent, lighting, shooting and editing. Another shocking concept: A crap job shot on an Alexa 65 will still look like crap. A stunning and radical suggestion: amazing and moving stories have been made with really low-end gear, few lights, and tiny crews. A soul-shattering observation: very few people can discuss at length the cameras and lenses used for "Citizen Kane", "2001", and… well, you get the idea (sheesh, I hope anyway). An intriguing question: Can you tell me, off the top of your head, the gear used by Wong Kar-wai to shoot "2046"? Does it even matter? (It's, umm, really damn gorgeous if you haven't seen it). And finally, an earth-shaking idea: many "true high end jobs like features" are crap, even when shot with amazing gear. I would sit down in a dark room and ponder those ideas and see if they make any sort of sense.

I love my NX1, and you can get it and a 16-50s f2-2.8 + 50-150 2.8 lenses for under 3 grand total if you hunt for them. But low light is not the best, but may work well enough for you in documentary situations. RS is not good either. These may be deal breakers for you. The battery life is far, far superior to the Sony E line. A7R 2 if you can afford it is a great option. (https://***URL not allowed***/sony-a7s-ii-vs-a7r-ii-test-which-one/) Good 4K and the best 4K RS performance for it's price if you use the full frame mode. RS on the a7s 2 is just as bad as the NX1. You can still rent these from Lensrentals and give them a shot. I recommend renting a Sony camera and the NX1 with adapters for your Nikon glass and seeing which one you prefer. Spend $200 to make sure your spend $2000+ properly.

LOL i take it OP's never been to the brick & mortar store .. FYI, the staff isn't regular type Jewish.. they're mega orthodox Hasidic (basically Amish level Jewish). Staff actually live in a reserve in NJ and have a special bus bring them into work every AM! May come as a surprise to many but strict Jewish observances is fairly common among NYC businesses.. The upside I guess is they remain open on Christian holidays. Regardless ton of other super stores out there, if this causes such grievance. Not sure about the moderation part either , the URSA mini reviews totally rip it to parts calling it horrible, flawed, etc.. if anything i'd say it's a good place to go if not just for the honest user gear reviews!

To the OP, you could have canceled your B&H order and just bought from Amazon instead of waiting. If there's an upcoming closure, the website clearly states that with a pop up telling you exactly when it closes and reopens. This message is repeated when placing orders as well. If there's any doubt as to whether it will ship, you can call beforehand and confirm. I bounce back and forth depending on the item. I can save on sales tax going with B&H, so most big ticket items that I can't get through Texas Media Systems (if you're in the U.S., highly recommended, I get all my preorders in the first wave through them) I go B&H.

I don't have brand loyalty to any store really. I like b&h and do look/shop there a lot, but I shop just as much from places like Adorama, Amazon, Ebay, Best Buy, a few local Baltimore stores from time to time. Whoever has what I want for the best price/availability wins, no need to look into it much more than that for me.

Still a slight difference ...with some more effort I could get them probably closer. Sony keeps up just fine but I admit the footage is very thin.

This matches my experience recording C100 with Ninja 2. I was using DNxHD 220x which is 10-bit, and was thinking "is this somehow filling in the extra bits?!" But it isn't, the output is 8-bit, it's just having so much more data really helps.

The "180 - rule" has nothing to do with shutter speed. It's about the visual arc of the setting. It's a framing and blocking and camera-movement convention, not a frame-rate or shutter speed rule. There are these things called "matte boxes" that allow you to set ND for whatever lens you have, and still be in complete control of f-stop and shutter speed. And they don't rely on "variable ND" (which isn't ND at all but stacked polarizers - the "amateur hour" of image control). But go ahead and shoot everything at 1/500th and F22 and stack some polarizers on it for good measure. If someone can't see the difference between 1/48th and 1/500th, they probably can't tell the difference between polarizers and ND anyway. Off my soapbox. (And when you get serious about this, get a matte box and a few 4x4 ND's. They're really very manageable. I still can't imagine Roger Deakins saying "I need to soften up this background - bring me two polarizers, please".) So could this: http://www.bhphotovideo.com/bnh/controller/home?O=&sku=968041&gclid=CMCRpfnEzswCFZY1aQod2bgMaQ&is=REG&ap=y&m=Y&c3api=1876%2C92051678882%2C&Q=&A=details

Wow, looks like these lenses will help me make great deals. The best deals. Such good deals you wouldn't believe.

They won't. The camera comes packaged with the Prime 65 lenses as well as the Codex Vault 65 data management system. The day rate is somewhere near $10k per day. And beyond some extremely high-end commercials, I can't imagine anyone using this but Hollywood features in the nine-figure budget range. The post-production costs for 6K Arriraw are astronomical. Some day, maybe fifteen years from now, I'm sure that these Alexa 65 bodies will wind up on the used market selling for a pittance, much like the Arri D21 and Sony F35 have. But by then, I'm sure we'll have 12K IMAX-sized sensors in our DSLRs. Maybe not Canon. They'll still be doing 8-bit HD.

Well then I'm definitely getting a set of these! Since apparently Mexico is paying for them

A7s II, C300 II, 1DX II. motivation: lipstick of 2 an 3 have the same color. 3 best detail.

Bit of a dilemma. Do I really want it now... or do I just wait for the GH5 and have it all?

Well the question has been burning so I figured I would run some quick test to highlight the differences between these two heavy weights when it comes to video. The two frames below are taken from 4k video captured under that same conditions, using the same lens, ISO, White Balance, Frame rate. Everything is the same on both cameras. Lighting set to 3700k in both cases with some practical lighting filling in. Nothing has been color graded/corrected. Images are direct frame grabs. About the videos: the Canon is capable of very cinematic footage at 24 fps. The Sony tends to feel more like video, but has very good quality for a camera of such a small size. Color science is very different between the two. The Canon's batteries last a long time. I will not speak of focus as the Sony will be a a disadvantage in this particular test as it is running as Canon lens. While native glass will fare better, the Canon has a decisive edge in the focus pulling department. In short, great results can be had from either camera, however the Canon will make getting those result feel less like work.

Hey Folks! My 1.5x baby moller is for sale. It is the focus through version (you only focus your taking lens!), and has a custom built housing and comes with a 0.5 diopter. Some specs: Rear thread: 55mm Front thread: 67mm Mininmal focus distance without diopter: 2m Minimal focus distance with diopter: from 0,9m to 2.2m Without vignette from: 28mm (MFT), 50mm (APSC), it works on fullframe as well, but I did not test the min. focal length Condition: SUPERB! Shipping from: European Union Please check out the attached pictures. I also grabbed some snapshots from my latest video (my focus pulling was not the best...). It was shot with the Lumix GH4, Cinelike D profile + Rec 709 LUT in the post, Mitakon lens turbo, Pentax 50mm & Canon 85mm f1.8 mostly set to F4.0 + the moller & UV filter. In my opinion it is an awesome lens which gives you 2.66:1 as a final result. As you can see it is pretty sharp, some say it's sharp from F1.4, but i found it soft for my taste, and it is also hard to pull focus when wide open. It is a run & gun lens, small, handy and lightweight. I'm willing to ship the lens worldwide but please note that you are responsible for customs, taxes and other charges. The price is not set yet, if you are interested, please contact me with your offer! Thank you!

Yeah it is an issue sometimes, but the A7s 1 & 2 are barely better. (http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue! ) Which is why if you were to go Sony I would recommend the a7R 2. It has a great 1080p and 4K FF mode that gives decent RS performance. Or you can use the Super 35 4K for best image quality. Again most of all I would try these cameras, they are both very different ergonomics and menus than your Canon.

All three look like mushy garbage. I'm saving my money until 6k comes out...

#anyonebutadorama

I don't think anyone thinks of ProRes as a delivery codec. It may not be the most efficient codec around as far as file size, but I assume it's striking a compromise between file size and efficiency. And it's crazy efficient in the NLE workflow - you can very easily edit 1080 on a pre-intel PPC mac all day. If it's news to anyone that prores is an editing codec and H264 is a delivery codec, they probably have some studying to do. (And yes, I'm aware people edit with H264, but I don't think it's optimal).

My list would be shorter. I'd be like... try: 1. selling your A6300 There's just no way I'm going to put up with a camera that gives me such hassle, even if it shits rainbows. I'd rather use a G7 and just deal with it. Respect if you go above and beyond to make it work for you with fans 'n schtuff though.

According to the tests I've seen, nothing. The A7s II has only CDAF and no PDAF so it will always focus awfully in a continuous AF situation like video with losing focus and hunting. Maybe someone who owns the A7s II will jump in, but I would suggest you check YouTube for A7s II video AF examples.

Yep

I'll agree with some effort and careful grading you can get them reasonably close. I guess my point is that many were stating that the A7Rii/Sii were superior in various aspects. In practice I am simply not seeing this to be true. Of the two cameras the 1DX Mkii is in a different league than the Sonys. It is more reasonable image wise to compare this camera to the FS7, but of course the two are completely different animals. One being a dedicated Video camera, the other a hybrid. There are benefits of having built in NDs, XLRs, etc... For my purpose I wanted something more discreet. I can take the 1DX Mkii anywhere and no one bats an eye. However you will need permits and planning with the FS7. But they are both great cameras. The next camera on my radar is the Terra 6k and 5k, but I will need to see more footage. And honestly, I would prefer to buy it locally from one of the well established retailers... with are reasonable return policy, just in case it doesn't live up to expectations. The 1DX Mkii is rugged, and that combined with great image quality earn it a long-term place in my kit. Not sure what I will do with the Sony now? It's not an ideal B-cam to the Canon.

It is possible. You just import the Premiere Project file and it asks if you want to import the entire project, or specific sequences.

some small adjustment (to the sony footage ?) and you can't keep them apart.

The manual is now online for the curious ones amongst us: https://eww.pavc.panasonic.co.jp/dscoi/DMC-GX80/EG_EC_EF_EB/guideENG.pdf A pitty that Panasonic still sticks to 28mbit @1080p with 60p. Anyone knows if I can the MF assist functionality while recording to punch into the picture in order to nail the focus as the Sony's allow?

This was our test to see how easy it would be to match these cameras. How would you make the camera settings more equivalent?

Colors look terrible on the Sony. Did you custom balance for white on both cameras? Also, what profiles were used?

JCS - You look attractive with a blonde wig and glossy lipstick. Just kidding. Only see differences if looking closely. Dress 2 and 3 - close color match. Pink bracelet - closer match on 1 and 2. And so on. Vast majority will not see any differences. Keep up the good work. Cheers.

The Trump lens series is a perfect match for the F35, right down to the black and gold! I wanted to get a general idea of the look from the Trump series of lenses in a simple natural daylight setting without flaring. Realize there are a million variables, attributes, characteristics, mechanics, etc... The optical characteristics the Trump lenses are most famous for (wide open low contrast, flaring, custom bokeh) are not shown here. Camera settings: 1DC iso 400, roughly 180 degree shutter, standard profile, daylight wb, 4k 8bit 422 (log is my preference, but wanted to use a profile all Canon cameras have in common so it would be easier to see the lenses characteristics without a custom grade getting in the way) F35 cine ei mode, adjusted exposure slightly in Resolve, slog, sgamut, 180 degree shutter, daylight wb., 1920x1080 12bit 444 dpx, upscaled to uhd (for easier comparison to the 1dc files) keep in mind the scaling probably doesn't do the F35 any favors. Apertures: T3.1 very roughly for the Canon and Trump, T3.9 on the Cooke I used latest version of Adobe media encoder to export tiffs with best settings possible. I delogged the F35 footage in Resolve with Sony's F35 Aces input transform with an srgb output. Captured stills and exported as tiffs from Resolve 12. Below are low res jpegs. Srgb Tiffs to download here :https://drive.google.com/folderview?id=0B6dC48Sfvqr4c3k1aVh4UkhBS2M&usp=sharing

I have the 1DX2 since 10 days now. Used to work with A7R/S2 and GH4, the size and weight and the lack of a tilting screen or peaking is a big minus. Even on the photo side Canon did cut features like internal timelapse or the HDR function of the 5D3, which is very uncool for this price. But by adding a magnet viewfinder like in old 5D2 days, the 1DX2 is still a handable and can be used as one man show, with 2 outstanding advantages: 4K 60fps of course and the excellent video autofocus. If you use it right, there is no need for manual focus or focus peaking, and shooting can be done much faster than before and can be even more fun with even sharper shots. Amazingly the video autofocus does work very good with all Canon lenses from the last years, and also selected ones like the Tamron 24-70/2.8 VC or 85/1.8 VC. Without any logical pattern, other Tamron or Sigma lenses don't do video focus at all. A Tamron 16-300 superzoom doesn't work although it has great stabilization paired with the 1DX2, a Sigma 18-300 does have video focus but weak stabilization. Crop lenses don't seem to vignette with the 1.3x 4K video crop of the camera. The photo focus features and 16fps are also very nice for certain shooting situations, although the amount of MP is low when being used to a 5DsR, 645Z or A7R2. To me it is not an outstanding dynamic range monster and the quality difference to pics like from an RX100 IV is not huge enough. What's missing is the whole amount of nice small E-mount lenses and stupidly no Canon crop lenses can be mounted, so a 1DX2 setup will require all the large and heavy Canon full frame lenses. At least they work great and are a pro photo option as well, so the cominations make it an excellen allround camera. Strange is that 4K 25fps video can be recorded on fast CF cards and doesnt require the superexpensive CFAST cards like Canon says. In 4K 60fps mode, the CF cards do stop recording after app. 8 seconds. All in all Canon needs to be quick to release mirrorless versions of their DSLR lineup. At photokina Sony will release the A9 that comes with all relevant DSLR features and of course the best of the A7 world - and if this A9 camera does have 4K 60fps, there is no need for a 1DX2 anymore (and certainly not a 5D4).

Infinite of both! Nah, I wish. Though, I don't care too much, I just like it to make sense, I'm generally not the 'let me get a camera for a few months'-kinda guy. I get something because I'm pretty passionate about it. Can't say that I'm that passionate about the GX80. The BIS is amazeballs, the size, look and feel is almost LX100, which I kinda dig, but it lacks a lot of good stuff as well. But who knows, maybe I get tempted anyways when it's out, I believe it should get stocked in a week or two?

why else do you think every shot of him has an amber tint?

I've adapted an 3cm silent fan powered by a usb powerbank that feeds the camera and the fan. Never got any overheating problems and the powerbank lasts eternally (i live in Rio de Janeiro, pretty hot all the year). The in camera audio goes unusable, but i never use it anyway. Rolling shutter still the though, so keep this in mind while planing your shoots. Wide angle lens with is helps for handheld stuff and a gimbal may be welcome. Image quality is awesome and low light i think its the best in its price (its not an a7s, but really good). Only problem its its auto wb that seems to always miss it, so doing it manually its the way to go.

One sales manager was mentioning something about the Japanese earthquake, but I like your reason much better... Rumour has it the sensor is from Sony, and there was some discussion on DPreview about how sharp the image is.

Cool, thx for the feedback. Looks they can work together for multicam shoots without too much post work.

I'm pretty shure they went back to add some mic inputs

Depends on how much patience and money you have. GH5 likely double the price and 4-5 months away. I'd be tempted to have the GX80 in the meantime anyway and sell it when the GH5 comes out.

I called a few of the UK camera shops today and it looks like the GX80 ship date has been pushed back until June sometime.

Gordon Liang from Camera labs posted 15 videos from the GX80/85 including UHD at 1600-6400 and a few focus pulls. There's also a handheld shot with the 100-400mm at 400 (800mm equiv.) handheld. https://vimeo.com/user803551/videos Here's one, that glass is a little dirty in 4k...

You can detach the zoom and use it closer for interviews, connect a lav to it and put it in the pocket, connect a wireless lav and leave it on the camera, connect any number of wired mics to it, mount it on a boom, etc, etc.

The SLR Magic 1.33x Anamorphot definitely works on the Trump38. And with the 3x oval insert, I get something like this...

I personally find Sigmas a little flat and sterile for narrative, but it has nothing to do with the number of elements, and they're still excellent lenses.

Total bullshit, in every way.

Looks like there's another sample video from this guy with the GX80. Again very impressive stabilisation. Looking to trade in a G7 and RX100 iv for this feature as it can dpo the job of both.apart for slo-mo maybe.