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A gentle reminder from yesterday's CineGear expo - that there is a reason to buy from established makers and brands when supporting your (or hired) camera, rather than Steadicam knock-offs 'Powered by rubber bands' lol. Having owned a mid range, yet 'legit' Steadicam in the past, I can assure you that the torsion springs do not catastrophically fail when at full extension and load (because they are not made of rubber and wrapped around an open pulley!)...or the socket block to the vest get ripped apart by the non-centered elastic forces (as I think happened here) ...yet another example of products already out there that perhaps shouldn't be. Goes to show that Alexa XT's or DSLR's are equally at risk when buying cheaper alternatives to Stabilizers/ gimbals/ car mounts etc. http://www.nbstabilizer.com/

I think the issue he was describing, or at least the one I'm thinking of is that everytime you enter video standby it defaults to continous autofocus :/ then you have to push the af back button everytime and/or choose saf. Just gets annoying.

Finally got a shoot in with BMMCC for a new passion project and coupled with it old Angenieux super 16 glass. I absolutely love the image and all this 12bit raw colour business. It's going to be go to for all arty projects. A few grabs...

An idea came to my mind. There are more and more companies designing EF to [other systems] intelligent adapters, but none designing one for NX. This is apparently due to samsung discontinuing its products. At least that's what a couple of those companies replied to me, when I asked about a future product designed for NX. That's the idea: would it be possible to ask them "how much" would it cost to develop and produce such an adapter, and try to fund it ourself, via a crowfunding campaign? Personally, I'd be ready to buy one, as long as it costs as much as the ones for - say - sony F cameras. What about you?

this made my day

After using the BMPCC for a while, I still go back and forth on RAW and Pro Res. RAW is of course, fantastic. But I do think the Pro Res is underrated, and the workflow is such a delight.

I've just finished filming a short film. We used 5D Raw, A7s + speed booster, GH4 + speed booster, and the XC10. The best looking and "organic moving" footage in my opinion came from the 5D Raw and the xc10 in 4k. The a7s was the 3rd best and the gh4 was the sharpest "out of camera". We could have comfortably shot the whole thing on the XC10. Unsharpened ungraded CLOG frame grabs. Having a 1 inch sensor is no hindrance for a shooter like me...i own multiple cameras and i light my shoots. I'm invested in canon gear, it uses the same batteries as the 5D3, has good battery run time, doesn't overheat and captures excellent video quality that compliments 5D Raw. I don't have to carry around a 25lb camera bag with various lenses and accessories to be able to shoot dynamically with the xc10. The only accessory I carry is a variable nd filter. I like to minize rigging as much as possible and I don't want an xlr input on this form factor, a rode videomic pro is good enough. The only thing i would like is a constant f/2.8 and true DPAF. I wouldn't even bother with a C100-300 if it had those 2 features. More ungraded frames of CLOG + Variable ND filter of me testing the cam on a poor trapped dog.

My opinion is that IS within a lens isnt anymore important in the future, since IBIS will do it. The gx80 does it already extremly well and it will even get better. your choice boils down to: - do you accept fly by wire focussing lenses? - is size an issue? if you hate fly by wire as I do, basically all olympus and panasonic lenses are out. if you want it small, have a look at the voigtländers. if size is not an issue, go with any speed booster and any lens you like. if you need AF it gets tricky - either you accept fly by wire or you need to go the EF route with a metabones speed booster.

Thanks - I'm not a videographer or a photographer - I'm a marketer who can shoot and edit. The three things that have kept me self employed for two decades: Think like a marketer; Be a partner, not a provider; Don't be a dick. (That last one - many times my clients have said "you're so easy to work with, we can drive you nuts with changes and edits that are our stupid fault and you fix it fast with a smile, it's always a pleasure to have you on the team" and so on). When I worked for big retail and planned a shoot, my first criteria in booking the team was "people I really loved spending a day with". Yeah, they were great at what they did, from shooters to makeup to models to stylists and scouts - and I always made sure the day would make great shots but that it would also be a really, really enjoyable day (or days or week). I had no space for catty models or shooters who treated me like a king but dissed their assistants. I think it's massively underrated to have your emotional shit together in business. It can be what tips the scales for someone deciding on suppliers. It can be what keeps the same clients for years or decades. I once mentioned to a client that I had just gotten stiffed by a new client who went under and left me holding a huge lab and printing bill - the guy excused himself and came back with a big check and said "I know we'll do this much business this year, just give me a credit for it". I'm not a perfect human being, but man, I appreciate the people that keep me working and I treat them that way. If anyone is the kind of person that keeps losing friends and lives with all kinds of personal upheaval, loses clients (and friends) over stupid things - step back and suss that stuff out!

The Canon XC10 is underrated on paper, not least by me! Having very little interest in one I decided anyway to give it a try. Glad I did. Read the blog post

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so no news about gx85/80 hdmi output? 10 bit 422? has anyone tried?

omg ??? that video is classic

Yes, I've combined both. I also feel like I've read that Pro Res is a bit less prone to moire than RAW. It's pretty bad in RAW on wider architecture shots. I'm used to shooting with the GH2/GH4, so having to account for moire all of a sudden is annoying. Don't know if that's a fact, though. Yes, always ISO 800 with pro res. Maximum amount of dynamic range, according to this: http://www.similaar.com/foto/pocket-dr/bmpcc.html

Such as 79,400 views for that camera test. Northrup and Dugdale have millions of views by making camera tests entertaining. Whether you agree with them or not, they are creating content that many people enjoy watching. My 'best' camera test only got 26K views- no story and pretty boring (this kindof had a story, though not much really going on (11.5K views)). How about yours?

As cool as it would be to be able to use some of my canon glass for stills and such, the only thing I really care about is rudimentary aperture control. I wouldn't really care at all if autofocus was lousy/unreliable, I just want some form of electronic communication between body and lens and I would be very happy!

Clearly you have lived in the US for too long - You can't tell the difference between an advert and a documentary

The 0.33 Minolta is nice, achromat also (at least, if it's the one for the 100-500mm zoom). Tito uses it regularly in his videos. I have the 67mm diopter from Asahi Pentax and measured it...indeed 0.33 also. If you want to know precisely how strong your Pentax diopter is, focus on infinity with the diopter attached. Measure the distance from sensor to the focus plane. Diopter strength = 1/(max focus distance in meters). Oh, if you do, let us know, I'll update the list :-) Cheers.

Having used both traditional steadicams with vest and arm and a few 3 axis gimbals (BeSteady, Ronin, Pilotfly) I believe there is one major point missing: the learning curve. I kinda disagree with DPStewart that switching cameras is as inconvenient in a Steadicam as in a 3 axis gimbal. In my experience it takes considerably longer in a traditional steadicam, even if only because the gimbal has motors that allow for a slightly unbalanced or misbalanced configuration (sure, battery drains faster and it may not be as smooth, but still works perfectly) while an improperly balanced Steadicam will make your life hell... But above all, with a 3 axis gimbal you may need a few hours until you get the hang of how to balance it quickly, and maybe an afternoon until you fly it with confidence and proficency (hardly an hour to get decent results!). A conventional Steadicam is much better in some regards but it takes a lot of practice, and I mean a lot! That's why steadicam operators have been very well paid for so many years. Not to mention that, though heavier means smoother "floating" movements, it also means overstraining your back. I've seen several steadicam operators forced to retire in their 40s because of their back problems...

Go for cheap speedbooster if you dont afraid of manual focusing: http://www.zyoptics.net/product/zhongyi-lens-turbo-adapters-for-micro-four-thirds-cameras-m43/ Minolta MD / Canon FD mount is your best choice, and go for fast primes Here are the lens you can choose from if you go with Minolta: http://minolta.eazypix.de/lenses/ If you want to go native m43 mount, it's much more expensive, but you can have AF and stabilisation Your third option is to get a 4/3 to m43 adapter, and get cheap 4/3 lens. You can have AF + stab with this option, but good 4/3 are rare even on ebay

it absolutely is and thats ironic because it is ~THE~ most important thing to me about anybody i hire and its the most important thing to me when it comes to the perception of others – you can think that i dont have any talent, you can think that my art sucks, but i wont let you think that im not the calm assertive leader that i say i am, that i dont shake hands with ~everyone~, that im not available to patiently answer questions 24/7, 365, even on leap year what im saying is that its more important that you like working with me than that you respect me as an artist, and i take my art practice p seriously. then again – i cant have one without the other also, i was just referencing art and filmmaking, but you said business – which COULDNT BE MORE ACCURATE. these principles apply to, what, everything in life? damn near really, REALLY enjoyable?? i love it @M Carter id hire you just to provide moral support and positive vibes – i need it seriously tho, great post

Good audio inputs and a more robust codec. Otherwise I think they're doing fine and offer impressive value.

^ That's a great post as well, excellent point on the emotional side of things. I'd like to think I'm in the same boat, a pretty easy guy to work with. If I'm being honest, lots and lots of people have the skills I do and can produce what I do, but I always try my best to not be a pain in the ass in any way. Video is stressful for a lot of people. Being on camera is rough. 95% of the people I film are quite nervous, but I usually get good feedback on how I made the process more pleasant. That goes a long way, I think.

Agreed, full sized HDMI, internal 10bit 422, GH2 sized multi aspect sensor, & XLR-K2M like audio interface rather than a bulky YAGH

I am sure the codec will get a nice bump up with the GH5. Colour science from Panasonic can be quite good. CineLikeD wasn't very good, but the GX85 just on standard looks veeeeery nice Skintones similar to Canon and Olympus. VLOG is good, I don't think that needs improving much, but the sensor does - VLOG brought up a lot of noise didn't it? That's the sensor's fault. I'll be disappointed if Panasonic hike the megapixels on the GH4 to 20MP, what we really need is 12MP max and less noise. Some sort of Dual Pixel AF would be great. Bring back the 1.86x crop sensor of the GH2 with wider aspect ratio. Avoid YAGH-like mistakes and do a small compact mini-XLR breakout box powered from camera. Full size HDMI please. SDI is unlikely on a stills camera form factor body in this market. 5 axis in-body stabilisation, surely a given. I think GH5 is looking very exciting, they will have to try hard to mess it up

There's way more to this than the drive brand. How is it connected? An SSD in a $15 USB 3.0 enclosure is pretty dang fast on my cylinder Mac Pro, unimpressive on my tower (which is USB 2). You also have to research what the software wants - Adobe's techs recommend the following to maximize After Effects, for instance (AE is where I personally need speed) - Application and system files on your boot drive; Scratch disk on a separate and very fast drive (internal SSD on PCI for instance); Footage on a very fast drive (external RAID 0 for instance on a fast buss like Tbolt2 - but then, spinning-drive raid may not need TB2 while an SSD raid might use the extra speed - but enough SSD raid space for three or 4 4K projects in production at any given time, and the associated graphics and audio and so on may be wildly expensive); Graphic card that works with AE; Fastest processor you can get. Two of their techs specifically told me that even 12-16GB of RAM was fine for that time, do the drives and graphic card first. So there's three separate drives/busses (for AE anyway) - and the scratch drive is really where max speed is needed. And I generally have anywhere from one to three terrabytes of active work (not completed and ready to archive) at any given time, so a spinning drive raid (and a big disk to back it up on at night) is the most cost-effective thing for me. FCPX is crazy-efficient on a mac system - even on a 2009 Mac Pro it'll edit 4K smoothly with an internal spinning raid, on my newer cylinder I can edit files that are on a networked raid (gigabit, but that's gotten stupid cheap now, $15 for a switch). Resolve is another story, and if you can't afford a mega system you may have to work at proxy resolutions and so on. You really need to figure out where you need speed, research the best solutions for each software, figure out where the best value is if you can't afford the best, and THEN figure out what configuration works best for, say Resolve and Premiere (and also any 3D or effects software you might use regularly).

What 4K raw codec will you be working with? I'd probably want a larger drive for 4K raw... a RAID array of HDDs is a viable alternative to some SSDs in my opinion. They can get pretty speedy and will be 8TB+

I get around 500-550 MB/s with my 840 EVO and 850 EVO drives. As long as those are connected to a SATA III port or you have them in RAID, you'll be fine. The big bottlenecks will be CPU, GPU, and RAM. For 4K I recommend a minimum of 32GB of high speed RAM (1600 MHz or faster), ideally 64GB. For your GPU the GTX 1070 is a good starting point. It's inexpensive and has 8GB of RAM which is a great help for 4K. CPU will need to be the highest end i7 CPU or a Xeon to edit smoothly. Of course this all depends on what your delivery format is. I can get 18fps with a 1080p timeline using 4.6K raw footage on a 3 year old overclocked CPU. But that drops drastically if I use a UHD timeline. Are you looking to build your own PC or buy a complete system from a company like Dell or HP?

It still depends on what codec you are shooting with. 16GB of ram has sufficed for me personally, more will probably help but no less. With 4K H265 I use a standard HDD, a not so ideal i7-3770 processor (4 physical cores) and an AMD Fury X, also not "ideal" per sè, playback is fine, but any adjustments kill the playback speed. I don't think disk speeds matter that much for playback.

These are the two most annoying things about nx1 video mode to me lol would be awesome to get them fixed. I wish video standby defaulted to single auto focus, not continuous which typically sucks. Or if your nx1 lens doesn't have a focus switch then manual mode all the time would be handy.

It's funny I've had the opposite reaction towards this camera. Thought it was interesting on paper (4K, 422, decent codec & canon log under $2K had me sold) but in actual use it was a huge let down. Number one issue the lens and specifically the unusable focus ring. I see MF listed in the cons of the review but it can't be stressed enough how shitty it is. It seems Andrew may overcome this issue because he considers the AF to be ace but it isn't DPAF good either imo, and goofy MF is a deal breaker for me. I was also far from blown away by the IQ, but this type of lens just isn't my cup of tea I'm afraid..

When this came out, I was disappointed by the screen doesn't articulate to the side...like many "camcorders". The ability to handhold/place in unique positions is hindered when you have to plant your head behind the camera. I get to some degree why they went Cfast with high bit rate/depth 4k at the time. But is the ability to record the HD to either card that difficult? Same with RAW stills. For the talk of it being a pro cam, the recruiting of Jackie Chan for the roll-out seemed muddled. The pre-NAB '16 suggestions from Canon that a big update was coming really seem disproportional to what they delivered. BTW, here you mention the Video assist as an XLR etc solution. As I posted in the GX80 thread, did you get a good one from the get go?(green hue, dropped frames) Some report the fan noise of the 4k assist to be of concern in close quarters. All that being said, I applaud you for having an open mind to revisit this cam beyond the specs. Maybe a further exploration of this cams baked footage and C-log after judicious post sharpening is in order.

Someone know if with hacks it possible to set manual focus in video mode, without setting it every times?

Thanks. I have a a lot more of the macro stuff to come. I just wanted to put something together quickly, as I knew some people were eager to see what this camera was capable of underwater. Thank you. Color underwater is so important...I have been using a 5dII for the last 5 years. Been waiting for canon to get with it and get a reasonably priced 4K dslr...which I would still like a 5d4...size and price is more appealing...but didn't think it would have 60p. Canons color for underwater is unrivaled. Their custom wb blows everyone away.

Yes, sure, but, the XC10 is priced as if it were a full-frame ISO400k :-) Anyhow, I am impressed with your reply, thank you so much, Andrew. Keep up your great reviews, it's a pleasure to read them. You are pointing out important facts, your hands-on experiences; I've especially learned a hell lot from your GX80 review, that was phenomenally revealing.

I am afraid, most of us here, has never had an XC10 in their hand. But we can still exchange views and ideas, that’s the forum about. I don’t buy a camera, like my wife chooses a car. -Look honey, I want this one, it has such a nice color :-) If a camera’s specifications are not good enough, why should I use time to test it??? For me the XC10 is a monster, clear mistake from product management. Not good for photography. No RAW. It could be a firmware update but Canon would for sure not do it. The lens is so-so Weak continuous shooting No IR flash-sync No autofocus lamp Few manual adjustments, everything is in menus No B shutter Not good enough for professional video work. The lens is so-so… There is a On/Off ND-filter, but no control over it. There is no powerzoom. No XLR Strange solution for viewfinder The bitrate (305 Mbs) is more a sign of bad codec Not interesting for the amateurs either. Too expensive, especially with the memory cards. Too much data to work with Probably very high loss of value. Too big and strange ergonomics Too weak for the competition :-) I doubt, the video file of the XC10 is better than the GH4 with the 14-140 kit lens, and the Panasonic is way better for photography. And, don't forget to check the price. That is my view on it :-)

Yea, the A5100 has its limitations, definitely: I use it with an Atomos Ninja2: no overheating, no 30 minute recording limit, it has microphone jack and headset jack. The 1080 image quality (no 60p, unfortunately) is excellent with this combo. The A5100 has brilliant accurate/snappy/shimmer-free a touch to focus function because of the 179 PDAF points at least as great as the 70D/80D dual pixel. It's not 4K, but excellent HD combo. I use a Swivi LCD viewfinder with the A5100, not tiltable, though. I wouldn't say my A5100+Atomos combo is better than XC10; but, the XC10 is better only daylight and all for more than double price (let alone the crazy prices of CFast cards). Andrew recently reviewed the Panasonic GX80 with Blackmagic Video Assist 4K, and I found it quite impressive. If I wanted to upgrade, I'd go in that direction, or something like that. Unless, Canon would be so kind to come out with something reasonable in the meantime. No 1" again for me, please, I don't care if it's Canon/Sony/Panasonic/Nikon. Yes, but you, Andrew, evaluated that the AF is pathetic, and MF is very hard to use (unusable). How can you focus this camera then?

The ones who are confused clearly were like me when I didn't own an XC10, just looking at the specs and even the JPEG resolution (for reasons only they can know!) and thinking that it is an expensive, odd product, lagging behind Sony in the specs race. Try one, get to know it, look at the images, you will be surprised like I was what a lot of fun it is and how great the images can be. I'll upload some footage, still shooting with it. Better all-round cameras? Maybe, but what if you want 422 internal 305Mbit 4K and 24-240mm zoom though?! Not much to compete with that in one-body for under $2k, especially not with the colour and ergonomics of the Canon.

Wholly color gamut Batman! Whenever someone complains about 8 bit color, point them to 01:45-02:40 of this video. Only Canon can make 8 bit color look more rich and accurate than 12 bit color from competing cameras. Bravo to the filmmaker as well as the engineers behind this camera.

@Andrew Reid Re: I wouldn't replace my GX80 with the XC10 and lose the use of interchangeable lenses, etc. You have piqued my curiosity: Will there be a GX80/85 with Black Magic Video Assist 4K Pro Res vs internal 4K vs the XC10 C-Log 4K video comparison? Thanks! Mark

Sharpness: digitally applied Resolution: number of megapixels on the sensor Final image: a combination of sensor readout, image processing, compression, noise and all sorts of things - and yes digital sharpening in-camera or in-post People need to start noticing when an image has been sharpened so they don't mistake this for better resolution. Because it is preferable NOT to have it done in-camera.

... it would be massive and super-expensive.

Amook, If you are going to shoot S Log with the F3 you are going to want to record to an external recorder! You need the 10bit and 422 color space to record the S Log picture, if you use the the internal F3 codec which is a 420 compression, when in the S Log mode you will not be getting all the information ( bits and color information ) you need. There is a lot of information on exposing the F3 when shooting S Log, do a search. Here is a basic explanation of the F3 and S Log by Andy Shipsides of Ablecine. http://blog.abelcine.com/2011/08/04/f3-s-log-part-1-on-the-charts/ And here is another post talking about the F3 and S Log on DVX http://www.dvxuser.com/V6/showthread.php?269977-Do-I-need-a-Gemini-or-Ki-Pro-Mini-to-Use-the-S-LOG-Firmware-Update-on-the-F3 Good luck. Broatch

I think you guys were right, I think I was stuck on the tire and not on the message I wanted to send across. The client let me incharge of all the "marketing" side of it, he just wants to show off his shop, so I kinda freaked out, but after thinking for a while, I got a decent plan, and will market them as loyal, workfull, cheerfull and so on with enphasis on the safety that a good tire provides. Im actually super excited now, its my first time doing this type of thing, its what i'd consider a "next step" into what i've been doing, so this is great, maybe I can save up enough for that URSA i've been craving :D

hang on one second...... ...lol seriously tho, a catchy gimmick is greater than literally everything else. just pick something and put it over with confidence theres been a recent wave of non sequitur commercials here in the states with absurdist jokes/narratives that have literally nothing to do with the product advertised (geico?). so apparently thats ok now search youtube for tire commercials. @M Carter makes some good points too also, what are some of your favorite commercials, the most memorable ones? what makes them stand out in your mind? heres mine.... i remember seeing this as a kid... and being like... wow. that took some balls

Compressed raw, Sony's sensor and Pentax's price. Of course, none of it will happen.

It is so hard to compete with you :-). But maybe better than nothing - some shots from your homeland :-). Standard, MBL+8,0-255 -> 16-235, contrast -2, 180Mbps source footage

Besides the Log/DR, doesn't the NX1 have all of that? And very good image quality in S35 1080p with near-global shutter?

It's a combination of things - 1. Sony cameras don't handle difficult white balance situations with any grace 2. Sony offer a huge degree of options that control the sensor 3. Sony give you profiles that require grading - and I mean, proper, years of experience as a colourist grading, not just drop on a lut or tweak sat and curves Combine this with low prices and any tom, dick or harry can grab one, stick it in pp9, wave it around a baby with leds, sunlight and an incandescent bulb and wonder what happened to the skin They aren't cameras for everyone, thats for sure, you can mitigate many of the issues, but they are cameras that demand, in certain modes, a very high degree of cameramanship and skill. 1. Desaturating the higher luminence can work wonders to help take the green and yellow gills away. 2. Stick to pp0, and your fave creative style, if that's too limiting, stick to cine 4, s.gamut.cine. If that's ever too limiting, then you are going to have to start reading technical documentation to understand what the options do and how they do it. 3. Just look at the size of s.gamut 3, and think what is going to happen when you cram all of that into the comparitively tiny space of 709 and understand why colourists can charge what they do. Then never, ever use it. Or just grab a camera you can get decent results with because clever engineers did all that for you and plenty more besides