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Just got my 120t. Definitely brighter that the LS1. Shooting with it this Thursday and will post some pics.

Have a Terra 5k on order - pending a trip to bejing to test it out - end of July they informed me - pushed back a month...so far....will let you know how it goes.

another boring test clip... this time the gx80 has wheels!! testing it and my riding abilities on an electric skateboard...

This is a bit old now but I thought it might be of interest. https://fstoppers.com/bts/it-possible-produce-high-end-video-600-point-shoot-53485

Exactly. Even after whites compression there is still plenty of tonal info in there (more values per stop than in Cineon film scans, for example).

Is this not the norm these days? The 5D3 was spotted in a similar way, maybe more noticeable now since the craze of instagramming the sh*t out of everything without thinking. http://www.slashgear.com/canon-5d-mark-iii-spotted-in-the-wild-23210416/ I suspect the attitude that Canon or others have when letting a new model out of the lab door is that it will be seen and spotted soon enough and it is no longer at risk of being harmed by competitor scrutiny and risk from them trying to file a blocking patent on something innovative and new. Unless it's revealed front and center in detail, or an NDA period is clearly breached by speech or writing about specifications - I can't see them giving a damn, or having much legal power to do anything about it. If they were really concerned, they would disguise the body, like they do with pre-production cars when they go out on real-world road tests. Luckily for Canon, all their cameras look the same...no cutting edge stealth technology to be stolen from image reconnaissance there.

He must want a lawsuit, because that's how you get a lawsuit.

Meanwhile I've been shooting corporate stuff all day long with my Sammy NX1/Ronin M combo. No slow-mo, but the colors and resolution are gorgeous.

Actually the Terra has ignored me. I'd love to try one out in Berlin at some point, I can't buy absolutely everything just to review it.

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

Isn't film and music so very middle-class these days? Read the full article

Ed David might have some. He used to shoot with it a lot I think.

Adobe Camera RAW update... GX80/85 is now supported. I started looking at it and I'm impressed so far. Go here: mac: http://www.adobe.com/support/downloads/detail.jsp?ftpID=6067&sdid=952G4XMS&skim19445X767302Xf77773524ac4c51fd9957afb28a66c8e windows: http://www.adobe.com/support/downloads/detail.jsp?ftpID=6068&sdid=952G4XMS&skim19445X767302X5f9888bb3155db5bc04227b1a3892c8c

The Kinefinity Terra 5k has a global shutter. I get picked for jobs for what ideas I film with a camera, rather than what I own... so the Terra, on paper, is more than ideal.

I don't think it is the wrong wording. I've owned this camera now for just over a month, and all the video has crushed black and mid tones. Why do I say crushed, well if you look at a Xpro2 clip in FCPX you'll notice the black level is below zero, and that the blacks clips at -5 NOT zero. The Xpro2 clips sits right on -5, anything lower than that smashes to a white line. So, all Xpro2 clips need to be raised to proper levels, it's not that you're gaining any more information in the blacks than any other camera is shooting presently. I know there has been talk, well actually a wish, that Fuji release 4K capability to this camera in FW. I've seen several talks from Fuji reps, and I can say with certainty, that ain't going to happen. I agree with Fuji, although it could shoot 4K quite easily, the camera body design would create a heat issue, so it's a matter to them as to why create problems. What I do wish Fuji would release in FW to the Xpro2 is to enable the Shadow Tone, Highlight Tone, Color, Sharpness, Noise Reduction, and Film Grain all to the video side of the camera, as it sits now, all of these controls are defeated upon video recording.

Yes that's what I'm saying, it has an OLPF. It's a very nice image, if you need 2K raw then it's the best bargain ever... The problem is however that it's just not robust enough for an important occasion or shoot. The other issue is the file sizes. The Odyssey remember can debayer the C500's raw and it goes straight to the SSD as ProRes LT, very small file sizes by comparison to Magic Lantern. The 2K RGB can also go down as ProRes. Then you can drop it straight into Premiere and put a LUT on it (that works with Canon LOG). On a 5D Mark III shoot you in one hand for $1700 with no rigging or monitor you're squinting at a postage-stamp sized non-articulated screen with a very tricky to focus full frame sensor, hoping that the card isn't fragmented to the point where it might just stop in the middle of a critical non-repeatable shot. Then you find that the card is full after just 12 minutes and you have to ask another person on the shoot to sort it out whilst you continue to try and direct and DP all at once. Following the shoot, you then get all the raw files into DaVinci Resolve but you're reliant on a piece of software that isn't primarily designed as an editor, so you do your colour work in there and then transcode it all to ProRes for editing in Premiere. I know Resolve has improved a lot as an editor, but it's still a big shift if you're not used to it. So what I am saying is that it's not quite as simple as $1700. Time is also money. The camera doesn't debayer the raw, just converts it to the 10bit log space for SDI transport to the recorder. Actually I seem to remember reading that not even the 12bit RGB 2K needs debayering, due to the way the sensor is designed. Perhaps Larry Thorpe can come on the forum and tell us how they did it.

On my Rectimascop it's the backglass you can rotate, for me it took a nudge. You don't have to unscrew the backlens, just loosen the screws and give the backlens a nudge clockwise or counterclockwise. And fasten the screws when you get a sharp image via Vladimir's method

Here's some tips for u, maybe it will be helpfull: take some long focal lens and set it in focus (as much as possible in current condition) with rectimascope, u can use page with small font text as a focus target, loose the screws on a back lens of rectimascop, put rubberglove and place two fingers on opposite sides of a glass so there is space in between so u can see a result of your rotations in liveview (of course set it to max zoom). When u get a best sharpness press a glass tightly so it cant rotate anymore, put rectimascope vertically and tighten it. Then check sharpness again using liveview. Thats how i set sharpness with my d.o.industries 16f, things were easier for me because i rotate front glass, but i hope that scheme will work for u to)

So many article here bashing Canon, but happy to see how you end buying most of their product for real work. I love my C300 so much that a C500 will be a perfect b camera for interview setup and a next step to 4K. Well done article describing the real situation of the market now. Sony is way to fragile to follow. Canon is a tank and will last..

you can, it has raw, mov and mp4 recording options http://www.dji.com/product/zenmuse-x5s/info#specs

It appears that it's only the action sports/skater guys who still use canon dslr's for movie making.. they're so busy enjoying their full throttle lives they don;t have the time to sit browsing the web for the latest and greatest gear. The only other camera the action guys seem to know about is gopro and if they're happy with the ghastly image from that, a crippled 5dmk4 will be a dream. If canon didn't reach out to this crowd then they'd not sell any dslr's for video stuff

Sold. Thank you.

Hi Guys - I have worked with Levi (back when HD was AMAZING) and he is one of the great Athletes in windsurfing. I know action sports are a little bit generic these days but his latest clip is pretty special - I do see the need to head in different directions for fresh promo material - having said that shooting windsurfing is one of the hardest gigs I have done to stay on top of focus and exposure. A really good showcase for testing the dynamics of a camera. And you do get exposed to some sensational colors. Bit of a leak for sure - but the fact that people are interested is a great sign for Canon. I love the full frame look (which I can nearly get anyway on my voigt 25 / GH4 combo) As a GH4 lover / addict / user I really wish it was a Panasonic GH5 leak... Panny - time to start leaking!!

American football :D

Hmmmmm.... doubt he'll get that opportunity again. And not to knit pick but as a American surfer I can't understand why Europeans don't get that surfing is surfing. Stand up paddle boarding, windsurfing and kite boarding are NOT surfing. Please stop calling them that. Germans especially seem to confuse kite boarding and surfing. Drives me nuts. /rant

No sadly even though the C500 doesn't have a mirror in the way, the PL Cookes simply won't go on any EF mount. The 44mm flange of the EF mount (distance to sensor) means there's usually only a tiny bit of space left for the PL adapter. The PL adapter must be much wider than the EF mount and have plenty of clearance inside it for the big rear of the PL lens to sit in. They will go on a PL adapter to a mirrorless mount like Micro Four Thirds or E-Mount, since the adapter can occupy much more of the gap between sensor and Cooke.

I think this is your problem, had the same issue when I first received my Rectimascop. Now i can shoot wide open and still get sharp images, after getting it alligned

Thank you so much guys! It was my nd throttle who caused it!

Is the Terra really "out this year" and how many? I have trouble believing such a small company will be able to ship in large numbers. The 6K also suffers from the worst rolling shutter you have ever seen unless you shoot it in "sport mode" and a lower resolution. And what about warranty service with Kinefinity. Does it have to go back to China every time something goes wrong? I'm certainly intrigued by the Terra 5K with its switchable global shutter. I currently have a Raven on order (which I might switch to the Scarlet-W for the 5K). The only thing that would make me reconsider is if Kinefinity announced a U.S. distributor or if Canon announced the 1DC II. While I love the C500, the available recorders may be too large of an addition for the type of portability I am looking for in a 4K camera. With all the wires going everywhere and a big screen attached to the camera, it may become a little unwieldy.

I would buy the C500 if only I didn't have to have the very expensive and rather large Odyssey on top. It's not a small camera once you add that. This is what stopped me getting FS700 and FS5. The Kinefinity Terra 5k/6k is out this year. It's much smaller and doesn't require a bulky recorder. It has interchangeable mounts. Switchable shutters. ProRes and Raw. It also has 5k 60fps and 2k 200fps.

A misleading title - you are not shooting 4k anything until you strap on $2k+ external recorder. Last week you were dumping the FS5 because "I just like smaller cameras". Lugging this boat anchor around with the 7q+ is anything but that. Still, an interesting choice.

I have the 16-50 S and 16-50 PZ lenses. The S lens stays in manual mode, so it is possible for this to happen. It is very annoying on the PZ to have to keep switching it.

Great write-up Andrew! That was a lot of fun to read, I look forward to seeing what you get out of that monster.

At Cinegear, I asked a Panasonic salesman about the HDMI output of both the GX85 and the G7, and he insisted that both gave 8 bit, 4:2:0 video out of HDMI. Later, I went to the Atomos booth, and asked a rep if any of their recorders could sense the bit depth and chroma sub-sample of a camera signal (to test the outputs of the G7 and GX85). He said no, but after taking a swig from his beer, he boasted that he knew the output specs on every camera and that the G7 was definitely 8 bit, 4:2:2. After I offered a US$5 wager that the G7 wasn't 8 bit, 4:2:2, we went to the Panasonic booth to find out the answer. With the tipsy Atomos rep at my side, suddenly the Panasonic salesman was not so sure as before. He admitted that the output of some cameras haven't been tested, but that the corporate office instructed the sales reps to say 8 bit, 4:2:0 for most cameras. However, he was definitely sure that the G7 output 8 bit, 4:2:0. So, I don't know what to tell you. Hopefully, someone will connect the GX85 to a capable monitor/recorder/analyzer and post the answer here.

The panasonic 20 would be my dreamlens if it wasnt a fly by wire lens. Seriously, if one could mod that lens to manual focus i would pay a premium for it, dont care about the AF. 20mm on m43 is just about perfect in my opinion and the pana20 is a stellar performer! I had the suggested canon 35 2.0 is - but you would have to use the expensive metabones xl speedbooster to turn it into a 22mm lens. Yet the awesome thing about the canon glas in general would be that you get AF *and* nice manual focus. Especially for street this is quite nice. As much as i love my voigtländer and MF, stil there are moments in time were AF is quite handy. the sigma 20 and rokinons are just too big for my taste, but that is totally subjective.

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.

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.

I had a little bit of time tonight so I threw a 2 minute video of some slow mo shots of my 9 year old son's baseball team. Couple of things before you click - this was 100% all handheld, some slowed down in Twixtor, some will only make sense to the parents' of the team. This is not meant for Cannes film festival. The beginning shots, believe it or not, were the a6300 with the 55-210 lens in AF mode, PP off, stopped down to about F/8. Oh yeah most of this is straight out of the camera. So having said that...

Voigtlander 28mm with anamorphic adapter.