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Shot with vasile's 140 mbps. Still from 4k on 1080 timeline. Andrew's gamma DR settings but no LOG LUT. Just used visioncolor impulz rec.709 tetrachrome FC + Curves, saturation boost and vignette. Used 16-50S lens. Sick footage everyone! I'm surely having fun with the NX1!!

The screenplay for this short film was written by an Artificial Intelligence neural network bot. The results are hilarious. Not even screenwriters will be safe from the coming robot invasion. PS. also the soundtrack is meaningless, the lyrics was generated by AI (although the music composed was done by humans, next step for the AI? No reason why it couldn't be): Screenplay can be read here: https://www.docdroid.net/lCZ2fPA/sunspring-final.pdf.html I'd love to shoot an AI written screenplay myself! Maybe I could feed it horror film scripts instead of Sci-Fi?

Look like toys in the frame? No idea what that means. Recently did a test with all kinds of different lenses--native, speed boosted, vintage, modern--on both the G7 and BMPCC. All gave very different looks in regards to skintone, detail, contrast, 3D seperation, bokeh, and color. Where does this "toy" thing come into play, and what makes it a result of sensor size and not lens choice or camera processing or color grading? To your actual question, I have no problem dealing with crop factor as the price of great image quality. Micro Four Thirds lenses are good, cheap, and plentiful, and you can easily get an APS-C field of view of your full frame lenses with a simple $150 focal reducer. In terms of 4K? Like any tool, it depends on the project. Kind of a moot point if the studio/client asks for it; you need to have it. And I think we'd all rather have a badass high-DR awesome color RAW 1080p image than crummy compressed 4K. That's a silly argument because there's no possible way anyone could disagree. For broadcast and documentary, 1080p makes a lot of sense for file size reasons and delivery. But for high-end TV and narrative work, all else being equal, would I personally want 4K or 2K? Probably 2K for most things, as it's kinder to faces and I don't shoot a lot of wides. But it really depends on the project and your style. The biggest problem with 4K right now is delivery. We have the cameras, we have the displays, we have the content, but the pipes to get it there aren't up to snuff. 4K streaming is far too compressed at average American bitrates to beat a good 1080p Blu-Ray for quality. That Sony box that lets you download 4K digital copies works well and doesn't compromise quality, but you have to have all your movies downloaded far in advance and the library is very limited. They make 4K Blu-Rays now, but the library is small, they're expensive, and the players cost about $300. TLDR: There are more important IQ factors to consider first. It makes sense for certain projects, styles, and shots, but isn't quite there in terms of delivery yet.

Bright light is my nr1 issue the last couple of years. ISO800 solved any lowlight problems I ever had. The Digital Bolex gives me a nice iso 160. But I dream of a nice and clean native ISO 50. The constant ND workaround is getting boring. I've started skipping the 180 degree shutter to get around it.

Man, I'm just grateful I can get my hands on cool equipment. Whether it be cheap mirrorless "toys" to do stuff with --or high end rentals. I love that it's all rather easily accessed these days.

This one is pretty useless, you somehow have to obtain the file created and configure it in some program on your PC because the options for it are shit, you basically just making a preset for your camera to shoot after, you select it in the smart mode on your NX1 or NX500, its same as those other fancy stuff they have, its basically just a pre filter they add on afterwards but instead of doing it yourself the camera does it for you.

But they have. The G7 was a huge step forward in low light performance. Not as good as the Sony, but a damn good performance nonetheless.

Just to be very clear... not shot by me!! I wish it was! It looks great. But I just happened to come across it, and had to share it, as it is a nice example of what can be shot with GH2 in capable hands.

I wanted to share a bit my first experience with the 1Dx II from a usability point of view. I have the 1Dx II since a week and I’m coming from the 1Dx. I shoot mostly sport and action stuff, around 70% photos and the rest video. This camera is really made for people like me that with a single tool can cover most of my needs. Image quality was already discussed many times so I have nothing to add here other than confirm that at 4k 60fps the quality is very good but the HD one is nothing to write home. 120fps is usable but not great. What it really shines is the DPAF, I use a lot the Ronin M and for the first time I’m able to shoot wide open with myself and the subject moving even erratically. I just did a test film with trial bike with the Ronin M and using the 24 1.4 always at 1.4 and most of the shoots came out great. When It was OOF was mostly my mistake in not keeping the athlete within the focus point. I will need to practice more and I will also play around a bit more with the Focus Lock settings. But being the first time out with DPAF, 1.4 and the Ronin I was quite impressed. Something impossible as one man band with a gimbal before. I did not use Face tracking because I did many shoot laterally and from the back so it is not working. In this case you would need a second operator that reset the focus when the athlete looks away. Talking from second operator I was surprised by how good is the WiFi touch focus, the latency is quite low considering is WiFi and the frame rate good enough. It is so simple that you can give a tablet to a non “qualified” assistant and he can do the job. With the extension rod the camera balances very well on the Ronin M, in fact I found a good base balance where I can switch the lenses between 24 1.4, 16-35 2.8 and the 85 1.8 only setting the tilt axis (the easiest axis to balance by simply move the dovetail). So I can do the lens change in 30 seconds. The “Q” button in video mode allows you to change most of the video related settings from Audio gain, AF mode, picture style, etc.. I normally shoot in M with auto iso, I have the “Set” button to enable exp compensation with the wheel but I wish there was I way to change directly without pressing the “Set” button. It would also be great to be able to change the audio gain via the other wheel. I have also created my own my menu with all the video related settings so with the “Q” and “Menu” button I’m quite fast in changing the settings. The dedicated button to have live view in video or still mode is very handy. Another thing that I wish it was possible is to have both HDMI out and internal LCD on with the info on both monitors. Unfortunately if you have both on you can have the info only on the LCD. For gimbal usage it would be better the inverse, using the LCD just to change the focus point. Right now while on the gimbal I do it with the joystick and the LCD off. I will maybe try to use the tablet as monitor over WiFi attached on the gimbal but I’m not sure that the latency and frame rate is good enough. The MJPEG files are big but high quality, surprisingly I can play them back even at 4k 60fps on my notebook with both the media player and canon movie software in real-time. My notebook is a i7-4810MQ CPU 2.80GHz with an NVIDIA Quadro K2100M 2GB vram and SSD. I can even do some editing with Resolve using Caching and a FullHD timeline switching back to 4k for the final rendering. Scrubbing is fast enough but no real-time playback in the edit panel. I wish Resolve would be more optimized. Alternatively you can use optimized media feature and create proxy for editing and then it works. Naturally for serious editing a workstation with the right spec is recommended. Bottom-line for action & sport videos the combination of 4k 60fps and DPAF makes this a unique camera at the moment.

And this guy has a robot to write new Friends episodes!! http://nymag.com/selectall/2016/01/friends-is-even-better-written-by-a-robot.html

Another lens test, this time with the Angenieux 15mm c-mount and the BMMCC...

I use a GX8 daily for commercial photography and video and have never once encountered shutter shock. In fact I cannot remember taking a photo with camera shake or that is out of focus when using the 12-35 f/2.8. I now use a Voigt 25mm f/0.95 as my main lens so that takes more care (I much prefer manual lenses and love this Voigt), but I remain hugely impressed by this camera (I dumped my Nikon D810 and pro glass for it). The two factors that have elevated it for me are : Using the Voigt lens for photography. The still images are very close to Leica quality. Using a Ninja Star for video. the images look awesome and are very gradeable.

I'd have been tempted with a GX8 as I like the form and fit - it feels nice in the hand BUT I get absolutely fed up with having to consider shutter shock all the time on my G6 (with my 14-140 MKII) add the built in IS and its a no brainer

G7 and GX85 use the same 16MP sensor. The GX85 doesn't have an AA filter, but for video the quality is identical. The GX8 is a completely different 20MP sensor.

not tied any of them - but I should do as the sigma 30mm f1.4 is very good - I do use it alot of night time exteriors shoots - alot of the night stuff on Pandora Movie was the Sigma - its is very very good on a Metabones XL speedbooster in EF mount - micro 4/3

Finished up writing a longer blog article about this: http://ironfilm.co.nz/scifi-short-film-written-by-ai/

Would I be wrong in saying the problem of low light has been solved for the majority of us? We have great high ISO performance, speedboosters, and fast lenses. What is the new frontier? Codecs, stabilization, color rendition, DR? These cameras make me wonder where we're going next. Is it going to be 3D, VR, something else? Gimmicks?

Haven't had this good a laugh to a response to a forum quote in ages. People think it will fool the public today because of resolution. Ha! They were taking the piss out of that notion decades ago. I wanted to bring up crop factor which seems the sacrifice for great DR at consumer level. There, it's brought up. Any thoughts? Edit: and no matter how much folks take communion for speedboosters at the altar, I can always see the difference of a full to 35 sensor. People don't look like like toys in the frame.

That's a great news! You really deserve it! Congratulations Andy! I'm sure that with people like you they can be closer to real needs of filmmakers, because you really squeeze their cameras and you know every pro and cons

I think that's why complaints about Panasonic DR seem overblown to me. Yes, it's less than some LOG/RAW cameras, but the shadows are so recoverable, the highlight roll off so smooth, and the midtone noise so filmic that I rarely have a problem making it look good.

Why suffer when you can have fun instead;) If you need 4K you can get a used bmpc which is going very cheap, or upscale 2.5k from the old blackmagic (nobody will tell the difference).

I've been committed to Panasonic for 5 years now that's all I ever use . For my work the Panasonic G7 is an amazing camera , it does all I need and it is superb in low light for the style of cinematography I shoot , I'm regularly three or four stop under exposed , I shot a lot of contrast in light and in colours in the way I light the sets and the G7 handles that superbly it is in my opinion very very good detail in the black areas. No fizz and noise at all the image it produces is very clean . Pandora movie is nealy finished now we are 39 days into the shoot , once this is completed I move straight onto another movie - a classic British Spy movie that I'm directing and DOP on pre production starts on that next month....so I am shooting this movie all on Panasonic too......watch this space ...

Don't assume, stick to what you know. You haven't been in this conversation that's been going on for two years, if you had been I don't think you would think so. When a person basically calls anyone who doesn't shoot 4K or more exactly a Samsung NX1 an "idiot", " hack", "uninformed", etc and never stop and think, not for one second, that people just might not agree, then one will get a few cheap shots. I think you need to lift your eyes a little and realize that not everything is about you. I never said that 4K automatically means low bitrate. I was talking about one specific camera. I myself use lowbitrate consumer 4K all the time. But I don't think Tarantino and Spielberg are stupid idiots who would switch to a NX1 for their movies if someone showed them one. And if they rejected it go on to calling them "hacks". But maybe your right, maybe it won't be an intelligent conversation. A bit patronizing, but maybe your right.

Absolutely, because higher res automatically means low bit rate, low DR, bad RS stuff shot with a consumer stills camera (and by an amateur, I presume). The sad part is I don't think you realize how patronizing your put-downs sound. Hard to have a polite and intelligent exchange here.

Thank you Andy!

the Nikon AIS 28MM f2.8 is one of the best 28mms ever made optically no distortion edge to edge - it is Nikons finest hour! not much comes even close to it - plus long throw for follow focus ,these Nikon AIS lenses (the glass out of them )were used as the base spherical elements in Panavision E series Anamorphics - they are that good!! ps - if you are shooting micro 4/3s just stick your 28mm on a Metabones speedbooster that gives you x0.7 on the back of the lens - saves adding a front wide adaptor which are optically inferior also consider the killer SIGMA 30MM F1.4 - its APSC only so wont work on a FF camera but is stellar on APSC and Micro 4/3 I use it on a Metabones XL alot

Agreed. my wife is a film editor and much prefers working with filmmakers who go out and shoot exactly what they want, rather than gathering a bunch of material to be sorted out later. One of the first features she cut, the director asked "why didn't you use the close up here?" my wife's answer was, "you didn't shoot one." and the director's replied, "then punch in on the 2 shot." now she has a scene with these reframed close-ups and every now and then the other actor's nose creeps into frame. she did the best she could but it's still awkwardly composed. I realize for Sekhar covering an event is one thing, because he has no second takes. But shooting narrative benefits from specificity. unless you *are* on the level of david fincher and all the post resources he has available to him, this approach will start to undermine the experience of the movie. similar to deciding you wanted to slow a shot down in post back when all we had available to us was "frame blending" to smooth it out. few things signaled "digital video" louder. optical flow brings us much closer, but it's still better to do it in camera. and to have the vision to know that you need it that way.

Good focus pullers. A lot of high speed SR3s. NFL films shoots "cinematic" content for highlight reels (a friend used to edit for them); the game itself, of course, is shot and broadcast on video. Not sure what NFL films is shooting now, but it's a separate category from broadcast. They have a lot of money. The NFL is a big organization.

I totally agree with this!!!

I've bought the same after I saw your! Which ND filters do you use with it?

For me resolution is nowhere near the top of the list of what makes a good image. When I compared the 4K NX1 and RX100iv to the 5Ds HD Raw, the Canon won. The BMPCC or Bolex runs circles around GH4s and Sonys, imo. Same thing happens with still cameras. Plus I don't know how many times I've done blind tests and not even the biggest 4K evangelists of this and other forums can tell the difference. Now, if we have HD vs 4K and all else is equal, both shooting Raw, wide DR, nice color science, etc.. Then 4K might come in handy. But its not needed for any of the work I do personally. Not until its a standard, and thats years from now. So with that said, I still buy HD cameras and have gone back and forth from 4K many times.

If there's one that's the best when combining all 3, I think it's the GH4. Not the single best in any category, but solid in each. Fantastic doc camera. Fantastic travel camera. And while there is a better, it's still a fantastic film camera in the right hands, especially with a speedbooster and the right lenses.