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I have a tiny personal anecdote about the importance of 4K. I do a lot of food cinematography for a company that does video recipes, cookbooks etc. Their output is mainly online, on social media and the home pages of food companies. We've been shooting 90% on BMCC in prores 1080p. On one production we had to knock out a large amount of videos in a short time, so I rigged an RX10 MK2 to the ceiling of the studio to get us an overhead look of the process, giving me two angles simultaneously. I suggested the producer I'd shoot in 4k to give him room to crop the image in post. He laughed and told me even 1080p gives plenty leeway for what they do - they delivered in 720p, and in the case of instagram, 640xsomething. I've yet to have a client ask for 4K. I figure it'll be at least a few years before it'll be the norm or a requirement. And if you're talking about a fixed price point, the choice often comes between 4K or other attributes like raw/Dynamic range. I'll take the raw and DR over 4K anytime.

Just a metal plank with two (or better three) holes with $7 Pistol Grip Handle For Binoculars/Monocular. The handle screwed directly to monitor! Very simple, compact and way better balanced for handled shooting than pistol grip at the bottom. Also angle HDMI adapters helps a lot.

Fuji would be the last company to buy Digital Bolex because the sensor inside is a Kodak CCD - likewise as with the Ikonoskop. From back when Kodak were frantically selling off patents and IP to keep them afloat before they mismanaged themselves into oblivion. When I worked for them, I actually witnessed a Kodak manager tell me that digital would never replace consumer and professional film cameras...this was while the demolition crew were surveying the factory floor of the film processing facility.

Thanks one and all for your feedback, I will follow up on some of your tips. I think I resigned myself in the first ten minutes that I would never see all the gear again. To answer one question, yes I think there are highly organised gangs in France that know how to target people. I may have even been followed as a lone driver when driving my motorhome from Italy to Portugal through southern France. I stopped for the night at a truck stop and was robbed while I was fast asleep in the middle of the night. I kid you not, they broke into the camper through the passenger door by forcing the lock and must have had a torch. I am usually a fairly light sleeper, I did not hear a thing probably because I was exhausted from driving the day before. They got credit cards, passport and cash as well. One would not think to take precautions when "safely" locked in the van but people are becoming more devious and desperate these days, so all travelers have to be prepared "as if". I usually hide my camera bag under a storage seat but left it in my wardrobe that night. I left my wallet and passport in my shorts on the seat, they should have been taken out and hidden away. Even experienced travelers like myself for the past 20 years can get caught out by letting your guard down for a moment. Now I strap up my front doors with rubber straps, so even if they forced the locks, it would be impossible to open the doors. If I had woken up and disturbed them, who knows what might have happened if they were armed so I figure I got off lightly.

What a shame. Imo the most complete cinema package and most bang for buck one can get for raw video. Way more suited for pro work than a Pocket and also much more fun for the enthusiasts. But, like it or not, its pretty logical. They only make one model and sooner or later they need a new one or pull out. I actually have mine out for sale, thinking I can buy it again sometime. But now I'm gonna rethink.

Its like the Leica Monochrom I had. It cost more than my M9, still worth it.

In-camera was Gamma DR, master black 5, Luminance 16-235, Saturation -1, Sharpness -10, Contrast -3, Red /Green X0.95, Blue X1.00. Shot at 24p. Converted to 422 ProRes (LT) in EditReady, then pulled into Final Cut Pro.

SOLD. Thank y'all!

Better image, more features and out of the box costs more, that's just how it is. A BMPCC + 5h battery + Dual XLR Audio Recorder with analog gain + a couple of hours of SD cards = Pretty much the same price, but with rolling shutter, less features, cmos look and more moire. Imo its a good price. Doubt a URSA Micro would be cheaper. I love my Blaclmagic so nothing against it. But bang for buck the D16 wins imo. See above.

Jpegs are fine in the same way that avchd is fine. But if you don't want crushed shadows and blown out highlights, then Raw is the way to go.

Yeah, this is kinda sad. The D16 had a major influence on my decision to strive for higher DR and a more robust codec and color space. Unfortunately, I couldn't afford the D16, so I went with the BMMCC, but I had hoped that in a few years time I could be shooting on my own shiny and new D16. I imagine similar choices like mine eventually was too much for the small firm to compete. I wonder if an H8 version of their D16, at a price point similar to the pocket cam could have saved them? Who knows. On another note, has anyone used their software? It looks like a nice program... and I wonder if that will still be available?

The 1.33 doesn't come with the diopters. They're usually sold together, but it's not mandatory. As for the 2x, you can see its performance with the close ups in my review - http://tferradans.com/blog/?p=8331. I'd STRONGLY recommend having diopters for proper results using the Anamorphot 2.0x Andrew Chan, from SLR Magic, recommended testing another 85mm with the 2x anamorphot, since the Jupiter 9 gave weird results, but I haven't had time to do that yet.

Thanks Justin! So the camera suggested the correct focal length. 50mm = 35mm.

This doesn't come as a massive surprise. To me Digital Bolex always seemed like more of a specialty item than a workhorse camera (even though it may have well had the potential for the latter) and I didn't see any of my local colleagues using it, or very many productions in general. I think the camera's reputation was a double edged sword, it intrigued people, but also caused a lot of people (including myself) to not take it seriously, but more as an expensive novelty. Coupled with feature set that had more than a little similarity to the more established BMCC 2,5K and the lackluster footage from the early adopters (apparently caused by using wrong Resolve RAW profiles), the camera faced an uphill battle.

They release new firmwares all the time. Its not an instant shut down. They are stopping the manufacturing of the D16. Upgrades and service will still be available.

To get the full frame equivalent, you have to multiply the focal distance of the lens (50mm in your case) and multiply it by the focal reducer coefficient (0.71x in your case I believe) to get the final Full frame equivalent (which makes ~35mm in your case).

Total Kudos to them...but to be honest I am very surprised they lasted this long. Ikonoskop went the same way BM must have seriously taken a big bite out of their pie when the first pocket camera came out.

Wow, you beat me to it. I was shocked as well. First Samsung, now this?!

Sorry for you. Perhaps you could say a little more about the circumstances? I had all my gear stolen on a train before Christmas and know of at least one other photographer who had the same problem recently. Station / train theft here (in France), I discovered afterwards, is a big and organised thing. Camera cases and Manfrotto tripod bags are clear signals to thieves. It got me thinking very seriously about how much kit it was reasonable to carry vs the revenue generated working with it. Decent camera insurance in France is virtually impossible to find.

It is truly a shame that there won't be a NX2...my NX1 (with the help of EOSHD's NX1 guide!) has given me amazing 4K video quality for over 75+ productions to date and I'll still be using it until I receive my RED Raven (whenever that may be...) Hope to see the GH5 announcement really soon to see what Panasonic has to offer though.

Despite being relatively new, I saw some news a while back that they actually had already helped someone recover stolen gear.

This site might help for tagging your gear. https://www.lenstag.com Also maybe the authorities can track the use of your credit card with the person who stole everything else?

That really sucks and it must feel awful! ...I will say this after having lived in France for some time. If I were you, I'd check leboncoin.fr. It's the go-to site in France for buying and selling stuff. I'm sure there's all kinds of stolen stuff on it. You might find your gear and be able to alert the authorities. The other option is to just chalk this one up as "lost forever" ... and this will be an opportunity to get some new gear!

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.

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

Sorry to hear about your loss. I hope you have reported everything to the police and the embassy. I doubt whether anything can be recovered.

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.

Pansonic have just made me one of their Ambassadors this week ! I am working very closely with them now .

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

Have you tried it? In my experience the DR is just fine, lots of info to bring out in the shadows and just as gradable as any 8-bit footage.

Yep the X Pro 2's colour is effortless, you don't need to do anything to it in post and if you just want 1080p, it's a lovely simple solution. The magenta cast in the S-LOG 3 footage though is down to the user not being knowledgable enough with grading tools to correct it. S-LOG is a bitch to work with, so it is partly the camera's fault and partly the user's. I don't blame anyone who has trouble getting the colour from Sony cameras to match Fuji! It's hard!

You are correct, I did the "quick grade" in lightroom very quickly and did not even pay attention to the blue reflection. Your version certainly is better. Check the originals from the link, I have not graded (=screwed) them yet in the Flickr-gallery. I am in love with this camera now. It is like dream coming true because each video frame turns out to be as high quality as a jpeg from the camera. Finally a camera that shoots video that looks like moving still photographs. When I was waiting for 5D3 at the time of its release, this is very much what I was expecting 5D3 to be that it wasn't and that made me to switch to Blackmagic originally. The 1DX2 finally is, and made me switch back to Canon (after I had been blaming them for years for being uninnovative, I go and buy a new camera from them, duh). In fact it seems the blue was created mostly by adjusting "vibrance" in the Lightroom. I should leave that dial alone it seems. Vibrance is not to be touched...

Inside of ISO 1600, they will be similar. The NX1 video degrades at 3200, whereas the A6300 seems to degrade at 6400. This is not the case for stills. I have an NX1, and A6000, and they are totally different cameras. The NX1 is a joy to shoot with, higher hit rate on shallow depth of field, easy to use and fun to interact with. My opinion? As good as the A6300 is, the NX1 retains APS-C champion hybrid status for 2 more years. The only competition will be from the GH5 with 4k 60fps, if they can pull it off, which they will have to do remain in the game.