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A test 4K video using the tiny 35-100 f4-5.6 zoom. Shot in Standard, -2 NR only, to see what the camera puts out. Also tests the audio, as there is a jazz group playing unamplified. All handheld.

who cares what super 8 looks like now - it's mostly an image in our heads. It's all psycosemantic. As long as you like the look, thats good, whether or not it confirms to "reality"

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.

Shot on A6000 with Sigma 19mm 2.8. All handheld. Thanks for watching!

So my a7r2 has had to go into repair twice now. First time the USB port didn't work at all (would not charge or connect to a PC). I bought this used with the MACK warranty. Turnaround time for repair (MACK had to get a part from Sony) - was about 1 month. Thursday night I was headed out to a game to film - my a7r2 would make a strange noise and only turn on and off for about 1 second (no menus). It would do this repeatedly 4-5 times then shut off. Almost sounded like it was trying to initialize the IBIS system upon startup but couldn't. Leaving the battery out overnight, removing the lens / battery off for hours (and trying 5 different batteries) made no difference. What is scary is I didn't drop, bang or even slightly bump it - I was testing some picture profiles and had it mounted indoors in A/C. Since I could not find a way to do a hard reset online and the fact it's under warranty, I sent it back in Friday 06/09. This is making me very nervous about continuing to buy $3k Sony "disposable" cameras. While the Canon C models are expensive and don't have the ultra slow mo or dynamic range, they certainly take care of their customers and make much more reliable bodies. I had 3 cameras I had prepared for the shoot - a7r 2 + Metabones, a6300 for some 120p and an alternate angle, and a 1dx for stills. I had to rig up the 1dx quickly for the "center field / pitching view shot" and it didn't miss a beat. 0 problems. Sigh. Please share your experience with any NEX / A7 series bodies. I strongly suspect my IBIS module went haywire on my a7r2.

It's a script i actually believe in, AND i had the resources. it's turning out better than i expected. My restrictions led to some creativity in the look. Anyway, I'm taking it really seriously and wondered what to do with it. Been doing my own research, of course, and had some thoughts, but thought I'd look for advice here too A lot of festivals now let you enter while your film is also released online, which is very cool. I figured i may put it on vimeo, send it to some groups on there, "shout" it to some channels like "short of the week", just hope to get some views. Maybe enter it in a couple of the big festivals just in case (not risking too much) and some just close to me that are somewhat cool. I wouldn't be looking for like a film deal. The best thing i think would be connections with people near me on the same wavelength who i could maybe team up with. Should i not risk it being online because of the fine print of the little film festivals nearer to me? Is vimeo even a great place for it? I've been doing a lot of browsing.. the staff picks are all the same, bigger and more symmetrical than my film will be, with less of a story Any other filmmaker communities online to look at? Any hidden groups in vimeo to find cool stuff and might be a good place to share a film as well? Should i release it on vimeo on demand with a good thumbnail and promote the crap out of it, making up for the lack of connections with a couple of bucks? I figure even without connections, trying to cast anyone near me with a decent film on vimeo under my belt would be a good start I don't know, i can only assume there's a lot i haven't considered. This is also very chickens before they hatch.. but if i ever finish anything, I'll want to have thought of this

Apologies in advance if this is widely known. Personally, I've never found a really good explanation of why front anamorphs produce oval bokeh and rear anamorphs don't, despite reading my fair share of patents, technical papers, internet gossip and the like. Feeling that my own understanding needed some firming up I finally set up some paraxial models and went through the math in gory detail. It all boils down to how front and rear converters alter (or don't alter) the f/#, and basic DOF type circle of confusion calculations. It has nothing to do with higher order aberrations, or the shape of the front lens, or various mechanical aspects of the lens. Briefly: 1) A front anamorph is just a special case of a front afocal attachment, and as a result it preserves the f/# of the lens its attached to. With an anamorphic front lens the focal length is shorter in the powered axis than in the non-powered axis. For example, consider a 2:1 anamorph attached to a 100mm f/2 spherical lens. In this case the net focal length is 50mm in the powered axis and 100mm in the non-powered axis, but in both cases the aperture remains f/2. If you venture into the weeds to do circle of confusion calculations for a given object-space defocus you discover that a de-focused point source evaluated at the image plane is an ellipse with an aspect ratio of 4:1. However, you only need to de-squeeze the image by 2x to correct the in-focus geometry, so you are left with de-focused ellipses with an aspect ratio of 2:1. 2) A rear anamorph is just a special case of a rear-mounted teleconverter, and as a result it *does not* preserve the f/# of the lens its attached to. In particular, in the powered axis the aperture becomes slower. For example, consider an 50mm f/2 spherical lens with a 2x rear anamorph. Here the net focal length is 100mm in the powered axis, but the aperture has dropped to f/4, and is still 50mm f/2 in the non-powered axis. When you do the circle of confusion calculations with object-space defocus you find the on-sensor defocused image to be an ellipse with a 2:1 aspect ratio. When you desqueeze by 2x this defocus ellipse becomes a perfect circle. Bottom Line: Rear anamorphs have circular bokeh because they *don't* preserve the f/# of the spherical lens in both axes, while front anamorphs have elliptical bokeh because they *do* preserve the f/# of the spherical lens in both axes.

fuzzynormal- thanks very much for taking the time to reply - useful tips/workflow Tested the GX80 photo wise out today - and its impressive, I seem to be getting much sharper shots out of my 14-140 II - not sure if it is the extra steps of IS (probably), lack of shutter shock, or better sensor, but overall the IQ is noticeably better the images seem nicer colour depth and DR wise than my G6 - very noticeably so. The output from the GX80 reminds me of my Nex 5n - which is a good thing. Previously when out shooting with the 5n and the G6 - the G6 photos were noticeably "duller" - just something about them seemed flat - and they didn't like much post-processing (probably lack of DR)

Having a decent script is awesome. It's always a challenge to make a great movie, regardless of a strong written foundation. Hope you can pull it off! Regarding Vimeo: my wife and I made a very very modest documentary that we put on Vimeo, and we see a trickle of income from it. We've never bothered to promote it, but it's a topic that has a niche so orders keep floating in. If you hook into a supporting community, they will prop you up a little bit, which is certainly nice. If you think your film is good enough for the upper echelon film festivals, then yeah, give it a shot. As an active member of a small SoCal film fest I can tell you, we're desperate for films with a creative POV, from filmmakers that have an actual voice. There's plenty of decently crafted films that we see, (because of the democratization of production gear) but not a heck of a lot that are truly accomplished with compelling and creative cinematic storytelling. I'll be completely honest here (so don't tell anyone I wrote this) --it's personally a bit frustrating to screen some of the films we screen. But ultimately that's cool. That's all part of it. My tastes in film doesn't exactly jibe with the rest of our selection committee's POV. To put it diplomatically: We're "diverse." To state it realistically: We put average films in the festival. 1. because we need the programming. 2. particular topics, rather than cinematic creativity, will appeal to our selection committee. (This is not necessarily a bad thing, I'm just acknowledging a typical situation of film fests) As it happens, almost all good films that get submitted to our festival will get into our festival. (there's some ideological politics involved as well that go into the submission decisions --that's the nature of a committee) But, be that as it may, we're a film festival that's incredibly embraced by our community. Every single screening during our 5 day festival sees attendance of 150-200 people...and this is in a proper theatre venue that officially seats 185. So, if you ever get accepted to film festival be wise and do your research regarding what sort of event they present. It's a bit much to travel across the nation to attend, go to your screening, and then it's you the filmmaker and only 4 other people in a sunlit conference room with a LCD projector... Experience that firsthand and you'll get a rude awakening of the sad state of some so-called film "festivals" these days. This doesn't even take into account the festivals that exist solely to generate submission income and then dole out laurels and empty awards, while never even holding physical screenings. Our festival may be small, but at least it's legit. At any rate, PM if you're interested. I'd like to hear what you got going. Also: Good luck in general!

i just bought one few weeks ago ( c100 mk1 + DPAF) and i think it's a great value camera, definitely step above DSLR/mirrorless. DPAF especially a game changer for me. now VS the MK2, do you get a ton more no, but better ergonomics with c300 evf, full swivel screen, better codec options, 60fps, higher ISO range.. small improvements but that make it pretty much perfect.. with the previous pricing, C100 with DPAF was a better deal but now with less then a grand price difference, i'd maybe go with the mk2.. YMMV

I always heard people moaning over EOS C line prices.. and when Canon do a massive price cut... people complain again lol.. but really it's no shocker.. C300 mkII being quite overpriced and C100 mkII due with an update soon that will surely include 4K (just like the rest of the rumoured 2016/17 pro DSLR range specs) . It's just Canon reacting to the market.. if 4K isn't a priority though i'd jump on the C100 mk2 deal, it's a pretty awesome camera..

Highly doubt it.

This is the most discussion there's been here on the topic if it helps you make sense of it

I love it. Much sharper than a 5D Mk iii, good color, I have measured 12 stops of dynamic range in flat mode, Full Frame, low rolling shutter, Nice Motion Cadence, Very clean and smooth 1080 60p, no moire or aliasing. It just easy to use. But 1080p 4:2:2 8bit can only get so far especially for grading. I mean it grads very very well for being 8bit, best I have worked with. I love it for run and gun or where I do not have the time, budget, or post capabilities to color grade after wards or work with 4k. I sold it and jumped on the sony band wagon and bought Sony A7r ii with an external recorder had it for 6 months and hated It. I then bought the nikon a second time. But I still want for my cinema projects something with RAW where ill be taking care of color grading and spending the time to work the image. Thanks. So you feel it to be on par color wise and sharper than the 5D Raw. I had a year with the 5D raw on 6 small projects and still my favorite image. Just had to many issues with the hack to keep using it. Is the Dynamic range better since the 5D Mk III is less than 11.5 stops? And what about noise?

I played with one last week... man that rolling shutter has got to be the worst case ever.. i was getting all kinds of jello on slow movements! and i'm not even one to complain about rolling shutter in general.. along with the overheating this camera is imo borderline defective / unusable for most applications it seems geared towards. yeah it's got 4k, good AF & s-log but kinda worthless considering the other issues. i mean what's the point of such a portable camera if it only handles static shots on sticks?! should have at least included IBIS to perhaps reduce the jello or something. i'm dumbfounded by this unit. @Grégory LEROY : oublie l'A6300 pour ce que tu fais.. d'ailleurs c'est quoi au juste?! rassure moi, ce sont de vrais militaires??! pas l'air très safe ton truc..

This just came out: http://www.benq.com/product/monitor/pv3200pt/

If there is any issue its not big enough for me to notice. I have some samples and side by side in this, BTW, if anyone wants to buy the Nikon to Samsung NX from the video above, I can sell you mine.

I've never used a gh4, but found that the EVF on my gx7, g7, lx00 and now gx80 have been quite weak, even compared to my original em5 and much less clear than the Olympus VF4 or viewfinder in the em5ii. This makes it especially hard to keep things in focus during recording with the gx80 since punch in magnification doesn't work. What I find improves things is using the monochrome EVF mode (I have it set to a function button) and use a bright peaking colour like yellow. The only risk here is if you have your white balance set wrong, you won't notice it. If I'm shooting a live event where I know I'm going to edit pieces anyway I just use AF lenses and cheat with the AF-s to make sure I'm ok with focus. I really do like the gx80 colour and picture quality though, and the stabilisation takes away the need for a tripod especially with the dual-is.

Cool No the grip was fine, I also left the little tripod on there. Yes, I would say most runs are with it at 45 degrees or upside-down. You can hold it right side up and then go to 45 to upside-down and back again smoothly. The Sony kit zoom.

Hey Fuzzy - have you tried something like this? http://exercises4eyes.com/ - really helped my vision a few years ago - I don't need glasses anymore!

Unbelievable. I've heard some bad things about their cameras but your experiences with them are incredible. You need to stay away from those cameras. All of them.

Thanks. That's the best comment I've gotten on the film.

Oh, right, yeah my bad. I did think Mercer meant click stops.

I believe the mark I. I think Parker thought you meant click stops.

Yes. And typical with doc footage.

Not really. It allows me to find focus of the actual shot, but because the evf image is so soft (and slightly distorted as well), my eye is always straining to comfortably focus on the image. This is is not an issue with my Olympus EM5II Hard to empathize, I know, unless you've got old person eyesight. Which, btw, seems to happen within a few months. Beginning of the year you have good vision, by the end of the year you need bi-focals.

Does anyone know what Color Phase and the Color Depth settings do? I'm not seeing any visible differences as I alter them. Same with some of the other settings too

Yeah I'm loving this profile.

@SMGJohn Yeah the README is definitely a little intimidating but Vasile just wanted to make absolutely certain that nobody bricks their cameras. As long as you follow the directions and don't skip any steps you'll be fine, I did it to both my nx500 and nx1 and have been loving it, the hack is super quick and responsive now.

I have looked matte box options quite a while. For long time been keeping my eye on Tilta MB-T05. But also Fotga DP500 mark III matte box is interesting. Those are in the price range I think, is ok investment. Sure if you want top quality and best materials you most likely have to use a lot more. But I don't need that. Here is my thoughts on your questions: 1. It's a matte box needed at all? It depends what you prefer and how you shoot. If I have crew and time I like to use it. But if I am alone and in hurry, no it's just extra weight and bulkiness... 2. Given the huge range in price, what is good enough? For me I can get everything I need from matte box around 200-500€ price range 3. Do flags matter in a controlled studio? If I am in studio usually have better and bigger flags + c-stands around. So no, I don't need flags. 4. Are dedicated NDs really that much of an advantage over variable NDs? There is certainly differences on variable ND's and hard ND's. With variable ND's I have ruined some face shots, got some bad colour shift and weird glares. With good hard ND's: never. --- Even that I am looking for matte box set and nice hard ND's, I definitely are not going to lose my variable ND. Has it moments and places for me, always. But I definitely want quality ND's without quality loss to be found at edit table. It sucks. IF you don't want to use matte box and decide to invest in hard ND filters. I definitely recommend XUME adapters. I use 77mm XUME adapters on my all lenses and Variable ND + Polarizer filter.

So, here is the first time I put in the batteries, mount the camera and turn it on. No tools, setup, no nothing. Just out of the box. When running Im not trying either. I wanted to show what the worst type scenario is.

You can definitely hear it, I would say It's as loud as a Macbook Pro. If you get in a less than a meter range, a condenser mic could pick it up. Out of that range you should be fine.

If the Ikonoskop is an indication, it will eventually go WAY down. As all digital equipment does. Digital doesn't age well for obvious reasons.

This is exactly why I'm now only buying used cameras. Camera's go down in value so fast. Not worth buying one new anymore. Especially canon c-series cameras. Their new cameras always go down within a year or less.

It's a business, they all do this... Apple, Ford... everyone. Bodies are not investments in hardware, they are investments in your talent. If you want a healthy return on that investment you need to produce paying work.

The GX80 is one of the most popular cameras on EOSHD if the number of views on its threads is an indicator. This thread has been going strong for quite some time. I doubt the GH5 is going to be at Photokina, given that the EM1 II launch has been delayed until early 2017. The GX80 is all we got right now; so, let's give it our undivided attention.

So when the camera breaks down due to software issues and discharges a full battery within minutes like some smartphone its a user error? Or a battery that after only a few weeks looses 80% of its capacity... Nah, thats bad gear, not a user error. I don't find it all that difficult, the button is broken. Unless he stabbed it with a knife or shot it I think its safe to say its a bad button. BTW, I've started to notice that a big portion (at least 70%) of all the still shooters I talk to are having the same experience if they use Sony. Most seem to regret switching to Sony. Some even call it (loosely translated) the "Sony Scam".

The Panasonic GH4 mirrorless camera has a free three-year warranty. In fact, all the Panasonic "consumer" digital cameras have this three-year warranty. This suggests their failures rates are lower than that of other cameras (or this would be very expensive for Panasonic). Just sayin...

If a manufacturer makes a product and instructs me in the proper use of the hardware... and then "the internet" finds out that some bit isn't robust and won't work as advertised (IE "even though the manual says to charge via USB, this will trash the camera over time"), I don't think it's user error - it's manufacturing error. (Even worse is when a manufacturer makes an amazing and robust product and then leaves the market... FU Samsung. What an amazing camera you dropped.)

It's a hell of an assumption to assume I'm "regularly using the USB to charge the camera" based on the fact I stated it stopped working. I had the camera for a while before I'd even tried it. I have about 14 batteries and 2 dual chargers and 3 single chargers. No, only tried it once as I had my phone charging and was curious how long it'd take in a pinch - this lead to noticing the failure, and then seeing if it would still sync on my pc (which it didn't). I could play devil's advocate and remind you Sony lists in the manual that USB charging is fine but I won't bother. In fact Rich I only cared that the USB worked in order to get the much needed firmware updates. But, feel free to continue to make all sorts of assumptions.

I plug/unplug the MicroUSB on my smartphone probably eight times a day, have been for years, and I've never had it fail. Sony's jack is probably just cheap and/or poorly designed.

im using my sony a7s for two years and havent any issue since the moment of buying. And worth to mention im no carefull user) Sometimes when i needed to charge two batteries at once ive used a usb port to. No problem with that.

Both A7sii and RX100iv jammed, froze and needed battery pulled almost daily. Never happened on Canikon or Panasonic.

I recently sold a three year old 5D MK III to fund an A7R II. even after intensive use, the Canon was like new and I got a very good price. Within two days (yes, days!) the paint had started to rub off the Sony and has continued to do so ever since. Same for the lenses. Although the Sony seems particularly shoddily built, last year I had to repair under guarantee a GH4 (touch screen broken), LX100 (sensor filth), EM5 MK II (buttons stopped working) and a Sony A6000 (circuit board fried after less than a month). That's more cameras to fix in 2015 than in the previous 25 years of pro work. Seems to me that cameras are currently brought to market too soon and that early adopters pay a high price to be beta testers of equipment that is often built to minimum acceptable standards.

Hi Guys, Yes, you are right. I am the developer of the Cinema 4K app. I have started this development, because of the limitations of the built in camera app. I have also tried other apps for 4K video recording, but at the end I decided to write my own. I have tested it on an LG G4 and Samsung Galaxy S6. On LG G4 the AE lock is not working and - because of the weaker CPU - the 4K recording sometimes drops frames when other apps are running in the background. On the Galaxy S6 there is no SD card option, however I could attach an external storage over OTA and configure the app to record there. Works good. Cinema 4K relies on the Camera2 API. This is quite new in Android and unfortunately not too many manufacturers implemented it on their phones. It also requires Lollipop (5.0) Android version. The Google Play Store automatically selects the available devices for download the app based on the OS. This might be the reason Note 3 is not listed. I will try to set this manually if possible. Thanks for starting this forum and your valuable feedback. I am planning to add some new features in the future, but at the same same time I would like to keep the app as simple as possible and not to overload. The main idea is to get the maximum quality from the camera and later on you can edit it on PC/Mac environment. Thanks and Best Regards, Gabor

​I suspect this is the main culprit.

Interesting. I definitely have done this and like the look, but is that what people here are talking about for the most part? Seems like there's the idea here of 24 frames per second, each frame being held for the exact same amount of time. Like in some cameras you might not get "frame, frame, frame.." you'd get "frame, fraame, frame, frame, fraame.." which shouldn't have anything to do with rolling shutter. Though obviously that affects motion. And there's kind of a charm to a perfectly choppy low frame rate. Idk, are we talking about all these things added up? Feel like maybe this is too general