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Hallo NX World, the NX Booster it's coming soon! This is the Prototype Mark II. Marco do not worry, if I do not post my progress, is because I have a lot of work in my private life. Next week I start the test with Nx1 camera.

Hallo video afficiandos! I recently read about @Inazuma´s and @John Matthews´ A3G3 for the GX80 and GX7 in the GX80 thread and @jase´ examples as well. I did some filming with this and another setting about three weeks ago. I´m kind of a Panny fan and have been enjoying the great value I´m getting out of my G6 I bought about a year ago. It was my first step into digital. So when I bought my Panny G6 last April due to bushman films and Andy Lee on Andrew´s forum, I had high expectations. I was exited about the nice HD footage the G6 let me shoot. Bought an editing machine with a 2nd generatoin I7 2600K- great value for starters one year ago. Now of the sudden I had this digi tech at my hands coming from SVHS-C camcorders when I was a teen. Just that Panasonic colors didn´t seem that awesome to me, rather just okay. Last fall I got my hands onto Davinci and a GTX970 and got myself started into the joys of messing around with video color. The G6 held a few surprises for me. I´m surprised by the color "hidden" in that 24mbps 24p codec and even the 28mbps for 50p. A friend of mine wanted me to test some slomo, if codec would hold up for 50p, if she could use Panny Slomo for a kind of a Ballhaus effect for her project. So there is no plotline here. All handheld, with a 28mm FD, WB at 7000K with A3G3 and some A3M9, harsh sun at 4-6pm. Some hoolahoop parts are shot in Extele and the closest framing is an additional larger percentage zoomed in with Davinci. So now I would like to share my share I got out of the Panasonic colors.

At first he told me (see previous post), but since then nothing. I also tried to contact him privately on dpreview.com but even there he did not answer. I continue with my work, however, it goes very well, I hope to have a pre-set ready by the beginning of August for the NX-Nikon adapter system, which, in addition to providing me different information on the operation of SB lenses, it is cheap compared to an intelligent system. I can say with certainty is that the system is very sharp, and coupled with fast lens offers a beautiful Boke. It: All'inizio Ihkim mi ha risposto (vedi post precedenti) ma, da allora più nulla. Ho anche provato a contattarlo privatamente su dpreview.com ma anche lì non mi ha risposto. Io continuo comunque con il mio lavoro, che procede molto bene, spero di riuscire ad avere una pre-serie pronta entro i primi giorni di agosto per il sistema NX-Nikon adattatore, che, oltre a fornirmi diverse informazioni sul funzionamento delle lenti SB, è anche economico rispetto ad un sistema intelligente. quello che posso affermare con certezza è che il sistema è molto nitido, ed abbinato a lenti veloci offre un bellissimo Boke.

That adapter looks really well made! I'm impressed. So are you planning to do smart stuff? Maybe I can help you with that

I once shot RAW on my EOS-M, at 1280x720, 30 fps!, before moving on to the BMPCC.

Not handheld.

Assuming it's shaky-cam style like the first, I can't think of many cameras worse than the A7s/A7sII. Jello city!

Just wanted to say I'm proud of everyone coming together to help out three members here get on their way to get their money back. It was an intense few days or so. But this really, in a dorky way, felt like a real community. A weird meta one, since none of us know each other in the real world, except for me and Mr. Coffee after a great skype interview session. Now I am crying. I am crying and crying and crying and sobbing and need to get a hankey. Okay got it. Anyway goodbye guys! Till the next hot-buttoned issue!

Shot this film in Botswana and I have to say that the BM cinema camera works perfectly for wildlife filming. You will need an external monitor because the screen on the back acts more as a mirror than as a display but other than that it has been great. It eats a lot of hard drive space so a few extra ssd's are needed. Let me know what you guys think.

There are virtually no information about matching Nikkor 14-24 2.8 with speedboosters/focal reducers. Thus, I would like to share with my rough, unscientific and spontaneous test: OOC .jpg, handheld, GX80, Standard -3/-0/-0/-3. This is a comparison between: (a) Nikkor 14-24 at 14 mm, 2.8 + Mitakon Lens Turbo v.2 vs. (b) Lumix kit lens 12-32 at 12 mm, 3.5. IMHO there is a clear difference between these two sets, including that Nikkor is wider I would be more than happy to hear your thoughts. Scene 1 Scene 2 Scene 3 I have almost no focus peaking when lens turbo is on GX80. Please let me know what I should change to improve this. There is no problem with focus peaking when using the kit lens with MF mode on. Although there is no major play between Lens Turbo and GX80, I am considering Fotga as a cheap and small lens-support solution. Do you have any other recommendation? PS. IBIS with GX80+adapted lens is really good.

@mercer With the hoop, It is one node making the difference with an almost inverted S Curve. Then putting that layer in layer mode Hard Light in the edit section of Davinci. To make the hula hoop more intense in its luminousity I stapled the same layer on top of one another, four times. I remember your 35-70 video, had super beautiful greens in it:) Have four FDs, the 50mm 1.4 I almost never used, 28mm most of the time, got a 20mm 2.8 like brandnew. Still hestitating to use that beauty cuz of possible scratches. I know it is silly to feel like that:) Oh, and a beautiful, beautiful 28-85mm F4 from Tokina- Andy Lee tip, read about it, bought it.

My first project with the GX80. Since size / weight does matter and securities are kinda picky, i had no choice but to leave my lovely Voigtländer 25 lens at home and put the Panasonic 20mm on it. I had mixed feelings especially I did not use this lens for a very long time but in the end, I am satisfied with the result. Grading was a breeze, skin tones need little to no adjustment and also this lens works quite well with the Tiffen Ultra Contrast Filter.

Yeah that FD looks nice. If you ever come across one, pick up the Canon FD 35-70mm. I think it's a 3.5 constant aperture. Internal zoom mechanism. Little focus breathing. Beautiful little lens. I sold off most of my FD lenses, but I kept that one and the FL 35mm f/3.5... Another hidden gem with nice warmth. How did you do that hula hoop in the dark trick? So far, so good with the XC10. I took her out this morning for a spin. And I'll tell you what, it's nice to have the 4K, but the 1080p is so nice on this cam, am not sure how often I'll use the 4K.

You rascal:) Thank you very much, Merce! My favs are the first lady´s skintones. I was really exited to discover those. Some kind of thickness finally for some daylight skintones. Architecture, landscapes, foliage look nice most of the time on the Pannys. Thanks again, the editing was a lot of fun too. Its pretty cool to have a chinabooster and counteract that with the Extele mode. Also I unashmingly zoomed in big time in post for some parts of the hoola hoop. Great to have some cool talks again! Exited that you purchased a XC10! Tier 1 HD, true clean HD with CLOG, awesome!

This is my first video with the Kowa. If i remenber, all custom Natural -2 and Auto WB. Impulz Lpp tetrachrome 400 lut.

Hey Panny. Look at you surrounded by all the ladies. Good on you. I really liked the hula hoop girl colors. Those shots are pretty psychedelic, they remind me of some scary, trippy horror movie.

Took some quick shots in the woods. Gotta say I really like the colors and DR of this camera!

It was a 9mm fujinon c-mount.

Shows how much more important sound is than actual imagery when it comes to this kind of low budget nonsense.

xc10 seems nice - like a mini c100 - a power zoom would be the icing on the cake!

Yeah agree that there is a big big place for larger sensors and DOF control/lowlight ability. I have shot a few travel vids and with a larger sensor camera, I had a nice cinematic image but also had to carry a lot of gear, deal with ND filters, and missed some quick shots by not nailing focus or exposure before the shot was gone. I think something like the XC10 which had a great image and easy colours, would be a good option -just one camera in the bag and a videomic pro and you're all good.

This is the best advice yet, in regards to the camera aspect of product photography. If you are seriously doing a lot of tabletop shooting, you really should have some Scheimpflug ability. A shallow-mount APS-C camera with a tilt-shift (or tilt-swing) adapter and full frame lenses works perfectly in this regard. As @Nikkor mentioned, an inexpensive/used NEX camera with a Kipon tilt-* adapter would cost around US$300-US$500. You could also get a Canon EOSM with a Kipon Tilt-* adapter for Nikkor lenses, and that combo would cost around US$250-US$450. You might also consider getting a few primes (for APS-C shooting): 20mm; 28mm; and 35mm.

But for really young filmmakers just starting out in video and they want to make short films with their friends, it seems like a camcorder is a no brainer. Of course, people are making feature films with iPhones nowadays, and they're getting released in theaters, so a small sensor camcorder must be a step up from that. Btw, my XC10 finally showed up. I didn't have much tim to play with it, but I did go through the menus and fiddled with it a little... definitely the nicest camera I ever owned... well built and insanely ergonomic... the ibis is stellar... even on the long end.

When I was checking out the G40 there were almost no reviews, and all the gear sites didn't even mention it when it was released at CES. I think the issue with camcorders, and to a degree the XC10 when it came out, is that they aren't sexy 'cinema' cameras as it seems a lot of people want to be a 'cinematographer' and so end up having to shoot everything rigged up like they are shooting a narrative, when they are often doing work that is better described as 'videography' and would be better served with a small, handheld option which lets you forget the camera and just focus just capturing the moment.

Do you accept western union?

Well, after the US military buyout the technology (along with Vantablack) I guess we might see a trickle down to consumer based goods in around 30-40 years if we are lucky. For example, there are batteries that already exist in (and out of) labs that can power your portable electronics for months from a single 60 second charge, do we see them in our consumer electronics? Nope.

The BMMCC never got the global shutter. It was canned last minute. Like I said, I love the picture quality, it's beautiful. It made me realize I don't really need 4K, it's just the form factor that I dislike. The camera is literally the size of a Rubik's Cube, but when you add a 5" monitor and cables and a small rig, it's basically the size of a prosumer camcorder without the ergonomics of one. I haven't sold it yet, my XC10 is supposed to arrive today, so I am waiting to see how I get along with it before I get rid of the BMMCC. Since the XC10 has a fixed lens, I may pick up a D5500 or the GX85 so I can use my lenses... Probably the GX85 since it will give me more lens option plus IBIS.

To quote from Game of Thrones “Shame! Shame! Shame!” How dare you recline in your sofa/ coffee shop/ bedsit and lambast Ed David for having a pair of balls. Not only is he rocking a heavy copper pair, he also gave you a lesson in storytelling. What is it you loved so much about Serial, or Making a Murder? Haven’t heard or seen those, ok, let’s spread the net… Why did you love the Sopranos, Orange is the New Black, the Wire? Ok, you’re still lost… Breaking Bad? It’s because in real life there are no good guys and bad guys. To try and bookend this episode with your own view of the world and how it should be will always make you a shitty storyteller. Yes you can make your money knowing everything about a camera spec and DP for someone, but you do not understand the complexity of emotions in real life drama that unfolded before your eyes. You went through the emotional roller-coaster, you just wanted to wait until the dust had settled before taking action. That's the difference between art and criticism. Where were you when you could have put your cards on the table many times during the episode? Where was your defense or attack? Michael Moore said that the most important thing a filmmaker can do is to find an opinion and fight for it, it doesn't matter what side its on. The honesty as you work through your honest emotions is what everything is about. Werner Herzog was a bit more enthusiastic - he said you must stare death in the face (I think he had the same general jist - be honest about your own humanity). Where were you when all of this humanity was unfolding? Anger, sadness, remorse, arrogance (defensiveness?) and full circles over and over again... Oh, youre here now, book-ending and categorizing the winners and losers. Those are the cheap seats. Ed went through so many stages of emotions, and at each stage he gave us such honesty that it is ridiculous that you sat at your desk for a week and still feel you have a right to pass judgement. he showed it all… ... in defense of YOUR community... our community. For that, I will always remember a one Mr. Ed David.. that filmmaker in New York who fucking loves this racket we are trying to make it in. ... and he will have your back if you get screwed... ... and he's fucking nuts. Go find someone like him on any other forum. I dare you.

Thanks a lot for the advice guys. Didn't realize that stills sensors haven't really improved in leaps and bounds over the last 6 years. And yeah, I'm shooting small items in controlled light, I can maximize DN at ISO 100-200 and minimize noise. Anyhow, if anyone is interested, I ended up being given a D7000 for free. I kept asking colleagues I know for advice and happened on someone with a bunch of bodies. I was going to go with a D5200 as it's available brand new in Canada for less than $500. Pretty sweet deal without having to worry about shutter longevity from a used buy.

Monitoring is SDI only - you can get scopes and preview image into a MAC through the thunderbolt connection, but it's not at all practical or useful. I've tried the SDI with one external monitor, it didn't work. Not sure if it's finicky or if my copy has bad SDI. Apparently the SDI gets fried easily if you connect it wrong or something. It's out of warranty so I decided to just live with it. AFAIK 1080p doesn't crop from 2,5k. Never had an issue overheating, it's rock solid in that regard. Have had a lot of days in +24-28 celsius summer heat and direct sunshine and had no problems. Had some minor things with very cold weather. In -10 celsius the startup gets slow and you get a lot of artifacts on screen during startup. They disappear quickly though and the shot footage hasn't exhibited any issues.

Internal Prism design

It's always nice to be nice - and I've got a week off lol Knowing the content he was shooting also is a no brainer to help if possible.

Sorry, I accidentally quoted one of your posts last week and when I returned to comment to a different post, the site wouldn't allow me to get rid of your quote... or I don't know how to do it.

why doesnt canon get this: ill buy both, BOTH an slr AND a cX00 cam, horses for courses, but i need the image to MATCH!!!!!??? thats the most obvious reason id buy into their "system" – i can pick up shots in clog with my 5d4 and match it to their actual video cams with plugs and grown up features AND the slr shoots stills~! imagine that!!! what a concept [edit:] addendum: "protecting" other cams doesnt make sense in the same way anymore with a 4k 5d4 and a 4k c100iii on the way. things change, 2016 is half over, lets move forward

I didn't ruin ES's life and career. I threatened to. There is a difference. I wasn't asking for a pat on the back, anonymous person. And you know, I have been scammed before. I lost $2000 when I was younger. And back then, I would have died to have an older, crazier person whose been around the block a few times help me back then, get my $2000 back from a corrupt production company that prayed on young talent. I worked 10 friday nights from 6pm till 6am when I was early 22, and never got paid a dime. And then two years ago I was owned $6000 and fighting tooth and nail I got that money as the company was collasping from a Ponzi scheme. Again, I would have just loved to have someone older help me. And, what, the guys didn't ask for my help right? Well that's right. So why did I do it? Because one of the scammed victims was threatening violence, very early on. I was actually scared for ES. and because not everyone asks for help, but the guys came on the forum and thought it was a lost cause so they kind of opened the invitation to find out more, and a lot of other people helped too - we all backed each other up. And if that stupid rangefinder that doesn't even work that well actually makes it to the guys, that's something, I guess. That we got back and got organized and got a scam artist who was using his leverage and thinking he could play the crowd for what they were, seeing those yankees stripes and thinking nothing past it. But people were able to rise above it, just as everyone should always do.

Depends what you call 'proper' colour correction Firstly, the F3 and F35 are very different beasts to the newer Sony cameras, with totally different sensors that behave differently. Secondly, having shot extensively with both the F5 and F55, I'll say they're both different cameras to say an FS7. Perhaps the difference between an FS7 and F5 isn't as pronounced as say the FS7 to F55, but it's still different. Realistically, an F55 kit should probably still sit within your budget, and the F55 is an great camera. As always, each has their quirks, but I'm very happy shooting with both the F5 and F55 if I can't rent anything else. Keep in mind the F55 has the same CFA as the F65, so the picture is closer to an F65, the F5 has a picture closer to an FS7. Either way, if you think you're going to get A7s-looking stuff from any of these cameras simply because of SLog2/3 then you are mistaken. It's sad that Slog has had it's name somewhat tarnished by people using it in 8-bit 4:2:0. I think more important is the glass you put on the front of it - it can transform the look of a camera. You may also want to see if your local rental house has the new VaricamLT or an Alexa Mini - you might be able to fit them in your budget.

The Sony F3 and F35 are older cameras and don't the same Sony look as the current cameras do, especially the F35.

The magenta corner thing is way overblown. It was a big topic in the BMD forums but in reality very few people had a bad unit. The ones that did went to the forum to express frustration. They've fixed the global magenta cast with a firmware update. There's a new firmware OS update coming soon that is amazing. You'll be able to monitor with LUTS on the camera. Shoot in multiple ProRes resolutions. 4:3 for anamorphic. 15 stops of DR! It's a great camera for narrative film making IMO.

lots of good thoughts on cameras, image quality is super subjective so ill leave that alone rent before you buy! or buy from a place with a great return policy so you have plenty of time to get a feel for the cam

I'd highly recommend a Sony F5 package - I don't know the local pricing, but I'd imagine you should be able to quite easily rent a full production kit (including matte box, FF, head/legs etc.) with a basic primes set (Zeiss CP2s or maybe Cooke Minis) within your budget. Failing that, an FS7 package. Both allow you to shoot 4k Slog3 (or REC709 if you really need). Again, I don't know the local pricing, but most rental houses will allow you take gear for test shoots if you have an existing relationship, or have committed to a long term rental.

Another thing to consider is how you'll be lighting and shooting- would you be better off getting two or three cheaper cams, lighting/blocking differently, and shooting multi-cam? There's a member here named Andy Lee who's shooting a feature with a fleet of Panasonic G6s, each rigged with Nikon glass. Usually using 2-3 cams per scene. There's a thread here somewhere with some BTS pics to illustrate what I'm talking about.

If you're shooting in an apartment, you have control over lighting, movement, blocking, etc. So your priority should be the best image quality. For low budget, I'd say it's the Blackmagic Ursa Mini 4.6K. It does have a couple issues: don't shoot past f8 to avoid magenta corners (but you control lighting so no big deal) and some reports about noisy audio preamps - but that doesn't matter, because you should be using better audio for a feature anyways. Even a couple hundred bucks will get you better audio than what's in $10K, $20K cameras. Just remember, all of these cheaper cameras have drawbacks. But for a feature? The URSA Mini 4.6K will be the easiest to get a filmic and cinematic look for its price range. It does not look like "video" because of its dynamic range, motion cadence, grain structure, thick codec, etc. Personally, I think even the Canons DSLR's don't quite look filmic or cinematic. Even the 1DC. It's praised for skin tones among the small cameras, but you should check out how the ursa mini 4.6k captures people's skin. Obviously as human beings, we're tuned to those details more than the whiskers of a cat. And the blackmagic just takes it to another level as far as transparency, detail, tonality - it hangs with the big boys like RED and Alexa. You should get a high quality monitor or the best 4K TV (hey you're in Korea ;)) you can find, and check out the footage. We did, and we were blown away. But it's not the best camera for any situation. But it comes down to your story, crew, and your own preferences. In fact, I would spend a few hundred dollars to rent a couple cameras for even a weekend....Have the DP, camera op, DIT, even editor, and of course the director, to figure out what works the best for you guys. Go on a date before getting hitched. Could save you a ton of money down the line.

After all, it IS video! But, I know what you mean. Personally, I'm impressed with the Xpro2's image, at this price point, expectations should be a given. Something better would fall into the arena of RED, or ARRI cameras, and their price points reflects that image quality.

DP Review posted some footage shot with a couple of the film simulations and it looked very videoy to me. Maybe it's because I had just watched a video where Matias included some 16mm footage he shot or recently watched this interview with Ed Lachman but you know, in my mind film just blows away anything, especially at the lower end. Anyway, not particularly impressed with the video out of this camera. It's not that it looks bad, but none of the cameras at this level look particularly good. http://youtu.be/qHKkfQxieM4 Ed Lachman on shooting Carol: We opted to shoot in 16mm. We wanted to reference the photographic representation of a different era. They can recreate grain digitally now, but it's pixel-fixated. It doesn't have this anthropomorphic quality in which the grain structure in each frame is changing. The actual physical grain of film adds another expressive layer that is impacting the surface of the characters' emotional being. It has to do with how film captures movement and exposure in the frame - finer grain for highlights and larger grain for lower light areas - that gives a certain emotionality to the image that feels more human. I really believe with "Carol" that people would feel something different than if I had shot it digitally. The other important thing for me with film over the digital is the way color is portrayed. For example, if I have a cool window and warmer lights inside in the digital world they don't mix the way they do in film. With film grain, there's a crossover and contamination between warm and cool colors that I don't find digitally. Digital lacks a sense of depth in color separation the way it does in film. In film, there's these three layers, R,G,B. For me, it's almost like an etching where the light is eating into the negative when it's developed, and even though it is microscopic, it gives a depth to the image that I always feel is lacking digitally.

I have a fancier idea, it will give better quality than anything new you can buy for 1000Cad. If it's product shots of small things like jewlery, accesories,etc... the important thing is not the camera but the lens setup. Either bellows or a tilt and shift adapter for the emount, put the cheapest nex camera behind it. For example, nex5, shift/tilt kipon adapter, and a nikkor 55mm macro lens. This will cost less than 300-500$ us. Now you have money left for some flash (also buy used old flashs that you can trigger offcamera from the nex). The only problem is that you have to know how to use all that stuff

Before I embark on this adventure, I have asked all the manufacturers of photographic adapters in the world. Metabones he said he was not interested, so I asked what the problem was, but they replied: "No. Unfortunately, it is not possible to fit the optics inside the Samsung NX mount flange distance owing to interference and physical issues". I later contacted Mitakon but did not respond, so I tried with private constructor, it has tried so many tests, but failed, successively I contacted two other manufacturers of adapters, initially they said they would try, then I have never responded. So, disheartened, I resigned myself for a long time ... This, until, was born "Samsung NX Hack" it to rekindled my enthusiasm and so I decided to resume my project and I try with my knowledge of mechanical engineering, and today are well advanced. No one is interested in producing an adapter for an off-market camera. Only passion and love for the NX system can give us the strength to work on it. I thank all those who do not abandon this camera and I hope one day we can do a Samsung NX1, 6k Raw, Full Frame with Smart Adapter. by necessity, born virtues.

Lucabutera. If you get a "smart" adapter to work on the NX1, put me down for an order. That's genius!

A7RII, s-log2, Iso 3200, f5.6 https://www.dropbox.com/s/fn8q0sff5yznrf1/C0040.MP4?dl=0