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This is the NXL SB "for all lenses".

Panasonic G7 superb in low light

also for every movie shot on the red, 99 were shot on the alexa. It's almost endless how many movies are being shot on the Alexa.

I am really interested in this as well. How are you making them? Any pictures of the fabrication process would be nice to see as well Keep up the good work.

all the footage I shot for the movie is owned by the film production company , they have released some low res saved for web images to me so I can share them on EOSHD . Film companies dont relase any hi res stuff until after the film is released , So look at the lighting grade composition low light levels etc etc but remember these are lo res saved for web pictures you are seeing not UHD 4K uncompressed frame grabs. there is no micoblocking on the actual footage I shot . I shot most of the movie at 800 iso f2.5 I lit the sets for that stop and ISO , I did shoot some scenes at 640 and 400 maybe 20% of the movie but most was at 800 iso the G7 is very clean and usable at 800iso PS the entire film is shot at night there are no daylight scenes in the movie

Take those listings with a MASSIVE grain of salt, unless you first dig deeper into it. Often a movie can be listed on there merely because a RED was used to shoot a few 6K VFX plates, but 98% of the rest of the film was shot with Arri Alexas. Or perhaps just a few seconds of aerial shots were done with a RED (which of course they'd now use an Alexa Mini for instead).

Hope he has some news for us, when he comes back.

That's why sometimes to the client/producer my KineMAX is like an Arri Alexa (can shoot 16 stops DR at 3K in raw with beautiful digital grain, colour and highlight rolloff) and sometimes it is like a RED Dragon (4K compressed raw high frame rates and 6k acquisition in a smaller, modular body). Camera choice for me starts with what do I want to achieve given the concept for the work, can I achieve this with the current tools I own (or do I have to hire) while considering budget generally, and then how do I communicate this to client/producer/director etc... for which if I have to I will put together a combination of test footage/previous work with a bit of a sample look.

About the NR jump. Yes. It happens to everyone from 1600iso to 3200, it's weird, it's a bug or just the way they handle it with the hardware of software. There's no way around it. It's a limitation

Received my GX85 last week in time for a Friday wedding and just wanted to share my initial thoughts on the camera (being a GH4 and GX7 owner) and a short teaser film I made for the couple I filmed with the camera on Friday. Heads up: this is the same post I put on personal-view to avoid any duplicate reading time ;-) Firstly, operationally, this camera with its stabilisation is a gem. For a number of years now, every time I've wanted to go handheld at a wedding I've had to remove my baseplate and attach my Zacuto target shooter and z-finder (I don't keep the Zacuto baseplate on permanently as I value the GH4s flippy screen way too much). Weddings being as they are, this meant I only used my mini rig at strategic times of the day when the switchover meant I wouldn't miss anything. So having it built in meant I could go handheld whenever I wanted; and I did. I had it slung around my neck most of the day, operating my GH4 on tripod and mono as my A Cam and then choosing certain moments to use the GX85. As the day progressed I began using the GX85 more and more and it gave me a photography-like framing freedom to the height and angles I could get to without having to hoist up my beloved monopod or put my tripod down into low leg move. I can see the pitfalls of a device making shooting so easy... you get lazy... but on Friday I felt a freedom and creativity I haven't felt in a long time. I started looking with my eyes more knowing that my gear wouldn't stop me getting into position (and quickly at that). And the quality of the stabilisation? Well, you can probably already tell from the videos that it's incredible. And where I wouldn't normally go handheld with anything over 25mm on my Zacuto, by the end of the day I had my Nikon 105mm and speedbooster (making it 75mm) and it was fantastic, allowing me to grab shots that normally I'd have to set a tripod up for. And with some practise I felt quite comfortable panning gently with it too, it doesn't come to a hard stop like the Olympus stabilisation seem to, it tapers off nicely. I won't comment too much on image quality at this stage as I haven't had time to pore over the footage. My initial feeling is that in terms of DR, detail and colour it is on par with the GH4 with a slightly different colour signature. I feel it is definitely less noisy than the GH4 at high ISO (which is a boon for my work, although I'm really not afraid of noise as much as some people) but detail and DR like normal still seem to struggle once you hit 1600. Also, I don't think the slow-mo (50p/100 shutter on a 25p timeline) is as good as the GH4, doesn't seem as fluid. The GH4 has fantastic 50p. Again, please take this with a pinch of salt as I've scanned my footage for all of an hour and never have time or inclination to pixel peep (too busy editing bloody weddings!). It's just my feel. Now the cons to the camera.... instantly the moment I took it out of the box and put it up to my face I was disappointed. I love the left-side EVF, it means guests can see more of my face and I can smile to put them at ease and more easily talk to the bride and groom if doing any direction. However, that damned left strap lug just sticks into my nose. The GX7 has the correct placement of this lug and I cannot believe Panasonic engineers changed it and then didn't think about the consequences. Anyone else notice this? I want to hold the camera to my nose for additional stabilisation and can't do it comfortably now. I can live with it, but found myself pushing the viewfinder upwards into my eye socket so I didn't have red marks on my nose all day. It's workable, but the GX7 lug placement was perfect. Secondly, no battery charger included. You have to charge the battery in camera which is less handy when you want to have your second battery on charge while using the first. I do this a lot. Obviously it's a real shame it doesn't have mic input, but I understand this isn't a pro model. I just have to choose wisely when I use it for my work until the GH5 comes out as audio clips are so important to the way I edit (I use natural, candid audio whenever I can, especially in my longer edits). However, I really will have so much pleasure using it for my work in the meantime, and it is now the perfect personal camera for me too. So here is a mini teaser video I put together for my bride and groom from Friday. Shots 1, 2 and 4 at 50mm, shots 3 and 5 (cliff ones) at 75mm. Yes, I have slowed them down, but I would be more than happy (and will) use them at normal speed too. The 75mm on the cliff was a bit of a wow moment for me. With the wind the way it was, there is no way I would have been able to get the shot on a monopod that steady, and I would have never been able to get the variety of shots I did if I were using a tripod (there was no time for a tripod anyway). The GX85 is opening my mind up to new possibilities. All shots straight out of camera, natural w/ -2 contrast, -4 sharpness, -3 NR:

Angenieux zoom time! I just got myself an angenieux 15-150 zoom (which is the zoom on the left in the photo) It is optically very simmilar to the 12-120 on the right however it is designed to cover super 16 film. I've done a lot of shooting with the 12-120 on the gh4 and will be using the 15-150 soon! Just have to get the current projects done and out the door.

no, not all manufacturers. He's doing an ef mount speedbooster adapter. but you can adapt a lot of lenses to ef, like he listed.

If ultra compact size is what attracts you, then check out the even smaller KineFinity Terra 5K/6K or Sony FS5

I know a lot of DPs who own a mini and have already paid it off. They just don't brag about it. Reduser regulars except for my friend Nick are their own brand of "interesting" folks. Nearly everyone in the LA and NYC commercial scene own or use the Alexa almost exclusively. I don't know many DPs who would chose to rent a red over an alexa mini. Before, red dragon was going strong because it was small and lightweight. that all changed with the Amira and then definitely with the mini. Red is pretty much, in my mind, over. Unless Mr Jinnard really does introduce "the next big thing" - which I doubt. C300ii definitely looks interesting at its price. Red was really attractive to producers 5 years ago. Now, all they want is the Alexa. But you can easily convince a producer to use your camera if you show them the work you do on it and can explain to them why it's a better choice for the project. If the producer doesn't listen to you, they aren't being a smart producer.

Tnx. The EF mount is a big step forward. The factories of adapters should not only build an adapter for all lenses because not economically convenient. But I am an Italian craftsman, then, considering the price, for obvious reasons, will be more expensive than mass-produced in China, I prefer that, who buys a NXL can use it with all the lenses, this is a great advantage because even if you spend a little more you can use it with any lens. In future I adding electronic controls and smart functions.

If you want raw & HFR and your budget is around US$13K then look at the KineFinity Terra 5K/6K, you could get two even for that budget! Or a FS700/FS5 with an Odyssey 7Q+ Probably because until very recently owning an Alexa was prohibitively expensive for the vast majority of owner ops! But with older secondhand ones showing up, and the Alexa Mini, the situation is changing to make it kinda affordable for some.

I stumbled across this interesting article and thought I'd share it, something non-gear related for an odd change! ;-) http://www.screenplayology.com/content-sections/screenplay-style-use/1-1/

Yessssssssss! Been eagerly waiting for them to fill in the gap between 16mm and 24mm, as that gap was just too darn big and was rather annoying (even worse if you needed full frame, was a leap from 14mm to 24mm!). Now I just need to save up the US$600ish the lens will cost. http://ironfilm.co.nz/rokinon-cine-ds-20mm-t1-9-is-coming-at-last/

https://shotonwhat.com/cameras/arri-alexa-series-cameras 489 titles https://shotonwhat.com/cameras/arri-amira-series-cameras 3 Titles https://shotonwhat.com/cameras/red-digital-cinema-cameras 416 titles https://shotonwhat.com/cameras/arri-arriflex-series-cameras 618 titles (film)

True. Much cleaner than the GH4.

http://www.kesslercrane.com/kwik-release/

its a totally different camera to the GH4 which is why I chose it to shoot the movie on - its a totally different sensor in the G7 , alot cleaner in low light and very usable at 800 iso

It just makes for a great 2nd shooter camera. No need for it to replace the GH4 or anything. You shoot your main things with the GH4, then you'd like some B roll in between. A cam shooting an interview with dialog? Great, keep the dialog running and put some visuals on the screen. Wedding? Good chance you've got a music track underneath. You don't need sound all the time, continuous AF on M43 isn't going to be stellar anytime soon I suppose, so you'll use MF (or get a Canon with dualpixel AF)... It does have the BIS, it's smaller and less conspicuous. The GH4 might be the productivity tool here, but the GX85/80 is the fun one that opens up some new possibilities. It's priced attractively to serve as an addition to the GH4. And then you might replace the GH4 at a later stage, but it wouldn't really warrant to let go of the GX85/80. I'd say, keep it around! And for the budget conscious, if you manage to handle the audio externally, you still get a great deal with the GX85/80 even as a main cam. At that price, what's a better pick? Just need one camera to do it all, like the GH4 and you can wait? Sure, wait for the GH5. You just have to realize what it is and what it isn't. The GX85/80 is not a GH4 replacement. But it is a great deal and an overall interesting package altogether and for now there's nothing quite like it out there. For me personally it makes the ultimate addition to the GH4.

Thanks. Interesting. At ISO 800 it must have been a lot cleaner than a GH4.

Annnnndddd......Samyang just killed the game. Great choice for a fast, wide focal length.

I'm pretty sure he's not talking about high budget Hollywood films. The DP's on those projects aren't getting the job based off of their camera package.

Does he hack the newer cameras that gets sold on via his site and is that why those don't have the recording limit??

51,42x34mm You would be surpirsed how good even a tiny ancient 36x36mm back looks on portraits. My favourite format is 6x7, but 51x34 is good enough to unveil some of the beauty (specially on faces). I don't know the numbers right now but cinema 65mm is smaller than photographic 645, so if you liked the look on the master or 2001 this speedbooster should give the same look. The only problem I see is quality and vignetting (that first element looks too small).

Nearly all digital medium format systems have a crop factor vs film 645 (let alone 6x7). With only a very few that don't.

This is shot with Nikon Nikkor 50mm 1.4 AF + NXL speed booster Prototype.

This. Most productions I work on are now shooting Alexa Mini where they may have previously been shooting Dragon. Netflix now only want 4k acquisition. Alexa can't deliver that, though I've heard rumours that a true 4k Alexa is not too far off. Seems most Netflix productions are now shooting Varicam or F55. Considering a VaricamLT and Alexa Mini are priced similarly to a Dragon, I see no particular reason to go for a Dragon unless you desperately need 6k resolution. WIll be interesting to see how the Varicam/LT fare - one might imagine that a rental company that invested too heavily into these may be able to give you a good deal on them..

Awesome, thanks for this.

Interesting. I've been working (in post) on ads and network tv this year and so far it has all been Alexa. But I know Netflix won't accept Alexa. I find it the easiest image to work with in post by far. The C300 Mk II really should be a lot better post-firmware update and at 13k it's a great deal. Most of my friends are not high end shooters, they have gone the C300 path, and they're working for Vice, etc. and still making really good livings. They got into the game later than the Red owners I know. That said, Red user is proof positive of how well that investment worked out for a substantial plurality of people.

@ markr041 Once it's crushed it's gone. A parachute has a reserve chute to deploy. You don't get it right the first time? Don't worry, there's wiggle room. Also, you might not have decided a look. Maybe afterwards you feel a certain look fits the piece much better. Once it's baked-in, it's done. But if you shoot with a bit more lattitude, you can flip it how you want. It's a philosophy thing. Same with photography. Some people think it's cheating if you use Lightroom/Photoshop and you should just shoot the picture in-camera. Well. To each their own. I think it's marvelous that we can shoot RAW pictures and develop them on the computer. And sure you can make additional adjustments to make it prettier. Girls put on many layers in front of the mirror each morning... some more than others. Who am I to say they can or can't. In the end you get a unique look from a unique point of view/perspective and to me that is what it is all about. Not all art is equal. But personally I like the approach to create part of the look in post, which ultimately gives you more creative freedom. But if you're of the mindset that creative freedom is the freedom not having to worry about the look in post and focusing on the moment itself (although I would argue that's exclusive to shooting as-is)... that's cool too. Btw, I'm with Vesku! Let's do a blast of the past! I love that piece.

Kinemax...find their examples on Vimeo...amazing image!

Any hack supporting full time manual focus in video for Samsung lenses?

Sounds like the new firmware just changes the temperature at which warning/shut down occurs. Users have been reporting it runs until it's almost too hot to touch now. I wouldn't feel comfortable letting my camera get that hot

I love the "Gold Ring" on Samsung NX1... It will be a very long wedding!

Can we get some chart tests with this focal reducer? Sharpness across all parts of the frame need to be accounted for. Also what about lens coating? Does this flare in direct light? Can you try it with wider and longer lenses. I know the Metabones lenses have their focal length limits in particular with the Sony e mount adapters.

Well, as a long-time NX1 shooter, I'll say it's pretty fantastic. You can get a really beautiful, cinematic image with it. It can really, really sing with old lenses - like 60's/70's glass, Canon FL or the various screw-mount stuff, aperture-ring Nikkors (I'd get adapters while they're still around). The native glass seems awfully "clinical" to me. The H265 is a real space-saver - even if you convert to ProRes to edit, you can shoot all day without a ton of cards or SSDs. If you use an external audio recorder and good mics, you can run the camera-out into the NX1 and if you're careful, you can get fine audio without having to synch in post (though I would 100% advise you still record externally too). 4K is absolutely the shit for reframing or post-stabilizing... but the jello at 4K is abysmal. At 1080, the jello is in the best-in-class range (but it ain't global-shutter class, it's still there). So - handheld or real action stuff, shoot 1080. I only shoot 4K if I know I'll reframe. AF can be useful, but you might test low-level (1/4) diffusion, pro mist or black pro mist, with NX glass. "Iron Man" was shot with 1/4 and 1/2 pro mist (black I think?), and we don't think of it as a "diffused" movie at all. Where it fails is where the BMC stuff really kicks in - DR. Doing outdoor work or indoors where you want to hold a sky through windows, you'll need lighting - indoors a 575 HMI par is the bare, bare minimum and a 1200 would do much better. Outdoors, HMI or a very well-executed reflector and scrim setup. That's if it's bright and sunny and you want to hold sky color and detail. And overall, shooting flat with lighting, not camera profiles really helps. Some big, soft fill sources to bring up shadows so you can tamp them back down in post. I've played with the Andrew Reid conversion and luts, but you run the risk of big, chunky, moving noise if you go too far. Get close in-camera. But those issues are the same with most any 8-bit, non-raw camera. You really have to plan for highlights and deep shadows, and I'm a believer in printing out plenty of color reference (send images to a photo print place - have good prints) and attaching to your storyboards, and setting yourself up on set for a successful grade. It's no Alexa.

Awesome! I guess I'd prefer small primes coupled with sensor stabilization. But man, if you want to work with a nice allround zoomset, there hardly is anything more suitable. The 28-70mm and 80-200mm f/2.8 D still make an awesome pair! Been keeping my eyes open for a 17-35mm to hit a nice price for quite a while now to add to the two. Nice coverage speedboosted on M43. Like the 18-35mm and 50-100mm f/1.8 from Sigma would too I suppose (depends on the look you're after). Same goes for both too that they're rather clunky and would require a little bit more rigging up. But hey, then you're shooting Bourne-style baby!

Add into it the tendency to evangelize and thus rationalize one's camera purchase... which is a pretty big inclination among enthusiast (and even pros) and you get opinions that are clouded with so much subjective attitude they're sort of worthless. Bottom line, if it works for you, have at it.

I used that recently with some footage shot with my GX80 and non-stabilised lenses to fix a couple of pans. Worked really well.

Also with IBIS move past the point you actually want to stop, if you get a wobble from the sensor settling down it won't ruin the shot. As always, slower is better, even with 5-axis.