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If true it will rock. Its gonna keep Canon at the top of the sales lists for years.

Yeah most people don't have particularly demanding needs and "good enough" is all they need for now. Unfortunately I expect the Canon fanboys will lap this up.

So far it's just rumors but still boring specs. Knowing the Canon trend to cripple its DSLR I'm not very optimistic. First it's only 4k30p, then the huge deal breaker of MJPEG with massive file size and need to transcode. It's like Canon can't ignore 4k anymore but wants us to feel the pain of using it. We can probably also forget about peaking and zebra. LOG i don't know but the 1DX doesn't have it. And is that going to be cropped ? What about aliasing and 4K quality, is that going to be like the usual Canon 1080 that looks like 720 ? Last we have DPAF, that's great but if the image sucks and the video features are non existent, the benefit is very small. Looks like I'm going to keep my current camera and wait for the next Sony or GH line.... Conclusion: after holding it for as long as possible, Canon is finally jumping in the 4K train but in the worst possible way with weird specs that are going to be severely outdated in a few month by the upcoming competition that will to give us 4K60 and 6K30 soon. In 3 or 4 years I can't even imagine how theses ridiculous specs will look like...

So, I had my first go with the GX85... awesome little camera... well worth what I paid for it. I have to adjust Saturation a little. On my monitor, the levels look fine, but when I watch it on one of my TVs, it is definitely over-saturated. I am going to try lowering my in camera saturation a tick or two. For this video, the in camera settings were... Contrast -5, Sharpness -5, Noise Reduction -5, Saturation -2. I'm going to try -3 and -5 next. I used FilmConvert for correction/grading. And the music is by Kevin McLeod.

No.2 is correct. You want to set your shutter speed, aperture and iso and use the VND to control the exposure. Only thing is when it gets dark you'll have to either bump up the iso or take the filter off.

Nope, what that link says is: "for the slow motion 120fps of HD video" Which means it could either mean 720 or 1080, being Canon.... I'd lean more towards suspecting it is 720 than 1080

I just re purchased a 1DC and pumped to have it back. Was able to buy the Zacuto Gratical as well with some of the money I saved by re buying it. ALSO....if you live in the New York area....take this offer up!!! $2199!!! Insane. http://newyork.craigslist.org/mnh/pho/5735235400.html

Hi everyone, please share any experiences you have had with Rode's customer support. They have just resolved an issue for me that that exceeded the highest expectations of customer service for me. Now I live in Australia, and have heard some incredible stories about Rode's customer support from their original beginnings in studio condensor mic's. After buying my first ever Rode product, a videomic pro, Rode sorted out a shockmount issue in a 5 minute phone call and 1 email. Consider me an instant convert for life The mic itself, while not perhaps being the very ultimate in shotguns straight out of mic, gives an extremely workable sound for me, so very happy there too. After hearing some almost unbelievable stories in the past, about Rode's customer support from their studio mics, who else has had experiences with Rode customer support? This is so crucial to me with a gear company, and Rode now have a total advocate for life in me with their support! Thank you Rode, I am a proud Aussie today I can't say enough good things about them, and will be amazed if anyone has not had the best customer support from Rode. Wow. Thanks again Rode, cannot recommend enough.

It is correct but it is little bit more complicated: If you attach f1.8 lens to APS-C camera it is not actually f1.8 but f2.8 ---> you have to convert it to equivalent 35mm aperture (https://www.pointsinfocus.com/tools/depth-of-field-and-equivalent-lens-calculator/#fmt=10&ap=1.781797&fl=50&dst=10&u=us). So it is little bit lie from lens manufactures becuase you have to convert apertures to 35mm equiv. in same way as you convert focal lenght. So until now you are correct - speedbooster collects all light and no more that provides full frame lens - so f1.8 lens is f1.8 lens. BUT - ISO numbers are not equivalent (maybe) to compensate less amount of light coming to sensor. One example - FF camera and APS-C camera - both has same ISO 800 but APS-C is noiser. Why? Becuase it is more sensitive than FF camera and actual ISO is higher (even both has set same ISO) - it behaves like ISO 1600 on FF. With same aperture and ISO should be shutter speed same on both cameras becuase less light of APS-C is compensate by more sensitive and actually higher ISO sensor (very often also noisier). BUT with speedbooster you have more light than APS-C expects - sensor is still more sensitive than on FF camera so with same ISO and shutter speed is image more brighter (+1 stop) than it would be on FF camera. It depends on your point of view - you can say: with same setting (ISO, shutter speed) I have faster lens but I think is better to say that with speedbooster is APS-C's ISO converted to ISO similar full frame camera - like for example 5DmkIII with ISO 1600 and NX1 with ISO 800. This is how I understand it, but maybe it is not completely correct.

Yes I prefer consumer 8 bit 4K to blockbusters shot on Alexa also...

Thanks for the link, very helpful. I did the same thing as you originally did... I set the display in preferences to RGB. I've definitely noticed a difference since I did it, but I am always second guessing myself with color since I usually have such a rough go of it. Funny thing is, when I have a question I need answering and I Google it, I usually find the answer on EOSHD. This is such a helpful community!!!

http://blueringlab.com/2016/03/samsung-nx-mount-protocol-general/ http://blueringlab.com/2016/03/samsung-nx-protocol-boot-sequence-1/ http://blueringlab.com/2016/03/samsung-nx-protocol-boot-sequence-2/

Thanks for the post. I was hoping for some new development here.

Not that these specs sound massively exciting by any means, but I'd be wary about making predictions like this. Back at the start of the year the 4K modes in the D5 and D500 were greeted with howls of derision by many on this forum, and predictions about how the still-to-be-announced A6300 would be a massive game-changer and render every similar camera (with the likely exception of the GH4) obsolete. The reality was... less clear-cut, to say the least.

'Against the Republicans' I meant.

Hello everyone! Few days ago I finished editing my last short timelapse video. I put a ton of work into this (shot last year, edited in 9 months, just because I couldn't focus on in completely). Edited in ACR and Premiere Pro. Opening title in AE. Please read the video's description for camera info. Almost every shot is done in silent/electronic shutter mode, works like a charm for timelapses. I have some complaints about camera, I'll post it if anyone will be interested, but other than that, it is a great little tool!

I'd love to get a C500 in two years when the price comes down even more and 4K recorders are $300.

ES also tried to persuade another forum member during a drone discussion to ship him a drone to Egypt...these cons or attempted cons have been going on for a while.. Below I'll paste that request made by ES to Jonsey Jones " On May 6, 2016 at 4:57 AM, Ebrahim Saadawi said: Where are you located JOnsey? I've been seriously searching here for any DJI supplier new or used and there's none. Zero. I was going with the inspure plus x5r kit just for the sexiness of a raw gh4 footage. But ended up seeing it's a much much more sensible decision to start with DJI lowest end drone (Phantom 4 1080p I thinl? Why not do a pal a favpur and buy an extra one & ship it to me, as I havE no one abroad at the moment. I can transfer the fee through anu channel prior to the purchasr (we've been long enough here to trust one another) plus all the shipping and effort costs. This way we can start with a cheap phantom to really master flyinh and still do some projects with it and then have it as a fiture B aerial camera when we get an inspire, or what ever comes up then! I strongly advice going that way, the phantom 4k can produce amazingbresults that most of youtube clients won't mind a bit, so getting that instinctive ability to drive the thing and the muscle memory on different situationd is absolutely essential before we go bigger, right? Btw a question, how do you actuall keep track of the drone and fly it? Does it give a live feed wirelesly? And if so, to what? and what range? Mters? Kilometers? And what happens when it goes out of that ramge, crasj? I more consirned about people safety as I'll be shooting incredibly high populated sma'' country (thonk like europe at rush hours in PAris UK, Etc, and and vertical crash WILL absolutelu hit someone 's skull. Of course I'll be training for months and months before taking it to a dense area, just the desert, but still accidents happen. how big and heavy is a phantom , would it cause a si,ple trauma if the worst ever happens. or concusion? Skull fracture and immediate death? If amy one has any experience of hitting people or hearing stories about people hit by these drones i'd love tp hear them, if it's seriously damaging i'll tota'ly resttict the usage to my roof Hope yoi can read through this spelling, writing from an old npkis phone with a aphysocal leyboard. I'm in San Diego, CA. I'd probably buy from BH though. I too am thinking Phantom, but 3 or 4 I don't know. What's the big advantage of the 4? Is it worth double the price? Yes. I will buy and ship for you. PM me and we can arrange the details. " As is obvious...the con has been going on for a while...I posted this during the ES feeding frenzy, when I don't think anyone was really reading anyone else's posts. I have to agree most strongly with Bioscope's post on that thread which was WTF with all this forgive and forget (I paraphrase here)...this guy needs to be in jail IMHO...he is a thief and whereas he may have been handled with kid gloves before, in the effort to get the money back for the guys who were scammed, it's now a case of here we go again! Like this

I had this lens and was quite happy with the performance,actually rather surprised it was sharp at f2. I used it with a mitakon lens turbo focal reducer on the a6000.I returned it not because of performance issues but because I wanted a different focal length at the time. Also the build quality and focus ring were quite good for the price.These are some random test photos I remember getting with the lens at f2 or 1.4 considering the focal reducer. I would also like to add if there was a negative about the lens I would say it would be character. I often felt even though the image was quite sharp it lacked that pop of my vintage nikon lenses.Then again that could be a good thing if you want a more neutral image in the first place.I would definitely get the lens again.

... and refrigerators

English subtitles added (see video in first message). If any questions, write in this thread please

I'm hoping this will push Nikon to announce the D750S with 4k video, touch screen, and a healthier codec at Photokina. I shoot still and video for weddings primarily so I am switching between modes all day long and have a serious love/hate relationship with Nikon. For a while we used 7Ds with 5Dmii then GH4s along side the nikon D800, but since the d750 it was more practical to keep everything the same. While not a complete brand loyalist, I strongly favor stills quality and dynamic range of the nikon over canon which hasn't really come close recent years. I'm really curious to see how the stills quality compares and if the video is as strong as canon's higher end cameras, it might be time to bring my L lenses out of retirement.

Narrative commercials are pretty much guaranteed to need storyboards. You have to plan out each second and make sure the angles/scenes are shot in the allotted time. I think they're really helpful in all of types of film other than documentary. If the director wants to take the time to do it then it's really beneficial.

When I first got into professional filmmaking I went on shoots with other professionals to learn how they worked. The shoots that were well planned, with detailed shot lists, storyboards, pre-rehearsals, table-reads, fully blocked and rehearsed, etc., always went much smoother and the crew were much happier, resulting in much better products than shoots that winged it or were otherwise not well prepared. My day job which funds my film projects is software engineering (I currently only shoot for our own internal projects, currently working full time to develop Cosmic Flow). The same patterns apply to creating software: planning, testing ('rehearsing'), iterating (re-rewriting the script/shots after rehearsing/table-reading/testing) is critical for a smooth production. When working with teams, sometimes folks don't want to do the 'hard/not-very-fun' work of planning, testing, and iterating. My last few projects didn't have as much planning as I would like and the results weren't as good as we need (even live interviews can use good planning). Since I have to operate the camera, handle sound and lighting, and do the editing, I take steps to make my life easier for the final edit. Our current shoots in production are much better planned and the results are also much better. There's an idea in software called the "lazy programmer". This actually means the opposite of what it says: the programmer spends a great deal of time and effort planning, designing, and iterating so that after the software is developed, their life will be much easier moving forward as it will be more reliable, easier to use, and easier to maintain. Thus the extra up front effort vastly reduces effort and headaches down the line (there is a balance- too much planning is counter-productive). The same pattern applies to any form of product creation, especially film.

Be aware that the HDMI out on 1DC has a ~200ms lag

It is handy sometimes to lower the overall weight you have at the end of your boom Every gram counts!

I think that the auto settings are helping you work quickly, but if you start practicing with manual exposure it will soon become second nature and you will gain more precise control over your image. Once you lock down your shutter angle (lets say to 1/50th) you start to lose the ability to control your light. A variable ND gives you one more tool to cut down the light coming into the camera. I would learn about shutter angle and use full manual exposure. Light is at the core of our art and a greater understanding of how and why we change and control it through our cameras definitely leads to more creative outcomes. I haven't even bought an ND yet but I do use a circular polarizer to cut down light if I want to film something at a wide aperture in bright conditions. Also shutter angle is a subtle effect but you can use it to your advantage. I use between 1/30th and 1/60th of a second for different applications. I personally can't stand the staccato look a video shot at 1/100th or above gets especially when filming fast moving things.

Having Slog2 on the A7SII is absolutely awesome. As long as you know how to grade and manage the profile, the results are well worth it. Just down to taste, I don't want to use any other camera that doesn't have log. The new 5D won't have it, so........ err, probably not for me.

I recommend picking up a cheap variable ND to try. If you like the workflow, then spend the money. You are getting pretty good results the way you are shooting now, so why spend too much money until you know for sure you like using a VND and want to change your method. For cheap VNDs I can highly recommend the Bower VND. It's cheap with very neutral rendering plus it is one of few VNDs (even the more expensive VNDs) that have hard stops on either end. I find it's also good to have a cheap one in your bag in case you're in adverse conditions... the beach or deep in the woods. If you're going to get sand on you're filter, it might as well be the cheaper one.

Canon almost always have boring specs... They get slated by bloggers, the forums are rife with laughter and scorn. Then the footage comes out and people do a double take. You only need to look to the blog owner here, a self confessed tech/spec head, to see this... He has the 1DC, C500 and XC10. All were mocked and generally considered underwhelming yet the image draws people in. Canon are mugs if they don't put in c-log though... If it doesn't have c-log or ML... count me out.

Probably cause they limit stuff like that to what they consider their cinema line and they don't see this as one of those cameras, though I'm sure they expect it to get a lot of use from indy filmmakers. Yeah, it's remarkable what the GH4 can already provide. Now imagine how much better the GH5 and GH6 will be. Both of these should come out before we see a 5D mkV. I know cameras are more than a spec sheet, but I'm not understanding the excitement. Maybe it will be incredible though.

I don't know about joke. None of the competitors offer anything like it. I guess the Sony AX100 could be considered a competitor but boy did it underwhelm. Nah, nothing from a GH4 I've ever seen matches ML Raw from a 5D. If you have any examples I would love to see them (and no charts, images ). 4K from a GH4. Sony A7s or other low bitrate shooters doesn't look as good as upscaled HD from a good camera imo. Ive done so many blind tests and people always fail to identify the 4K anyway. even the once here that claim to always see it. But hey, nothing wrong with 4K, I use it all the time.

Why will you choose this over another camera in the $3,000-4,000 range? Seems like there are options that are a better choice for someone doing video. Or do you need something that can do stills and video well in one camera? The dual pixel is nice to have but you can now pick up a new C100 mkii for not much more money. You think these specs "rock" compared to what other companies are currently offering and what they'll be offering in the coming years? I'm not seeing it. But I'm sure Canon will sell tons of them because so many are already heavily invested in their system and this will be more than enough for most of them.

Yes. I use that as well.

4k will be 1.6 (APS-C) crop. This is not a fact but my pure speculation based on the fact that 30.4 mpix at around 1.6 crop will make a 1-1 pixel 4k DCI. So I expect the video quality similar to the 1Dx II but with a bit more crop.

Your wish is my command, here you go: https://www.amazon.com/Saramonic-96-Channel-Wireless-Microphone-Transmitter/dp/B01AYDN004/ https://***URL not allowed***/review-saramonic-uwmic10-dual-channel-wireless-mic-system/

It might help me here, being in Australia, all I can say is give them a call, or send another email, Rode seem to really look after film makers, as far as hardware support goes I am really happy. To be even more parochial to Rode, howabout contact Plural Eyes - they have a great reputation for their software, and if you look at Rode as the hardware company and Plural Eyes as the software - it it were me I would be contacting Plural Eyes as the software experts. Ok Rode have some responsibility, if it is a software issue though Plural Eyes themselves would be the better solution I think. As far as hardware support goes - to me Rode = best! Good luck Sanveer getting the Plural Eyes going! Hey, I am sure they will send you a replacement.. I have heard amazing things about the blimp, but I have to say the Rode Videomic pro I have here - ok, it is light, sounds great, and they have great support - but, the cable on the thing seems to be about as solid as a piece of well cooked spaghetti. For the flagship camera mic solution, the cable quality seems like a $30 USD Aliexpress mic. For a mic like this, how about a moulded socket with a few ribbon type cables and adapters?

This reminds me, I have a dodgy cable from the blimp & broken lav which I need to get around to emailing RODE about. Hope it goes as well for me as you!

Hi, regarding Rode mics, letting everyone know I just had a really great customer service experience with Rode.. possibly the best customer service experience I have ever had!

RT is a Russian propaganda channel. Everyone knows this. They have been without any doubt and 100% waterproof evidence been exposed as lyers and spreaders of false truths on hundreds if not thousands of occasions.

Do it. v2 is a big improvement over the original that you might read some sound pros complain about

Really you want to talk censorship? Trump has directly threatened reporters and the media that if he's elected that they would come to regret it. I'm voting Hillary/3rd party because of Trump's incompetent foreign policy and his stance on Gay marriage rights. I want a liberal justice added to the supreme court. They are both horrible people that I don't want in, but I have to chose based on who I think will benefit the country most in office.

Russian media and the word "censorship." Huh. Interesting, that... Man, it's all so weird. Used to be most voters in the States would view anything Russian with heavy skepticism. Now, if info serves to support one's ideological purpose, no problem. The source is almost irrelevant. Augh, political years in the USA. Oh well. I'm burnt out on it.

Good job man!

@kidzrevil @vaga The whole idea of 16-235 in the first place was because in the old days cathode ray tubes (TV's) could not handle the complete dynamic range of an 8 bit signal so programming suppliers had to supply media that had a limited dynamic range. Nowadays modern TV's can easily handle the full 8 bit spectrum so the need for shooting in 16-235 has long since gone. Adobe Premiere seems to be stuck in the mud in that it is assuming that media dropped to the timeline (at least in the case of the NX1/500) is shot at 16-235. The problem lies in that although there are workarounds as I have previously described, the curve that is applied to the 16-235 footage to bring the levels back to black and white is almost impossible to reverse completely so everyone is assuming that the camera is clipping blacks and whites which is simply not the case. Let's consider a hypothetical situation and take this to extremes. Instead of shooting in 0-255 let's try 123-124 the resulting clip would have no dynamic range and just two shades of each colour, the fact that 16-235 does not appear to show this is that all editors apply a curve to this footage to bring the 16 back to 0 and the 235 back to 255, it appears seamless because that's what the editors do but there is no doubt that you are losing dynamic range and colour gradation. Try installing the free version of Davinci Resolve and you will see no clipping on 0-255 footage, surely it can't hurt to try it, and honestly the colour grading is so much better than Adobe premiere. But... having said all that you are all welcome to your opinions and I know this is one of those subjects which carries controversy and will continue to do so until the end of time or more likely the common use of 10 bit shooting which negates this whole conversation. Good health to you all and cheers.

Night for day - (minus) 1 And low light cam - (minus) 1 If you've ever done videos at night or even indoors where you control the light with externals... There is no going back. Invest in lights with V-mount battery adapter.

I do kinda get his point though. There's always people that are going to complain that equipment is too expensive for them. Ok, we get it. He can't buy the 16-50mm f/2-2.8 S lens and 400 USD is a stretch too. What I don't understand is... if that's not your ballpark... then don't look at it and complain about it. That's unproductive. And what I also get is that stuff just costs money, from a designing and engineering perspective. If you want something that's brand new and any good, there's probably some money involved to make it. That's just how it works. Complaining about something that's already fairly priced might be regarded disrespectful to the ones making 'em, although I wouldn't really go as far as saying it's disrespectful to the art in any way, except from the fact that everybody is dealing with the fact something is a certain price and they either sacrifice somethings to get the funds or just forget about it already. I love cars, especially the fast and exotic ones. Yet you won't see me complain that a McLaren is too expensive. Or even the Audi RS5. If it's not in my ballpark, I'll just have to look at other stuff that gets me from A to B. Can't afford a car, like... any car? Look at public transport! Can't do that either? Take a bike or go on foot! I mean... you want a cheap f/1.4? Get a 25mm APS-C covering C-mount lens from AliExpress/eBay or something already. Or a nice vintage piece of quality glass. Sure I agree. Budget forces perspective, a new way of thinking and resourcefulness. But you've got to explore that. You can't just sit around moping. Be creative with what you've got on focus your energy on the right things. That's all.

Various options: 1) ignore stupid laws, use generator 2) beg/borrow/steal more LED lights & batteries 3) beg/borrow/steal a7S 4) shoot day-for-night 5) ditch the wide shot, and shoot around it

I run an NTG-2 into a Tascam DR-40. When I bought it I was lusting after the NTG-3 but couldn't justify $700 at the time for one as I only infrequently use a shotgun. As others have said, the NTG-2 doesn't put out the hottest signal, but after some research I bought a FetHead xlr booster thing for it, and now it's awesome! You let the NTG-2 use it's own battery power and the FetHead takes the phantom from the recorder and supercharges the mic with an ultra-clean +20db boost. Basically, I went from having to have the Tascam's gain cranked past 75 to 80 all the time get good sound, now I rarely take it past 20. It's been a real game-changer for me, and really takes care of pretty much all of my audio needs. GAS averted!