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Nikon has Flat profile, which is amazing. They do not have C-LOG because they did not develop it in the first place and they did the Flat profile. My point was, Canon already has developed C-LOG. It is there, it exists, do you get that? So no reason not to put it in the 5D except market protection. Canon stinks. I can't wait for them to die like Kodak did, it will be well deserved. 5 years we wait their camera to get nothing. They could have done 4k FF with the 300mbps codec of the X10 and CLOG and the 5DIV would have been an amazing camera for video and photo. Just 2 specs, that are ALREADY existing on canon products. 2 easy specs. Fuck that seriously, they take us for pigeons and they are right to do so. Because the thing is people will still buy their shit.

I think the GH5 is the one to watch, as it could have pretty much everything you need. The Canons and Nikons are much more for photographers, hence the weirdness with video features. Give Fuji a couple of years to get video right. Samsung... what a shame! Sony... I'm glad they're quiet for once. IBC is coming. Expect a Canon C100 mk III announcement coming quite soon (going off history), another reason for DSLR video weirdness. The Kinefinity Terra has been delayed til November, Ursa Mini style. What happened to Craft Camera? Those guys are a bit weird. FCPX hasn't been updated since February. New version on the way?

A D750 with 4K and no crop would be dreamy. Dreamy dreamy would be 4K DCI 60fps Dreamy dreamy dreamy would be 10bit 422

Yeah I know, just making a point about the initial release state of the camera - should never have passed out of the gates!

Just a note: The Nikon D5 recording limit was bumped up to 29 minutes 59 seconds in June: http://nikonrumors.com/2016/06/23/major-nikon-d5-firmware-update-version-1-10-now-available.aspx/

I just wanted to share a fun passion project I just finished for an artist named "Fleurie". We shot all this in my living room and I did all the VFX in Apple Motion 5. Shot 4k with a7SII but delivered HD (my computer wouldn't handle 4k 3d graphics well). Just thought I'd share! Let me know if you have any questions about it. I had fun making it

Yes, I've been holding it for long, waiting for the 5Dmk4 with a little bit of hope but Canon couldn't do it right once again so I'll probably go with the GH5 (already sold my GH4). I must admit that Canon does such a great job protecting its camera division that I've been buying Panasonic camera and lenses since the GH4 despite my large EF collection. Congrats Canon.

That landscape picture is lovely. Does it really matter there's no colours in the shadows on the left? My eye is looking at the sun, the smoke haze and reflections on the water.

Hell just give me a a D750 with 1080p 10 bit 422 and it would be an instant buy. I already love the color from the camera.

I'd take the a6300 + Zihyun Crane over the XT2 since they cost the same and 4k from Fuji is looking completely uninspiring. The XT2 required the grip for extended recording as well. Plus you don't have any of the Xtrans watercolor issues with stills on the a6300 - which are still present on the 24mp sensor. Wish Fuji would dump that and just go bayer. Will be interesting to see what Olympus and Panasonic do with the GH5 and EM1mkII. 43rumors keeps saying Oly worked to reduce RS in the new EM1. Then again they also say the LX200 may be released at Photokina, but there's no confirmation, no known name and no specs - in other words they don't actually know anything. At this point reality is anybody's guess as it appears most of the content on that side is just fabricated clickbait. PADF seems unlikely on the GH5, especially if it uses the Sony sensor. Among other places:http://www.cameralabs.com/reviews/Fujifilm_XT2/

The Tokina is a completely different look than the Nikon which you might enjoy. If you find a good copy it has a much smoother focusing ring than the Nikon, even if it has a shorter throw. This was shot entirely with it on a D800. Not many other options for that mount for Zooms. If it's in your budget the 24-105 is an option.

I've used the DJI X5R with the Osmo on 5 shoots now. As I got this to replace my Ronin-M so i could take gimbal shots with me anywhere without hassle, it's definitely working out very well. On previous shoots where I'd be limited to filming static angles (due to time and location), I find myself whipping out the Osmo RAW very often - grabbing much more dynamic movement. The workflow is overstated by others on the net. Maybe they find it to much, however I don't have an issue taking the files from Cinelight to Resolve to export to ProRes. One thing I need to work on is maximising the dynamic range from the raw files, I feel I'm not quite there yet. I've attached two stills, first one is the regular 60mbps 1080p file (not done much 4k yet as it's hungry) and the Raw to ProRes file. These were only very quick, rough grades, so they are in no way perfect (notice the smaller file has better skies, my bad). However see how much more detail the raw file holds against the regular file (look at the grass). In motion, the 60mbps file holds itself up quite well and looks fine for a lot of stuff, besides some minor dancing aliasing on grass. The raw file in comparison feels much nicer, organic and chunkier. To me, it feels like what the GH4 would be like in raw. DJI's colours are a bit more "cartoony" than Panasonics, so that does need a bit of work in post. Should have some proper videos out soon! (when the client decides to release them that is!!).

I agree. The build quality is fine. Is it a tank, like the C300/300 mk II? no. But it is sturdy enough and fine. I saw the Camera Store review and, IMO, they were not fair to the camera and presented one of the most biased, and worst reviews I've ever seen from them. I know the XC10 well, and the young guy who did the "review" missed one important point after another--and I'm not sure they had any intention of being fair--or spending enough time to actually learn how to best use the camera and appreciate its virtues. In response to my criticism of the review I was told they "hated" using the XC10. The only way they could say that is to not understand how to best use it to begin with. It's amazing fun to shoot. And it's image quality, in its range, matches well with the C300 Mk II 4k---especially when you use C-log. That's pretty professional, in my view. Even Andrew mentioned how much he was impressed by the image quality. Most Camera Store reviews seem good to me insofar as I can judge, but this lame, superficial attempt to "min-review" the XC10 really disappointed me. Basically, I think they just want to sell you the Sony--with it's crappy skin tones, etc. There are more XC10 reviews than those of the Camera Store. Besides Andrew's review, I really like Carlos Quinteros, Maarten Heilbron, and Jared Polin's reviews--they are much better, more informed, more thorough, and they actually took time to learn how to use the XC10 then be fair in assessing what the XC10 has to offer. Beautifully said, Andrew. I purchased the XC10 a few months before I saw your review, and I had flipped over everything you talked about...and kept wondering why no one had adequately acknowledged it until your review. Once I read your review I thought maybe I could have a little more confidence in my own judgement. You know the real value of a given tool by how you feel about using it to accomplish a task at hand. Thinking about shooting with the XC10 makes me frigging happy---and I know any poor result is going to be my own sorry fault--and not the camera; beautiful image, beautiful colors, fantastic grading with C-log, sharp---decent sound, high quality codec--gets the shot with minimum fuss---what's not to love about this camera?

Use only proven spec to ensure cameras work well is one thing. Cripple a 3500$ camera just to protect your 10k$ one is another. Why not adding C-Log for example? Is that something that will put in danger the 5D reliability....? stop defending Canon when they do shit.

I've had some time to play with the DJI X5R and for the first time, put it knee deep into a professional shoot with lots of flashy stage lighting (the video is a high end "fake live" shoot for an international events band. So far, using this device is a very slow burner and I can't really make a judgement yet, but here's some things I've found. There are many negatives at first, however I'm trying to solve them and see what difference it makes in the long run. What I do know is that this combination has a lot of potential, however this camera needs quiet a few firmware updates to get there. ProRes on board would be great! I feel DJI didn't test this camera enough before release. Had to deal with lots of annoying issues. Positives Footage in 4k and HD raw an be spectacular - very clean and detailed (but only if you shoot and light skilfully!). Very intuitive to use, combining the Osmo and Inspire 1. DJI Go app responds and works very nicely. Stabilisation and handling is very different to a normal 3-axis gimbal like the Ronin, however getting to know it's behaviour can yield some awesome moves. Walking bounce can be eliminated if you know how to "do the walk". Some shooters online are just not trying at all, letting the vertical movement bounce everywhere. Walk as flat a possible, all is good. Unit is small and light - no balancing required. No big bulky cases. Nice and portable. Low light is better than expected. GH4 level really. Battery extender is very useful, if you need long periods. (lasts about 2 hours 45 mins on constant with Inspire 1 TB48). Proxy files look decent in good light. Handy to have when raw isn't an option. 1080p is very sharp. 4k is ridiculous. The gimbal lock on the Osmo is sweet. You can pull off some crazy dolly moves and pans. Negatives Autofocus on the app isn't great. Takes two tries and it MUST be on something of high contrast to work well. Aperture resets overtime you switch off the device. Bit annoying. As phone is a monitor, you need a USB power bank. I strapped one on the back of the mobile phone holder. Phone (iPhone) lasts 45 mins otherwise. iPhone monitor image breaks up sometimes and lags quite a bit. Annoying if you are trying to do a smooth movement or judge focus/exposure. Changing settings such as aperture can be fiddly. It just won't let you choose what you want sometimes. Sometimes the unit goes into sleep mode a few seconds after you switch it on. SSD fan noise is like a shit hoover. The internal audio with the cheap mic add-on is absolutely garbage. It's hard to hold the X5R on the Osmo with one hand, while using the thumb controller. Two hands is better. The SSD card reader is shockingly temperamental with Mac. Sometimes it doesn't mount at all. Have to use USB keyboard input on Mac. Doesn't work on the normal USB inputs. DJI Cinelight is rubbish. Transcoding is very slow and the tweaking options are very basic. Memory fills very quickly. HD is about 2 hours per SSD, where 4k is about 25 mins per SSD. For long shoots , another SSD is almost essential. Just very very pricey. Focusing can be difficult on apertures between f1.7 and f5.6 using the app. Seems like the expensive follow focus would be ideal (not on your wallet). Normal OSMO batteries last about 7 minutes. D-LOG on proxy files is a HUGE HUGE no-no!! It looks and grades horribly on the teeny 60mbps codec. That's enough for now! More soon...... with images!!

I guess we will just have to disagree on what is "awful" DR. Anyway... here's hoping the 5div carries over the 13.5 stops of the 1dx ii... that must take canon from awful to average?

It is not done because of hack - you just have to change video out in menu from NTSC to PAL. Than you will have 100 fps instead of 120 fps.100fps can easily manage 180Mbps - it did not see any issue so far. I will se later if it is completely OK. Yes, it is not so slow as 120fps but becuase of compression I will probably prefer it ... yes - there is still aliasing but no compression artefacts.

Yes,60p can produce nice image only below ISO 400, 120p only below ISO 200 and 4k below ISO 1600. I saw unedited clip from A6300 with ISO 3200 and it was quite noisy but noise grain was finer and detailed (filmic?) and not blockier as it is on NX1. But in general according dpreview - NX1 is little less noiser than is A6300 in photo mode... I have tried also hack v5.3 with killall and still had dropped frames with bitrate 100Mbps. Finally my solution is switch to 100 frames (1/4 slowmo 25fps) and then I can use very high bitrate (180Mbps!) without any dropped frames. I shoot in 4K30p so it would be problematic to have 25p clip in the project - to make 120 frames (1/4 slowmo 30fps) I simply make clip faster (20%) or use Twixtor for conversion from 25fps to 30fps. It is worth to do it as 180Mbps 100p image is very nice and without any compression artefacts.

Yeah, exactly why it's no use mentioning or having hopes for them. The only plus side is that the 1D C has come down in price... which is still a traditional style camera without all the modern mirrorless bells and whistles and gives you a bitchy workflow. Though yeah, the results speak for themselves. But unless it has a 'C'-badge you can kinda forget about it. And with the increasingly capable competition and Canon upping security protocols trying to block exploits, I also think people will find better things to do than trying to hack another Canon. I want something up from the GH4, yet not spend the kind of money that would set me back an A7RII/A7SII set-up with fullframe covering lenses or having to go up to the league of Sony FS5 and Kinefinity Terra with all the add-ons. I just want to spend like 1799~2499,- and be done with it. Have my ideal camera that does it all. Something in between the things we've already seen the GH4, GX80, NX1, A6300 and D5500 do. How hard can that be? Sure there's Blackmagic which kinda tries to bridge the gap, but since the BMPCC I haven't really seen a camera that could be used as casual as the GH4. Also, shooting/light conditions have to be near perfect shooting with those. I get it, it's a 'cinema camera', but that doesn't mean I only want to shoot on well lit sets...

I wouldn't write out Sony too fast.. the Japan earthquake that affected their sensor factory completely messed up their 2016 release schedule but A7 III series & A9 should be serious contenders..

Nikon go for highest DR at a base ISO... Canon keep their DR across a much bigger range. Nikon have been well ahead on base ISO, I agree... though the D5 is only 12 stops too and the 1DX ii a healthy 13.5 To say the 1DC is awful is what made me laugh though.

Remember hearing about these guys? http://www.craftcamera.com In the slight chance they really do intend to bring out this camera, their site says 'Starting in the fall of 2016, Craft will be visiting cities around the globe'. I'm skeptic they will come through at all, but I do feel like that's the kinda thing we need right now... Updates have been due for months now... but hopefully we're able to catch a glimp of life some day soon. I need to go somewhere from the GH4. I refuse to use traditional DSLRs and their quirks, I don't per se need fullframe cameras either. S35/APS-C would be rather perfect. Nice enough crop to easily create a shallow depth of field, have a broader selection of wide lenses, better high-ISO performance... Surely I could live with the M43 format and speedboost lenses, given the ISO performance is not far from that of an APS-C mirrorless camera such as the A6300. Sony's reliability is affected, some think it's managable, I personally don't want to get something with that kind of track record that can bail on you at any given moment. Colors are tricky (color channel clipping too). The rolling shitter. Samsung did nice job in making a solid camera indeed... pair it with the S line-up lenses and you're still good to go. Great internals and infrastructure in place to pull sweet stuff from the sensor without all the issues the other brands are experiencing. Indeed, why is it you pay good money for cameras these days and they can't keep up? Also: can't they take notes/a hint from others? Fujifilm indeed might be making waves. Although, it's still a very stills oriented camera, like I think the E-M1 II will be too, so video is going to be rather acceptable, but nothing to fancy in terms of usability and control. I'd really want to see sensor stabilization and a fully articulated touchscreen with cameras like that. The E-M1 II might be that, but will probably screw up writing it away to the card and create files that are rather thin spread sorta say. For now it looks like the GH5 will be it. Everything the GH4 is and later was experimented with with firmware upgrades and trial features (including paid ones). Especially if the G7 and GX85/80 are an omen. Though I think it will still not be the ideal camera. I think it's going to be an incremental upgrade much like we've seen before. I hope however that it's a nice placeholder for the GH6, which will hopefully be more of a revolution than an update, sporting NX1-like internals and A6300-like lowlight performance. Maybe finally with the organic sensor, no additional crops and upped processing availlable... It would be amazing if next to 'regular' 4K60p they could do Blackmagic-like internal ProRes and DNG RAW at the 1080p resolution. I also hope Nikon joins the APS-C mirrorless party. I don't think they'll go fullframe, as they want the pros to rely on their sturdy and reliable DSLRs. But something like the D5500 made mirrorless with mirrorless features and new flexible mount type I could really see working. They can almost keep the body style, the D5500 is not that much different than a GH4. Fairly chunky, but really manageable and then the fully articulated touchscreen of course. That's a good concept. But then with the Nikon advantages of excellent color and rendering overall, reduced crop (with the option of boosting it in the direction of fullframe) and better lowlight performance. I hope by the time Christmas comes around we'll have some great things to choose from to put underneath the Christmas tree. But if indeed it takes CES and next year's NAB to come up with something sexay, I'm sure we'll make it through winter somehow. For a few months set aside the wishes for a new camera and just put focus on lenses, lighting, audio and storytelling.

I have no issue with someone saying the Nikon sensor is better... it is saying the Canon is awful and outdated that is laughable. If you can't get your shot with 12 stops, you are not a good photographer that understands light.

Hahahahaha. I can't believe what I read on here at times. Do you solely shoot into the midday sun from inside a cave?

When will we arrive at a long-term workhorse camera for $2000 that doesn't let us down in low light and easily drops a high quality 4k 4:2:2 feed internally? Something that doesn't fall apart in various post situations? What I mean is "in the old days" you could depend on a reasonably priced Bolex with anamorphic adapter and good film stock to deliver independent film grade quality for a number of years. Maybe we already have it in the GH4 or are about to get it in the GH5? Right now I think you could shoot judiciously on the GH4 or Sony and get very close with an external recorder. Other than that maybe we have to simply make the leap up to $5k+ cameras and shut up. I'm not trying to say that current $2k cameras and Bolex Super 16 cameras can be made technically equivalent because there's too many variables, just that the more you pay for a camera the longer a useful life you wish it had.

All the rumors are Panasonic will announce the G80 and not the GH5 first .

The GH5 will probably not come in sept because of the earthquake. That being said, I agree, DPAF would be amazing on the GH5 and it would make it, together with IBIS, 4K60p, 120fps FHD, 422, an INSTANT buy for me even though that would means I have to get a separate camera for stills (I wait a do it all body for years). At least there are multiple advantages to have two bodies: Be able to shoot some video while my still camera records a timelapse. Be able to have the proper settings done on each ready to shoot stills or video (this was the most hassle on my A7RII, having to change multiple things when I either take a pic or a video). Then it is gonna be a D810 for stills for me, best landscape DSLR of the market for 1900$ brand new (grey market) + GH5. For the cost of a 5D4 I will get way better DR and stills, way better video specs. That is, only if Pana gets us the DPAF as @Andrew Reid said. Which they wont....

Ah yeah better slow-mo could be on the cards, definitely. I'll be happy with 120fps as long as it is clean 1080p with no weirdness or crop. Then it competes with the RX100 IV and RX10 III but interchangeable lenses and larger sensor.

If one is willing to compromise a few pixels the BMPC4K is very close with 4000 x 2160 (DCI is 4096×2160, for Flat (1.85:1) presentation 3996×2160). And of course one can always compromise the resolution and go D16 with 2048 x 1152 (DCI is scope 2048×858 or flat 1998×1080). Both cameras have global shutters and very nice motion.

Awesome lens, i bought one for 140€ :D Build like a Tank, but glowy at 70mm 2.8.

Frank Glencairn just picked up an old Tokina AT-X-Pro 28-70mm F2.6-2.8 (Angenieux design). Look's interesting. http://bmcuser.com/showthread.php?18216-Poor-man-s-Angenieux-Tokina-AT-X-Pro-28-70mm-F2-6-2-8 http://www.ebay.com/itm/Tokina-AT-X-AF-28-70mm-F-2-6-2-8-AF-Lens-For-Canon-/262569552328?hash=item3d225d69c8:g:KxIAAOSwYSlXgf84

It was the camera my work had invested years ago. The 7Q greatly improved the setup, there's just HUGE issues with the S-LOG2 profile. Nobody wants Sony color, they buy the cameras because of the price point/feature set.

Exactly, only someone with experience and some skill would know what to do with most of the things the XC10 offers. And it's stealth quality is one of its biggest pluses.

People think the D500 is just for sports/birds, but it also has been argued the D500 is the best ever general purpose (especially for DX) camera Nikon has ever made. I want one!!! I don't even shoot birds or sports (well... I photographed a rugby match the other weekend just for a laugh).

Forum members, I just thought I'd point out that this guy is the founder of a questionable Polish militia "boot camp" facility which trains French civilians to semi/automatic firearms & combat warfare (which is illegal here) around a clouded political agenda that seems to cover up under anti-terrorist legitimacy. He is here asking questions as no French videographers (to whom he referred to me in another thread in french as "hipster faggots") seem to want to be associated with his borderline propaganda activities . I'm all about freedom of speech, but I just thought you guys should know who you're helping out here.. not exactly your ordinary fellow videographer.. As for the A7S2, it's color science & S-log. I often here it berated here and it isn't the easiest cam to work with and S-log does require advanced grading skills .. but in the right hands I've seen some really superb work done on the S2 and it sure packs a lot of punch in such a small package (and price compared to the FS5).. and this is coming from a Canon guy!

Here's one way to get the camera close to a realistic skin tone.

The slow lens has it's advantages. For a start F5.6 in daylight isn't a problem. And with a 1" sensor it is never going to be the camera you pick over an A7S II in low light. Sure, a constant F2.8 would have helped by a couple of stops but you STILL would not pick it in low light over a full frame camera with F1.4 prime. So there's less point putting a faster lens on it than you might think - you just end up with a clunky big piece of glass on what should be a super-mini C300 Mk II. The main point of the lens is the 10x zoom, it's very handy. Also it's a much sharper and higher contrast lens than the Zeiss F2.8 10x zoom on the RX10, so again the F5.6 long end has the advantage of stopping the image getting mushy. The XC10 is the for me the ugly duckling that turned into a swan. It is one of the best daylight shot getting cameras I've ever used and has the best codec on the market under $2k and the best colour profiles... And no it isn't a RAW codec but RAW isn't always "the best codec" if you see what I mean (file sizes, workflow).

It's an odd phenomenon of the internet. People fuming about cameras/phones/computers/cars etc etc that they have never even used or seen. anyway, I look forward to any news. It's a form factor that really works for my type of work (that i make money from!)

The XC10 is an out and out pro camera. It looks a bit consumer but that's part of its appeal. It's for ENG and doc work where small, light and inconspicuous is desirable. The images it delivers are for pro use, not just because of the broadcast approved codec but the superb IS, the log profile, the low noise, the good if not perfect AF, the ND, the colour space, the 10 bit output, etc, etc. None of that is consumer targeted.

Five star thread here guys

The em5ii has better image stabilization and is much more video focused, especially after the update. I'd consider it or the EM1. They recently had the EM1 for a 1 day only sell at $799. EM1 mkii is gonna be announced at Photokina so you should be able to get new EM1's cheap after Photokina. I would not consider the EM10ii. I'd probably get the EM1. Also, not sure about where you're at but there was a really good deal on the G7. You can get it, the 14-140, a free 25mm f1.7, and $100 off the 42.5mm f1.7. So for $1,297 you could get a zoom that gives you a lot of range and two fast primes. You can also get the G7 without the 14-140 for less money and you still get the free 25mm f1.7.

With this little comparison, i wanted to test out slow motion capabilites and compression variations of Sony FS5. Salt particles were used on a subwoofer to spring rapidly. For test purposes, two square LED light panels, two small LED lights and IceLight were used. Camera was set to 5500K white balance, 18 to 42 degree shutter angle with aperture set to 16. PS: Due to YouTube compression, it can be hard to identify defects of each setup. 800fps version was automatically cropped. Original video file: https://we.tl/5iFMQo5Sws Setup & backstage photos:

I'm pleased with my footage from the A7SII. To get nice colour, it's required to modify the Slog2 profile (there's loads of help online), expose the footage at least 1.5 stops to the right and white balance correctly. Then you need advanced colour grading skills - firstly to correct the image accurately, bring down the exposure (especially those mids) and use a LUT as a base for further styling if required. Sharpen subtlety and you have a very nice image. If you don't do any of the above, then your footage will look like a pile of sick. Again, there's so much information on the A7S, LUTS and exposure. You have to put the learning work in to get results. The A7S and other Sonys get the best results through intricate hard work. For those who don't want that fuss, Canon or Nikon is your weapon of choice. Crap though, like you say, it isn't.

Thank you, i like colours there are near reality. With normal gamma i find the NX1 has the best colour rendition(only DR is limited). All scene are with DIS, only 3-4 inital are on tripod.. If you have an object very near you can notice DIS very well(same as warp stabilizer) in a bad way...

OK. Did you actually test your rented camera before using it for anything important? You sound very cross.

Canon have the colour-path and codec nailed to perfection on the XC10. I am also impressed with the dynamic range of the sensor, even in the most contrasty picture profile it rarely struggles no matter the light thrown at it. I have also been enjoying the stabilisation, very impressive. Shot for 3 weeks in Italy with it and editing now.

I think Panasonic could do a lot of good by going down to a 8.5MP sensor. It would improve noise performance by about 1 stop, let them do 4K without crop, more efficient 1080p, faster readout meaning less rolling shutter, better slow motion, and raw video also. Trying to keep the megapixel high for the misguided people who get the GH as their primary photo camera, that's really putting a damper on things. Also, 8.5MP still makes for a great photo camera and the achilles heel of the mft cameras has always been low light. 8.5MP sensor would make better photos.

"If I'd asked my customers what they wanted they would have said a faster horse" -Henry Ford. "It's really hard to design products by focus groups. A lot of times, people don't know what they want until you show it to them.” — Steve Jobs You're right Andrew.