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Hey guys, I wanted to share with you an awesome and affordable monitor made by IKAN that can, with a tiny bit of work, be used as an EVF. The main reason I wanted an EVF + loupe for my Micro setup was to create a fourth-point of contact between my Micro and my body. With my right-hand on the ENG grip, left-hand on the len's focus-ring, chest-pad against my right-shoulder, having the IKAN + loupe pressed up against my right-eye added that extra piece of stability I have been looking for - not to mention being able to monitor and pull focus perfectly in bright daylight. For those interested, the monitor is called the IKAN VL35 and can be had for as little as $259USD: http://ikancorp.com/productdetail.php?id=1738 I rigged it together with an old ViewFinder that I used to use with my A7S and A7RII. Having sold those cameras, I decided to use it as a loupe for my IKAN VL35. It doesn't fit the VL35 perfectly (as it is designed for 3" monitors, and the VL35 is a 3.5" monitor), but it will do for now. However, the good news is IKAN recently told me that they will be releasing a loupe specifically designed for the VL35 - and given the affordability of the monitor itself, I'm sure the loupe will be priced very nicely. As for the quality of the monitor itself - all I can say is that it's great Very similar to the monitor on the BMPCC. I haven't conducted any scientific or methodical tests yet, such as running down the battery or precisely measuring colour and luminosity, but I have used it plenty in the real-world, and it has functioned flawlessly and beautifully. Highly recommended for those looking for a setup like this Anyway, here are some pictures for those that are interested

I've had a UM4.6K for nearly a year. It's done many weeks of work on my sets. Most of the images in my twitter feed are of the same body, the very first one I got. I've had another two PL bodies for about 7 months that have also seen a lot of use. The camera can handle on set abuse. My main body has lots of scuff marks, scratches and dings. It's been rigged on a steadicam, Movi, to cars, in my hands, in production mode, in studio and remote locations. It's had extra transmitters, timecode clocks, plugged in, audio connections used, additional on board monitors, UMC's for remote focus.... There are many many sequences now in the last two TV drama series I shot that have Ursa Mini 4.6K shots and no one ever picks them. I managed to rip one helicoil out early on when an overzealous grip overtightened a rig. I lost a lock off screw that controls the tension on the EVF rotation. I've never replaced it, because the tension hasn't needed to be changed ! My cameras boot up, they don't overheat, they don't loose frames, my shots have passed a zillion INTERNATIONAL broadcast tech checks that specifically go looking for things like noise and FPN and image problems. Directors love the shots I can only get with an Ursa Mini 4.6K, so I'm going to keep using it. JB

Whilst the rumoured and specs are looking tasty, it will all come down to one thing: the image. I was a GH3 owner due to the nice 1080p and 60fps that barely any other small camera had at the time. However I didn't upgrade to the GH4 because I found the image to be very very very similar to the GH3. Of course, in 4k it looked way more detailed - but it wasn't a huge leap in the overall image. The lowlight on the GH4 was actually worse. Also I feel 10-bit is way better implemented in some cameras than others. For example, the 10-bit in FS7 is significantly better than the FS5's 10-bit. Better codec and more data. For those who have the GH4 and an external recorder, have you found the 10-bit to be a big step up? Does V-log grade nicely from the external recording? If the implementation of 10-bit in the GH5 falls back on the codec and bitrate, it becomes a far less exciting camera. So it's worth knowing how the GH4 performs with it's 10-bit signal to ProRes recording.

Indeed, a lot of the so-called magenta examples on the forums are suspicious to me. They shoot a white wall at f/16 or some ungodly aperture, push the saturation to over 100% in post, and then complain that there is something wrong with the Ursa 4.6k sensor as opposed to their own test methods! Of course, if you do this with any camera, you are not going to get a good result. It's such a waste of time and it takes attention away from those units that may have real problems. As for the price/performance of BMD cameras, there is no argument from me. They are simply the best in their price range as I've stated above. Where else can you buy a $3K camera with 4K 12 bit RAW, 2 XLRs, an LCD, SDI out, a global shutter, and a Resolve USB key valued at $1000? It's a crazy good deal!

Because the lens only covers S35 to begin with (F mount only describes the mount, not the image circle. There are many APS-C lenses in F mount, too), not "Full Frame". If you want to speed boost it, you have to go to a format smaller than APS-C, i.e. M43 or S16.

I think Canon DSLR 1080p is worse than true 720p. It looks like sharpened, low bit rate SD. I remember the day I changed from a 60D to the GH3 - the difference in resolution is staggering.

My XC10 with my C100MkII top handle (pretending to be) attached. In reality it'd be more flush and low profile as I've had to add an additional hotshoe to put it in place. I imagine Canon will go for something smaller but using the same unit doesn't seem outside the realms of possibility. Considering the XC10 compliments the C100 so well it'd make some sense. A unit like Sony's for the A7 cameras would be much more compact but wouldn't integrate a handle.. I made my own top handle for my XC10 - using a Smallrig hotshoe handle and Beachtek MMC-2 - which works great as an audio unit. No XLR but with a radio mic and VMP it offers v good sound, audio controls and the top handle works great with the 5-axis for stadicam like shots. Also it can be added, detached quickly just like the C100:

Once again this clown thinks he can get away with this nonsense please Andrew call him out publicly - https://youtu.be/FrYui231Wyc Yea no, lol. Current MFT and APS-C sensor are just about indistiguinshable. 1" sensors are about as good as two year old APS-C chips. And fullframe just barely surpasses current APS-C. Barely. Check out Aron J Anderson on YouTube and look at the results he gets with a MFT sensor vs APSC. I'm just realllllllllyyyyy hoping they put IBIS into the GH5

Simmer down everybody. Its a camera we are talking about...not your girlfriend ? Or your car.

Agreed, I want to see a Rokinon Cine DS 18-85mm T4 S35 lens at a rock bottom low price!

Hey there. Everyone is going to have to make their own determination for how much moire they can handle. I'm pretty forgiving because i know most viewers aren't going to think twice about (or even notice) minor instances. But I bought the Mosaic anti-aliasing filter for those times when it goes berserk. Their new design only takes seconds to pop in and out. And lately, I find myself just leaving it in and giving the sharpening a nudge in Resolve. If I wasn't up to my ass in work, i'd do a side by side to show the benefits/sacrifices. But I'm happy wth how it cleans up moire that I'd often see in hair and other fine detail. I don't know if this will help, but it's the only thing I've got (that i can show) that I shot with the anti-aliasing filter from Mosaic. Shooting with vintage glass here too.

The Canon may be less prone to exploding and killing you in a house fire though: http://www.theverge.com/2016/9/1/12759912/samsung-galaxy-note-7-recall

I can't speak for everyone that has bought a 4.6K, but myself, and the 2 people I know in town who bought one, haven't had any problems with the magenta corners. I even did a stress test against a white wall at f/8 35-70mm.

So I just found out that Magix acquired sony Vegas Pro with the whole Sony Creative Suite, and just announced a new version that will launch in September. But what they seem to highlight as the newest feature beside a redesign along with 4k and HEVC Hardware Acceleration support, is the native ProRes capabilities and support. So will this be the go to Prores editing software for Windows users ? They also lowered the price from $600 to $200 and are giving Vegas Pro 14 for free if you purchase the 13 !! Thoughts ? Here is the offer link http://www.magix.com/us/specials/vegas/exclusive-welcome-offer/

This thing looks amazing. The price isn't bad. I really hope Rokinon makes a 21-100 (or similar) cine zoom. http://www.newsshooter.com/2016/09/01/zeiss-introduces-the-super35-21-100mm-t2-9-3-9-lwz-3-cinema-lens-for-less-than-10000-us/

All hail the democratising C700! Read the full article

Hi folks! Just got my 2x Sankor Compact Cinemascope from my favourite german anamorphic retailer, and I'm quite amazed how sharp is it! Usable picture from f2! There is a custom single focus mod on the lens, it rotates 480 degrees, not really follow focus friendly, but with a wider a ring and a bigger ff gear it should work without problems. I can't wait to try it out on my next music video shoot, meanwhile here's a test I just shot. All shots were shot with Gh4 + k&f mft to ef adapter + pentax 50mm f1.7, set to F2.8 + sankor, everything shot 16:9, some 4K, most of it into 1080p.

"Dramatic dynamic range improvement" "Back when we were briefed by Canon about its update to one of the most popular line of digital SLRs in existence, Canon told us that dynamic range was one of the top concerns of current 5D-series owners." "A major leap forward" https://***URL removed***/news/3229755227/canon-5d-mark-iv-brings-dramatic-dynamic-range-improvements-to-the-5d-line ... So let's take a look at the reality behind the hype... Oh hey it's their own test scene... +6EV shadow recovery on a shot exposed for the highlights Samsung NX1 has it for breakfast The A7R II turns up and has it with milk and tea And the D750... 2 years old... Mentioned NOWHERE in the DPReview article, is an order of magnitude less noisy at +6EV recovery All in all meaning the 5D Mark IV has less dynamic range than the Samsung NX1. I double checked... Yeah it does. And that my friends is why in a nutshell I stopped being a writer for DPReview.

And John with all due respect, please act civil and use empathy. You are a really established DP. Having someone of your caliber swearing at a person on here is quite shocking to the person receiving it. Whether he is right or not, know thy power. I still think DJI is more innovative But well said.

For anyone else interested in the Singer 16D don't listen to Ken. 50mm works fine on Super 35mm with the Ursa Mini. No vignetting. Not sure why he was so confident it's "impossible".

I wouldn't mock it too much. Because it might just be killer images wise. Just saying.

The one I bought had an original canon battery and lasted like 10 minutes when recording :s I bought a couple of Patona batteries. On my last shot (4 hours event, but I always shut down the camera between takes) i did not emptied one battery. So that's pretty acceptable

Now 43rumors is saying the G80 will have 4:2:2 8bit while the GH5 has the previously announced 4:2:2 10bit. Looks like a nice A/B cam duo to me.

Battery grip obviously doubles the battery life since you have 2x batteries. On small DSLRs the battery life is terribad. I also created my own NP-F mount in parallel. IF you can DIY, you just hook two plates up in parallel and mount it to something. I used a cheap electronics box and a 15mm rod mount. I usually have some form of rig to attach that too, but if not you can also just use a hotshoe ballhead or something. - Plates = $4 each (buy the charger for Sony NP-F batteries then just use the removable plate) For the dummy battery you can make your own by sacrificing one. I just got a cheap aftermarket battery and wired it up. I have done this to several Canon and Nikon Cameras no problem. Running two Sony NP-F 970s basically lasts you for around 8 hours or more.

There's plenty of material on-line comparing high-res full frame to m4/3 for photography. When it comes to low light performance, resolution, dynamic range and tonality, the A7Rii competes with medium format while m4/3 is closer in performance to 1".

C-Log is not merely a gamma curve, it maps colour differently (within BT709/BT601 color space in the case of 1DX II/1DC)

We will never bow to you, J'f'r!

I'm not sure where you're interpreting this from. It can't be done in a weekend for 130€. Not even close It's not unreasonable to ask 1000 CAD for: Single-focus Rack-focus Infinity focus Minimum focus under 1m 2x bokeh Fantastic flares Excellent 15mm rail support / alignment Compact and lightweight Considering the great condition of Tito’s B&H glass, I think he should be asking $1000 USD. It is a turnkey solution. Tito, did you adjust the front by (un)screwing slightly? I was able to get much better results after that calibration. It took a little trial-and-error, but if you have the camera connected to a monitor, you can fine-tune it fairly quickly.

I made a test comparing iso 400 - 6400 on skin tones if anyone is interested: It looks pretty good up to 1600 and I think, but it's still usable in from 3200 all the way to 6400 in some situations. Might need some noise reduction though...

RED Raven OLPF Flares

I posted a sensor spec sheet from Fairchild that demonstrates how BMD uses off-the-shelf (or slightly modified) sensors in its cameras and does not manufacture its own sensors like Canon or Sony. You respond with insults and personal attacks. But please, carry on there . . . For the record, I do think the specs on the Fairchild sensor are world class and superior to almost anything else out there. Let's hope that BMD can release the camera in greater numbers and without any issues.

The G7 is very nice in your hands. It is like a little baby DSLR. The GX80 is newer so probably better video, but it costs more and doesn't feel nice to hold for me. Either are very compact especially if you use Panny or Oly lenses. If you really do want a 3.5-5.6 12mm-24mm lens you should be able to get the good Panny 12-32mm pancake lens in a kit with the G7 or GX80. But most people would recommend getting body only with the Panny 12-35mm constant 2.8, or the Sigma with Speed booster option (both much more expensive). If you dont need a fast lens much the 12-32 with the 35-100mm 4-5.6 (might be able to get both of these lenses in a kit) and the Olympus 45mm 1.8 is a good kit imo (will probably get a fast prime between 17-25mm too). Total cost approx. £640 all new except the Panny lens which was bought used but as good as new. It seems that GX80 is more for people who need stabalisation. And the G7 is better ergonomically (fully articulating screen, nice dials etc...). You may miss Canon colours but at least you will have 4K video. Keep an eye out for Panasonic cashback offers (they currently have a £100 one). I used to love the colours and general image from my 600d (t3i?) with or without Technicolor Cinestyle. If you dont need 4k maybe just upgrade to a newer Canon or look at the Canon XC10. If it was me I would go for a Panny to be future proof in terms of resolution and you can use nearly all lenses. The colour is still decent enough. The strange bright green and red on GH4 seems to of improved.

It is wide spread enough that BM had acknowledged it and are attempting to fix it via firmware. No one other than BM knows how wide spread the issue is. It is clearly more than a few bad units because there were individuals who got at least 3 bad ones in a row even when requesting the cameras be checked during RMA. There were multiple people who had the same results. Either they are very unlucky or it is more widespread than just a few bad ones.

I just bought a 50D and I can tell after using it for 2 hours that I love ML Raw. I sincerely hope that the ML team continues with 5D Mkiv, because I would love another reason for the mkiii to drop in price on the used market in 6 months to a year. @squig do you shoot with a specific picture profile with ML raw or do you just let raw ride and create your look entirely in post?

GH4 also allows recording 10 bit 4:2:2 from HDMI. It never really got people pointing a real "wow" difference vs the internal 8 bit. So its for Panasonic to show us a real improvement in GH5 picture quality vs the GH4.

Who in the real world pushes their shadows 6ev anyway? The whole image just ends up looking like puke.

Its shape reminds me of a xenomorph's head, but not in a good way. I'm sure this will be a great camera to work with, shoot great images, do the job in many ways, etc, but as with all Canon cameras, the pricing and specs vs. that of its competitors just seem very underwhelming. If I had that sort of money ready to spend, I would choose an Amira

If it has gone from 11.9 stops to 13.5, that's a massive improvement over it's predecessor. This seems like good news, especially if ML get on it.

Mix the Pentax K-1 into the comparison. Half the price of the Canon. It's even cleaner than the D810 at ISO100, 1/320, +6EV. Not to mention it leaves the 5D IV in the dust. Pentax is such an underdog, I wish it would be more well known. The K5 was a fantastic machine, I loved it.

In the studio test at least, the skin tones have gone to hell on the 5D Mark IV shot in the shadows too. Which is why - for example - exposing for a window behind your actress and then pulling her out of 6 stops of dark shadows is a really really bad idea Anyone interested in designing a REAL world DR test for EOSHD? I can start my own comparison catalogue

The first picture of the article to illustrate the increased DR comes from their review of the D810 and there is not mention of this... Kinf of misleading...

Nice camera shape with the new battery. Nice package, ergonomic, modular ... Curious to see some footage from the 6K but especially from the 5k ...!

Neither RED nor ARRI make their own sensors. They have them outsourced and made to their specifications. Just like BM do with their 4.6k sensor. BM make their own circuit boards. They don't outsource them. Then make them from scratch. They make the physical bodies themselves. They rely on commodity items for the chips and screens but they manufacture more than most other companies in house. They have an active policy of not outsourcing. You're just guessing or making things up when pass mis-informed opinion as fact. Maybe think about qualifying your guesses next time so those reading will understand that you're guessing or making something up. How does anyone know what the margins are for Blackmagic ? A company that don't tend to outsource but do tend to keep as much as they can in-house. Just like the first post that posited that few would sell when thousands have already been sold. It's just guessing at best, and most are way off. They're doing fine. Compare them to AJA and the Cion. Similar sized company to BM, they made a camera based on the same sensor package, but one that was considered to be the much better camera. Look how well that went for them. Why is it that Cion failed ? Everyone who was a "pro" breathed a sigh of relief that a "real" camera would be made and yet... Axiom ? That was going to show everyone how an open source market/ ML style approach would make a camera right ? Show those Blackmagic clowns how to do a camera OS. Look how grindingly slow that's been going because Canon didn't do all the heavy lifting on the sensor front end. or DB ? Why did they fail ? Again, they have an apparently loyal following and unique features. Again it failed. Panavison have failed at least twice to launch a new camera to replace the Genesis. Dalsa, who everyone forgets made the first 4K cinema camera have gone out of making cameras. Aaton went bust trying to make a digital cinema camera. Ikonoscope went bust using the same DB sensor. You armchair quarterbacks are all posting guesses but you actually have no idea what it actually takes to make a camera from scratch. I sure don't but I know that after seeing Blackmagic do it up close for the last few years it's way more complex and intricate than I ever imagined. I know that when I ask about a feature or aspect that I like or don't like of the engineering team they've spent a long time already thinking about it or trying to get past the hurdle. Making and developing cameras is a very expensive game and there's no way it would be some kind of loss leader. It's just way too expensive. At least they're still in the game and offering choices. They continue to innovate, and I think if you look at their first efforts, compared to now, they obviously listen to what their customers want even if it doesn't appear to be so. They have certainly hit some pretty big bumps in the road too but they are still here and trying to compete with the big boys, something a lot of others have failed to do. I find the "qc" issue hasn't hit me. I guess I'm lucky or maybe I don't expect to have my camera working or repairable after dropping it but in years of using all the BM cameras I have on commercial and paying jobs, I've not run into most of the problems that are cited as being their weakness. I mean honestly the camera doesn't overheat and yet it's constantly written as a problem on review sites or in the mythology. In the early days of RED they had to educate their users about how to get the most from their cameras and how to shoot RAW. I think BM need to do the same thing because you still get people who have no idea about a RAW workflow stumbling into using RAW for the first time after having only shot 8bit 4:2:0 previously. This community more than "pros" is where BM cameras do the most for filmmakers. Which other big box company gives you ProRes or even 10bit ? JB

They share general sensors, and camera software between lots of those cameras. Which helps reduce the R&D costs per camera by a significant amount. A good next step would be if they did a base mount (such as Sony FZ or Kinefinity sub-PL mount) as a common mount across their cameras. As I blogged about here: http://ironfilm.co.nz/what-if-kinefinitys-kinemount-became-a-universal-cinema-mount/ What he means is the other companies do that as well.

under costum foto profil sharpness -10, contrast -5. levels 16-235 and i check the zebra to avoid clipping highlights. in post apply a rec709 lut

Yeah, you'd be 100% wrong there. But carry on... They seem to have sold thousands of them. Mostly they're still backordered. Such as...? Resolve...? Oh wait, you get that included with the camera... Monitors ? Converters ? I think you're stretching a pretty long bow.... JB

BMD can't make them fast enough to keep up with demand!! That doesn't sound like "not selling many". And as others said, display store demos are damaged all the freaking time :-/

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/

^well how do you know for a fact that that applies to NX as well?