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The Kinefinity rep at NAB claimed that the Terra 5K version will have a "dual gain" sensor (for an expanded DR) as well as an improved rolling shutter mode in contrast with the 6K, which has the same specs as the Kinemax 6K. He made it very clear that the 6K version will perform exactly the same as the existing Kinemax 6K: A lot of the Kinemax shooters seem to love the golden 3K that is for sure. Here is a very useful review of the Kinemax 6K by someone who owns and operates the camera for a living: To me, 5K is absolutely the perfect resolution as 6K simply results in little visual improvement at the price of much larger file sizes and storage requirements. Just ask some of the RED Dragon shooters. Meanwhile, the improvements with DR and rolling shutter performance make the 5K a much better option in those areas. If I can only see some footage soon, I will consider cancelling my Scarlet-W order and moving to the Terra 5K. It has an amazing feature set and is almost too good to be true.

It is very likely that either Panasonic doesn't include IBIS or has an option to switch it off during recordings. The IBIS has 2 main issues: 1. Heat issues (especially in a weather-sealed 4k camera, and one that does 4-2-2 10-bit Internally); and 2. Noise: If the GH5 is to have usable sound from a mic mounted on the camera (via a camera plugged into the camera's mic socket), then the IBIS noise may be an issue (unless some shotgun mic can completely isolate the sound from the camera).

Surely, there must be demand for this camera somewhere in the market? Why would Canon even bother making it? That said, it seems overlarge and not very 2016 (more 2013). The Sony FS700 is four years old and can output 4k120fps RAW in a much smaller package. The Kinefinity Terra can do 5k60fps RAW in a form factor the size of your hand, and cost less than $6000. The VaricamLT is far more affordable and compact. What exactly is Canons strategy here? Clearly it looks like a rental speciality for high end production - but with Arri and RED still innovating, it's a tough one.

olympus, contax c/y, nikon, pentak k, leica r, yashica

Can't believe we might be on the verge of a tiny camera that can shoot 4k/60p 10 bit 4:4:2 log ... possibly with ibis. If they get it right, this is the ultimate indie shooter.... a true game changer. I'll grab two of these and not even look at new cameras for a good long time.

They knew or they are utterly incompetent, it was spotted in beta footage by a non beta tester just looking at footage. The mega thread on BM's form dates back to Sun Dec 06, 2015. It also can be found at larger stops that F8, it is just that 35mm at F8 is universally bad on the affected cameras. There were some who had issues at even F4 at 35mm.

Skin tone? You mean some people like the almost fake tan skin tone of the Canon gear? The Varicam has the most accurate skin tone capture out of any of the cameras, and I don't know how you could possibly say that Canon's skin tone will be better than the Alexa...? To be honest, I think the only people who really like Canon colour that much are those that have only ever used Canon, and don't really know any different. As I said elsewhere, the VaricamLT offers almost everything that this offers, in a smaller, light, single-operator type body, yet designed to be operated with a full crew as well. It also offers Dual ISO, and arguably some of the most accurate colour reproduction on the market. And it's about half the price of the C700 And it's failing to gain real traction at the moment. The C700 is not a single operator camera, really, and yet the single-operator function of DPAF is their major selling point. DPAF is about the only feature you can't get elsewhere at the moment. So you're banking a lot on people going for it simply because it's Canon, but I think the issue is that most people at that level go for image rather than brand name, really. So it better have one hell of an image... At $15k this thing starts to become competitive. I wouldn't be surprised if you saw this eventually drop to there, and the C300II drop in price slightly to make room for it. when you're looking at this vs Varicam vs F5, that starts to become a more interesting proposition. But this vs RED Weapon vs Arri Mini vs Amira vs F55 vs Varicam is not a very strong position for this camera to be.

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

VERY similar dynamic range benefit to Canon LOG. Did a test today on the 1D C, a very contrasty scene, the white building was extremely brightly lit in the midday sun. Ungraded frame grabs from DCI 4K... Official Canon LOG: C-LOG: Looks like I will be getting a 1D X Mark II after all!!

It's just Canon PictureStyle Editor, but the real work is shooting an endless amount of subjects in all kinds of light, mixed light, day and night whilst you refine the critical gamma curve for LOG and also the remapping of colour. If you get it a hair out, you don't have a reliable LOG profile. It may sound a bit pretentious but there's an artistry to it too, it isn't an exact science especially when it comes to the Rec.709 Film Profiles like EOSHD Vivid SkinTones. I am over the moon with the results they are creating and have them on my 1D C. It was very useful having invested £5000 in the 1D C to get access to Canon LOG as well - so that I could see the benchmark, the mother of all light LOG profiles, to put mine in the same ballpark. It is much easier to grade as a result, than others, had I based it on S-LOG and copied the Sony colour mapping for example it wouldn't have been as good. So thank you 1D C. And huge thanks to Julia, my actress for the pictures you see in the article!

Very interesting. I have fallen in love with the C-log on my XC10. And because of it, I have realized how much I had missed using Canon DSLRs as well. So recently I picked up the 50D to use ML Raw with. I know you can have a base profile with ML Raw, even though it can still be tweaked in post. Do you see a benefit, your Log profile would have on my 50d with ML Raw? Also, as a side question I noticed your guide to the 50d raw was still listed at a sale price even though the date had passed. Did you extend the sale or just haven't had the time to update the post?

Of course they're not native 4K, not even phone screens are 4K in that size yet. Personally I think 1080p is plenty for 4", especially with a loupe, as long as it can accept a 4K signal. Are there even any 4K on-camera monitors in any size yet? It would seem Neway is Ikan's manufacturer. On Personal-View you can get the 5" for $289 and Vitaliy just put up a 5.5" version, with an ugly rubber bumper cover ala the newer Shoguns, for about $400, that has waveform, vector scope, false color etc. I'm actually surprised none of the Chinese brands have come out with an affordable 5" loupe, for the Video Assist, PIX-E5, and these cheaper 5-inchers. I did just express this on P-V and Vitally said they're working on it, though.

The B&H is a fantastic lens but requires some gymnastics to really get the most out of it. I'm pretty proud of the mod and I believe it optimizes the B&H to its fullest potential. Tito will be posting a review of it tomorrow. In summary, to duplicate my lens modification, read through this entire thread carefully before starting. You should have the following items: B&H 16mm 2x Anamorphic Lens 58mm Helicoid. You can use a 52mm but the 58mm diameter allows a closer fit, The downside is you'll need to fabricate a retainer ring for the front glass element. Telescope Finderscope Clamp Lens Support Bracket Tap & Die Kit Cyanoacrylate adhesive Drill or Drill Press, and Table Vice 3D Printer ABS Filament Materials for making the polyurethane mold Silicone & Polyurethane Casting Material. I recommend polyurethane Shore D Hardness; 75 (about the same durability as a construction hard hat) 58mm Lens Cap, and cap to fit over the silver Series VII Ring Matte Black Paint, Brush, and Thinner Degreaser and Lithium Grease Sandpaper / Cloth / Finishing Materials Gorilla Tape. Not necessary but a little added protection around the polyurethane Epoxy NAPHTHA and Lens Tissue Micro Tools / Micro Screwdriver Set Digital Caliper with 0.01mm tolerance Expect to replace some parts during fabrication, like iterating the custom mold for the front housing, or breaking a helicoid, or throwing out a lot of failed 3D printing attempts. Here is a breakdown of the labor steps required to produce the finished product: Disassembling, re-greasing, and reassembling the heiicoid (helicoids bought off eBay come with poor quality, low viscosity grease). Removing the original front housing and front glass element. Thinning the matte black paint and painting the edge of the front glass element. If you are lucky, your B&H's front element may already be painted. Combining the lens support with the telescope bracket. The Cyanoacrylate creates a temporary bond between the bracket & clamp, allowing to you drill & tap the hole for the screw that will hold them together permanently Making the mold for the front housing. Lots of trial-and-error here, make sure to read a lot about how to make molds. This is where your McGuyver skills and a trip to Home Depot comes in. Casting the polyurethane for the front housing. Again, some homework is required here, planning, and a tightly sealed mold! 3d Printing an alignment collar for the helicoid to fit on the polyurethane front housing, the retaining ring to hold the glass element in the helicoid, and the follow focus gear. Assembling and gluing all the fabricated parts. Make sure everything fits properly before applying that epoxy! Fit & finish (sanding, polishing, cleaning, etc.) Adjusting the bracket height, the anamorphic alignment and calibrating infinity focus Reviewing test footage to confirm the lens is ready for shooting If you’re doing this for the first time, expect to spend at least 1-2 weeks putting this together. Honestly, even with all the information in this thread I think it will take longer than that. If you have a full time job, expect the process to take a few months. This is not a short-term project, it requires immense patience, but the rewards are excellent! When finished, what you achieve — and I’m typing it again, because it bears repeating — are the following features: Single-focus Infinity focus Follow focus gear for rack-focusing, with a generous throw that allows for precise focus Re-greased helicoid for smooth focus action Minimum focus of just under 1m for the 14mm helicoid version, and just under 30cm for the 30mm helicoid version (that is the closest focus of ANY anamorphic I know of). Beautiful 2x bokeh Superb, stable 15mm rail support that locks in alignment and reduces the time between switching taking lenses Nylon alignment screws that won’t scratch the anamorphic Compact and lightweight (the modded B&H + custom bracket = 866g. In comparison, a 16H + Rangefinder is 880g without the lens clamp, filter clamp, and rail support) 58mm front thread for diopters or ND filters, and a Series VII rear thread The side of the front element is painted matte black to reduce internal barrel reflection and preserve the amazing flares Reversibility: The custom front housing can be removed and replaced with the original housing An ideal anamorphic for micro four-thirds filmmakers I encourage any B&H owner to do this mod. The question you must ask yourself is how much time and money you’re willing to spend to get to a final, usable product. If you have a lot of the equipment already (especially the 3D printer, tap & die kit, etc.) or your own workshop, you will save some money. But for those who don’t have the time or resources, I will be selling my mods for around $1000 (depending on the quality of the original glass, and whether it’s a 14mm or 30mm helicoid). Some of you may think this is expensive, but considering all the work that goes into it, and the value of all the features listed above, I believe this is a fair price. This is a complete, turnkey anamorphic solution: You put the B&H mod on rails with your camera, and start shooting. No other purchases are necessary. If you are interested please message me, I will be be putting the mods up on eBay once Tito has sold his, Some of the proceeds will help me recoup the parts & materials I went through during R&D. Some will go to purchasing a lens from Tito (which will help fund his efforts). Some of it will go towards my next project: modifying the Bausch & Lomb Projection lens. I will add the same level of detail and information to that thread as I've done here. I'm not trying to turn this thread into an advertisement for my mod. I’d love to see other B&H owners continue innovating, modifying, testing, shooting, and posting to this thread to find new ways to get the most out of this great piece of glass! I will continue to answer questions where I can, but I expect my participation on this thread will wane as I turn my eye towards my next projection lens project Keep on modding!

Colour, resolution, viewing angle... it's a cheap POS.

I honestly wish they would keep cineform in the camera's alongside Prores, I much prefer the Cineform codec.

I can shoot with all my scopes at 35mm on the 7D in 4:3 Raw. On the Elmoii I can even use a 28mm.

Nice! I'll have to get a 35 Takumar and try it out. EDIT: Just found this. Look's like it's definitely possible on the Ursa Mini.

Should possibly be able to use 35mm in 4:3 even.

From the Kinefinity owners I've read about or heard from, it seems that they have excellent customer service. They are also an honest company and tell their customers the truth, which is a great relief after what has happened with that other budget camera manufacturer. Distribution issues aside, I have much more faith in Kinefinity than any other camera manufacturer in that price range and I'm sure the 5K version will be along shortly. The Apple ProRes certification is also really difficult to obtain, so maybe they will push that to a future firmware update. Of course, everyone has to make a decision that meets his or her needs, budget, and production time constraints. If you require a camera right away, well then the Terra 5K is obviously not for you. In my case, I'm sitting on the Scarlet-W order/deposit whose allocation date is unknown but likely in early 2017 at the slow rate that Dragon production is going these days. This is despite the fact that I ordered months ago. In which case, the Terra 5K is not a bad proposition, considering that the only other (new) 5K camera in this market is going to require the same kind of waiting period or more if you ordered one today.

raw/prores 5k Terra S35 5K HD5120x2700 50/50 5K HD Wide5120x2160 60/60 4K(Oversample)4096x2160 N/A/50 4K Wide(Oversample)4096x1716 N/A/60 4K HD (Oversample)3840x2160 N/A/50 4K HD Wide (Oversample)3840x1600 N/A/60 M4/3 3.6K 4:3 Anamorphic3600x2700 50/50 4K4096x2160 75/75 4K Wide4096x1716 100/100 4K HD3840x2160 75/75 4K HD Wide3840x1600 100/100 4K HD Wide3840x1600100100 S16 3K3072x1620 100/100 3K Wide3072x1280130/130 3K HD2880x1620 100/100 3K HD Wide2880x1200 130/130 6k Terra S35 6K HD5760x3240 30/30 6K HD Wide5760x2400 30/40 4K HD (Oversample)3840x2160 N/A/30 4K HD Wide (Oversample)3840x1600 N/A/40 4K HD (HiSpeed)3840x2160 75/75 4K HD Wide (HiSpeed)3840x1600 100/100 Golden 3K2880x1620 30/30 Golden 3K Wide2880x1200 40/40 M4/3 4.3K 4:3 Anamorphic4320x3240 30/30 4K 4:3 Anamorphic4096x3072 30/30 4K4096x2160 44/44 4K Wide4096x1716 56/56 4K HD3840x2160 44/44 4K HD Wide3840x1600 60/60 3K HD (HiSpeed)2880x1620 115/115 3K HD Wide (HiSpeed)2880x1200 150/150 Golden 2.2K Ana2176x1620 30/30 Golden 2K Ana2048x1536 30/30 Golden 2K2048x1080 44/44 Golden 2K Wide2048x860 54/54 Golden 2K HD1920x1080 44/44 Golden 2K HD Wide1920x800 60/60 S16 3K3072x1620 59/59 3K Wide3072x1280 75/75 3K HD2880x1620 59/59 3K HD Wide2880x1200 75/75

The 5k rolling shutter improved over the 6k. The 6k terra performing the same as the kinemax, not improved

Stills cameras or digital cinema cameras? Before or after a grade? There's a very big difference between an A7s and an F55, and a huge difference between a GH4 and a Varicam. Plus, they all get graded. And look, making actors look good is part of the job, but most of the time I'm shooting to serve a story, not simply to do beauty on an actor or model. Of course, there are times when you are shooting for exactly that, but to be honest, I'm yet to hear a complaint about a RED or an Alexa on those shoots. In fact, most of those types of shoots are more likely to request a RED well before a C300. If I was doing stills only, I'd probably use a Canon. But we're not talking stills. We're talking high-end digital cinema cameras. A video camera and stills camera are two very different things, but apart from that, the fact that there are more people shooting stills on Canon means only that Canon has a good brand name in a large market. Arri has a better brand name in a smaller market. There are also a lot more people watching television on cheap HD sets than expensive 4k ones. That doesn't mean the cheap HD sets are better, nor does it make their manufacturers more knowledgable about how to make TVs look good. Arri have also made film scanners (not just image scanners), the sensor in the D20 is essentially straight out of an Arriscan. Arri have been making cameras longer than Canon have, and have collaborated with some of the best lens manufacturers in the world to make lenses. Canon certainly have some knowledge and expertise, but I couldn't say definitively they know more than anyone else. Selling printers and scanners doesn't inherently mean you know more about colour, nor does selling more of your product in one market than another product in a different market (especially when you consider you appear to be comparing numerous camera bodies that range in price from <$1k to $30k, to a handful of bodies that start at $30k). I'd argue Kodak, the company that at one time manufactured film as well as digital sensors, knows a lot about colour too, but their sales sure don't reflect it. Does that mean they made bad business decisions, or that they know nothing about colour? I don't know how you can possibly say this given the C700 hasn't even started shipping, yet you seem to be suggesting that it is (or will?) outsell the competition somehow. I can't find specific sales figures for their cinema division, but please feel free to share with me the figures (in comparison to the other manufacturers) and show me by how much, exactly, they're outselling their competition in their digital cinema camera division. If you're talking stills, it's the same reason Coke outsell Pepsi. Brand name. This. Canon's colours are far from accurate, but I guess if you use one camera enough, you get used to it. I'm in no particular rush to decry Canon, as I said at $15k this camera is potentially competitive. In terms of the streaming sites, it appears that most have switched to (or are newly originating in) Sony, Varicam or RED. And I would be surprised if Arri don't have a 4k+ Alexa coming soon for this exact reason (and I've heard whispers that it isn't too far away). The ALEVIII sensor is over 6 years old, and is still just as good, if not better than every other camera out there, so will be interesting to see what's in store for a 4k Alexa

In my opinion V Log makes the GH4 a competitor to Blackmagic in terms of color. The biggest problem is that the image is pretty brittle. 10 bit definitely helps, but something about it is still not as sturdy as a BM ProRes file. If they can figure this issue out they'll have a monster on their hands.

Maybe the rumour dude just forgot to mention it... would be a ridiculous thing to leave out of the flagship model

Well, if you really want to be precise, Pentax are actually the ones with the worst video among the DSLR makers; even the mighty K-1 has video that's almost as comically awful as Fujifilm's was in their pre-Sony era. Not that it really helps Canon's cause, having DSLR video better only than a manufacturer who's never bothered putting in any real effort in that area.

It depends whether your diopter is bubble-like or not. If it's flat, go for it.

Well if the 6k still has golden 3k (more DR than the 5k is specced to have - and I would assume less rolling shutter than the 6k mode?), or if the global shutter switch causes more real world issues than sports mode, it could balance out. We've never seen this type of global shutter/rolling shutter option actually working yet, right? Plus rolling shutter could have been improved in the 6k terra, or the 5k could be just about as bad. And 6k is still more resolution than 5k. if that much is needed, that's the option. And the 6k is a more tested sensor. Forgive me if I missed some news, hard to keep up. But I think it's hard to say right now, and they both sound great

Nice, but where have I seen this type of modular design before? Recall that the Kinemax 6K has the worst rolling shutter of any cinema camera unless you shoot in the 4K "sport mode," which then defeats the purpose of buying a 6K camera. So I'm not sure I would go for the 6K version. The Terra 5K, however, has the potential to be the best value in this price range, with the switchable global shutter and a 5K ProRes option. 5K also makes a lot more sense than the oddball 4.6K resolution in its competitors the Raven and Ursa Mini when considering the advantages gained in debayering for 4K delivery.

Ask the guys from Zacuto and they'll tell you that the C700 has the perfect form factor. It might look a little "ugly" but it is going to balance perfectly on the shoulder.

I'm so far done with Canon. Have been for years. Y'all have fun still giving a crap because I sure don't. I've gotta go to work every day with my gear, and as long as you know your gear, you can do good work. Is it nice to have all these features? Sure. But at what price? As long as you know your core camera functions and how they influence exposure/motion/color/texture/etc, most modern cameras will do fine. Alas near as I can tell, there are two truly innovative features out in the last few years, both related to single-op use: DPAF: for all your non-hunting autofocus needs Electronic Variable ND: Smart Transition Lenses For Your Camera (tm)

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.

Hi froboy88, thanks! I can't say for certain about s35 since I only have an m43 camera. You can use Tito's calculator or maybe this one to help you figure it out. My best guess is that cropping or using 4:3 mode to get a 2:66:1 ratio on the B&H, you would not get vignetting with a 75mm lens on an s35 sensor.

This lets you access a few framerate options that are not otherwise present, for example 24p in UHD on the NX500, (Without the hack, 24p is only available in DCI 4k on the NX500) but this trick makes it really handy for a 2-camera shoots with the NX1. This is also what lets you override the 15min 4k limit on the NX500 as well. You could also, if you'd like, use this method to shoot DCI 30p on the NX1.

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

It's called colour-aware pixel binning, which Canon used on C300 to produce 2K 444 image. It's different from simply reading out a group of pixels.

Can you buy the same sensor that is in the Ursa Mini 4.6K off the shelf and get the same result ? No. You can't. Is it an off the shelf sensor ? No it isn't. Do you keep saying it is ? Yes you do. Do you say stuff like "I think it has something to do with the fact that they source parts and do not manufacture their own circuits and sensors as with RED and the electronics conglomerates" That's your quote...you forgot that you said RED as well didn't you ? :-) Never mind.... So, you're wrong because RED don't do what you claim. Blackmagic DO make their own circuits and like RED, go to a sensor fab company and customise a sensor to their own specs that you can't buy. So do Arri for that matter. So how would you KNOW ? Seriously ? How do you know that it's off the shelf ? If it's only slightly modified, what does that ACTUALLY mean ? Is it the package size ? What EXACTLY is the benchmark for a slight modification ? What is it that was tweaked ? Was it one thing or many ? Did they just put the BM logo on it ? What other products use the same sensor ? Why doesn't someone else buy the same sensor and make a better camera ? I call you out because I've called you out before sir and I'm just cutting to the chase. You're wrong. Have an opinion. Don't post it as fact when you don't know if it's true. That's all I'm asking. JB

Andrew wrote: "The Sony A7S II is the only game in town, which in many ways is a tough game to play as you end up spending more time colour correcting in Resolve than actually shooting!"" I'm done with that game.

Oh that's not bad at all. I'll probably pick up some wasabi batteries or see how cheap the canon batteries go for now. If I can get a full hour to an hour and a half, with the camera on, using the battery grip, I'll be happy.

GH4 low light is better, GH3 exhibited a lot of noise and banding at ISO 6400 in contrast GH4 is quite usable. On default camera profiles, GH4 ISO 6400 looks roughly as good as ISO 3200 on GH3. I know this because I've owed both cameras. 4K was a huge thing, 96 fps in FHD is also very nice for slow motion, the screen was better and did not fall apart after one year, the hot shoe the same, the EVF was much improved, the AF the same, the sound also got better, the colors, BW and the overall image were also much improved, etc, etc. GH3 was OK, but I wasn't so impressed wit it, GH4 on the other hand was and still is a very nice and reliable camera!

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.

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

The end? This is just the beginning.

You're a real prick aren't you! A few means a few, go to that thread & count - it isn't hundreds. Yes, some cameras have a problem & others don't, but don't go saying every camera has it. Every camera has its quirks & yes BM normally release things that aren't 100% perfect - BUT THEY DO END UP FIXING THEM! Who are you working for to be such an arsehole?

The C300 II is selling very well, sold out until then end of September: https://www.bhphotovideo.com/c/product/1134579-REG/canon_0635c002_eos_c300_mark_ii.html We use the C300 II along with the 1DX II (for low-profile run & gun, travel shoots, and occasional 4k60p) and while it's not an ideal 'all-in-one' solution, it works very well in production given the excellent PDAF AF and great color and skintones straight out of camera (a real time-saver in post). The C300 II + 1DX II is lot more expensive than an FS7 up front, however time is money and ultimately getting better images (in focus!) in less time is more important than the initial savings for an FS7 (we're selling our FS700- 60p is good enough (and 120p on the A7S II is useful too (can match A7S II to Canon with a bit of work in post)). As more professionals find PDAF saving time and money in higher and higher end productions, the PDAF cameras will naturally get more popular. The C700 will be even more like an Alexa/Amira but with PDAF- that's something ARRI and Sony don't have. Sony could bring their A7R II level AF (or better) to the pro cameras someday, and if they can get closer to ARRI/Canon for skintones in real-world lighting conditions (not just the studio), they'll put up a good challenge to Canon (and even ARRI).

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.

My mistake. You know it all. They just rock up to the sensor drive though and get a Big Mac sensor meal to go. JB.

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

Well, I'm a still shooter that how likes to do a bit of video nowadays. My main camera is the M9 - and by the way I think Leica will have some surprises in regards to video at this years photokina. Anyway. I use also the m4/3 and the 4/3 system before and I'm in favor of the Olympus Cameras ( still have the E1!!!) and their stunningly good lenses. However I switched from the Em1 to the GH4. And I also know the Olympus community quite good and some user groups. What I can say for shure when it comes time flagship/ pro bodies for stills no one really considers the GH4, everyone accepts that's capable of very good stills but everyone knows it's for its very very good Video with pro features for very little money. So, therefore Panay could really beat up the still side but it wouldn't be recognized as munched as they hope. Video however would be a no brainier! Actually, now that I've used the GH4 for stills, even with lenses like the 300mm F4 I have to say that perception is a little bit unfair. Focus is definitely not up to EM1 but in actual usage it handles nicer, it has a very responsive interface and the IQ is basically the same. Would even say, ISO is better. And it colorewise it suits my Leica workflow better. Now, what would I expect for GH5? I think this one would be considered a millstone and will have a go on everyone in mirrorless and DSLR world in view of videographers - not necessary by specs but by usability! New 16MP Sensor Inbody 5-IS Internal 4k 60Fps 10bit 4:2:2: 200mbs and no crop Dual SD which utilizes the new 300mb/s SD cards Tweaked interface with more setups items in video mode V-log with customs Anamorphic with desqueeze Clean HDMI output as usual improved focus, but probably still behind Olympus. Maybes: New improved external interface with one or two surprises Even better "output"when used with HDMI Price? Not less than 2000,- USD, probably slightly more. Delivery January 17 B

I use Sony Vegas and I think it is the best editing software. I tried Premiere and FCPX but SV Pro 13 is much easier and much friendly SW :-) I am so glad that SV is not dead!