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Just checked Whois - www.craftcamera.com is registered to: E.Saawadi, Mansoura, Egypt Yep, I'm just kidding.

https://www.dropbox.com/sh/2e8ol7fwb0od20o/AACWr3GJ2EpKMThOs2NmjLnFa?dl=0 Downscaled from 6K Wide to 4K Wide, ProRes422HQ Footage is in KineLOG

It's a little short, I can shoot a longer one tomorrow if you'd like. It was a extreme example of something I wouldn't attempt with this setup but I was just curious how well it could do it, if it could do it at all at 400mm equiv distance. And I think it did a pretty good job considering just how much precision was required. I'm probably more than 100 meters away on the 13th floor of my apartment. I should also point out although the gimbal is doing a hell of a job stabilizing the roll and pitch, the vertical axis stabilization is done all by the lens. You'll need IS on the lens for this room range even with a gimbal. Surprisingly they weigh about the same. Only because the H1+ requires an external battery to do anything and the Panasonic 7-14mm is a very heavy lens for it's size.

Trying to output 4k60p

I am confused as to what exactly you guys are trying to do? Are you trying to get the camera to dump the RAW sensor data out the HDMI port? I dont know how external recorders work but I am sure it would have no idea what its looking at meaning every camera's RAW output would look different.

Yawn. Blackmagic are excellent value for money, and that's all there is to say really. If Blackmagic aren't "good enough", just use another brand. Simple.

John, You have a very selective memory when forming your arguments about what I’ve written. And speaking of diversion, your latest tactic is to cut-and-paste some posts out of context and out of a timeline that went on for months as we waited for the Ursa Mini 4.6K’s release. These bmcuser posts from 9-12 months ago also have nothing to do with the current topic of BMD’s design patents or its quality control. Moreover, anyone can be quoted out of context: “You're looking pretty silly. You're inferring a conspiracy theory that those that have shot with an Ursa Mini are hiding its flaws until...it get released...and....we all get found out ?...” http://www.bmcuser.com/showthread.php?15520-Brief-thoughts-and-a-bit-of-footage-from-the-URSA-Mini-4-6K/page140 That was what you wrote on January 14, 2016. This is after some had already noted the magenta problem in the beta footage and had been ridiculed and attacked on bmcuser. An NDA that prevents you from reporting the magenta publicly is one thing, but deriding and discrediting those who saw the magenta problem early on is another. And guess who leads those online attack parties on the BMD dissenters, John. Who are the ringleaders when the wagons are circled? I guess RED has had them, so it’s okay for BMD to do the same now, right? I thought you guys were better than them. So yeah, you’re right John, the 4.6K was released and everything was “fine,” which is why they had so many returned units and great reviews. I’m not even sure how long the magenta thread is on bmcuser: it probably requires its own server it’s so huge (much of it is silly, of course, like people shooting at f16 and wondering what went wrong with the image quality, but there are some real issues there otherwise). In my case, there were important reasons why I started to see better results from the 4.6K footage. Let me remind you since you obviously forgot. Here is what I posted back in January as we saw the first RAW footage: “Speaking of appreciation, I will be the first to say that the Mötley Crüe footage was absolutely gorgeous and some of the best that we have seen so far, along with the dancer video. Both were reportedly shot in RAW, so I am not surprised that we are finally seeing the full potential of the 4.6k sensor unleashed in terms of DR, shadow detail, highlight roll-off, and color science.” http://www.bmcuser.com/showthread.php?15520-Brief-thoughts-and-a-bit-of-footage-from-the-URSA-Mini-4-6K&p=192053#post192053 I changed my views on the 4.6k as the first RAW was finally released. To accuse me of “back-flipping” only makes you sound like a politician trying to discredit his rival for office. Our host Andrew has done a complete 180 degree on the Canon 1DX II, from downplaying the camera on this forum to stating that he wants to buy one after releasing his new C-Log picture profile. I’m very surprised, but there is nothing wrong with that. I’m very happy for Andrew and I hope he enjoys the 1DX II, because it looks like an awesome machine. People change their views all the time as new footage is revealed and new aspects of a camera are made functional. I think such evolution is something to celebrate, not ridicule. As a matter of fact, the 4.6K ProRes beta footage had not impressed me so much. With the RAW, I could see a lot more potential, better colors, and closer to the advertised DR. A lot of forum members also noted an improvement in the footage. I was not the only one who thought the camera was finally living up to its potential for “prime time.” There was then (near) universal acclaim. As for the Xyla discussion, I thought we all decided that it was pointless, since it just went in circles with no end in sight: “The. Lights. Are. On. There's no way you shoot that chart with the lights on. It totally invalidates the test. For real. JB.” http://www.bmcuser.com/showthread.php?15520-Brief-thoughts-and-a-bit-of-footage-from-the-URSA-Mini-4-6K/page140 Here was my response: “These men generously went to the trouble of setting up a Xyla test, capturing an image, and displaying it on Resolve. Then they started to move things around and turned on a light. By the time of the photo, the Xyla image is already a captured file on Resolve, while the chart has been moved out of the way. I don't know why this is so hard to understand. There is no reason for them to capture an image and view it in Resolve if it is taken when the light is on since you would not see a damn thing with that spotlight on it! You would not get any kind of Xyla image at all, and certainly not the one displayed on the monitor. When I said that we may be looking at a legitimate Xyla test and waveform in the Resolve file, everything went crazy here because it doesn't match what people want to see.” http://www.bmcuser.com/showthread.php?15520-Brief-thoughts-and-a-bit-of-footage-from-the-URSA-Mini-4-6K/page145 You then asked about the identity of the person in the photograph. I was the only one who responded with the answer: “The gentleman in the Xyla photo is a world-renowned cinematographer, Affonso Beato, from Brazil (he is at the computer). He shot Almodóvar's All About My Mother (1999) among other films in his incredibly long and distinguished career. I'm sure he had nothing to do with the Facebook post being pulled as he is not affiliated with BMD. It is more likely that BMD has a problem with a Xyla image from a pre-production camera out in the wild before the camera is finished.” http://www.bmcuser.com/showthread.php?15520-Brief-thoughts-and-a-bit-of-footage-from-the-URSA-Mini-4-6K/page149 You forgot to mention that part didn’t you when you said the following: “He didn't know the image WAS an independent source, namely the individual ASC technical committee members facebook page, but whatever...” Now let’s brush aside your ad hominem tactics and selective quoting from a year ago (because anyone can play that game), and get to the meat of the matter. I asked if you could point to any of BMD’s design patents on the 4.6K and here was your response: “Anyway, last I heard patents weren't the only way to protect IP. In fact, the most enduring way is to keep it secret...like Coke and Colonel Sanders do. Having or not having a patent is indicative of nothing at all. Once again, a very old fashioned out of date view about how IP is protected. Of course you are trying to perhaps have me confirm a technology partner of BM, when you know full well I'd never be able to disclose that without breaking an NDA, but I can assure you, the sensor used in the UM4.6K is not an "off the shelf sensor", nor is it one that you can just go order from whomever you think the vendor is. I know this because of actual personal involvement with its development. Please explain how I can have that so wrong and your version be more correct?” Fine John, let’s say for the sake of argument that it is not the Fairchild 4.6K sensor and was designed by BMD with no significant help from anyone else. Do you really believe that sensors and camera components are not necessarily patented nowadays and that it is simply sufficient to keep everything a secret like the flavor in Coca Cola? I would respectfully disagree. A $10 million sensor is not like a soda flavor or chicken recipe. Electronic devices and cameras involve numerous patents to make certain functions possible, as you well know. You posted no link to patents or evidence that BMD had any. But it is easy to find out that they do make patent applications, at least for the entirety of the camera. Here is an example of Blackmagic Design patent files I found with a search at the Australian Patent Office: http://pericles.ipaustralia.gov.au/ols/auspat/quickSearch.do?queryString=blackmagic&resultsPerPage= Interestingly enough, they are listed as “lapsed” for “renaming” suggesting that the company is going to renew the patent application for a camera originally filed on April 10, 2015. The camera is not named or described in any detail (we may speculate that it could be the Ursa Mini). There is also no mention of the sensor, but the application is very brief and simply for reference purposes. So BMD does make patent applications like I would expect them to, but has not secured the 4.6K patents as of yet, at least not with IP Australia. I would also note that camera patents are not always filed right away. BMD may be in the process of filing its 4.6K sensor patents, if they are in no way owned by Fairchild or any of their possible sensor partners. To write that history, I would need access to BMD’s internal company files, which is the only way for me to publish an article on that topic. That’s the way these things work. And, yes, there are different standards for what goes into a peer-reviewed academic paper and what I write on here as a Blackmagic camera user and former post-production expert with “opinions” about the quality of BMD’s cameras. As both a peer reviewer and writer of scholarly papers on film history and film technology, I’m well aware of the differences. It’s very tedious archival work to write on studios or camera companies and I assure you it has almost nothing to do with putting this stuff into Google. I’ve spent more than a decade in various archives going through internal company records to write such original studio histories, including on the history of cinematography and camera technology. “Does he even know what an ASIC is I wonder? Does he know that not all cameras use ASICs? Does he think that using an ASIC is the only way to make a camera, as Sony and RED apparently do, which of course means that Arriflex have no idea how to make a camera or design a their own sensor? Or Panasonic or Canon for that matter.” I never said that all cameras use ASICs. But image processors often use ASICs, as they are “application specific.” There are a few other options to the use of ASICs in image processing, but they are all very similar. More to the point, you are now just splitting semantic hairs, as what Land is saying in that quote is that RED designs its own image processors and sensors, which is largely correct. Here is an FCC teardown of a RED Epic-X that demonstrates exactly what Land is referring to when he claims that RED designs its own ASICs, which in this case are the Image Signal Processors or ISPs: http://www.extremetech.com/electronics/113331-red-epic-x-5k-camera-tear-down/5 Where you can fault Land is that he should have included Panasonic as part of “this market” since they also design their own image processors and sensors for cinema cameras. Canon’s image processors, the DIGIC series, are well known, but they use third-party components. Land should have also used the term “image processor” instead of ASIC, as not everyone who is reading the article will make the connection with this esoteric term. Indeed, I addressed RED’s mastery of the entire sensor and image processor chain on page 6 above, in case anyone was confused as to the function of ASICs. Did you miss that part as well? As I also stated above, of the cinema camera manufacturers only Canon, Panasonic, and Sony can do everything from sensor design to fabrication in-house, since these companies have their own plants. Samsung also has sensor fabrication plants, but it doesn’t make cinema cameras. Toshiba used to make sensors as well, but recently sold its plants to Sony. Is there currently a difference between BMD and the other cinema camera manufacturers when it comes to expertise in camera design? Based on the available evidence on patents, it would appear so. ARRI, Sony, Canon, and RED all have numerous patents relating to their cameras. We can list them here and their significance if you think that would help. BMD’s camera patents are perhaps forthcoming, as I demonstrated above. BMD’s camera division is also very new and it will take them a few years to file patents and have those approved. It can be a long process. I’m not an advocate for any company (well, except for BMD—see below) and I am mostly brand agnostic. You took an off-the-cuff remark that was really an aside and tried to turn it into the basis of a whole tirade, just because someone dared to criticize BMD’s quality control or its experience in designing cameras. You also came on this thread and forum out of the blue, like Superman coming out of the sky to rescue a stranded cat. Once here, you launched into a personal attack on me (“idiot,” “doesn’t know sh**”). Such a hostile approach doesn’t do you or me any favors (and, I admit, I also went over the line in response to your attack by using the “snake oil merchant” moniker: that was uncalled for on my part and I apologize). You are obviously very passionate about BMD as someone who has contributed input to their products and you have done your best to ensure their success. Moreover, Blackmagic’s continued innovation can actually be important for independents everywhere. It has already forced Sony and RED to respond by offering more and more features at lower prices. They have my respect in this regard, as was already noted above. But next time when you are quoting me, you might want to look at all those instances where I defended Blackmagic for all the good things they have done, including what I wrote here before you even posted on this thread. Never mind all the times I’ve introduced students to BMD cameras and told them about the amazing price/value of BMD RAW cameras for their first investment during or after film school. Yes, I’m also guilty of “peddling” BMD’s products but I always lay out the advantages and the disadvantages whenever possible. “It's very usual for camera manufacturers to partner with companies making sensors to also spin off the development costs to amortise them for other uses. I bet you can't name me another sensor company that has done this after developing a sensor that never came to market.” There are likely a few candidates. Hmm . . . is there multiple-choice on this exam, Professor Brawley? Based on that description alone, I would have to go with the Kodak CCD sensor that was adapted for the Ikonoskop and later the Digital Bolex. Okay, sorry for the length, but there was a lot of material. Let’s just try to keep things civil and respectful from now on.

Bluetooth earphones and wireless charging have both been available for some years now. Go for it, Apple does not exist in a vacuum. Have fun charging you earphones, though. The only sensible thing would be to make wireless earphones that can charge and work with a supplied cable when the battery runs out. Cables are only really obtrusive only a fraction of the time (like for exercise).

Update. My Z1 Crane is here. It took me less than 5 minutes to balance my Canon 80D with the LCD flipped outwards. I wanted to do an extreme test so I put my 55-250mm IS STM lens on there. The motors are strong enough to where I can flip the LCD back in, zoom all the way out on the 55-250mm, and without having to rebalance it. The stabilization is smooth. There is no studder, jerkyness, and fine tuning does not seem to be required. I zoomed it all the way out to 250mm (~400mm equivalent), and I was able to smoothly track moving cars very fluidly. I'm sure the IS on the lens helped a lot as well. Normally, I plan to walk around with the 10-18mm STM during travels. As for turning it on (in response to the user who was having trouble with his Crane), When you hit the gold button, you can see the LCD immediately react. However, you need to hold the gold power button a few seconds until the LCD becomes yellow. And a second later, the motors will snap into place. My package came with 2 sets of 2 18650 batteries (not 26650 batteries that some come with now), no remote control (some resellers are packaging that in), nice plastic carrying case for $551 USD with free international shipping from ebay. Order was placed on the 20th, the product's warranty card say August 24, and it was shipped on the same day. Unfortunately, that seller is selling it for $730 now so I don't have a link, but you can find under $600 deals on ebay. I'm very happy with it on how it performs with a 1100g sitting on it. It easily does everything I was hoping that it would do (outperform my Pilotfly H1+ in every way). I'll be happy to answer any questions if you have them. I made a video with my impressions. Please excuse the video quality and my speaking. https://www.youtube.com/watch?v=D76MeyAl0Z8

Being able to script / storyboard a concept - then shoot using beautiful lensing and sound capture - and follow up with editing where you move the viewer through the story in the 4 dimensions of time and space NEVER gets old. Getting paid to do what you love totally rocks. Its money AND love as far as i am concerned. The trick is to have control over the whole process - If you just shoot and hand off your shots then it can be hard to maintain the love. I know a lot of jaded "camera operators" who clock on and clock off with little job ownership.

I started in photography prior to video. I too wouldn't take my GH4 on a shoot for stills. I'd take a Nikon or Canon.

When I bought my 5D mkii six years ago, it was for video. But at some point I realized, "you know, this is a pretty good still camera, too." [doh]. So I started shooting a lot more stills. I had always shot stills as a hobby, or "to train my eye" for film shoots, or on location scouts. Suddenly stills became much more present. I've now been hired many times as a still photographer in addition to continuing work in film. The bulk of my work, effort, and marketing goes into the film side of things, but I really enjoy shooting still now, too. Here are some shots from a recent trip to Morocco. Shooting stills has also made me a more confident cinematographer, too.

I don't know of anyone who has done this... I think most filmmakers want the flexibility to switch lenses quickly and easily. A single-bodied anamorphic solution that integrates the taking lens would prevent that. But if you only ever wanted to use one taking lens, an "all-in-one" solution could be done. If you want it to be single-focus (where the taking lens is set to infinity, and you focus with the anamorphic), this limits your options. You would probably need an SLR Magic Rangefinder or Rectilux DNA. Many people have made housings where anamorphic alignment is set once, then all they have to do is swap taking lenses. Here's mine: Fabrication can be tricky depending on the the size & weight of your anamorphic, and whether your anamorphic already has filter threads on the front & back. But once you are done, shooting becomes a lot easier. If you do a search (especially in this forum), you will find a lot of different setups that users have created to accomplish this.

The video crop factors of the current 4K cameras, and an easy way to calculate crop factors... Read the full article

That's because it is in no way a testing shot. Any cam with 9+ stops would look similar.. be it a DSLR or alexa

I own and have used the BMPC-4K. Nowhere do I make any claims about using the 4.6K, which I don't own. I have discussed on this forum my experience with the BMPC-4K but never anything else. As for the UM reviewers and the magenta problems, I've seen a lot of evidence of flawed units posted online by individuals well-known to the community on BM Forum and bmcuser. I've also looked at camera files that were made available. What I don't accept are the examples of "magenta" with suspicious parameters such as f16 or beyond, where all digital cameras look very poor and display noticeable color shifts. For a scholarly analysis of the magenta issue (if there is such a thing), I would have to take samples myself from dozens of cameras, if that is what you mean. I would also have to have access to BMD internal files on the matter.

Having a virtual 6 stop ND without paying a dime and with absolutely no colorshift is so a big benefit shouldn't be ignored, by anyone. Just because it was near impossible in 1920 to make a rotary shutter fast enough to achieve 1/4000 exposure doesn't mean we shouldn't use it today. But, with such high shutter speed you lose lots of event-data that could be used by your brian to understand the movements in the image. At 1/4000 and 24fps, you capture only %0.06 of every second, while at 1/48 you get half of every second. This is huge difference. Of course that lost %49.94 may only contains blurry pixels of displaced objects, but those pixels help our brain to think "this thing is moving". If you give it a flashing sequence of appearance and disappearance of objects, that will be harder processing task to render it as normal action. I get headache after watching a video with bad motion cadence for longer than five minutes, especially when I'm close to screen. Maybe the combo of myopia and astigmatism I have exacerbate the problem though.

Wow exactly what I need ;-) Thanks John

It's not on your list. And it's not one I would have thought of using in the past for monitoring. That is, until I used them. Which? The Bose QC35 These headphones are noise cancelling. In the past I used Sony's and Sennheisers to monitor. However, in noisy environments I would often times have a hard time discerning if the noise I was hearing was getting in from the ear-cups or if it was in fact being picked up by the microphone. But with the QC35s this is no longer an issue. Because the only thing I hear is what the microphone hears. No single audio purchase improved the quality of my captured audio more than the QC35s. Now I know exactly what is being picked up by the microphone. There is no more guess work.

While not fully fixed, it does seem like the readout speed for the sensor is a bit faster because this looks shot on a long lens. Excellent image, very fun to grade.

The first one can be found for next to nothing on the used market, I don't really want to spend any money on this

I got this one : https://www.amazon.fr/dp/B018SK5VVQ/ref=pe_386181_135508941_TE_3p_dp_1

Why do you shoot video: are you doing it for the money or are you seeking to fulfill a creative need? Or maybe you're lucky and your art pays the bills? Personally I've done it for the money and lately I feel completely unsatisfied. But I'm interested in knowing why -you- choose to pickup the camera and shoot.

For myself it has been both and there is a balance between the two. I started working freelance videography just about 3 years ago and hustled my way through film production to pay the bills. I live a frugal life and was able to build up some momentum and get the ball rolling. I've filmed shorts I was very proud of and had a deep emotional connection to that didn't make me any money. I made films I didn't really feel proud of that did pay well. And vice versa. But when push comes to shove and you need to film to pay rent and eat you do need to check some of the emotional attachment at the door and go out and WORK. The business aspect requires a ton of effort to keep yourself running and sometimes that can feel discouraging. I definitely had days when I longed for a job that was simpler where I didn't need to be the creative director, cinematographer, sound guy, interviewer, and editor for every gig. But I love it and was thankful every day that I was lucky enough to love my job. Another plus from making it your professional life are deadlines. The deadline is for the client, not for you. You are responsible for your work and your deadlines. This does have a positive side. When you make films to get paid it's actually nice (and definitely necessary) to be able to separate the attachment and say "Ok, I need to cut this in 2 days, lets get it done." Accomplishing those tasks trains you to do it better next time. Just like sustained regular physical exercise at the gym. I think your creative side is what makes you good enough to do it for work and what you can bring to the table. I love telling stories with my camera, I love watching for moments and looking for composition and using my camera to record what I see. I love stitching those moments together to make a story one can watch. Absolutely I get pleasure from this process. But work is work, there is no way around that. You need to put in the time if it's work and you have to get it done.

http://www.duracelldirect.es/camara-digital/panasonic/oem-pno/dmw-blg10.html The price has gone up. I was buying them for 11€ before. Bought a charger as well.

Maybe they'll respond by making a camera that doesn't overheat.... but I won't hold my breath!

Perry Mulder on the Kinefinity facebook group (https://www.facebook.com/groups/kinefinity/) gave it a quick grade the sample footage to try it out:

There`s Canon's EF 40mm pancake, which is one of my favorite combinations with almost any anamorphic so far.

The eos-m is a fun camera. Up until I picked up the XC10, that was my favorite camera to shoot with. The M3 has some extra controls (focus peaking, tilting LCD, IS) and is not much more money, so you may want to consider that model instead. Of course, the original M can be used with ML.

Thanks guys for the suggestions & info. The Bayers are good to know about. I think if I ever want to replace my Sony's I'll look into them further. Because what I need is something smallish/portable for location shooting to replace my earbuds the HD25's are the way to go. Even the DT250's are 100g heavier (240g vs 140g) and bigger than the Sennys. The HD25's seem like the best available trade-off between size, price and quality. The Plus kit comes with velour pads and extra wire, etc, and all the parts are replaceable, so I think they're going to be good for bashing around in my kit bag. I know they're really popular with DJ's but they do get a lot of use in broadcast too so they must be decent for that. They're in the "neutral" ballpark in terms of sound, which is good enough for me. Thanks. Those Panny's are cheap! However they're nearly 900g so out of the equation for me. I too have the MEE M6 Pro buds, and they're great (cheap too!). They've been my location monitors for a while now. But as I say buds are pretty faffy to get untangled etc on a busy shoot when there's a hundred other things to think about. I'll keep them in my bag as backup and will still use them with my XC10. When I'm using a C100 and shotgun, keeping the kit really compact is out the window anyway. The HD25's seem like a good middle ground ... Yeah I keep wondering about trying a bluetooth transmitter/receiver. I actually started a thread on this topic here a while back. Now the iPhone has wireless buds as standard I'm sure it will become much more common in the market. No need to get a special set of cans for that though - I'll probably buy a Taotronics set to plug them into in the near future as they're not expensive.

What I wonder with the expectation regarding 4k60p is, why would anyone shooting with a mobile phone consider that?I'd guess there's really no interest from regular consumers. 1080p gives them 120fps which is "better" slow motion. I made a quick check by asking 5 people at work (industrial manufacturing company) if they set their iPhone 6s (we have them as work phones) to 4k30fps. I got a "can Instagram or Facebook show that already?" and everyone stuck with the standard 1080p30fps, actually only one of them didn't have to look into the settings to find out (the others didn't even know there is a setting), he said 4k uses too much memory and he made a concious decision. I feel like there's as good as no interest from consumers in 4k60p. Like with the cameras, enthusiasts are a small market wedged between consumers who don't give a f*ck and pros who buy purpose built equipment, so we can't really expect the industry to make us happy.

I use Sennheiser HD-600 (when editing) but not on location (been thinking upgrading them to HD-650, HD-800 would be even better but those I can not afford). On location I use Sennheiser earplugs like these: https://www.verkkokauppa.com/fi/product/1703/fbmrk/Sennheiser-Momentum-In-Ear-Android-tulppakuulokkeet. They provide good sound isolation and are tiny, but still have quite amazing sound quality, does not feel so much a downgrade vs. the HD600 at home. I have used the pair of HD-600s already for over 10 years and I am very happy with them still today (except because they are open, they are not suitable to location because they do not block outside noises at all). The closed around ear headphones tend to sound quite disappointing so I do not own those, I just use either the high end Sennheisers or the little plugs.

I think it is always both sides, it is just that some project have a more important creative aspect than others. But let's be honest, most of the time you work with a producer, you're doing compromises. I like boh aspects myself and can find enjoyment in almost every project

p.s. The amount of cropping using the E-stabilisation can be seen in the difference of window-panes (in the test in my previous post): without E-stab it looks to me like more that 5 1/2 panes fit in the frame. With E-Stab "on" the camera crops in so that less than 4 1/2 panes are in the frame. Totally (un)scientically estimated at about a 15% crop. That makes your max wide-angle with the kit zoom a 14mm (= ca.28 mm) instead of 12mm (= ca. 24mm) for what it's worth, with the e-stabiliation ON.

Having owned many gimbals by now, I would say that the Z1 Crane is the gimbal that everyone has been waiting for. It's probably as user friendly it's going to get. So if he did get a broken one (which is very unlucky because it does come in a nice padded carrying case that should survive pretty rough shipping) I would say it would be definitely be worth the trouble of replacing it. Bad luck happens, but considering the other options out there and how much they cost, I would not go with anything else.

Is this your usual tone, or are you suffering from oral leprosy.

I think both skills are essential and learning one can only help the other. The 2 biggest takeaways so far for me has been: Being forced to learn how to grade 8-bit (a jpg file is pretty much like grading 8-bit video) because I can't shoot in raw has only helped me understand color grading better and what's happening from a data perspective. Editing clips together to form a story when there is none has helped me put together better collection of photos together rather than only putting galleries together just based on individual merits of each photo. I don't own a GH4, but I'd never take my GH3 for photos (anymore). I think the GH4 is far better, but what you get with something like a Canon is better skin color, and more shallow DOF, maybe better noise performance (depending on camera), and it gives you so many more photo shooting opportunities where there was none.

Zero excitement from me over this, except... this should apply pressure on the DSLR/mirrorless manufacturers to add 4K 60fps to their cameras. As consumers will ask why can't it do what their iPhone does already??

No price yet. I am guessing more than Sony's 18-105mm f4, but less than their 28-135mm f4

Re moire: This is 1080 50p. For most people this situation will arise infrequently. You're right that looking at the 4K version at 1:1 there was virtually none.

Using Andrew's C-log with Canon LUTs here is some footage, some shot with eoshd C-log on the 80D compared with standard Canon C-log shot with the XC10. Our youngest child,Mary, condescended to be an impatient model.

I'd personally be more interested in the new LG V20 or ZTE Nubia Z11 (w/ NeoVision).

That's true... a lot more options with the ef version. I actually read somewhere, I can't find the link now... I think it was on the lens bubbles blog, that if you use a slim, no glass, md to ef adapter (i think they're used for macro shots) with an ef speedbooster, you can obtain infinity focus... I guess the glass from the speedbooster works like the corrective glass from a normal, with glass, md to ef adapter. If it even works, I wonder if it would alter the additional crop factor from the speedbooster.

There is no such camera. So why would anyone compare the 1DXMkII to something that is imaginary? Why not just compare to the A12... specs should be killer.

Not likely - that's a function of the optics, not of replacing the rubber ring with a gear. Even changing the ratio to get a longer throw won't affect how the image responds to focus changes.

Good to know! No question Zoom's pre-amps have gotten consistently better over time (I was down with Zoom for a minute. Had the original H4 and then the H4N), and what they lack in sound quality they make up for in very practical features and portability. But if audio quality is your priority then the Marantz PMD661 (Version 1 or 2) and the Fostex FR2-LE are still the best bets in the sub $500 price range imho. Unless you really need 2+ XLR mics. And actually the Marantz goes for like $300 used nowadays. I just got a 2nd unit with the Oade Mod for $300 (which makes the amp's even better). It's interesting cuz these two units hardly get mentioned on video-centric blogs, even though they've out performed Zoom's newer H line releases on sheer sound quality over and over again and have maintained their rep (particularly the Marantz) in the pro audio/run n gun radio broadcast world. All that said, I wouldn't mind seeing some proper F8 comparisons to the PMD661 and the FR2-LE because I'd love to downsize + have more than 2 XLR mic channels at my disposal.

Might be irrelevant, but: 1) You have to make sure your stabilizer is set for the proper focal length. and 2) The stabilizer is actually working. I have 2 gx85's. On one of them the stabilizer has actually got "stuck" a few times. The description of your ibis performance does make it sound like it's not performing adequately; through user error or malfunction. I'd also advise that your moire could well be a computer display issue rather than the actual footage. I just did a shoot with a lady in tight stripes. Morie looked pretty bad in the edit window, but when I watched the footage full-rez, it was fine.

Seems most here are convinced that FF on the A7Rii is garbage. Yet I thought the difference in iq was marginal when compared to the aps-c mode. So much so that it was my preferred shooting mode 90% of the time.

Andrew, there is mistake in your calculations fo Sony A7S II (and A7S). It has 1.1x crop because full width of sensor is 4240, not 3840, which is used for 4K and FullHD video capture. In stills image is a bit wider, than in video.

Reading Andrew's article - it seemed to suggest the sensor is APS-C/Super 35 - or did he mean "with the speedbooster". It would be really REALLY cool if Panasonic had a doubled-the-bitrate H265 option in there. H265 turned out to be a great feature in the NX, once the world caught up.