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This isn't HD - it's like a pirated stream at 360p. That quality is absolutely terrible - my Canon XHA1 from 2008 shot better HD than this. To release this as a "launch movie" is crazy. Hopefully, like every camera launch movie, the person who made it hasn't done the camera justice.

Yeah screw this talk of making another BMPCC v2.0, just put the BMPCC on another $500 sale again! :-D

Full press release leaked An extract: the FZ2500. This camera utilizes the same 20.1MP 1" MOS sensor as the LX10, but optimizes video performance with the inclusion of DCI 4K video recording and a true 24 fps frame rate, in addition to more conventional UHD 4K and Full HD recording modes. Also benefitting videographers, this camera includes Panasonic's CINELIKE D and CINELIKE V picture profiles for better grading capabilities, and V-Log L can be added via an optional upgrade. Additionally, high bit rate recording up to 200 Mbps is supported in both MP4 and MOV formats; video can be output over HDMI with a 4:2:2 10-bit signal; there is no recording duration limit; and a built-in ND filter can be used for enhanced control over exposure settings while recording

The subject is still going strong. The video was interesting imo. Personally I use both but I sure know which one I like the best.

I'm baffled by the tilt screen... apparently it tilts 180° downwards. So, it tilts behind your tripod/stabilizer. What genius had that idea?

There's no chance that the GH5 promos will look like upscaled 720p.

I got some names. Let's do this, punk. I challenge you to an EOSHD rap battle: Yo' 7d RAW is a mutha f€c7!n& wh0r£! Panny BM Sony Nikon kick it down to the floor! Canon colour science is a thing that we adore, hey! But yo' 7D colours get all pi$$€d on with moire!

http://www.43rumors.com/ft5-first-images-full-specs-new-panasonic-g80/ 16.0MP 4/3 type Live MOS sensor No low-pass filter ON sensor 5-axis camera shake correction New gyro-sensor technology “Dual IS MK II” Up to five stages of the anti-shake effect during low-speed shutter DFD technology Dust and water proof, magnesium body Video: 4K30p, FullHD60p ISO Sensitivity: 200-25600 Continuous shooting: up to 9 frames / sec. EVF: 236 Man 1.48 times dot OLED (35mm equivalent 0.74 times) The rear monitor: 3-inch 1.04 million dot, Free Angle Media: SD / SDHC / SDXC card

A story without words about the demobilized soldier watching with drone for the neighbors Inspired by Fargo (TV series) Budget: 15$ All work in Davinci Resolve Studio 12 Shot on Canon 5D Mark III with Magic Lantern (ML RAW) and DJI Phantom 3 Thank you for watching

I made a new music video for nonnsha with the T2i, Magic Lantern, Sigma 30mm, and Sigma 18-50.

https://www.dxomark.com/Reviews/Canon-EOS-5D-Mark-IV-Sensor-Review-Game-changer 13.6 stops DR.... Come on magic lantern, get the party started! What is interesting is the chart against the Nikon D810... It has 14.9 stops (amazing) but that is only for ISO50, at ISO150 they are equal (both 13.6 stops). From there on in, the Canon has the advantage. The A7R II is actually the best overall performer for DR. I think it is safe to say Canon have taken a big leap forward though...

The LX100 has the m4/3 sensor though, so it will probably get an update soon enough. It almost seems like they're testing features on lower end models for future higher end models, so maybe the LX200 will have a constant 1.4, or a 1.4-1.8.

The wording of that suggests that the LX10 doesn't have those features. Maybe its just bad wording. It would be strange if thats true as LX are generally meant to be higher end enthusiast compacts aren't they?

Blackmagic Design have announced a new camera, which they added is already shipping and available in all major retailers from midnight.

B&H apparently leaked the G85's specs, and then took it down (not before yahoo news and a few others picked it up). "B&H is pleased to share Panasonic's announcement of their latest mirrorless release, the DMC-G85, which brings a familiar set of features to a new form factor. This versatile Micro Four Thirds mirrorless model utilizes the 16MP Live MOS sensor to provide a sensitivity range up to ISO 25600, 6 fps shooting with continuous autofocus, and UHD 4K recording at 30p. This 4K ability enables the use of 4K Photo Modes, too, for shooting 8MP stills at 30 fps in three ways. Five-axis sensor-shift image stabilization limits camera shake for sharper results, and supports Dual I.S. when used in conjunction with select lenses which also feature IS, for more effective overall stabilization. The ergonomic design of the body incorporates a 2.36m-dot electronic viewfinder and a free-angle 3.0" 1.04m-dot LCD touchscreen, and built-in Wi-Fi permits remote camera control and wireless image sharing with a mobile device. Adding to the potential of the G85 is an optional DMW-BGG1 Battery Grip, which holds two DMW-BLC12 battery packs for extended shooting time, and offers a second shutter-release button, AF/AE lock button, exposure-compensation button, and dual-control dials for more ergonomic vertical shooting." http://finance.yahoo.com/news/panasonic-unveils-g85-mirrorless-advanced-111500146.html P.S.: B&H fired 3 more employees this morning. They were complaining about terrible communication between the managers, and the lower staff.

A lot of people have the Sirui and don't have issues. Mine worked fairly well in the beginning, but I also should note I bought an open box item. So who knows it may have been returned for being defective. I just know that after disassembling it and seeing how it was made, that these issues could arise for anyone who owns one. So YMMV.

I also must add, I've been lubricating the leg sections and it has helped to slow the breakdown of the plastic.

Woah, good to know! I've had mine for less than a year with no issues but I can totally see how all those connecting parts could become a problem over time if it wasn't constructed well. Thanks for putting this out there!

I don't know. I think Canon designs their cameras for specific consumers and they market the features for those consumers.. The uploaded video alone makes me believe Canon sees this camera as being a second stills camera for the consumer/enthusiast still photographer that also shoots videos of their family while on vacation. With the 5-Axis IS, there's no need for a selfie stick. If the 5-Axis on the XC10 is any indicator, it should be pretty good. I just threw together a couple clips that shows my first outing with the XC10's 5-Axis. With the XC10 it uses the lens' OIS for two of the axis' and 3-Axis electronic IBIS. If I remember correctly I was attempting to walk lightly...

I heard a rumour from a trusted source, who I just made up this minute, that the Panasonic GH5 will also have a "Hollywood Mode". What this means it that by turning on "Hollywood Mode", the sensor organically triples in image performance and whatever you are shooting looks like a Hollywood film instantly. The only issue with this mode is that it's in a buffer mode that records half a second per clip, and the file is 500GB in 4k. So by stitching together a 2 second clip, it would be 2TB. Sadly, the final output is limited to 4:2:0 8bit - so it requires a lot of skill to get Hollywood Mode right. Also Sony will announce their Sony A7F camera alongside their lineup. The "F" stands for "fire". What this means is that you can shoot video in 6k, and the camera takes advantage of the heat generated by6k recording using Stacked CMOS Ignition Sensor technology. This uses the heat to ignite some flames in front of the sensor, and the inner chrome finish on the mount reflects gorgeous light leaks between the back element and the sensor. Another trusted source who is very unreliable said Canon will release a groundbreaking huge surprise with the 5DC-M. The camera is a full frame mirrorless camera for the Cinema EOS range, targeted at previous 5D and 1DC video shooters. The camera records in 4k 10 bit 4:2:2 up to 60fps, and HD up to 180fps in the XF codec. The camera can shoot in full framed Super 35mm in all modes. It also has DPAF, 5-axis in-camera stabilisation, Clog3 and 14 stops of dynamic range, as well as a new improved HDR mode. The unique class-leading features in the new 5DC-M include a now removable touchscreen back LCD which connects to the camera wirelessly, and videographers can use DPAF in very creative ways by using the LCD remotely for gimbals, jibs, sliders and handheld work when the operator is using the EVF. The camera will also come with an XC15 style XLR attachment that sits on the hotshoe. Another incredible feature is an open source software platform to unlock further features out of the camera, like raw video, Magic Lantern style. This is so users can customise the power of the camera to their liking - a massive step up from Canon's often conservative approach. This could mean 4k/60p raw! Before getting excited, the price is steep at $14500 for the body and it will never be available to buy. Ever.

Good enough for 98% percent of work being done on the net.

I have the Sirui and it's great... Until it isn't. Let me explain... Inside the individual tubes is a plastic piece. The extension and collapse of the legs over time causes the aluminum to bite into the plastic and shave off little pieces that get stuck and mar the aluminum. Also, the twist locks do not work that great after a while. The upper pan section is practically useless. The bottom section is good, but the knob that provides the tension is starting to fail, making it difficult to loosen the tension on the bottom pan/tilt movements. I've had mine for less than a year and these little headaches are forcing me to search for a new monopod. I will probably get the Benro and put lock nuts on the back of the flip locks... If it's possible?

The lack of detail on this is stunning, looks abysmal. Im also surprised how can they find the worst filmakers out there to do their presentation videos...way to go!

The people who need a selfie screen for video are typically people who do a VLOG, so they have the camera on a tripod, stabilizer or handhold the camera on a gorillapod. For these uses the flippedy screen is unusable, so you can only utilize it to photograph yourself while holding the camera in your hand (where by now most people I know would still use a selfie-stick or gorillapod to get a better perspective). I stand by what I said, I think it's a design flaw, might as well have stopped at 90° tilt. Really curious about the electronic digital stabilization though and if it has the wobbles like WarpStabilizer or the DIS of NX1.

Sony please take note of the touchscreen on this camera - high resolution, touch to move focus point - even when shooting through the EVF (so you don't have to push a button and then fiddle with a dial), touch to magnify and check focus (so you don't have to push a button and fiddle with a dial), touch to move around the magnified frame (so you don't have to push a button and fiddle with a dial), touch to pull focus while shooting video with a AF lens (so you don't have to push a button and hope the focus box stays on your subject - though it does that remarkably well) and so on. Please pull your heads out of your collective asses, steal this concept, and add it to all future E-mount cameras. The a7rII and a6300 are my last E-mount cameras without a fully functioning touchscreen. Video on the M5 obviously aimed at what the promo videos talk about - people looking to upgrade from a phone - so it no longer interests me. But that damn touchscreen, love it. Hopefully Canon putting touchscreens on its flagship cameras will finally prompt Sony to add them as well. If you want people to use a shitty focus by wire system to shoot video with E-mount lenses, moving the focus point needs to be easier. Its my favorite feature of the a5100, but I can't get it on a higher end body, grrrrr.... Edit: And its not just Sony. Panasonic, please stop trying to sell that crappy DFD system as a competent AF in 2016, the capabilities of a decent PADF array make your offerings look laughably bad in comparison. The GH5 needs to move into the PADF realm if you want to try and convince stills heavy hybrid shooters to buy a G/GX/GH camera over the competition.

Obviously you meant to quote 'maybe'. Perhaps you didn't read my post before that when I admitted that sharpness and dynamic range were often messed up in promos. I don't know what case you are resting. What we are talking about here is the perceptive (aka actual) resolution. You said that the GH4 promo looked like upscaled 720p. Thats subjective, but everyone here can make their own opinion on that. I would say that in terms of detail, the GH4, whether in the promo video or in general at least gives very detailed full hd when downscaled from 4k. The promo gave an accurate representation of the detail the camera delivers. I would say that the canon promo video here in terms of detail gives not much more than 720p resolution. I see no reason to doubt that it too is giving an accurate representation of the detail the camera delivers Expecting the output from the camera to magically increase in detail between now and release is in my opinion delusional. All canon 1080p stills cams so far have not nearly aproached proper full HD detail, and there is no real reason to expect a change to that with this camera. This video just seals the final side of the coffin with a row of 20 nail guns.

Most videographers I know want performance on high ISOs. At least 3200 with perfect performance. Personally Im on the other side, would love iso 25 and 50 in a BMPCC.

The only good thing about this camera is the compatibility with eos line.

Another day out learning to use my FS700. First one I've felt even slightly like posting. I missed critical focus at a coupe of points, and Vimeo's borked the movement a bit (although re-uploading as ProRes 422 helped with that), but I'm quite pleased with it, visually.

I've dumped everything but After Effects, for which I now pay 23,79 € each month. The reason, since I once bought Motion for 50 bucks and can use Fusion 8 for free? There are quite some advanced tools in AAE, for me the most important is Mocha, which I use for rotoscoping exclusively. That's for compositing of course, and for that you also need to match the colors of the layers, color correction. The way Adobe organizes tools was always terrible and will remain so in general. But fortunately AAE has also Lumetri, which finally compounded everything you really need to perform a simple CC in one effect. If I just needed some motion graphics like animated titles or logos, Motion was actually much better for that. Premiere loses against FCP in just about every respect. What about dynamic links - since I mentioned I use AAE? There is a strict, but really fail-save workflow for that, that even doesn't require the $200 Ximport (f.k.a. Automatic Duck). I make a sloppy pre-comp in my FCP X timeline, complete with keying, rough roto and effects. I make it a compound clip, name it properly and export it as XML, process the file with XtoCC and import that in AAE. None of the effects are recognized there (one shouldn't use transform tools, which are and one must be careful with retiming, because only constant speed changes will translate), but that's how I want it. I queue the render files and replace the compound clips of the same name. Sounds more complicated than it is. Dream on. You sound like those people who demand a GH5 for $1500 with 4k raw internally. I even don't find it likely that it will have 4k 10-bit internally, but of course, if it has, I won't object that.

I love it. But I need to say that I was a Fuji shooter already (X-E2). Regarding video, I started with a Blackmagic Pocket Cinema Camera, but I was in the market for a mirrorless camera, which can do both (stills and video). I was looking at the Sony A7 cams, but the higher price and colour issues with slog were making me rethinking. I know that Fuji can produce great skin tones and I personally like the Fuji colours at least for stills. Regarding video, one tries to copy the Kodak motion picture films. I am still trying to figure that out. But so far, I am really happy with the results. Regarding stills, I was shooting a soccer game lately and really hat a lot of keepers. I don't own the battery grip yet, I didn't buy it, because I am happy with the 10 minutes of 4k for now and I couldn't resist buying the 56 f1.2 APD lens, which is a killer lens. I already own the 35 and the 14, and the push/pull focus of the 14 is nice for focus pulling. The 16 and 23 f1.4 do have this focus clutch, too. But, I'm still investigating a speedbooster solution (or maybe Veydra considers making x-mount lenses?). And then there is this personal taste: It's such a gorgeous camera. I admit, that it plays a big roll, too.

Lol. Did I hear the mic drop?

This is one of the reasons I'm going to sell the GX85 for the M5. The 5-Axis in the XC10 is almost as good as a steadicam.

Check the results from the XC10, looks pretty good to me. And it's silent, unlike the constant hum you get from a suspended sensor.

Well, a pocket with the 60p then

It's easy to forget sometimes that we're still only living through the very dawn of computing and digital technology. Just like a caveman with a flintlock, our great grandchildren will take things for granted that would seem like magic to us now.

I'm thinking about getting the Series 3 model without the head, but they're essentially the same. This is a popular complaint, and supposedly just diligently tightening up the locks, with the supplied Allen key, does the trick.

Maybe I was wrong...I do like the look of this though

I think mostly everyone imagines an evolutionary step above the current (old) offering. Size-wise between BMPCC and BMCC with the 2.5K sensor and - if possible - 60fps. If it would use LP-E6 or NP-F batteries instead of the internal one, that would already be a big step forward. What I miss a lot on the BMCC is a HDMI port, a lot of cheap external monitors don't have SDI. Personally I'd love a BMCC v2 (if necessary even in the current body) with LP-E6 batteries, the 5" FullHD display of the VideoAssist, the 60fps & 3:1 RAW of the BMMCC and a HDMI port. If it comes with the Resolve dongle I wouldn't mind a price between 2000 - 3500€. I realize there's the "buy the Ursa Mini" logic but most here probably don't want the 4k sensor and the 4.6k one with all the rig you need incl. batteries and media brings it quite high in price. And that's completely ignoring that it's not really that mini at all and quite heavy.

Actually, I started using MLVFS (Magic Lantern Forum link : MLVFS) to import the footage in Ae (to use Camera Raw). I then use the Ae comps directly in Pr with ingest for creating proxies. It is painless compared to the transcoding mayem (raw2cdng -> Ae -> DNxHD 444 -> Pr) that I used before.

Actually, I would love to see exactely the same BMPCC but with a better battery and an even lower cost (say $500 ?), so that everyone can have one (think film schools, they could give one to every student). RAW S16 for everyone ! YAY !

Ttbeck, very interesting! I'm definitely in for a glassless intelligent adapter at a nice price ;-)

Hey luca, I've been absent a while. Could we see two raw files with the same lens (one with your NXL and one with just a glassless adapter). Also, is there space in your current design for pass through electronic pins? I do intend to take a (long) shot at the electronic communication and am wondering if I could work on one of these directly. Waiting still for some parts from China to make my attempt at doing it with a glassless adapter.

Just posted this today. Footage a bit rough--but no grading here, just minor exposure adjustments to make corrections the best I know how. Rough shooting because of harsh sunlight going in and out with frequency. But I wanted to see how good the colors and footage would be out of the camera.

Ordered...now...i can't wait to use it for my works...go on Luca!

Andrew is always updated. He always follows our work. He will also get a NXL adapter these days. I hope he is not too bad in his review :-) In 24 hours I reached 2.980,00 euro of orders, this is awesome !!! Help me too to advertise it. It is a good news for Samsung NX fans. Metabones had no interest in building it. I do not believe in their justifications. TNX for your support!

There's a price bracket/performance sweet-spot where a camera magically disappears into complete irrelevancy for 99% of people. This one hits that sweet-spot. I'm sorry, but $30K (likely more)?! I'm sorry, but that places it squarely as a rental cam in almost every case, and up against ARRI/RED offerings. I know what Alexa (and even Amira) can do, and sorry, but a Canon won't come close. Not even ballpark. I feel gross mentioning them in the same sentence. And if ARRI ain't your style, there's a high chance that RED has you covered, and in many cases for well under $30K. If by chance you're REALLY docu, I'd throw my money at however many Sony FS-5s you need. That new electronic ND should be a complete run -n-gun game changer. If you're still not covered by those options, you're either Nolan/Tarantino, and only film will do, or you're one of the countless professionals that realize: any of a number of DSLR/mirror less cameras will get you damn near close enough, for 1/10th the cost, in 90% of situations, if you know what you're doing. I LOVE pouring over gear specs, especially cameras, and mentally crunching the numbers. But almost since the 5DII, Canon have been consistently making cameras that just don't match up in the price/performance categories. I'm not saying they don't make good cameras, they do. But they're either too pricey vs the competition, too late to the party, or too flawed. At the risk of being "that guy" that brings the Samsung NX1 into every thread, that's what I've shot on since it came out, and I fully expect it to last another 1-2 years as my a-cam. I have ISO mapped to one wheel, Aperture to another, and Shutter Speed to the third. White Balance is a button press away (though quite frankly the AWB produces more pleasing color than the presets 90% of the time), and a variable ND filter fills out the kit alongside that killer 16-50 zoom, which pulls focus like a champ with no hunting. It truly resolves UHD and 1080p. Works for me. There are folks with Sonys, Panasonics, Nikons, Fujis, and even Canons that would say the same. At this point I glance at new Canon offerings, and read them in-depth later when I need a good laugh.

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.

It really doesn't have to be significantly better.... Just fit the taste of the DP or whoever else is making the decision on which camera to rent/use on a high end production. Skintone could play a big part in that decision.

When they announced the C500 with the 1DC in April 2012, the existing 1DX was not marketed as a video camera. The 1DX II is very different and suggests that they want to sell as many as those 4K machines to P. Bloom and his "cats" before coming out with a new C camera. Now whether it's going to be a 1DC II or a C200 is not so clear. What is clear is that the C line is going to have a huge gap between the C100 II ($4K) and the C300 II ($12K) and I'm sure they are eventually going to fill it with a new release perhaps in 2017 or 2018. That is all pending on Canon discontinuing the 1DC ($5K), the C300 ($7K), and the C500 ($7K). So far, they continue to sell all those at retail and I don't see Canon moving quickly to fill in that price bracket. They are conservative and move like snails.