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Sony have always done this. Look up Betamax Vs VHS. They always design proprietary media for the same reasons. Notice all Sony cameras use proprietary media. Canon don't allow their mount to be used. But the patent for EF mount rannout around the time you started seeing other cameras in EF mount...2012 :-) You'll notice BM don't say that they support EF-S because that's technically still protected. Canon still don't share EF protocols which is why you see issues with support for iris and IS on some lenses. JB

Hallo Inazuma, no problem, I'm not offended. I do not think Metabones has not been able to create the adapter, I think simply that their engineers have not even tried to manufacture it. The reason is simple, they use a lens focal reducer support standards that can not be used on Samsung NX. This standard support is used for all lenses by changing only the ring and the mounting flanges. To create the NXL I had to shape the lenses and design a new type of support. Soon the first supporters will receive their NXL adapters and they will post pictures and what is necessary to satisfy your curiosity.

I can't answer your question directly, but if I were in your shoes I'd most definitely take up the offer to have the work broadcast, and I'd rent the proper camera to shoot your documentary at appropriate spec. It sounds like your career is moving forward, no need to limit yourself to save a few bucks, as this next project will likely lead to more (larger in nature, I presume).

Or just go with a Blackmagic Pocket (+Speedbooster) if the portability is crucial to you.

Looks pretty okay, its a shame the audio is the first thing that really made me aware this is a low budget project, the audio is way more important than the picture itself, with poor audio the viewer experience can be completely ruined. The grading for me was quite unatural this really reminds me why I like older B-movies shot on film because colours are more natural, not the fault of camera more from the grader himself and just my subjective opinion. Otherwise, looks to be pretty aright they probably rushed it seeing someone said it was shot in just 4 days, quality tends to deminish when you start rushing things which is a shame but also a budget concern. Good effort though some very nice scenes, I liked the acting one should not set standards too high for movies with tight budgets, the story seems interesting as well. I would watch it if it came out on Blu Ray or DVD.

thanks guys I like it becomming an argument about hate/love. I agree, I wish the HRC campaign wasn't about hating on Trump but addressing her platform and issues to inspire people. By now we all know what a nut ball Trump is. We shot at 4.5k widescreen. I always tell them if they want they can crop as 16:9 It was Tucker Walsh the director's idea. I just really have the roll in the photography and helping to direct the poses of the actors. The biggest fun thing is with two or three people how to position them. Also with a single portrait as well - angle their body - where to put their hands, their gaze. Actions they can do. I wish I shot more wider shots and more slo motion. Also 2nd unit had a good idea to have them walk into focus. There are always different things to do that I forgot. I should look at more Egglestein or other street photographers in the future to see what poses they get.

I take back what I said in my last post. I just did some side by sides with my Nikon D5500 on the Flat profile (which i've previously described as having as much DR as the C100 II) and the Fuji is actually as good or better. Attaching screencaps. Some extreme dynamic range tests. Here's the D5500 with Flat profile The Fuji at 1080p with ProNeg Standard profile, -2 shadows and highlights, -4 sharpness. +1 stop of exposure compared to the Nikon (because the Nikon is brighter at the same exposure settings) The Fuji at the same exposure settings as the Nikon: Now with contrast at -100 using the Lumetri panel in Premiere Pro: These were all at 1080p. At 4k there is even more headroom and the colours tend to be noticeably nicer.

Shot this on the red one mx - The Red One MX - dynamic range is not there, but it has a look, some kind of unique look - not like film, not like the alexa, but it's own look - older but its there - something nice, kind of like the what's that camera from China - the Kinefiniti shot with red zoom lensses - 18-50 + 50=150 plus ultra contrast 1 - man that flares nicely. ultra con gives such amazing flares - where have you been my whole life. So screw new cameras, get an old used camera and mess around with it. shot at 640 ISO, 4.5k , and that's it 11 stops dynamic range, 10 stops? who knows, who cares. it works - it doesn't overheat. it doesn't shoot slo motion unless you crop it but the motion cadence feels right, not like a videogame like the dragon or weapon or slimer new camera they have. find its weaknesses, find its strengths and shoot some stuff. don't be afraid to go into the past and be made fun of, and who cares, just work with your camera as best as you can, and make mistakes constantly and try to get better. lord knows how i screwed this one up, i should have done more wideshots and had more variety of poses of people

C100markII or C300(I or II) seem like a safe bet, very easy to use, the C100 is rather small as well (not M1 territory, but still), but you have to be specific with your codecs, C100 par example has a much lower bitrate than the afforementioned one. You have to ask specifically what cameras do they accept, it will be a petty to create technical obstacles for no reason, and M1/2 are rather bad video cameras, you can easily surpass them and got better results. Do you have a site? Your story sounds really optimistic and worthfollowing. Goodluck!

I just did a series of tests for rolling shutter and noise. Uploading now. Will take a good couple hours. I will say the results look very good IMO. Cinema5d said in their preliminary review that the rolling shutter in 4k looks about average, which I agree with. So probably between 22 and 27ms. In 1080p the rolling shutter is among the best. And the image is very detailed. Not as good as downscaled 4k but still very good. As for the usability of this camera. There are a few problems beyond what I mentioned in my last post. First is that autoexposure is actually dogshit. The exposure changes very slowly and in steps rather than smoothly like Sony's and Nikon's. Second is that the colour profiles like to crush the blacks very quickly, so DR is limited. Although you can bring up shadows very cleanly in post. Third is that you can't change ISO while recording. All these things basically mean that you have to be quite mindful when recording. If your style is run n gun you might have a bit of trouble with this camera but if you can deal with some of the quirks youll have one of the best images in a DSLR form factor for the price and size.

Anchovies. If you don't like em, then you don't like real pizza. ...and you're stupid.

Just want to show you my solution to use faderND filter as polarising filter at the same time (cost: £8.95). It is very simple, but surprisingly hard to find such informations in the net. If you have faderND filter, it is (always?) made from 2 polarising filters. Like mine: When you use it, the problem is, that you rotate front polarizer and stop it on random angle, so you have no control over which polarization you accept (most importantly - which polarisation you completely cut off). So it is not only useless as Polariser, but sometimes it can cut off the reflections which shouldn't be cut. The solution is simple - buy a rotating spacer ring like mine (here put on a 43-52 step up ring for 52mm FaderND): I bought mine here (they have really cheap Europe shipping) - http://srb-photographic.co.uk/rotating-spacer-rings-1126-c.asp If you use step-up ring - put the spacer ring after step-up ring (if you put it before, you can introduce a lot of vignetting). How to use it?: Screw Rotating spacer ring and than your FaderND. When you set up all parameters, first rotate FaderND to proper ND level (you have to hold spacer ring not to rotate, because it is rotating much lighter (in my case)), and then rotate whole filter with your new spacer ring to adjust first polarizer angle (spacer ring rotates really light, so it is impossible [in my case] to change ND level by accident). To make it even simpler, I made a test (LCD monitor is polarised so it is very helpfull) and marked a vertical and horizontal position of front polarizer with lacquer dot (if it's on top, I know that it's close to vertical/horizontal polarization): It is really very fast and simple to use. Don't throw your money on additional polarizer (and don't add additional glass in front of your expensive lens) you have it already, but you wasn't using it. NOTE: Spacer ring adds some space before filter, so can make some vignetting if the filter is not big enough for your focal length.

I say if you're comfortable with your gear and you feel it offers you creative flexibility, stick to it. Have a conversation with the station manager. Send the broadcast station some of your work, have one of their goofball engineers scope it out, and just go ahead and ask for the special permission. Broadcast specs are guidelines. If it looks good and the story is good, they'll make exceptions. If they don't, then there's something wrong with them not what you're providing them. Good craft and story should trump limited specs. You should see the stuff that's presented on the local PBS station where I'm at. The fact that they shoot on "pro" cameras is irrelevant. Bad shooting is bad shooting. And if you're doing great audio then that already makes it better than most, so see what they say.

I don't think anyone is surprised. Anyone, whether pro or beginner, will produce better looking color with the Canon. Here's a couple stills from a recent project. Not exactly beauty lighting like above, but the first interview I lit with 1x1 panel through a 5/1 and a handheld battery LED for backlight. The second is natural light. Super quick setup, works for doc work. I would imagine ARRIs through some diffusion in a studio setting will produce skin like the ones above. I'm actually editing some F5 footage right now. The C300 looks better in worse lighting. You have to try harder to get a better image with the sony cameras, whether that be in lighting/color correct etc. The canon nails it.

Quite fast, I think a bit faster than the 25/1.4 too. The 20/1.7 was one of the first m4/3 lenses that I owned (with the Olympus 45/1.8). I loved that little 20mm lens except I lost a lot of shots due to missed autofocus (mind you of my kids that don't stop moving). It was pretty good for manual focus with video and I liked the angle of view and had nice rendering.

Maybe a certain export setting will make your footage qualify. I remember someone telling me once they can't tell the difference. Not sure if that was for TV though. I saw something on TV obviously filmed with one of the crappy CCTV lenses the other day or a cheap wide angle convertor, so standards cant be that high. I would probably copy it to a USB, visit local TV store and plug it into the biggest TVs. If it looks good insist it meets their specs and you might be fine.

Obviously, you should upgrade given the opportunity. With this post, be prepared to get a recommendation for almost every camera manufacturer. So, here's mine... I think your first inclination is the correct one... Get a C100 mkii and be done with it. But another question worth asking is... What lenses do you currently own?

Thanks for your feedback. I shot with the Ms mainly out of habit and because I know exactly how to achieve with them what I want. It's time to upgrade after all. But the form factor is/was amazing.

Nothing to see here...

Panasonic also has some very nice, small m43 cameras like the G7 and the GH4. With a speedbooster they can also use FF lenses. The well-built GH4 can output 10-bit 4K V-LOG to an external recorder. This won't give as much grading possibilities as a Blackmagic camera, but the 4K footage is still very nice. Regarding shooting your doc on the EOS M1: it's possible, but why would you put so much effort in your sound, your lighting, your story, ... to then use a not-very-good camera? To me it would make more sense to get at least something like a Panny G6, Sony a6000, ... Or to rent a camera.

Hey! I recently shot a fashion event with a 7D mkII and a 60D and used your C-log pack! Here is a quick comparison of c-log ungraded and then graded with CINE 2 LUT (with a bit of tweaking). More screengrabs to come when I finish grading & editing. I'll also post a link when the vid will go public. For now not finished yet.

Im pretty sure I read on YouTube that anchovies are "fake and gay" or was it "just popular because it reminded people of pizzas of yesteryear and that the newer sharper fish was superior."

I find this a serious issue with the LX100 - even with RAW stills. I struggled with it a bit with my GH4 but I'm sure it's worse on the LX100. Any suggestions of best way to minimise it?

Contrary to common belief, film isn't dead & probably will never die. The stupid ones are those that believe the marketing tools of modern digital camera makers - lots of Films/TV are still shot on celluloid & I'm not just talking about the big Hollywood blockbusters. There was an article a while back, where someone demonstrated that it isn't actually that expensive to shoot on 16mm film, if you have a budget & do your sums right. The real problem that exists is that most people here do not have a realistic budget from which to produce a film with & of course, this is coupled with the proliferation/over saturation of CGI & the fix it in post brigade. Digital has made people a little ignorant/unappreciative of many things that are taken for granted when using film - the fact that you can blow highlights is probably the most common misunderstanding (not saying that you should do it all the time, but it has its place & you don't have worry about this so much). And finally, the irony of this whole debate is those digital evangelists that are forever trying to replicate.....do I dare say it....."The Film Look"! Whose stupid now?

What was most disconcerting with my Hackintosh experience was lack of stability. Although I had turned automatic software updates off, the version I was running stopped working with Apples cloud services (iMessages, Backup, ...). I also experienced way too many crashes and apps that ran on vanilla OSX would not work on the Hackintosh version. I hope your experience would be far better than mine. BRU has many features and allows you to perform, full, partial or incremental backups and restores. It allows you to tune its parameters (buffer sizes, read/write blocks, etc.) to get the best transfer rates out of your controller and LTO drive. It also has a reasonable UI (not as elegant as Apple's) to navigate volumes and archives. I have been using it to backup my 12TB RAID and make archival backups of my RED mini-mags after shoots. BRU is primarily a Mac app (they also support Linux), if I were you, I would ask users on reduser.net or Tolis Group if Hackintosh is supported and viable. They do offer a free trial for their software - you should try before you buy. Best, Marco

Inazuma, in regards to that, at the time Metabones added that to their FAQ many of us thought it looked like bullshit because they didn't think there was enough of a market in part. And the other part is that they had some qualifiers, something about not getting quite the quality they wanted, I suppose in a 1x crop situation for the adapter (disingenuous because they offer non 1x adapters for some other cameras). I think Luca also could not do that as he has gone with what I think is a 1.1x crop that is using pretty much all available depth.

My 7D did pretty well, I will test my eosm when in a month or so.

According to your needs. According to mine the Samsung NX1 couldn't reach the level of the much older and cheaper bmpcc. According to deep sea divers none of them reached the level of the yet even older Gopro. You dont see the "wow" of the Fuji for the same reason I dont see the wow of the GH4. Its simply not for us.

Of the top of my head, bigger sensor than the GH4 and a system thats alive compared to the Samsung But all in all its a matter of personal needs and taste. I dont see anything in Samsung that others cant do. We just have different needs.

Hopefully the LX10/15 did not eliminate the need for an LX100 successor by consolidating the LX7 and LX100 lineups. Wishlist for an LX200: - Articulated touch screen - Exposure compensation with Auto ISO in "M" mode - Improved color profiles (no magenta cast on lips), Cine-D, v-log

Hey thanks Dahlfors, it took literally 1 minute to get Keynote to do exactly what I wanted! Cheers!

built-in 3 stage ND and auto ND function! Take that XC10/RX10 with only 1 weak 1/8 ND Wondering if the HFR still have the same limitation ie can't focus/zoom once recording started

Nice job. That's pretty much the opposite of promoting hate. I think some people misread the title or are dyslexic.

I love Panasonic. Feel like I want them to have every penny I spend on cameras and lenses. Most intersting part for me will be to see if the 200 mbps internal recording is enough to make up for the small sensor. As that will bode well for the camera most of us are really waiting for.

Astonishingly "We Are Heros" was shot in just **FOUR** days! :-o A snippet of more info from Carl Mills who was part of it:

are you saying Ed's video was promoting hating Trump? that's ridiculous. the video only promotes love, and the hashtag reads to me more like "Trump hates, and we have risen above him". the high road rarely involves violence. and Trump definitely hates. not that we should talk any more about politics ever. beautiful work, Ed! I thought I'd heard that camera has 13 stops?

I finally go to take this beast out into the wild. I'm most amazed with the autofocus capabilities, coupled with the EOSHD.com C-LOG picture profile. I ran the cam on my DJI Ronin-m with a 50mm at F1.2... Just for this, I may consider adding the mkIV to my bag. If the DR was just a little bit better, I'd be completely sold. Cam Settings - 1080/60p - EOS HD CLOG Picture Profile - 125 Shutter - F1.2 - Tiffen Variable ND Filter - DJI Ronin-M - Graded with FCPX Color Finale + EOS HD Cine Lut

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.

The best hybrid camera is either the a7rII (if you're more serious into photos) or a7sII, in the full frame realm. If you're looking for crop, I'm a lover of the NX1, as many of you may know, never tried many aps-c that can deliver such a good video and pictures.

Certainly looks a whole lot better than the GX8 for video. I ended up getting the 15/1.7 and haven't tested it as much as the 12-32, but I haven't seen any jitters with it. Everything seems nice and "floaty". I think u mentioned before people's complaining was mainly with the 12-32? And btw, this Pana 15/1.7 is a champion little lens ... really nice !! Took some still and was really impressed. Also really impressed with the GX85's SOOC Jpeg's ... look great to me. The standard setting with -5 NR gives a natural look with a touch of contrast which is just how I like images. Have a 3 day weekend sop looking forward to using this cam

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.

Just returned from another Festival, this time i brought my new Olympus 17mm 1.8 - what a nice lens! The manual focus is really nice and not snappy like the one of the Olympus 12mm f2.0. Also works very fine with the Tiffen Ultra Contrast, screencap (1080/50):

here is a video i shot last week with my hacked nx500 180mbs 45mm 1.8

Nice stuff hempo, is your zeiss modified for super 16? That lens and wide angle adapter is a nice piece of kit!! Would love to film with a digital bolex and some of my 16mm glass one day. I was looking at used D16s right before the company stopped producing cameras and have been having trouble finding any used listings. Here's a short I just shot with the Angenieux 15-150 on a GH4

Hi. You may think I'm a brand ambassador, but lets examine what that would actually mean. It would mean that I get paid to promote and generally aid the cause of Blackmagic and their brand awareness and experience with their users, is that right ? I am not a Brand ambassador for Blackmagic, mostly because I don't get paid to be one, and I'd rather speak my mind openly in public forums like this. I've believe I've been honest in my views of the pros and cons of their products. I have a personal relationship with many of the people that work there and I've had a lot to do casually with helping with test shoots, iterations of changes to fundamentals, which again, I'm not paid for. In return I get to be involved with the development of cameras, furthering my own understanding of how a camera is built from the ground up, I get to see some of my input make it into the development cycle and I get some cameras. Blackmagic once flew me to IBC to help with the launch of the MFT version of the 2.5K, a version I strongly lobbied for internally with BM. None of my involvement with Blackmagic has EVER lead to me getting work as a DP, or increasing my profile. If you think that's what producers go for then you'd be wrong. If you don't think I'm polite enough then it's really your problem. I would much rather remain independent and be able to speak my mind frankly. It's exactly because I'm not a Blackmagic Brand ambassador that I can do this and the more I do this job, the less patient I get with armchair experts like Kino. I feel like I've earned the right to be able to speak on that which I know something about and I don't really have the patience to argue points of fact with someone anonymous like Kino who has no ability to back up his claims nor legitimacy in his identity. Anyone who's been on camera forums knows me and my history and has that posting history to inform them. I have been on CML since nearly the begining, on C.com for many years and DP review, REDUSER, DVXUSER all long before Blackmagic came along. I have a blog where I try to write meaningful and helpful work and share my very own camera tests from actual shows with anyone who wants to see them without monetising it or having any kinds of adverts or kickbacks. Because I like to be able to speak my mind when I wish to. I'm not building a profile with this audience because I am not tied to you guys for money. JB

I'd recommend gear insurance if you're owning expensive equipment.

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.

I like that one the best!

Now is the time to bring back multi-aspect sensors. The 4K crop on Panasonic's current cameras is a real shame. It would be great if they could put out something that downscales from the whole sensor and relegate the current method of 4K capture to the extended tele mode where it belongs.