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thank you so much for the kind words everyone. All i had with me was the nx1 body paired with 16-50s and a very unstable and cheap tripod, had to upgrade it btw cause i missed a lot of shots because of it. Sometime i used the tripod folded as a rig for better camera grip and stabilization. In terms of settings i have used Normal Gamma with sat -5, sharpness -10 and contrast -3. I had MB at plus 9. I did the edit in Final Cut Pro X where i just tweaked the exposure wherever was the case and apply an m31 LUT at 50% and warmed the overall look and feel by a notch. that's all i did. Thank you again for the support and the nice feedback. i put my heart to it and it seems that got to u which makes me proud. cheers.

Normal gamma, and mostly Ricadro's settings. Enjoy :

Luca: Sorry, very busy week at work, there's a competition we're participating in so we've been trying to meet those deadlines. I would look now but I don't have have the software for it on the WIndows side of this computer, promise I'll look before I sleep tonight though. carlic: I'm going to try, that's not a question of funding, merely of my free time, my colleague's, and if we have enough info to pull it off. We finally have the parts to get started but he is sick so I'm not sure if we will take a look tomorrow or put it off until next weekend. If all people need is aperture control, that is a much easier proposition than the full deal and I believe implementation is available online as code for something like an Arduino. I have no intent of doing any manufacturing, if I am successful I will post the code, a full component list, recommended tools, etc... so that others can easily do it themselves. I intend to modify a dumb Canon to NX adapter using contacts from the AF supporting macro extension tubes for both NX and Canon, so a screwdriver, small handsaw, some kind of hotglue or epoxy and those 3 cheap adapters should be all that is needed mechanically. The whole thing should be doable with < 100 USD even if you don't own any of the tools at the start. Miniaturizing components or packing it all neatly into a custom adapter body is a different story, maybe Luca would be interested in that portion if we reach that point. Don't get your hopes too high though, we haven't even really started and it may be quite difficult, we'll see. It's also possible that we face lens by lens challenges, in which case it's not exactly feasible for us to go through every lens on or own, so we would post what lenses it is known to work with and put the code on Github or the like so that others can contribute parameters for their lenses if they figure them out.

A couple more tidbit. http://www.mirrorlessons.com/2016/09/22/olympus-om-d-e-m1-mark-ii-extra-information There is no sensor crop for both UHD and Cinema 4K unless you activate digital stabilisation in addition to 5-axis IS (8% crop). Continuous AF will be available with the same features as for stills. You can vary the exposure while recording.

It's useful for hobbyists who want to shoot handheld with no additional rigging. I've used it once or twice for doc work and a couple specialty shots on narratives where we couldn't use sticks or a rig. It lets you be lazy and still get good results, so of course we're all dying for it.

I do a ton of corporate interviews, musing about some doc projects if I get some free time... The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. (#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners). Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer. IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..." #3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.) So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus. I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors. Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot. LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day. I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy! For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in. I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!! There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me. All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart. That's my business interview setup, but I'd likely use the same for a doc interview. Last week, basic setup:

Aren't all cameras that capture motion picture images capable of this?

You can definitely match them as long as the XC10 has enough light. Go above 1000 ISO and really discerning clients may notice. Even in great light though, if you pixel peep you can see the XC10 is pulling from a smaller sensor.

hey guys, i went to nepal for 5 days for my EID vacation break and end up putting a short travel movie together. i was so impressed about how people stayed vertical facing cruel fate so i decided to transform my film into a manifesto about how by simply visiting nepal, you can actually help them in the most sustainable way. Tourism was and always will be the lifeblood of Nepalese economy. Anyways, i will share the link to the video below and i am really open to discussions and feedback regarding it. But mostly i need your help and advise in how to promote it. I uploaded on vimeo, my very first post so i have no subscribers and stuff, and i posted on my Facebook page which got attention of my friends. But that's about it. I tried to posted on some Nepal Tourism facebook pages but without any success. so i don't know where to start from, what should i do? where should i post it so it gets some visibility? i really appreciate your help and i hope you enjoy the 2 minutes and a half full of nepalese vibe :

I hope it has an over-sized HDMI port and on sensor swap-able pixels.

Another test with the X-T2. 4K, Acros simulation. I like the look the black and white gave our scene.

Ok. So the possibility of a smart adapter will be considered if and when there is enough funding? And it is not in the developement at the moment? It would be great if you could buy a dumb adapter now, and later be upgraded to smart. It would help funding too, since the people would not be holding off for the possibilty of a smart one in the near future.

Yi will definitely shake up this industry for sure. But keep in mind it's 1st gen. The chances of it having (or not having) something that's a dealbreaker is likely 100%.

Hah, that's a C100mkii...

Yes a lot of us shoot handheld. If I'm not using a gimbal or slider for special movement, its handheld all the way. Budgets for work are crashing down because technology is so accessible, and handheld not only saves a lot of time lugging around support gear, it also heightens creativity as you can get the shoot you want easier, anywhere, at all sorts of angles. Either the Olympus or the GH5 will be the one for me, where fast, low footprint, high quality handheld work is needed. We'll see how they stack up.......

If video AF only works in P mode, its not amazing, its unusable - or more to the point, its horseshit. I'm skeptical on a number of features, need to wait for real testers to get past the Sony hype. There's a video of the 12fps burst that clogs after a couple seconds just shooting jpeg's, which means the buffer/write speed really sucks. I loved watching the guy squirm in the Cinema5d video, he clearly didn't want to talk about the shitty video AF. Live view AF is supposed to be an advantage of the SLT, after all these years I find it amazing that Sony and its vast engineering resources hasn't been able to figure out how to make it fully functional. Some say its the BionzX can't keep up, its been around for a few years too, if that's the bottleneck it needs to be replaced ASAP. This camera feels just as half-assed as the original a99, just a bunch of pieces from other cameras cobbled together. UHS-II isn't anything new since its been spec'd on other cameras for a couple years now. If this camera is supposed to be the A-mount flagship for the next four years, it should have it. The d500's write speeds will completely crush this with some pretty amazing write speeds. You would think Sony would introduce faster hardware with the flagship, but that's just not the case. Its not even out yet and its already slow/outdated. People love to bash Canon here, but dual pixel works really well, and it works all the time. Canon also understands the benefit of a touchscreen to pull focus, something else Sony can't seem to figure out. Outside of A-mount users that want a new sensor, this camera is shaping up to be as much of a dud as the original a99.

Hey! My 2x Sankor Cinemascope is for sale. It has a single focus mod in the front. Sharp from f2, mint condition, comes with the rear clamp. Weight: around 450 gramms. PROS: Sharp from f2 Single focus Awesome image quality Perfect condition Cons: Around 400 degrees throw on the front focusing element Vignettes under 45mm MFT (on 16:9 mode), 35mm (4:3 mode) Here's a test video I shot with the following setup: GH4 (16:9 4K mode) + KF adapter + Pentax SMC 50mm set to f2.8 For more pictures or videos, please contact me via PM. The reason of selling: I'm about to switch camera system. Price: 750 gbp. Payment via PayPal (buyer pays the fee). Shipping from European Union.

Lets slow the 4k/60 raw roll a bit. The em5mkII with its 14MB raws can do 50 before the buffer fills, the Pen F's raws are just over 17MB - even if they doubled the buffer size we're still only talking about ~80 frames before it fills. 4, 5 or 8 seconds isn't going to happen. And it's only S-AF, so you're only guaranteed to get one frame in focus. Thankfully its with the E-shutter, so less wear on the mechanical shutter. Still the 24/30p bitrates are pretty nice. Everyone is talking about the 4k stuff, but the 1080p does 202mbps. Since RS on all the current 4k cameras is significantly better in HD, this could be one badass handheld cam when you just need HD as well.

I can't imagine them selling many in the US at that price. You can get established brands for less money.

Caught Max Yuryev comparing the GX85, Fuji Xt2, 5dIV, and A6300... all of which are the hot cameras right now (especially the A6300 )... a nice video considering low-light, detail, and DR. The GX85 fairs well, especially at its price point.

I finally had the chance to upload the C-Log onto a camera. Unfortunately it's the eos-m10... Probably the lowest level Canon camera, but it's the only one I have access to at the moment. I think the C-Log definitely helps with the shadows and I am really enjoying it so far. I've also been testing some of your other profiles. I love the look you have shown with Chrome, but with my footage it is SUPER saturated, whereas your samples look muted... Do you think it may be camera specific? Also Cinema 4 is very saturated as well, when I cut the saturation in half, it more closely resembles your description. But with the saturation knocked down a touch or two, it kinda resembles the Wide DR mode in Canon's C cameras. Nice job, it's really cool to breathe some life into these cheap old tech cameras.

I've never tried vintage lenses on my C100 MII but would like to. Right now I use the tokina 11-16, sigma 18-35, canon L zooms, canon 35 / 50 / 85 primes. Here's a piece I shot on the 18-35:

here u go : Normal Gamma with sat -5, sharpness -10 and contrast -3. I had MB at plus 9

Exactly. They cut very nicely, but only at lower ISO's. The HD image from the C100 (mkII in my case) is superior to the XC10's image even in good light, but not that noticeably. But the C100 has the best 1080p 4:2:0 image below 50mbps by a very long margin. The XC10 has the characteristics of a smaller sensor - more noise, a hair less dynamic range, more depth of field. Having said all that, if you shoot 4K 305mbps 4:2:2 on the XC10, it outperforms the crap out of the C100 for colour and detail in good light.

DPR interview says dual quad cores for processing data, 2x RAM of E-M1 With all this processing power, seems like they could handle full readout of the sensor, but full readout is conspicuously absent from announcements

I've got a 54 & it's all about the taking lens, nothing to do with the Iscorama. The 54 is less forgiving than the 36 or 42 (the sharpest Iscorama) & you really have to choose your taking lens carefully, if you want a sharp image. Not sure why anyone is stating that you can't shoot lower than f2.8 with an Iscorama because you can, but also not sure why anyone would want to shoot at f1.2. The Core-DNA is really for dual focus Anamorphic attachments. If you've got a single focus Anamorphic, you'll be better off spending the money on some good Diopters - achromatic doublets, not the singlets.

Congrats @Frank5 on getting the job! I'm not sure I can add any value above what other people have said, but may I ask how the TV channel found/approached you? Hope it goes really well.

Narcos drone shoots are made with a GH4 (read so in IMDB) and they look gorgeous.

No doubt. The C100 image is beautiful. But the extra sharpness, cleanness and higher bit rate of the 80D - combined with shallow DOF, a log-like profile and some nice glass - is going to look a great deal closer to a pro image than a Rebel ever could. Personally I still like the 5DIII's native H264 image quite a bit (esp for shooting people). The 80D is arguably better in some regards. I'd be interested to know what kind of DR can be coaxed from video on an 80D with the EOSHD c-log profile, as the sensor is rated at over 13 stops for RAW stills (much better than the 5D3).

Don't you have an 80D? Using Andrew's Log profile, fast lenses (e.g. Canon 50mm 1.8; Sigma 18-35) and sticking to shallow DOF (i.e. what you want it for) by ensuring subjects are within a few meters of the camera, you'll get results very comparable to a C100. The benefits of clean, high res cameras only really come into their own for deep DoF shots with loads of detail. The old Rebel cameras, 60D, 7D, 5DII, etc were always fine when shooting portraits etc because A) out of focus areas negate moire and B) the codec & processing that caused those cameras to be soft struggles much less when large parts of the image are out of focus - allowing bitrate and processing etc to do more in the in-focus parts of the image. Also the contrast between OOF background and in focus foreground makes the subject appear sharper than it actually is. Besides, if you're shooting people you don't want them to be too sharp. As the 80D is significantly better than any of those cameras you should be getting shallow DoF results that cut perfectly well with the XC10's wider shots. Something that doesn't get talked about much is that 4K actually makes far more sense on small sensor cameras, because you're always going to have deeper DOF and therefore far more detail to deal with. So for Panasonic it makes sense for them to have led the 4K move because (apart from the fact they want to sell 4K TV's) they have the smallest ILC sensors. Even their HD cams were much higher res than APSC counterparts - and really they had to be, because the MFT sensor always meant more detailed scenes (less OOF areas).

Nice job!

distortion from the stabilization?

I concede.

You know some people will actually buy a GH5 for the stills photography part LoL. I would think they would like it. And I am sure most of us will take a shot or two photo wise.

Preview footage looks interesting. A little over-sharpened, maybe. The colors are interesting. They remind me of the NX1, in that they're simultaneously somewhat muted and a a tad too much. That US price is just silly, though. This thing ticks a lot of the right boxes, but only at the initial launch price; cost being equal, I'd rather have a G7 or GX85 any day of the week.

Agreed, incredibile dr, also, in that point.

Tried eoshd-log on the eos-m10. I used a canon log LUT from Color Finale with no other adjustments...

Just watched it again. I really like the contrast, sharpness, saturation and everything else in the shot at 0:40. absolutely incredible! Please reveal your secret to this exact shot lol.

How big is your Hat Andrew! The only way I see them getting 6k and that sort of MP is if it has a Super 35 sensor in it. Or, if they have come out with some really Magic electronics jumbo mumbo that is new to everyone, even them. I think it Has to have some oversized sensor in it to pull this off. They have done that with the GH1 GH2. So they are not new to doing it.

Agreed. Nx1 is often 'forgotten' in such comparisons (I'm not talking of EOShd alone).

Yeah, but switching between boom and lav can be a little tricky as they could sound different. But is better to have the option than not have the option. Indeed quite a few productions will have everyone lav'd up plus a couple of boom ops! But sadly sound is often treated badly, so while camera + G&E might have 3, 4, 6, 8+ people... the poor sound department has one person who is booming and recording it at once!

Cheers, man. Got burned at the stake for simply posting samples, I actually exchanged my camera because I thought I had a dud, it was so bad. And this one doesn't AF in video unless you're in P mode, because most video pros shoot in P. And because the IBIS doesn't seem to involve a floating sensor, I'm curious if there's a crop with steady shot in video, like the a9. Dumb, dumb, dumb.

Google Ruslan Pelykh. I have a Sony RX10 II which I use along with an A7R II. It has limits, mainly do to with Sony's menu and the small sensor. Deployment somewhat slow.Considerable advantages too: shared profiles with other Sony cameras, making matching easy; takes the same XLR attachment; good range fast zoom. (Most of) this was done with the RX10 II over the summer, testing out some of its features.

This is excellent feedback, many thanks to you all for the encouragement. It is obviously time to upgrade and I'm looking forward to shooting the new project on a rental C100ii or C300ii.

export the master file in pro res and tell them you shot it on whatever their favourite camera is. If the image is broadcast legal, in focus and has minimal noise you should be fine. i suspect you probably lens your work nicely- which is where so much of the look comes from. As a Gh4 user i can strongly reccomend going with that and speed boosters for your current lenses.

Autofocus with Tokina 11-16 2.8 Dutch Videographer I think talking about whether a focus puller is needed with Mark IV. Maybe somebody can give a short synopsis of what he's saying.

Did my first test, excuse the dramatic soundtrack. Password: Bolex

Oh man, if the FS5 had the A7S II sensor with IBIS, that would be brutally fantastic.

I use a Speedbooster Ultra on my A7RII in Super 35. Super 35 image quality and I get what amounts to FF when using my MF Contax/Zeiss MF lenses + gaining a stop ... so a little better low light capability.

It's always baffled me why Sony have never put the a7s sensor into a small video body... you'd think it would be really popular with NDs, XLRs and a nice codec