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The BMD Micro CC was marketed with global shutter... in the end... they couldn't deliver on that promise and pulled it from the (seemingly finalized) specs (which made me order it). I was rather bummed when I found it was going to ship without the feature, which goes to show I'd rather have them release specs that they know they'll do, rather than making a prediction as a hard statement and then hopefully manage to pull it off somehow. Also... Craft Cinema Camera... But yeah, I do get that they had to say something at Photokina. I was expecting them to! We all want to know: is it in the making? When should we expect it to hit the market and what can it roughly do? I do think it's going to be a significant step-up in the way the m43 crowd shoots video! Like the hacked GH2 and GH4 were! In between the GH4R and (paid) firmware upgrade... and the G7 and GX80... I think we're going to be in for a treat. But you've got to be realistic. The GH5 is going to be the most productive and allround video tool in the DSLR and mirrorless market and have the best bang for buck. Yet sensorwise... it's not going to rival fullframe. Then again, that's only logical. Light gathering ability for each pixel is just not the greatest. But you know... isn't that the case with actual movie cameras either? If you look at Blackmagic and Kinefinity for example... you're expected to light your scenes and manage. Shooting ISO6400 is just not something you would/could go and do. That doesn't make fullframe options less interesting, especially for the run-n-gun type who shoots a night scene with just the camera on little to no budget... because then you can't deny the benefits of its flexibility. You can put it in any lighting scenario and it will cope with the conditions (to a certain degree). If that's the most important thing to you, look no further and get one of the Sony A7 series cameras (with their own issues; really comes down to the game of: pick your poison). I think it will be another one and a half year perhaps (2017?) before we see the new tech (organic photoconductive film (OPF CMOS) sensor with global shutter) hitting the market. That you may rightfully call a 'gamechanger'. But we're not there yet. It's a step up, as said, with V-LOG L and an anamorphic mode as firmware upgrades... with the GX80 sensor performance and stabilization however... we've seen that we can expect the GH5 to be a significant up from the GH4. And that is just how you need to see it. Still gives you struggle for wide focal length lenses. Isn't magically going to see in the dark with no noise or create crazy shallow depth of field by itself. But it is great value for the money and it certainly will be a treat to use stand alone as well as rigged up. Secretly I was hoping for something between the GH-line and the Varicam, because getting a cinema tool step up from the GH4 and end up between 2999~9999 you'd be looking at the Sony FS5/FS7 (or something older 2nd hand), Blackmagic URSA Mini/Production Cinema Camera, Canon C100/300/500, Kinefinity Terra, (2nd hand RED package perhaps). In other words... a lot of people learn with the GH-line and when it's time to step up, their native lenses are probably useless and they have to look at different brands. If I were Panasonic, I would want people to stay in my eco system (and keep their money coming my way), hence create something Kinefinity/Blackmagic style that keeps in mind users coming from a GH4. Something like a true successor to the AG-AF100 but adhering to the modern standards and expections as well as being more compact and affordable. I mean, at around 3000 USD you buy a body only A7SII or A7RII. Can you imagine the things Panasonic would give you for that kind of money?! Something like JVC did (somewhat out of the blue) with the LS300... but done the Panasonic way with the GH heritage. Unfortunately the GH5 won't be that. I thought... ok, the G80 is now roughly the ultimate hybrid camera for stills and video. Maybe they make the GH5 really premium and focussed on video like that. But from what it seems, this is another ultimate hybrid camera... instead of what I was hoping, something in between the GH-line and Varicam (or as I've called it before 'the VC5' (a more serious cinelike approach to the stills hybrid GH5)). Doesn't make me less excited for the GH5 though. Might tick all the boxes anyways (with features that are now well implemented, ditching the YAGH-brick for a more viable solution and still being nice to use as-is, as well as being discrete on the streets and affordable to purchase).

Yeah, the GX80 is lovely in size! Here next to the LX100: But... the G80 sounds more like a pre-GH5. A little crowdwarmer. I think it's quite convincing offering the best of the G7 and the GX80, making it a nice allround tool (making up for some lacking features of the GX80). But of course the GH5 will have some tricks up its sleeve to pull ahead quite a bit and up the productivity. While the E-M1 mark II sounds like it will be a dream for hybrid shooting with stills focus and casual video shooting. Agree on the Mitakon. I happen to like some character and flaws as well... not that there's something wrong with clinically sharp perfect bokeh lenses either. But it paints the picture differently which might just be what the situation demands.

True. It is seriously pocketable. Most jacket pockets could easily accommodate one. I guess it's similar in size to the LX100. That can't be said about the G7 or G80/85. Especially with the kit lens. I like the Mitakon 25mm f.95 lens despite some of the strange reviews. It has that characteristics of one of those old minolta (was it Minolta?) lenses that Mattias Burling (I hope that was him) mentioned, about having a lot of flare pointed at direct sunlight, and thus softer image due to the coating. Almost like a natural ultra contrast built-in. Also, like I mentioned, some cities have so much character at night. They literally come alive then.

Discussion on Newsshooter 13 comments Photokina 2016: We ask Panasonic all the questions about the GH5 Will ; a reply to Mark Ellsworth 4 days ago "Right, but the micro43 standard is rather open about sensor size and aspect ratio. Crucially, the standard requires that the imaging area of the sensor be a specified diagonal measure. All Micro43 cameras but two have featured identically sized 4:3 ratio sensors. The GH1 and GH2 featured larger sensors that covered that diagonal in 4:3, but also 16:9 (and necessarily, 3:2 as well). Because lenses produce a circle, standardizing the diagonal ensures that every lens will still cover. Understand, this is not the same as generating 16:9 or 3:2 imagery from a 4:3 sensor, where you just throw away some of the pixels from the top and bottom of the 4:3 imaging area. This involves using fewer pixels on the top and bottom, but also additional pixels on the sides. So your 16:9 image is both shorter AND wider than a 4:3 image taken with the same camera. As regards video, this means that the effective sensor size is actually bigger, and the "crop factor" is thus less. The "crop factor" of the GH4's full sensor is 2, but the 4k video in the GH4 uses only some of the full width of the sensor, so the crop factor ends up being close to 2.3. In the GH1 and GH2, the larger 16:9 imaging area resulted in horizontal crops closer to 1.8 or 1.9, if I recall correctly. So the GH5 may be a return of the multi aspect sensor. And if it is, this would explain a few things. Namely the 6K photo mode. Nominal 16x9 6K (not full DCI spec) is 5760 x 3240, much like we call 3840 x 2160 4K. A 4:3 sensor with 5760 pixels wide would be 4320 pixels tall and thus a 24.8 MP sensor, quite different than any yet seen in Micro43. But if that width is only in 16:9, the 4:3 imager would be 20.9 MP... slightly more than half a megapixel more than in the GX8's sensor. So with a minimal reduction in pixel size, this theoretical multi-aspect sensor is possible. In addition to the benefit of 6K photo mode, there's more magic in a 5760x3240 16:9 imaging area. That size is exactly 1.5 times wider and 1.5 times taller than 3840. 1.5 is a kind of magic number in this regard. Oversampling by a ratio of 1.5 allows for computationally easy downconversion with improved color accuracy at each output pixel. Don't take my word for it either: you can look at the specs for every different version of the Arri Alexa, which generates its 1920x1080 from a sensor with 2880 x 1620 pixels (which it now allows you to record all of, a compromise in the original design that attempts to eke more resolution out of the sensor at the expense of color accuracy). In summary, it doesn't take much of a leap (basically, just Panasonic returning to multi-aspect sensor, and developing a new sensor design with pixels only marginally smaller than their current generation) to arrive at a possible GH5 with internal 10-bit 4:2:2, a horizontal crop factor of 1.8 or 1.9, vastly improved color accuracy in video (in addition to the greater color sampling rate), and a true 16:9 6K photo mode with no interpolation or computational trickery". Pretty interesting post by Will on Newshooter. He might have sort of a answer on sensor size of the GH5. Food for thought..

So I got my Zhiyun Crane in the mail last week right before a shoot out West and I decided to leave my other stabilizer at home. Delivery was extremely quick with the priority shipping and the customer service on their Facebook site (messaged them) was fantastic. I had some small problems with the stabilizer, but all in all it is quite a step up over a steady cam. This is my first gimbal and I have to admit I wasn't really trying to keep it steady that much as I should have. It seems like it's magic (which it pretty much is), but you definitely still need to practice to make it perfect. Let me know if you have any questions

A7r II + SLR Magic Anamorphot + Tokina 28-70

Got a huge smile on my face right now - 45mins battery time, well they kept that quiet! Exactly the same on the Pocket....but you can actually pick it up & go without spending a fortune on the extras that are needed to make it useable. There's a guy over at Cinematography.com that shared quite a few tips to get the best out of your battery life on the Pocket, not all of them logical but they work: turn down the screen brightness etc...and the strangest was, Do Not turn it off between takes, as that drains more of the battery. So much BS spoken about the Pocket & once you actually Learn (yes, I know, it's a dirty word nowadays, but it's an important aspect of life) how to use it properly, it is so much easier to use than a DSLR (cause your image worries are gone). Ease of Use vs. Fucking Awesome Image - well I know what i'll pick everytime.....

Man KIDZ.... Your sense of style just gets better and better. I haven;t been around here much lately because my NX1 is just WORKIN'. Ya know what I mean? I put in Andrew's whole LUG-LUT settings and post routine, and it's just been GREAT. So nothing to report. But RICARDO... Boom! You've really tapped into an interesting recipe here. I've put in your settings and shot a few things and I agree - very nice. A different feel than the EOS Log-LUT thing, but I like them both. Once I've shot a bit more with Ricardo's set and got to know it better - then I'll have two distinct looks out of the NX1. I think the NX1 screams with the Sigma ART lenses, but boy I'd still love to have that 16-50S lens to really finish the deal. And I was RIGHT! Back when the camera got knocked out of production, I KNEW the prices for those "S" lenses were not going to come down.... Oh well...at least you DO get what you pay for with them. ~Cheers all!

Visioncolor's profiles, for Canon, are the best i've ever used, VisionTech being the pick of the bunch - only needs minor tweeking & you're done. As far as BM cameras are concerned, they are 10bit Prores & not 8bit H264 - so of course their Film profile is going to be miles ahead of the majority of cameras on offer. However, if you haven't got the time to learn how to shoot a proper camera, then their Video profile setting has been vastly improved from its humble beginnings & produces a great image if you simply don't have the time to grade a lot or are used to grading 8bit H264 (NB. The bonus being that it won't fall apart like H264, because it's still 10bit ProRes). The real problem with the Micro, it seems, is that improved battery & 60p simply doesn't seem to out weigh the bad ergonomics - whatever that is meant to mean for a drone camera?

Tested this Zeiss lens with 100mm/f2 taking lens on FF camera. Is it OK?

I generally use a small monitor and for critical setups, I use the camera's LCD for framing and color, and use the montior at 1:1 with peaking on, and look for eyelashes/eye catchlights/pores/ to get best focus. Most people seem to have found that even if a recorder can do 422, if it's getting 420, the benefits aren't always worth the extra gear and cost and hassle. Metaphor alert: I can record a tiny AM radio into ProTools with an Apogee preamp and killer mic - it's still gonna sound like a tiny AM radio. The recorder isn't getting a raw signal, it's getting a visually-compressed feed that hasn't been compressed data-wise. Yep, NX1; it's on a set of rails I cobbled together out of various bits - I really want two risers from tripod-to-rails and two risers from rails to baseplate - I find heavy lenses cause the whole rig to sag with just one riser, which is a nightmare. It has a Manfrotto 577 QR on top - everything's manfrotto QR so I can pull the camera from the rails (steadicam) or stick the whole rig on a crane or slider. The rig itself is 577 and the camera is 577'd as well. I can stick front handles and shoulder mount on it in a second, too. Decent 2-stage matte box without the flags that day (that Matthews flag in the shot was blocking the LED hair light from hitting the lens); Fotga DPII follow focus (amazing value, that thing!!) with whip, Nikkor 28-70 2.8 (known as "the beast" in some circles) with a rubber hood - I use rubber hoods vs donuts or knickers, very fast to squish 'em against the matte box. if I'm doing focus pulls, I add a lens support and "lift" the front of the lens enough to kill any play - DSLR lenses tend to jump up when you start a follow focus pull. I use a 90° rail block and an extra piece of rod to mount the DR60 next to the camera, found a 1/4-20 adjustable rail piece on eBay that lets me tilt the recorder. The recorder has a 90° headphone jack extender to get the headphone cable clear of the recorder controls. That's an Anker USB battery which powers the DR all day. The monitor is a Marshall 5", has 1:1, peaking, and blue-only to check color with a source of bars. The mic is an AT 4053b in a Rode blimp. Killer mic, really detailed and worth every penny vs. a Rode or cheapie. Tons of presence. I use an XLR on-off barrel switch to get the mic right to the front and gain a couple inches (the blimp is expecting a shotgun...) I don't use a cage, don't really need to bolt the kitchen sink to my camera and I like to be able to go from tripod to crane to steadicam very quickly. I have a simple railblock cable lock that holds a short HDMI cable and a short 1/8 headphone extension, so I plug the monitor and camera-synch-audio into those vs hunting for tiny ports with a flashlight, less cycles on the ports, protects from snagging, etc. I really try to minimize change-up time. Tripod is a Manfrotto with 503 (no panning at this gig) - it's taken a hell of a beating from sticking an 8' Kessler on it for years and will someday likely explode in a pile of springs and oil, but a decent head. I have a couple smaller tripods as well, nothing super-pricey (I got my film-school son one of those "fancier" fluid tripods... and then got myself one, amazing for $150 or so. Still want to get a sachtler or something...) Cases are ever-changing and I pack per-gig to try for the "one cart in" thing - pelicans, eBay pelican knockoffs (saves some bucks!), and I got an amazing deal on a used 4x5 view camera custom case that the entire rig can go in, completely assembled, with room for 4x4's and lenses and so on - AWESOME to just lift the rig out and click it onto a tripod and roll. It's a very big case though so only goes to bigger gigs. I have a wheeled case from Cool-Lights that was the only thing I've found to reasonably pack two quad biax units, or one and a bunch of stuff. Generally takes one quad and also the HID softbox and ballast stuff, I know when I walk in if I need the bigger kick of the HID. But the quads are just the shit when 1k will do, I use metal binder clips and stick a sheet or two of diffusion across the barn doors, instant softbox - in fact, the barn doors will fold up with diffusion clipped on, talk about fast! it's not a "real" kino and needs 1/4 CTB and 1/8 minus green to hit clean 5200k or so, I just leave that on. Lately I've been thinking more about popping faces from backgrounds - if there's a window with greenery, say, I'll put more magenta on the key and manually WB - the camera kicks up the green, and since the BG isn't affected by the gelled light, it gets greener and more saturated in the greens. You'll blow the gag if your key hits other visible stuff in the shot, but overall, I've been working on cooling down backgrounds more, since faces are warm-toned - gets more pop, more 3D look, and our brains tend to say "warmer=closer, cooler=distant". If someone is really pale, I might go the opposite, bluer key and the BG gets warm. Sometimes I manually white balance through1/4 or 1/8 CTB (actually I have an old 77mm camera filer that's very mild cooling and use that) which slightly warms the whole scene. Kind of feel like that's me "next step" for some of this stuff. Whew, hope that helps!

Yeah I've used them in the same video a few times but they're not really cut together as such so not much use as a comparison. My Durham Cathedral Lego films use both. I'm working on something atm that requires them to cut seamlessly and I'm not worried abut it. They're very similar in terms of colour.

I do not see the C500 support as particularly high on the Atomos agenda. I could be wrong, but the Inferno is simply the wrong device for capturing C500 footage in all its different output modes, even with the two SDI connectors. They may get there someday, but it's a huge gamble to assume that everything is coming in future upgrades. DVXuser is one place to look for how the C500 works or doesn't work with Atomos recorders. The Odyssey may be a bitter pill for some, but it is one you have to take to work with the C500. The extra fee for the RAW license is unfortunate, I agree. Of course, without the license you can still shoot the camera in 4K ProRes (up to 30p) and 2K 12 bit RGB 4:4:4, which upscales incredibly well to 4K as both are derived from the same 4 x 2K lattices I mentioned above. Compare 4K and 2K (here only at 10 bit) starting at 1:57 in this test by Hurlbut: Aside from the Human Voice trailer I linked above, here are some other examples of 2K 12 bit RGB 4:4:4 (shown in HD without upscaling): There are many more of those lens tests from Cooke Optics using the C500's 2K RGB mode on Vimeo. Cooke also has some slow motion examples shot in 60fps (10 bit RGB) and 120fps (10 bit YCC) and recorded on the Codex. The Odyssey for its part records onto Samsung 850 EVO drives that cost $320 for 1TB or you can go for the Samsung 850 PRO 1TB at $420 (or any of the 850 Pro line that are smaller and cheaper). That will give you one hour of 4K RAW at 24p, 2.5 hours of 4K ProRes 4:2:2 HQ, or 5.5 hours of 4K ProRes 4:2:2 LT. In terms of cost per GB, I would say that is a very competitive price when compared with RED mini-mags or CF 2.0 cards, for example. You can also take your SSD, stick it into a drive bay, and start editing right away. I do agree that the battery solution is not ideal, but the optional battery adapter on the back works with Canon C300/C500 batteries and gives you around 1.5 to 2 hours of continuous recording from everything I have read. It's a much lighter solution than attaching a V-lock on rails. You would be carrying the same battery that the camera uses, so I think it is an ideal setup in that sense. You can also mount the recorder to the camera in numerous ways depending on if you want to go with rails or not.

Yeah, people claim to get 1.25-1.5 hours out of it, but I never saw that. Of course, to be fair, I was using Wasabi batteries and it was blazing hot when I was using it... if heat makes a difference. But, I use the same batteries, in the same weather, with my XC10 and I'm getting 1.5-2 hours out of them and that's with a screen at its brightest with 5-Axis turned on. The other big issue I had with the Micro is the required rigging. Obviously, you need a screen, but the screen turns a camera the size of a Rubik's Cube into Frankenstein's monster. And since my style of filmmaking is more slow burn, I attack principal photography like it's B-Unit. So a lot of run and gun shooting where I am the crew. So, I would shoot a couple shots at one location and then load up the truck and head 5-10 minutes down the road for the next. With the cumbersome rig, I was forced to break it down in between locations, and that gets old quick. And then finally lens options. At the time all I owned was vintage, full frame lenses or vintage c-mounts. I had no interest in a speedbooster, so I was primarily using c-mounts. The 25mm Voigtlander was the best combo I used with it, but I sold it to help offset the costs of the monitor and the camera. Like I said, I probably should have bought a pocket and used it out of box with the 12-35mm OIS Panasonic handheld, and/or c-mounts with a monopod. I just hate the thought of paying a grand for a camera that cost $500 2 years ago. But it's my own fault, Zak warned everyone that if you prefer the DSLR form factor then you won't like the Micro. At the time, I didn't realize how much I liked the DSLR form factor. I've actually come so full circle that I prefer DSLRs now to even smaller mirrorless cameras. But even now, I'll go back and look at some of my clips and I am mind blown every time. The ProRes alone is freaking amazing. And the Raw 3:1 is just insane. I shoot a lot of footage in the woods (horror type of stuff) and the difference Raw makes with foliage and tree bark is insane compared to any modern consumer price equivalent. Btw, have you ever used the Pocket with a native lens? Am curious to know how that focus button works.

shot only using touchscreen autofocus

Yeah, that's my issue. If I made my living doing this, I would get a C100ii in a heartbeat, but my goal for filmmaking is really just as a promotional outlet for my screenwriting. Do you have any videos where you mix the xc10 and c100?

Very likely. I have a feeling the Panaspnic GH5 and the Olympus OMD EM1 Mk II may have the same sensor, one geared towards Photos and one towards Video.

I do. It seems more natural but with the normal anamorphic properties (barrel distortion, oval bokeh, flares).

Jvc's LS300 is a super 35, native m4/3 camera. It is not rocket science, and JVC is very close to Panasonic, anyway. There are speedboosters already for that cam, also. A sensor like this, could have made the GH5 the ring to rule them all. Panasonic have to realize that this is a video camera, with the form factor, and a little bit of a photo camera. Just the right count of megapixels for better low light capabilities would be a check mate. It is too early for anything meaningful though, I don't see myself discussing X-Files theories for a camera that I am going to see, probably in a year.I just hope for Panasonic to take the right choices, until then.

No hack. it's only Samsung NX1 with NXL and Canon 50mm 1.8

Thanks man. Yeah it's a fantastic combo. But Canon's pricing only makes sense if the camera pays its own way. I'm testing the 18-135mm STM this weekend so may post something later ...

You make some good points and I agree that Panasonic was stupid for the most part in some of their exclusions, but the GX80 is significantly smaller than the G7. The G85 is expected to be even a few millimeters bigger all the way around (128.4 x 89.0 x 74.3 mm). The GX80 is also about 80 grams lighter... just saying because size matters with M43; otherwise, we might all be shooting something different.

Yeah a drone camera... How many of the actual users fly it? And to be honest, if that is improved battery life, then the Pocket must be worse with battery than everybody claims, because I was lucky to get 45 minutes out of a battery, on the Micro, if I shut down the camera between takes. And even then the battery drains quickly unless you remove it. But other than a few minor annoyances (IR Filter, lens selection) the ProRes image alone is the best 1080p image for the money and the Raw is just mind blowing. I probably would have enjoyed the Pocket better, even with the frequent battery changes. And if I can ever find one for the right price, I will surely buy it and use it as designed... No screens, no external batteries, just an OIS lens or a C-Mount and monopod.

If that is the case, I may mess myself a little. But wouldn't downsampled DCI 4K require even more horizontal pixels?

Good choice in taking lens, I've found that Super Taks are a great sharp taking lens with Anamorphics. As far as the extra stretched background, that's a bonus - oval out of focus areas is why a lot of us use anamorphics (Yes, it's not the flares! You get over them very quickly once they ruin a great shot & by ruin, I mean obscure what you really want people to be looking at, & yes that's not the flares).

Damn, really really nice work. Those Sigmas with the C100ii really work beautifully together. Great, now I want a c100ii and the sigma 18-35... Haha. Just kidding. But not really. Oh yeah, your logo animation is great!!!

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:

hey guys, please find below my first serious attempt of shooting with samsung nx1. It's just a travel film but i wanted to be more like a manifesto for the people in Nepal that stood straight before a cruel fate. Did my best to put the edit together and to grade the footage the way i saw it. Comments are much welcome :

I'll send you the shirt of moire if you like So I ended up fixing it in a hilarious way. I tried in photoshop and in premiere, I used several techniques that I've used before but it none of them really cut the mustard. So I found a frame that was slightly out of focus (no moire) and animated that over the chap. He was pretty stationary, it mostly works :D

First 10 NXL adapter, before the matt black anodizing

Some one ask about these. So I just took some picture with 16H for comparison. Rear mount thread is the same as 16h lens----50mm. Size and weight comparison, see pictures. Roughly tested, with 85mm taking lens has obvious vignette on FF camera. I think it needs 100mm or above at least.

@Andrew Reid i miss you how are you. how has your summer been