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I am in charge of firmware at Metabones and I would like to give an official response with regard to GX80/GX85. We do not expect any EF mount to be able to take advantage of Dual I.S. in the foreseeable future. Either OIS or IBIS should be used, but not both. Andrew reported that "They seem to both operate and ignore each other, leading to problems." We could confirm that it is indeed the case when we downgrade to 1.4 or before. This was fixed in 1.5 a long time ago (Feb 2015). It is easy to tell one way or another: if both OIS and IBIS are active simultaneously, vibration will be overcorrected by twice as much and there will be just as much jitter as no IS, which is indeed what we see with adapter firmware 1.4 or earlier. If you are seeing just occasional slow jitter, it is likely you are observing the result of the vibration exceeding OIS' capabilities of that particular lens. We have a 50-100/1.8 on order, but before that arrives, the most likely hypothesis drawn from Andrew's and our own observations is that adapter firmware 1.5 and after breaks the 50-100/1.8 and the old firmware 1.4 and before breaks all IS lenses (no AF and double correction). If this hypothesis is correct, you are okay with the current adapter firmware except for the 50-100/1.8 and except for the fact that you will be always using OIS but never IBIS. A new adapter firmware will be around the corner with which we expect the 50-100/1.8 to be fixed as well. There will be a new option to choose between IBIS and OIS on Panasonic in the next firmware, something that is just natural for Olympus but not yet possible for Panasonic. (On Olympus if you turn off lens IS, IBIS comes on, but on Panasonic the lens IS switch turns off both OIS and IBIS.) The procedure to turn off OIS and turn on IBIS on Panasonic is not going to be pretty, but it will be doable. I enjoy reading Andrew Reid's very informative review and tests, we greatly appreciate his work and we are always listening to customer reports of any issue which might arise. However, we would like to advise our customers that writing to support@metabones.com is the only way to ensure a problem is looked into in a timely manner. I do read eoshd often, but it is not a reasonable expectation that just because something is reported or discussed on eoshd we must be working on it. We appreciate you informing us of any issue via the official support channel in advance. That would greatly expedite the fix.

If your player gives you an option to choose resizing algorithm, try "lanczos", but I really don't see "sharpening" as an issue. re original issue: Destroying the footage with "softening" just to look good when you playback 4K on 1080p (when your player uses poor resizing algorithm) does not make sense.

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 :

It is legit :-) Here are other links with interesting and useful info on topic: http://www.shainblumphoto.com/2016/09/30/dji-mavic-vs-phantom-4-dng/ http://visual-aerials.com/mavicpro.html

Noise and resolution look better for sure. I'm not sure about the highlight roll off though. Look at the specular highlight on the marble. The GX85 looks burnt. Maybe it's a more contrasted picture profile?

Hey guys, I wanted to share with you an awesome and affordable monitor made by IKAN that can, with a tiny bit of work, be used as an EVF. The main reason I wanted an EVF + loupe for my Micro setup was to create a fourth-point of contact between my Micro and my body. With my right-hand on the ENG grip, left-hand on the len's focus-ring, chest-pad against my right-shoulder, having the IKAN + loupe pressed up against my right-eye added that extra piece of stability I have been looking for - not to mention being able to monitor and pull focus perfectly in bright daylight. For those interested, the monitor is called the IKAN VL35 and can be had for as little as $259USD: http://ikancorp.com/productdetail.php?id=1738 I rigged it together with an old ViewFinder that I used to use with my A7S and A7RII. Having sold those cameras, I decided to use it as a loupe for my IKAN VL35. It doesn't fit the VL35 perfectly (as it is designed for 3" monitors, and the VL35 is a 3.5" monitor), but it will do for now. However, the good news is IKAN recently told me that they will be releasing a loupe specifically designed for the VL35 - and given the affordability of the monitor itself, I'm sure the loupe will be priced very nicely. As for the quality of the monitor itself - all I can say is that it's great Very similar to the monitor on the BMPCC. I haven't conducted any scientific or methodical tests yet, such as running down the battery or precisely measuring colour and luminosity, but I have used it plenty in the real-world, and it has functioned flawlessly and beautifully. Highly recommended for those looking for a setup like this Anyway, here are some pictures for those that are interested

Evil? Or Evil genius? http://www.independent.co.uk/arts-entertainment/films/news/directors-crowdfund-78000-for-a-film-spend-it-on-champagne-and-limos-a7336836.html

That's where it fits. The Tokina ATX is very, very good. But it's a 72mm filter, so it goes on the 72mm Redstan. Then the step up to 77mm, with the rangefinder finally on front. I think the Rangefinder front is something like 82mm, so there would be serious vignetting with the Tokina on front.

Holy shit, the flares in that second to last pic. Wow.

A7rii has a very respectable 1080p in FF mode. It has less rolling shutter artifacts and is a bit sharper (albeit with more aliasing artifacts): \ Also, in that mode it does not have great low light ability, but you can always switch to 4k in S35 for the times that lowlight is necessary. While my final output is also 1080p, a 4K capture will always give you a better 1080p image. You can either transcode, use proxies (automatic in both FCPX & Premiere), or if you use a small external recorder such as the atomos ninja, you can downsample automatically 4K to great a 1080p hdmi output that rivals the A7s.

That was quite amazing, I liked the videography it had the documentary vibe to it, the colours however were the nicest did you shoot this in Gamma DR?

Sorry about that but I will have to discuss with our tech support about this. Something like "we are having engineering look into this" would have sufficed but I will ask them to reply even in situations where they don't have a real answer yet. Yes you will be able to choose between OIS and IBIS with any IS lens. This is not final but the caveat is you can't change your election without powering down the camera and powering it on again.

Try lowering the contrast too, but at -10 I can't see any USM sharpening on the 4K/UHD don't judge it on the camera screen, nor on your monitor unless you are looking at it full size on a 4K monitor. Zoom to 100% and then check if it's too sharp, as resizing of the preview will make impossible to pass judgement on that. If you are using Premiere for export to lower resolution, make sure you check the option that makes high-quality resize.

On my A7s I noticed that when shooting in SLOG2 if I go up to ISO 8000 the image will have a different noise pattern than if I go up to ISO 10,000 and then down to ISO 8000, same ISO but totally different noise I know that people have reported a similar issue with the A7sii with SLOG3 but what I read was it was believed to only be a bug with that picture profile It's this kind of "Trick" ISO that does something weird to the noise Going up give the ISO a kind of "Dirty" grain but going down to the very same ISO will give the ISO a "Clean" grain I compared Native 3200 to this ISO 8000 when it had a "Clean" noise and also the "Dirty" noise http://imgur.com/RzOCZko http://imgur.com/AWU0IED http://imgur.com/G6QoXWl The thing is I see this not just on SLOG2..I see it on all picture profiles..on multiple different camera models... On the A7s this happens on the following Picture Profiles on the following ISOs: http://imgur.com/SLmoyEF Here is a video of me going over the issue and explaining more in-depth: https://youtu.be/Omp5SMrifwI

They're both set to Natural 0, 0, 0, 0. WB 6000 K and the same lens. No color correction. Even with the same settings the GX85 is a little brighter so maybe that have something to do with it? In that video the WB is almost spot on with the GH4, whilst the GX85 is very different although they were both set to 6000 K. After making a few comparisons I agree with you that the GH4 has slightly better highlight rolloff and yields a more pleasing image (less contrasty), especially with Cine D and off course V-log. On the other hand when I actually used the cameras it was easier for me to achieve better results with the GX85 due to new color science and noise performance. If the GH4 sensor wasn't so noisy I wouldn't have sold it as I really liked that camera! When the GH5 finally arrives with the best of both +++ I will upgrade as soon as possible and probably keep that camera for years to come.

People can be strange & do silly things, but still theft is theft. The thing that really bugs me is that they ripped it from my Vimeo account a year ago (it was PW protected & I only left it like that for a week, afterwards it went completely private) - so they knew what they were doing & the theft was intentional. Now whether they actually thought about ripping it in order to upload it at a later date is something I'll never know, but the fact that they waited a year suggests that it might have been their long term plan. The fatal flaw in their plan is that I have been keeping tabs on them, as I had a feeling something like this was going to happen - 6th sense? I am so pissed at the moment that I'm holding off with any direct contact, need a cool head first. Luckily a good friend of mine knows the manager (I do too, but again really pissed & will probably tear his head off) & is going to have a quiet word - my mate's appalled at what's happened and we both think that the manager is unaware of what they've done, so I think that will be a good first step. If he doesn't act, then I'll send the email I've prepared - it'll make them think twice, hopefully pay up & I know I've got the money to fuck them if I so wish. The stupid thing about their behaviour is that i've got loads of their unreleased music, might even have their YouTube PW somewhere & they know that i'm good enough to twist their words to make a great Spinal Tap type doc that'll make them look like idiots (shit I made them sound good, when they weren't). Again, pissed & need a cool head.

i use Filmcovert. you can add softness (i do about 20%) and also some film grain (30%). looks beautiful.

@lucabutera Thanks for the hard work Luca, I will buy one when I can afford it, hopefully it still on sale until then, I intend to keep this camera with me, I like things that works very well and I use them until they fall apart from age, your adapter will help me adapt future lenses to it. I look forward to an electronic adapter, that would be Christmas

I've also stopped exposing to the right. I don't even use zebras anymore. I have been trying to keep my shots about a stop under using the in camera meter. But I am also shooting horror/thriller genre narrative shorts, so I am probably looking for a darker tone than others and since the shadows stay pretty clean at a stop under, I have been pretty happy with the results... Of course I am going to sell the GX85 pretty soon. Not because of the camera's quality, just because I've decided to invest in Canon glass and utilize DPAF and in my opinion, the more pleasing Canon color science. However, when the prices drop on the GX85, or maybe even the LX10, I will probably buy back into it, but for now that money can go toward other more pressing equipment.

Thanks for posting the tests @Fredrik Lyhne. I had actually seen that clip on YouTube when I was researching this camera. I loved the consistent tonal performance on the skin tones all the way up to 3200iso. It's funny, when you're researching a camera sometimes it's easier to find tests than it is to find actual finished pieces shot on it. Especially for a newer camera like this one. On on my way to the airport now so I'll be sure to post some stuff once the trip's over. The IBIS was the killer app that made me want the camera. Sure,more expensive bodies like the A7rii have IBIS, but then you've got to deal with the Sony look, and it's almost 4x more expensive. Shooting-wise my priority is protecting the highlights so maybe I'll try the adjustment @DPC suggests.

Man - so how does one synch in that case? The Canon sends just the video to the recorder. So you need an external recorder for audio. But the footage has no audio. So - time code? Clapper boards and prayer? Or can you record to the camera card as well, synch that, and then replace with the recorder footage? And is sending a 4-2-0 signal to a 4-2-2 recorder worth all that hassle (sure, it can record 4-2-2 but it ain't getting 4-2-2)? Can the average viewer even see a difference? Or is your goal to leave the set with ProRes ready to go? And I gotta agree, plugging a 1/8 mic into a DSLR, yet thinking an HDMI recorder is your next upgrade? I'd look into an audio recorder first if you want to upgrade what you're doing. And maybe look into a "shotgun or lapel" that uses XLRs too. I've found the camera out of my audio recorder (which has its own output level) into my camera via 1/8, often saves me from synching if all the gain is staged correctly. The preamps in the recorder really make the difference (and using quality phantom powered mics and good cables - this has been true for Nikon and NX1 cameras). I still have the recorder card if I need it, and the -6DB safeties, but I don't always need to synch. (Though I usually just throw everything into PluralEyes and go make some coffee or a cocktail. The Tascam recorders have been shipping with a free copy of Pluraleyes, nice bonus and PE now outputs ProRes).

@mercer - Yes, I mean that at least for what I do where an edit can be made up of lots of shots made in very different (usually available) lights, having to regrade everything can be a chore that isn't always justified by the end result. I've got years of experience grading raw photos so I'm quite good at it, but still... @Fredrik - I had seen that before and it looks very nice indeed to me. My only concern, as you mention yourself, is that your starting point is very flat lighting so I'm not sure it would always be a good strategy in documentary shooting conditions where you will probably encounter greater contrast.

I've been itching for this cam as well! Slight image trade offs from the 1DC for huge usability gains like autofocus and sharp slo mo. One thing that I have yet to hear mentioned on here is how beautiful the underexposure of the 1dc or 1dx mjpeg can be. It just has a nice shadow rolloff. I shot at the Georgia aquarium in 4k last week on a family trip and noticed how clean the images came out. very cinematic feeling, never got this with the 6d or 5d without overexposing and then trying to bring it back down. If the manfrotto Sympla thumb controller can move the auto focus box around that'd be a great setup for single user gimbal work.

Dear filmmakers! Welcome to our channel where we created a comedy series - parody on the filmmaking process, especially on indie filmmaking. http://bit.ly/btbep8

I enjoyed it, thought you done a good job of it. Had a look at some of your other stuff as I was wondering if you've done any music video parodies ? Spent my first 10 years in television working on some great sketch comedies shows in my country and I know how hard it can be to do it well. Good luck.