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Hi Pavel, yes IS work, this last work revolutionary the Samsung nx camera users.

Here's kind of a cheesy campaign vid I just shot on the XC10.

TOP TIP: When shooting C Log set screen backlight to high and drop brightness for a poor man's lut. This helps a bit in judging exposure.

Definitely go for a cheap monitor if you do not plan on ext-recording and you can use the rest of the money for the NXL speed booster adapter and adapt any lens to it and make it future proof, he works on an electronic one and posted some results which are looking really good.

Further to my post today, I've just fond out that the Shogun Inferno WILL be able to match the 7Q in recording features: Continuous HFR in 4-5 weeks. 4k120fps burst in next firmware update. RAW to ProRes up to 4k60p available now. The only thing it won't do is DNG at 240fps, however I wouldn't use that anyway as the files sizes would be ridiculous. I used the FS5 bare bones on a shoot the other day, and the image is fantastic if your grading and exposure is decent. It seems like the most versatile package on the market - great for point and shoot/ run n gun and beastly for higher end commercial work with the external.

Here are some details on the sensor found in the Pixel. The sensor is capable of much more than what Google implemented in the Pixel. http://www.xda-developers.com/sony-imx378-comprehensive-breakdown-of-the-google-pixels-sensor-and-its-features/

Enjoy.

OMGZ GUYS I FINALLY GOT A 5D3!!!!! ?????? for those interested i need it now for stills so i bought it used off craigslist here in california for $1800 - came with 4 batteries, battery grip, 2 chargers, sd card, cf card, and 40mm pancake. its still under the resellers warranty (not canon, local shop) for another month, two small marks on the bottom of the body otherwise in great condition, and 12k on the shutter. the seller was legit and he already had magic lantern on the sd card! so.... PLEASE HELP ME WITH MAGIC LANTERN RAW 5D3 BEST CURRENT PRACTICES Whats the easy way to do things in terms of workflow? Mind you i am brand new to this so dont spare the details. I have a mac with the adobe suite, fcpx and resolve lite. speaking of which... TRY RESOLVE ITS FREE i really have to thank you all for teaching me so much over the years ive read this board. when i first downloaded and opened resolve i had NO idea what was going on. thanks to a lot of learning i am now able to get into it a bit and i love it - resolve is AWESOME. and ykno what? it wasnt nearly as hard to get started as i thought it was going to be so this is a special message for anyone who has had the ambition to try resolve but is too intimidated, or someone who tried in the past and gave up almost immediately (me lol). its really not that hard at all, for me the big disconnect was never using a node based app before and being terrified of that for some reason, but nodes are kinda like a tree of adjustment layers - its just weird looking at first ? /anyway please prescribe me a raw workflow!!! id like to use resolve cuz i wanna learn it anyway but im open to whatever. any tips/tricks/pitfalls to avoid also much appreciated!!!!!! thanks for the inspiration and all the knowledge guys!!! i really might not have bought this camera if not for eoshd ?

I wrote 5 articles speculating about the GH5, talking about possible codecs, what else can we expect but the most intriguing part is obviously the Photo 6K. Actually, from Photo 6K you can speculate about the sensor as well. In summary my conclusion is that it will be a multi-aspect sensor. Panasonic GH5: the Sensor has to be multi-aspect! My best guess is a 22+MP multi-aspect sensor, possibly based on DCI (1.8x crop) instead of 16:9 (1.85x crop*) for a bit more than 5760px wide and a Micro4/3 area of 20MP, possibly the same pixels size and count than Olympus E-M1 MK II. *we usually say 1.86x crop but if you do the math, it's much closer to 1.85x, but let's not get lost in technicalities because that's not the point and nor that important If Photo 4K has that name based on UHD at 3840 x 2160, then we could expect Photo 6K to be something around the 6K version of 16:9, so 5760 x 3240px. On Panasonic's press release, it says that Photo 6K is 18MP (6000 x 3000px) still grabs from video footage - which is a generic way to say it will have a video-like aspect ratio. But they also mention that the source of the video can either be 4:3 or 3:2, which is quite weird. Why wouldn't Panasonic even mention 3:2 as the video source? This is a clearly indication of full sensor readout, but why 3:2? The 16:9 multi-aspect sensor used in the GH1 and GH2 are almost 3:2 and a DCI based multi-aspect is 3:2, for me, this is another argument that it might be multi-aspect, otherwise, I don't understand why being a 4/3 sensor Panasonic would mention 3:2 aspect ratio as a full readout video source for Photo 6K. But why did they mention 4:3 then? Simply because they didn't want to confirm multi-aspect sensor, wouldn't people start asking themselves why a video from a 3:2? There is a possibility of Panasonic using a 4:3 of 25MP to 28MP? Of course there is, it's just very unlikely. More importantly, there were rumors saying it was going to be multi-aspect and also rumors saying 20MP. But why 20MP? Because the Micro4/3 portion of the sensor is 20MP, just like the GH2 was called a 16MP camera, when in fact it had more than that for the whole sensor. Plus, because part of the sensor is outside the image circle, the max resolution you get with the GH2 is indeed 16MP in 4:3, 15MP in 3:2, 14MP in 16:9 and 11MP in 1:1, therefore a 16MP camera. I said that the 20MP portion could have exact same pixel count as Olympus because I suspect they were developed together, the same way the E-M5 and GH3 had the same sensor, E-M1 and GH4 and also GX8 and Pen-F. It makes sense for the E-M1 MK II and GH5 to be based on the same sensor tech, plus, there were also rumors about Panasonic and Olympus sharing technology and even LSI components. Having the same pixel count and size, it's possible to share the sensor wafer, micro lens, color filter, etc. it saves you production cost money because you can both use the same parts, just different sized sensors. The greatest thing of multi-aspect sensors is that for lenses, nothing changes since it's all within the same image circle, so you can either use native lenses or focal reducers like Speed Booster without worrying about the extra FOV of the multi-aspect sensor. So yeah, when using the 0.64x Speed Booster, you could get less than 1.2x crop, even closer to 1.15x crop with the Speed Booster and multi-aspect sensor combo. I would still prefer less crop to use APS-C lenses like the Sigma 18-35mm f/1.8 and 50-100mm f/1.8, even more with IBIS, but for those wanting the 1.33 extra stop of light and closer to FF, then the 0.64x will get you pretty close to FF. Again, this is my best guess: 22+MP multi-aspect sensor DCI based (approx. 1.8x crop) or 16:9 based (approx. 1.85x crop) at least 5760px wide, probably a few pixels more to accommodate DCI 4K and Photo 6K the Micro4/3 portion and max resolution of the camera will be 20+MP, so the GH5 will be a "20+MP camera" 20+MP will be possibly the same pixel count and size as the E-M1 II I also wrote about other possibilities including other resolutions like 6114px or even the scenarios of not choosing a multi-aspect sensor. Just like I also countered the idea of Panasonic straight out deceiving consumers with nothing like 6K in Photo 6K but just 18MP, which I find kind of odd since there is no need to Panasonic to deceive consumers and they haven't done anything like that ever before. Photo 6K is not the main feat of the GH5, it's 10-bit 422 and 4K 60fps, why mention 6000 x 3000px if they were simply going for 30fps full sensor burst? There is always that possibility, but logically speaking that has to be less likely than going back to the GH line up roots of multi-aspect sensor. I mean, this line up was developed with multi-aspect in mind from the get go. But sure, this is still just speculation, but I like the odds of a multi-aspect sensor. If anyone is interesting in getting more in-depth about this, you can read the other articles. I think that the article about codecs or ProRes/DNxHR is also pretty interesting, even more for those wanting those codecs. My conclusion is that it's better to buy a proper 4K recorder with SSD than buying expensive high-speed UHS-II cards for such high bit rate, I don't think Panasonic would leave their trump card for just a few people that can afford that - the high-speed UHS-II would cost more than the GH5 or several GH5s). Panasonic GH5: Overheating and IBIS rant (part1) Panasonic GH5: Codecs and AF improvements speculation (Part2) Panasonic GH5: Mysterious Photo 6K and Sensor (Part3) Panasonic GH5: Slow Motion and ProRes/DNxHR (Part 4) It's worth noting that the E-M1 II full announcement is quite imminent and giving that the E-M1 II will have the same 200mbps Full HD All-I codec as Panasonic already use, the full specs of the E-M1 might gives a few hints about whether or not Panasonic and Olympus are really partnering up or how deep they are sharing and developing technology, and of course, hints about the GH5 as well. Anyway, this topic is about those wanting to really get in-depth about the speculation and possibilities of the upcoming GH5.

Same here. The G7 was well regarded for budget-minded shooters. Look at what is improved: sensor stabilisation, weather sealing, clean HDMI out during internal recording, reportedly fixed shutter shock in photography and more. And all this for under 1K with great deals especially in UK. This camera deserves to be a hit. Not in the least to push manufacturer 's competition further (M5, anyone?).

Apparently the flavour of c log in the XC10 puts a dull white at around 65 IRE, so you may find your highlights easier to recover if you set your zebras to 70%, and keep whiteish elements just looking like they're clipping. For myself, I'm currently trying a different, simpler approach, which is to expose so that the exposure meter shows around 1 stop over. I haven't had an opportunity to grade anything shot this way yet, but the ungraded files look to have a good tonal range. I'll post some still grabs once I've had a chance to look more closely and play with them.

If you can't pull back the highlights check your LUT. I've noticed some LUTs will blow them out and there's nothing you can do with the curve to bring it back. When I re-grade the shot from scratch in colorista the highlights look great.

I always ETTR C-log. Works great for me and makes the workflow fast.

No shutdown for a full 29:59 is great news. No improvement in rolling shutter...less great. Even with IBIS, that severely limits its versatility.

A6500 vs A6300 overheating test https://m.facebook.com/story.php?story_fbid=10153772033285426&id=177852000425

Tried out the FS5 bare bones and really liked it. Set to use with 7Q+ on rental soon. Not interested in the C500. Comparison video... I'm probably one of the least scientific shooters on this forum. As long as it looks good and does what I want, that's all I need. No pixel peeping necessary.

Finalized my latest video...went with the SEDONA LUT on most of them...

Not my thing. I so rarely use things like that so owning it doesn't make much sense. That's why Im looking forward to the upcoming smaller version...

Yes, and thats why it needs different algorithms. in your sample, binned version isnt soft. There is really 2k worth of details in the data, its just imprecisely rendered. but Sony is not much interested in spending R&D money on this software puzzle while they are capable of delivering ever faster hardware, though with heat issues. Here is the thing: 30-40mp still is the lowest resolution people are going to demand, and they want 60fps 4k in the same device, which should remain light and compact. With your preferred full-sensor-readout-and-downsamplig method, a lot a lot of data should travel through system and be processed that will generate extra heat, consume extra power, and affect overall reliability.

and we still don't know how many people are "a lot"(or someone really has reliably numbers of the percentage of broken units?). The voice of those complaining about a supposedly broken product will always be much louder than those who are outside actually working with their product of choice. Then we always seem to have so many people joining the discussion without even owning the camera. Plus beginners like me who suddenly got a professional camera, but have no idea yet how to work with it. All this gives a really fishy picture when it comes to info's and reviews on certain products or manufacturers. I say grab a camera go out and shoot...if not happy sell it and buy another one until you are happy with it. Then post about this camera and why it's great. That might actually help others to make a choice. Because what are we looking for after all? A great camera or a broken camera? Of course we can also do what everyone else is doing...only complain and highlight everything we think is broken?

Greedy, probably. Easy money with minimal effort. Gd-ish update though. Because letting something be sent back is not why you ordered the damn thing. Hope the Wild Bull is as wild as you were hoping for!

Yeah, or you might get you some of that!

Lol, and here I was outraged I had to pay up 50 EUR for a 100 USD shipment a while back (fuck you TNT).

It's a mystery to me how they solved that issue on the G7 but re-introduced it with the G85...

So that's what all those hieroglyphs are: ancient Egyptian pottery rants and fanboyism...

Yes, and very occasionally for me ML tries to record to SD even though CF is inserted and set to "preferred card" in ML menu. You know this is happening if the bit rate in the upper right corner of the screen is lower than 86 to 90. A reboot solves this one, but it's had me scratching my head more than once.

Thanks a lot!!! Thanks! I still dont know wich camera will buy next, I dont mind changin brands. Lenses where old Nikons, because they are cheap. Light was very minimal in some situations, nothing very fancy in terms of equipment, a lot of simple light bulbs in some interior scenes. Sound was very changing, but most of the time it was a Rode NTG-2/3 and a Zoom h4n. then it A LOT of post-production time invested to make it sound like a "movie". I used a simple Neutral profile little tweaked to make it more flat. Most of the shots in the trailer are from the Nikon, including the girls hand and eye. Thanks i'm really proud :D

A mistake Ive done a few times is that I accidentally record to the SD, which of course is only there to contain the firmware and can only record 10 seconds or so.

I.E, less NR and less sharpening. Perfect. And less flat than SLOG 3 is good. That means probably none of the same banding problems. I'm fine with slightly less DR/more noise than the A6300, as that's still solid. I'm willing to trade it for color science, ergonomics, and better native lenses.

C100 II internal recording looks detailed and cinematic-

He finds flog to be similar to (6300) s-log 2 in dr but less than slog 3. Also slog2 has less noise and slog3 a bit cleaner. He finds flog to have big improvement on dr over internal profiles but also more noise and less sharp. Slog profiles improve dr over sony's internal profiles but not as much as flog improves dr over fuji's internal profiles. He recorded externally for x-t2 to Atomos Ninja Assassin 4K.

thank u, im glad someone like results. Have much more ideas to try, sadly always on low budget, so progress is slow)

Maybe I should take a third job so I can afford this one too, almost seems like its worth it

im finishing my third prototype, need just rectilux to complete all, but already test it. And its great) i've used 105mm and there is no vignette, thats something between 50-60mm on hFOV. My luck there was a post on selling rectilux cdna now while its almost two month till next production of new units. Gonna pay today and waiting package from japan to complete my prototype)

Looks good... I almost think I like the 1080 Panny look better than their 4K.

I thought c-log didn't have any noise reduction? Hello Claudio and welcome. It's always good to hear from another XC10 owner. I believe @Lintelfilm uses the Ninja Star with the XC10, but I am very interested in hearing about your results or seeing some footage of the pair.

The Helios I used in the video is just a plain 44 (not 44-2 or 44m) with a 13-blade clickless aperture. I don't think there are major optical differences, but I don't know enough about them to say with certainty, Soviet lenses are notorious for manufacture/design variations depending on year and factory of origin, Early 44 versions have the gold coating, I believe the 44-2 and 44m all have purple coatings? There is plenty of info out there on the Helios 44 line of lenses, maybe someone reading this knows of a URL that explains all the differences?

Don't give up! Half done!

So far I've not been too annoyed with it, but yes I've noticed this ghosting. Actually today is the first time it properly annoyed me on an edit, and someone else said "what's that weird stuff" A bit of a shame, since stabilisation is a big part of the point of the camera

Luca, you're reviving the interest for the nx line. Samsung should hire or pay you.

BTW, Zhiyun has a smaller version coming up.

For a basic monitor, the Aputure FineHD VS-2 can't be beat for the price.

Drop a smidgen of warp stabilizer on top and you're good to go, I'd say. This is the best thing in their current line-up (unless you're more geared towards photography, then the GX8 has some features that might make that one more interesting). Of course, the GH4 has its use and the GH5 is going one step further yet, if not an entire leap and both bring those video production qualities to the table. But the GH5 is going to be double the price and take another half a year... Don't get why hardly anybody seems excited about this one. Everybody seems to either drop specs for the ease of use of the Canon (dualpixel AF & color) or actually go for the more exciting specs (Sony) and 'just deal with it'. Unless they're going more pro/expensive (Blackmagic, Sony F, etc) or for the stills side of things (1DXII, D750, X-T2, etc) or clinging onto something older that's being looked after (NX1 hacks, ML with the 5DmkIII). Everybody was pretty serious about using a GH2, GH3, GX7, G6, GH4, G7... I guess the landscape has changed. In the beginning it was just the 5DmkII, T2i/550D and GH2, which naturally evolved. But where does that leave Panasonic in the current market? Is its major target now people entering the video segment, rather than those who are already? People on a budget? Aren't there more people who just like to shoot video and like the possibility of just having something really basic and compact to carry around? Is bigger better? I know there's still a few who like the M4/3 system and give Panasonic some love for what they do... but it feels like it's getting slowly getting less, even though their cameras do keep improving.

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

Idk, when I was using my Micro, the most fun I had with the camera was using c-mount lenses. Fujinon TV lenses are often compared to Super Speeds for pennies on the dollar... I mean those suckers are sharp lenses. I have an old set of Cosmicar lenses that added just the right character. The Bell + Howell Angenieux lenses are gorgeous and pair beautifully with the Pocket and Micro, as do the Kern Paillards. They really give you the ability to use fast lenses without a speedbooster/lens combo monstrosity on BM's smaller cams. I'm selling my Micro and hoping to eventually pick up a Pocket and I will only view the camera as the S16 cam it is... So only native M43 lenses with OIS (when I want to go handheld) and S16 glass/TV lenses for everything else... probably in c-mount. Sorry, I know this wasn't exactly the discussion you were having, but I don't think c-mounts are that obscure an option for a lot of BM users.

I feel like I'm talking to a brick wall here so your "hammering" verb is fairly relevant in this case ... I don't actually want an E-mount or M43 on the Ursa, I meerly used it as an example of how a mount could technically be better than using a stock m43 mount. I don't expect that BM will do it and I understand it requires a lot of work, it was just a suggestion (which I know some people here would also like to see), if no one can understand this properly I don't really know what to say. Good day.

Over at BMCuser, someone posted that they dropped their Mini 4.6k, it landed on the handle & cracked the casing, causing damage to the mother board inside - BM wouldn't repair it! However, it does produce lovely images, if used by someone who knows what they're doing... I personally think that they'll keep going, but will revert to smaller packages (box like cams) - if they can figure out how to heat sink in a smaller package (the same user took his Mini apart & the majority of the camera is dedicated to the heat sink module). You've got to remember that BM cameras are budget cameras & they will have to cut corners in quality/build to keep the prices competative & low. You've got to admit that the images coming from these cameras can be awesome & I hope that they struggle through, just like RED did at the beginning. I believe that in another 10yrs time, we'll be talking about BM cameras in the same breath as RED & maybe ARRI. The biggest problem that they have at the moment is lack of user knowledge & this is due to the low price of some of their cameras - for every great user, there are at least 10 numpties whose lack of filming knowledge gets exposed as soon as they pick one up. They are not DSLRs & shouldn't be mentioned in the same sentence, let alone compared to them. If you don't get this, then DO NOT buy one, because you're probably the type of person that hasn't the time or patience to learn how to use them. Just look at all the [stupid BS] hate aimed at the Pocket camera: poor battery life, bad screen etc... 45mins time limit for battery & SD card whilst filming PR. The screen is by a country mile not the worst i've ever used & I seem to manage very well nailing focus - I wear glasses, which adds an extra dimension of difficulty to the whole thing. And these same people talk about wanting to replicate a filmic image, just imagine them using a film camera that has a max filming time of 12mins - people with no skill or patience to learn will complain about anything if you let them, it's how they cover up for their short comings. It's a crying shame, but it's their loss........

Hi, I just used two different 2x front and rear lens and got at least 2.8x ratio. But looks like it needs much longer FL taking lens to use. P.S. Image taken by hand hold front lens, 3m distance, resized only.

Apologies, that was my son typing, two of us use this account. Tweak Senior.

The ones who are confused clearly were like me when I didn't own an XC10, just looking at the specs and even the JPEG resolution (for reasons only they can know!) and thinking that it is an expensive, odd product, lagging behind Sony in the specs race. Try one, get to know it, look at the images, you will be surprised like I was what a lot of fun it is and how great the images can be. I'll upload some footage, still shooting with it. Better all-round cameras? Maybe, but what if you want 422 internal 305Mbit 4K and 24-240mm zoom though?! Not much to compete with that in one-body for under $2k, especially not with the colour and ergonomics of the Canon.