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I dunno what exactly you guys seem to complain about. The Nikon D750 introduced in 2014 is a FF camera with zebras, 60FPS, tilting screen and a Flat profile. May not be as good as Sony, but is a hell lot better then what Canon is offering, and Nikon doesn't even have a dedicated pro video department..

The invisible man:

Don't mention the war!

Yup!!! The only thing their video is missing is focus peaking, but luckily I have eyes. I think they want some kind of Nikon Log... But their Flat Profile is basically Log Lite with more than enough latitude for creativity and dynamic range. And many could argue the image is a lot more organic than anything Sony is offering at a comparable price range. Or if you like Sony's image better... Cool... Shoot with a Sony. Wtf do I care...

Are those both using the same filtration? Highlights are beautiful in both, but the skin tones are noticeably warmer in the second screen grab.

I think we are still overestimating the importance of video and definitely of cinema cameras. Simple gallup at work. I have about 20 people close to me there. Maybe two of them have an old camcorder and about the same number of Gopros. Zero owns a cinema camera. Every single one of them owns a still camera or even two + a smartphone. Only one of them have ever edited a video outside of work. Some have done videos in there spare time for the christmas party at work, so it doesn't count And thats where I work. I think it would be even less video at a factory or clothing store. If I was Nikon I wouldn't sink a dime in the video business unless I had to. And then the smartphone market would be further up my list. And as far as I can tell the biggest market for video among regular people is for blogs/selfies and action cameras. Thats why weird cameras like the Canon X sells really good. And Nikon did release three dedicated video cameras just a few weeks ago that suits that segment.

Hi, check out this little Video. I shot it on a Gh4, a 360 degree camera and a gopro... Though the tiny world look is quite en vogue today we really tried to add something to it. Hope it works for some of you!

I dunno. choreograph dancers doing indentical specific movement inside the suits and out side the suits? Superimpose the normal dancers into the chroma key dancers of numerous outdoor static shots. The slightly off set nature of the movement would create really odd, distorted, but fluid images at the same time. Or maybe, if you want to be metaphoric, have wildly gestulating dancers "inside" the shapes of people acting "normal," like shopping, banking, socializing, etc. the inner id of people that's not allowed to escape, for example.

Baassiilllll!

Love FCPX....and it keeps on improving....I think one day we'll all look back on this and laugh about it...although I must admit I do always hang back a bit with every upgrade, before downloading!

This. And imo, better than Sony in many respects. Ups and downs like always.

And I doubt we ever will. There is an entire eco system involved that, as with Nikon evaluating getting into the cinema market, is just so well developed that it wouldn't make sense for other manufacturers to get involved. Its not just the obvious stuff like where are their 400mm 2.8s but everything else that is needed to get a picture from a camera to a picture desk in seconds under any sort of environmental conditions. That goes from everything like bullet proof wireless and ethernet modules through to the basic robustness needed to cope with the elements and the general physical battering they get. Its not that we don't want the advantages of mirrorless in terms of the weight reduction and cost reduction (particularly the ongoing highway robbery maintenance costs with shutter replacement) but unless it helps perform the overall task better than what we've got then we won't be changing. Ultimately, as RED found out with the RED ONE, its the overall task that really counts when its being used professionally rather than just the imaging module itself, as thats only one piece of the puzzle. If it doesn't fit into an overall eco system it'll be a big ask to get working pros to take a chance on it. Because of that, when we go mirrorless - and we definitely will - it will be with Nikon and Canon because the rest of the puzzle is already there. As for stills extraction, leaving aside the quality issue there are numerous reasons why it would need serious work to get it to fit into an editorial workflow. For one thing, we just don't have time to be scrolling through video to do the extraction. If a goal goes in then we're currently dealing with probably 10 or 12 frames to pick the best one and it then goes in one button press to be ingested, edited, captioned and ftp'd to a picture desk. And all of this is going on while the game is continuing and you're still shooting. Switching modes, scrolling through, marking frames, doing the translation to a still before we even start the rest of it? We just don't have the time for that and I know this for a fact because I've done live trials of it. However, the biggest issue is a bit more fundamental than that and its to do with media rights. Stills shooters are subject to heavy restriction at events as broadcasters have paid eye wateringly large sums for the motion rights. These restrictions determine how many sequential shots of a particular incident you can wire and a restriction on the overall number of shots per event so they cannot be reconstituted into a motion sequence. The restrictions are also related to the capture device itself so you can't use a DSLR in video mode unless you hold the broadcast rights. If you are seen using one in this way then you won't only be asked to stop, you'll have your accreditation revoked and removed from the stadium or event. Because of that, I'm going to say that the amount of pro sports shooters Nikon and Canon are losing D5 and 1DXii sales from to the likes of GH4 or anything else with stills extraction is likely to be zero.

Just a heads up for those who wants to adopt early. It came in stock today in the stores I usually shop from, so I guess its everywhere. As always Im trying hard not to buy. But history of Panasonic dictates that I can easily find it 50% used or new within a couple of months. The G7 dived early to less than 50% of current retail, the gx80/85 was 30% off within two weeks. So the waiting game begins

Does the adapter tube thread properly fits to bayonet mount of LX100?

New picture profile named "Kenon Kolor", just to fend off any lawyers.

Rolling shutter, 4k and 60 are at the top of my list. From the XT2 thread Classic Chrome look like the best color profile, with the a6300 I like Autumn leaves and I have a custom Cine PP. Thanks! Added to my list. I'll be on the beach, so I'm going to head to the pier and just shoot for a bit. Thanks! Nice list, thanks! I'm doing a lazy beach weekend so greens, ocean, sky, sun and people should be everywhere. I need to bring a notepad so I can keep track of the exposure changes. I've been able to run my a6300 to the record time limit, so I'll see what I can do.

Fully agree that the difference is minimal and both are not particularly good cameras. There is no magic that can turn a tiny 1/2.3 sensor with an insufficient 60 mbits datarate in to an amazing camera. On the other side it is incredible what today a 1000$ drone with camera can do. I wish the next round they will improve the camera on these thing. Personally I'm disappointed with Gopro that they didn't really innovate on the camera side, it is same quality as the hero 4 black and basically the same as the hero 3+ black so no real image improvements since years. Come on at least bring the datarate to 100 mbits and add interchangeable lens with a fisheye a 20mm rectilinear and a 35 ones... I use many gopro on my project but I'm must say there is really nothing that make me want to upgrade my 4 to the 5.... Nice that is waterproof and has an lcd but want I really want to see is increase in video quality.. On the drone side I fear that there is no contest between a Mavic and a Karma, with DJI having so much experience it is really difficult to be at the same level with your first drone. Just look at the amazing Tripod feature of the Mavic that make really easy to shoot slow "cinematic" movements.

Here is my latest NX1 edit. Including the dreaded exposure shift issue seen in the first shot... The majority was shot in 1080p 60fps & 120fps and graded heavily with DeLuts from James Miller.

They discontinued a model. And since they only had one camera... Imo its not exactly comparable to Samsung.

I stand everything previously said so far. First off, the fact to prefer the smooth(er) outcome from/by Mavic doesn't mean I or anyone may actually infer anything else is inferior. Difference doesn't necessarily require a hierarchy. This applies for both down and up. Secondly, I guess to follow three full academic years to graduate myself in Editing/Post Production (amongst some other two film departments too) completed more than a decade ago can only put me very conveyed to see nothing against "cooked" pictures, as someone here has already pointed out before. So, does straight out of the box mean anything 'better'? Oh, poor Logs... LOL ; ) Whether be made by GoPro whether to come from a superior manual focus, almost 1-stop faster lensed by Mavic. Either way, never said small sensor size is somehow worthwhile in terms of IQ. And this stands for each one of these toys as same as convenience does. On the other hand, other than Mavic, those nasty artificial edges (see the power lines in that sample) still make to notice in some oversharpened inorganic forms tend to not be cinematic overall. To me, much sharpness can result overrated if not well balanced. Both will notoriously revert as advantage on Mavic Pro. I'm sorry but I see nothing new from that example. :-)

Oh yeah, I know. Jazzbox had mentioned he was considering selling his GH4 and other equipment to buy a C100... See I really like the idea of these compacts for guerilla video. I never heard of the coolpix a... But I may want to pick one of them up when the used prices drop a little more too. It looks great.

Now tell me again DJI IQ is superior to GoPro. @Emanuel message from the video author in the comments: Honestly I almost left the shots untouched. Some I didn't touch at all such as the 2.7 linear shots. No noise reduction, no sharpening, didn't do any external color correction!

I've got a foot in both camps with this really. I shoot with Nikon professionally as a stills shooter and it would make my life easier not to say cheaper if they were to push further/harder on the video side so that I wouldn't have to use my Panasonic/Blackmagic and RED gear for motion projects. On the other hand, I don't really want them to be diverting any resources away from developing and supporting what the core discipline it is that I'm using it for. Whilst its true that they don't have a cinema line to protect they do have their base to protect and, at least in the area of the business I'm in, they are in hand to hand combat with Canon for control of it. I can't imagine there'd be much appetite for diverting any resources away from those areas and risk losing that battle to fully open up a second front that they would already be playing catch up in. When I'm working at a major event and one of my bodies or lenses develops a fault, I'm not going to be too thrilled to go to the Nikon service desk and find out that they're all doing a roadshow at a local dealer trying to flog the D5 as a film making tool. Thats not me being conservative or a luddite, it just that I'm making a living from using their gear for what both they and I have determined its best suited for. Its a trust thing where I trust that they'll build and maintain a system that I can use for the purpose I need it and they trust that I'll keep buying 5 grand bodies and 8 grand lenses off them if they do! These things are only tools and as it currently stands, Canon make great chisels and great screwdrivers and frustratingly compromised chiseldrivers. Nikon make great chisels and maybe the lesson they've learnt from Canon is that chiseldrivers aren't just a bad idea merely because you've got a screwdriver line to protect but because chiseldrivers are just not a very good tool full stop. RED tried this the other way round. I was suckered into the idea that EPIC would herald a brave new world with its stills extraction and whilst yes it could do it, it was just so clunky to be rendered useless for anything other than very specific controlled circumstances. And could be outperformed by a dedicated device a fraction of its price just as my D5 is for video by any number of consumer mirrorless devices. What I don't really get though is the scorn for Nikon and by extension its users for them not diving headlong into this stuff. They make very good chisels and people who just need chisels are quite happy with them. It doesn't mean these people don't know what a screwdriver is or even don't have a use for a screwdriver. They just, you know, use a screwdriver for that stuff.

But then we're talking $900 (G85) vs. $4000 (c100 ii)...

Yea, D5 is the only flagship DSLR with 4k 4:2:2 HDMI output at the moment, but its not enough in 2016. Moreover, its not like the expected features need rocket science. Its already done by others. I'm pretty sure Nikon engineers are capable of delivering the best 10bit log profiled image with most refined color science, efficiently encoded. The problem is their boss doesn't ask them to do it.

A dedicated video camera is out of question for Nikon. They don't make sensors. Sony has its own fab(s), Canon hss its own, Panasonic has its own (plus Towerjazz), so Nikon has to ask someone to make a video optimized sensor for them, and because its very low volume market, that will be hugely expensive. Df is niche, but its sensor is not. Besides, even if they find a reasonably priced sensor, the mount problem remains. Most serious video shooters are in PL camp, or using Canon lenses, or already adapting their old lenses to Sony's open mount. These people have no interest for F mount. No, it clearly makes no sense, businesswise. The thing is they are letting their customers to experience and finally embrace other options. When a DSLR shooter realizes he needs a secondary camera for video jobs, which is probably a mirrorless, he slowly discovers that secondary camera can also take pretty high quality stills in situations he wouldn't expect it to perform well, so asks himself Why I should keep using my bulky DSLR in every shoot? Its not even dangerous for DSLR business, its disaster.

This. The NX1 showed what could be done. Yeah, it's flawed in some ways, but for a first time outing, it's one badass camera. I actually own a Nikon Super-8 camera. For the era and the media, it's pretty badass. Great mix of value and features. Nikon could easily do a sub-$2k cinema camera. Not holding my breath.

Just have one setting: "Unlock Pro Video Settings" Default send it shipped out set to "Off", but then users can switch it to "On" which will enable several more pages and submenus worth of video settings to be viewable. Well.... I reckon Nikon are ahead of Canon in the video DSLR game, but the gain is not really large enough for everyone (it is for some though) to make it worth switching, as if you're going to switch away from Canon.... why not just go to Sony or Panasonic instead? That is Nikon's problem in attracting video shooters away from Canon, they can't just moderately beat Canon by little bits (like they have with the D5200, D750, D500, etc). They need to also bring out a higher end above that is focused on video to complement their video DSLRs (such as the C100/C300 and FS5/FS7 does). In a world in which the market share for dedicated stills cameras is massively declining each and every year, Nikon can not survive by focusing on only one or two niches, they need a broader platform to support themselves. The video/film world is an obvious and natural next step for them.

More and more younger people as young as middle school kids getting into videos, I would think it would hurt them more in sales by not including more video features. what choice do I have if I want 4k, IBIS, swivel screen, all under $1k? G80/85. Just a few more opens up if you can do with one or two of the three. I started stills with D70, than D90 with 720p. After that I moved to Cannon with T2i with 1080p. I'd love to come back to Nikon, and still have a couple of lenses, but not in its current state. it is, indeed, baffling.

Thank you! I honestly cant remember, its been quite a while, but it wasnt too hard, Ill try have a look and try to get something for you Im currently testing some new settings, heres a few examples, these are all separate projects, so they all have a slightly dif. look. These are all videoframes, and not pictures, as soon as im done testing these settings, ill share with you guys! Im considering creating a specific lutpackage that could be sold at a very affordable price, what do you guys think?

It's as easy as making the pro video options a 100$ payed firmware update, the senior citizens from dpreview wouldn't be distracted.

Btw, sliding V2 clamp with anamorphic lens on a rail is possible, so changing taking lens can be quickly done. People asked about how solid is the V2 clmap. I tried HIFI-2 (3.48lb), Bauch & Lomb attachment I (3.68lb), Bell & Hewell (6.49lb), See picture of holding them with the clamp on the rail. My tripod mount start titling when mounting the Bell & Hewell, but the clamp is still showing no sign of deflecting. When playing with this clamp, I realize it could be also used as a handheld arm for holding the anamorphic lens & the camera together, just like the director view finder, see the picture below of KOWA 35mm anamorphic lens, Rokinon 85mm and GH4 held together by the V2 clamp. It is coming, it will be a dedicated variable diopter, which is optimized for the modded lens, but it has standard thread size, not 75mm for sure, you can reuse it for other anamorphic lens, but result is not guaranteed.

It does seem the early reports release had been delaying is not confirmed...

´

here you go: v2.79 added: Custom overlay - start from ( settings> overlay ). It loads your own custom overlay from the root directory of the sdcard ( sdcard/overlay.png ). Once activated the touchscreen will not work, and histogram will be "frozen" until you deactivate it ( reminder: Ev+Ev/Ok to start the menu for nx500/nx1) note that the preview of the playback will not work, however press "ok" for the video playback to start, and the recorded video with the overlay on top will show. you can make any overlay you like, as 720x480 transparent PNG (replace the overlay.png with it)

Interesting ISO comparative and RS resistance, after all, from tripod versus normal rotation speed modes:

Let's recall the usual aerial shots to begin or end the typical Hollywood product and we won't be too far from the description too... ; ) As written, it is just a matter to balance the elements; and try to keep the originality as much as possible up ;-) Time for Bloom's entry: More review stuff from here: https://www.youtube.com/user/goblinpicturesger/videos

Guilty as charged. I can't escape it in the corporate video world.

As already said, I don't see it in that way. I've never interested myself for any of these toys based in so small size sensors. Always refused to sign GoPro or Phantom-like signature. Actually, I've always planned to use something from 4/3" format to begin with, when not S35 as much as possible. This is the first cinematic outcome I've seen from such tiny category of drones. Really promising to my eyes. Able to shoot wherever a bigger bird won't fly. Without such ridiculous oversharpened lines to scream the use of cheap gear every time you go with aerial shots in your material.

Wow, I knew it's good, but now I see test results that prove that the Fujifilm X-T2 is even better than I thought. It was the first time for me, that I pre-ordered something, but I spent my money well.

@Mattias Burling...I think judging by the footage I've seen you produce on the LS300 and owning both GH2s and GH4s, the GH5 will be a no-brainer for you...the GH4 is the only cam I pre-ordered, and actually thought of pre-order on the Terra 6K, but its for a specific project, and if the funding for that comes through, I might bite the bullet and go for the Varicam LT...will still get the GH5 as a companion camera...I've yet to sell any of my GH camera's...IMO Panny just makes camera that work and I need that reliability on a set...

Well one of the deciding factors might be the availability of these two cameras. EM1mkii is scheduled for this year whereas GH5 for summer 2017. Also if the rumor of EM1mkii 10bit output is correct, then that will complicate things even more

Shogun Inferno will be able to, and I suspect we'll see more at NAB.

I would say that by not mentioning it in the launch indicates that there is a better chance of not having it then having it. Im not saying they wont put it in. I am just saying IMO its more like 85% chance no IBIS and 15% IBIS.

Fuji colors are just legendary. The XT-1 is the first stills camera I've owned where I don't do any editing on them. I just use the Provia color profile. The XT-2 is very tempting with video now.

Shot with lx100 with no tripod. Travelled light

My personal opinion: most people are crap at grading. This became evident when Magic Lantern RAW gave everyone the possibility to pull off extreme grades with the raw files... this resulted in a lot of terrible grades. Same happens with the LOG footage from the A7S and GH4. I think this is a a bigger issue than 8 bit vs 10 bit.

Where is your area of expertise, then? Not an attack--honestly curious. Totally agree with the post, though. Why everyone isn't using the GH4's 10-bit out is beyond me. Also, how many times have you read this exact conversation: "I can't get great colors with X-LOG!" "Yeah, you'll have to learn more about color grading to get the most out of a LOG profile." "But that's so much work! I'm a filmmaker, not a colorist. Isn't there an easier way?" "Well, you could always buy some LUTs and let professional colorists do the work for you." "LUTs are too expensive! I want something I can grade myself!" "Um...how about just not using LOG? Your camera has lots of other color profiles that are easy to handle." "Then I won't get the best DR the sensor can give me! What kind of noob doesn't use LOG!?" -_-