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What would help is if you advance the sound track some four frames. I downloaded the 720 version and it helped imo. The cut's should fall in place where you feel the beat ...not where the beat is. For the same reason the trompets feel out of sync when your brother turns his head. It's out of sync and you will never get in in sync as it doesn't match, although they idea is good. What you can do is make the cut on the trumpets starting with this frame↓ and it "feels" as if your brother turned his head on the beat. my 2 cents

About 70% of the sounds I got from freesound.org - the other 30% are from the internal microphone of the GX80, believe it or not The sound of the creek with the frozen flowers is added, the other water sounds are from the internal mic. I dont start editing without a soundtrack. Sometimes this is a process of weeks before finding some track that matches my idea of the video. Fun fact: I knew the soundtack already while being in Peru, so this wasnt so had this time. Since this is the first time that I used sounds additionally to a soundtrack, I experimented quite a lot how they can play nicely with the soundtrack. My findings are that i always use a very short fade in and a longer fade out, that sometimes goes into the next clip (for example the waves at the beginning). Yet sometimes you dont need a fade in/out (for example at the beginning when you hear the childrens giggle (which is btw from the GX80) followed by the birds).

@mercer thanks man, I always appreciate your opinion! regarding the lens stuff: for now i am very happy with the GX80, it is compact enough to bring it everywhere without issues, so buying a new camera (except some canon 5d mk 3 :D) is currently not an option. regarding your criticism: weird, because i made all cuts based on the bass within the song, so there shouldnt really be a cut that is not in sync :/ any particular cut you could point me to? the soundtrack is rather known: it is an instrumental version from Macklemore's song Downtown (in a selfmade edit).

And you're merely cherry-picking from my post. Read my whole post. I was stressing that speed and performance has more to do with hardware, and drivers written for said hardware, than with the OS. Even if I were to compare Windows 7 64bit to Windows 10 64bit, there is essentially no difference - they are both based on the hybrid Windows NT kernel (albeit with the added ability of addressing the x86-64 instruction set). I have been building very high-performance PC's, for myself and many others, for two decades now - from my experience, I find Windows 7 64bit to be far more stable and less taxing on memory. Further, your understanding of the "industry" is incorrect - Windows 7 is, and will remain for some time, the most popular version of Windows in the world. The "industry" you mention isn't stupid - they are not going to drop support for the world's most popular and used OS, believe me. In fact, Windows 7 was so popular, and remains popular, that Microsoft had to forcibly end OEM distribution recently because people were still asking for it over Windows 10. Regardless, Windows 7 64bit will be supported until 2020 with updates and service packs. - whether you want to believe me or not, I don't mind, but at their core, Windows 7 and 10 are essentially the same thing - they are both based on Windows NT and employ the hybrid NT kernel - minus a few GUI changes and features (such as Cortana), which digital artists don't really need at all. Ultimately, when it comes to NLE's, and thanks to stream processing, graphics drivers from Nvidia and AMD/ATI, and the higher-bandwidth RAM they employ, are far more important than what OS they are running on.

And 100% hand-made HDMI protector

Honestly didn't think they had the nuts to do this but looks like it's going to be an interesting 2017. http://www.canonrumors.com/magic-lantern-cracks-the-eos-5d-mark-iv/ http://www.magiclantern.fm/forum/index.php?topic=17695.msg172713#msg172713

Exactly, 10 and 12 bits are just a great tools, for me ability to shot 14bits and then drop to 12bit to record 50fps continously with 16:9 aspect is just great. I have also tried 65fps and get 12 seconds of 10bit raw 65fps 16:9 - it would be just a great addon in situation when 37% slomo is needed

I'm with you on that one. My take home message is: the advantage of 10bit amounts to a 29% increase in resolution or fps or recording time, or some mix of all three. If you don't need any of the above, stick with 14bit. But if you do, make sure nothing you're interested in lives in the noise floor (which is shown on the RAW histogram as a dithered pattern - stay outta there!).

Also @jase I think your video was great as is, it was just an idea I had... obviously you should do what you think works best for your vision... as I'm sure you would. Oh and I wasn't offended that you thought I should know Macklemore. I am definitely not in the know as far as pop culture goes these days.

As far as the Sigma goes, you've heard enough opposing points and you are skilled enough to know what will work for you, but I will add, it's not just about holding the weight that will be extremely front heavy, it's also the added weight of carrying it around. I always keep the camera on a neck strap around my neck and I know a couple extra pounds doesn't sound like much, but carrying it on your neck all day can really twist your neck, plus the length can be really obtrusive when trying to do simple tasks. Okay, that's the last I will say about it.

Looks nice! I actually lived in Texas until last year. Glad to see the lut/settings working out for someone else. I have uploaded another LUT for the same settings based off Canon's 1DX Camera Standard profile and applied it to your original as a reference. nx1dx-cs-beta.cube I plan on working on some Fuji ones next (classic chrome, astia). I have some alexa and actual film ones I am playing with at the moment, but no idea how long they will take.

I will do this little bit later, i expect there will be less ability to recover shadows/highligts especially in 10 bits - but as a tool - 10bit is gladly welcome. I am very excited because of usable 50/60 fps in 16:9 aspect. There are also 11 and 13 bits settings, i have to also try them.

Well, at least @Andrew Reid told us in his review on page 1 And according to the master @conurus himself, with the new firmware it should work flawlessly. Well, in the end no review on earth can cover 100% of your personal requirements, so I will just test the Sigma. Since we all know, GAS is something amazing and evil at the same time

@John Matthews: thanks for your opinion, this might be a solution. Yet I know myself: although using a system that is based on changing lenses I know I wouldnt. Sounds stupid, but when I am travelling I face different situations all the time and I just know that I wont have the time for changing them based on the perfect moment. As @Cinegain pointed out some time ago, the camera (and thus the video) is the secondary focus, the trip it self is my primary focus. I dont do the trip to get the video, I do the trip and get as addition the video - if that makes any sense... @bunk: damn, you guys are good. Exactly this scene was edited by myself a numerous times and I was never fully happy. Based on your and @mercer's remark I might do another take of the video and allign the sound as you suggested. Thanks!

People tend to forget the reason a lot of FCP7 users switched to Premiere around that time (including me). It wasn't that people were scared of the new type of editing. It was the fact that on the day FCPX came out, Apple completely dropped support for FCP7, including not allowing new copies of the software to be sold, dropped multicam editing (If you do broadcast work, this was like saying the program didn't support editing) , and didn't allow existing Final Cut projects to be imported into it. At the same time this happened, Adobe took advantage of a great opportunity. They halved the cost of Premiere for anyone switching ("Just use code "Switch" at checkout"), and allowed FCP7 projects to be imported in Premiere. In one move, the industry changed.

Port placement/interference and screen articulation type are two separate issues. Obviously the ports should be placed to not interfere with what the screen type is, this is even an issue on the GH4 for the headphone and HDMI ports. The 80D looks like it got it right, at least for mic and headphone as I recall. Personally I greatly prefer the pivot style (GH's, G85, D5500, 80D etc) to the tilt-only (Sonys). Especially because I prefer a large rubber eyecup for my EVF, which makes the tilt style pretty much useless from above. I think the choice of port location probably has to do with the internal PCB design, and not wanting to add the expense/complexity of moving the ports off the PCB. Doing so probably makes assembly more difficult, and introduces reliability and interference issues to deal with... not that that's a good enough excuse. I'd love to see the mic input on the right side of the "prism" hump, then you could have a super short cord up to the mic.

Surely you're being farcical Which is great to get 'close enough' to the bits you want, but it makes it much more difficult to finesse by individual frames. You mean other than linking, grouping etc? Again - as I said, it's overall perhaps easier to throw things together to get close to what you want. And that part is relatively quick/easy. But start trying to finetune and it gets real difficult. Want to fine-tune timings of transitions between clips that have forced themselves into a storyline? Have fun. Want to slide an audio track that is the main storyline over a few frames because it's slightly out of sync? Good luck. Want to trim a certain part of a clip, but keep the gap there to ensure sync is retained? Again, good luck. Except - again - when you want to fine tune your edit (which takes more time than other NLEs so potentially it cancels out the time saving of the assembly). Not to mention that it's costly and/or time consuming and/or simply impossible to get an OMF out of it to edit the audio appropriately. If clients aren't paying for 'fiddling around with clips' - I certainly find myself 'fiddling around' with clips in FCPX to get it to do what I want more than I would with say MC. Which is why I moved to Avid Don't get me wrong - even Media Composer forced a different way of working to what I was used to with FCP7. But the way of working made infinitely more sense to me than FCPX, and I'm faster on it than FCPX. FCPX is still a good editor - don't get me wrong, but I use FCPX for quick edits, stuff I don't want to spend too much time on (and I had to use it full time initially when I bought my A7s as it was the only software I had outside Resolve that read XAVC-S natively). When I want proper/full control, and care about making my edit the best it can be (and/or need to do a proper sound mix), I use MC. FCPX lost the 'pro' market because Apple decided to go after a different customer base - its aimed at, and priced at a point where they've likely made more money on it in the past few years than they ever did with any previous versions of FCP/FCP Studio. Most of the target demo (particularly YouTubers) probably don't care about pro features like OMF and TC (okay it has source TC now but didn't for a long time) and plenty of other things that the 'pro' (if you take pro to be the kind of market that used to be dominated by FCP7/Avid) user needs. That doesn't make it a bad editor, and there are plenty of things to like about it. But there are also major downsides that in some use cases can be hard to work around.

True indeed, the lens is rather heavy and big. Yet, I dont see myself switching cameras during the trip a lot, again: choices... About bass vs. snare: valid point. After watching again I think you are right that this would improve the video. About this Macklemore guy, I did not want to express that everybody should know this song, I am sorry!

Indeed.

7 years ago. Lumix LX3 and a Zoom H2 recorder. I have since learned to (1) cut faster and (2) make proper subtitles...

Okay, eff it. Here's the first short I ever made back in '04... Shot on a Canon ZR60... https://vimeo.com/105266650 For some reason I can't get it to embed. It's probably better that way.

This whole debate is so funny & it's mind bogling that we are still here talking about it. Back in the day, when FCP7 existed, no one would touch Premiere with a barge pole since it was a pale bad imitation of FCP/Avid (in fact I didn't know Adobe had an NLE & I was working for a big media company) - the 2 main editing NLEs were FCP or Avid (Avid was used for the big money projects). FCP gets re-worked, for the better (so much faster to edit than Avid/FCP7/Premiere) & suddenly Premiere is a great editing NLE - NO IT IS NOT! The only reason small companies jumped ship was because they could now (or should that be, had to) RENT the whole Adobe suite & lets face it the only 2 things worth using are After Effects & Photoshop - Premiere is there, so people use it & not because it somehow suddenly became this great editing platform. Personally, if you can't edit in FCPX then you've got serious problems & the magnetic timeline arguement is a non-arguement (it's brought up by people who've never used FCPX for more than a few minutes). The only complaint I have is the need for 3rd party plug-ins, but if you've got the time you can make your own in Motion (and they tend to be better) - & no one is mentioning how great the new Motion is!

Hi everyone, This week's new free tracks are: "Icicles"_Looping "Ocean Floor"_Looping "A Flock of Bubbles"_Looping http://soundimage.org/naturescience/ "Drinking Alone"_Looping http://soundimage.org/introspective/ "Anomaly"_Looping http://soundimage.org/drama/ "Manic 8-Bit Halloween http://soundimage.org/funny-3/ I hope they are helpful! :-) Eric

Yeah, looking at the footage shot, it doesn't look like the gear is holding you back from the actual experience. The camera is just casually there, sorta speak. But the Sigma is a beast, true in performance as well, but the size and weight is not to be underestimated. I'd only really use it in combination with a cage/rig/tripod (and indeed boosted). But if you think it's manageable for you, then by all means! But maybe see if you can borrow one from someone for a day... might change your mind for using it on hikes 'n trips like that. Think the Panasonic might be a good bet, especially because of the OIS. If focusing with the 20mm works for you, this should too? I personally opted for the Olympus one, because it also matches up really well with the E-M1 and I indeed like that MF-declutch with hard stops, the built quality and the optical performance/look; trade-off was: no OIS and it's a heftier piece of equipment as well. 7-14mm is brilliant too with its rectilinear design, great for landscapes and has come down in price quite a bit since I got it at launch. But on a Panasonic body, that smaller lens, correction and OIS could mean the Panasonic 12-35mm would be well suited. Though I'm not sure if that micro jitter issue is still there?

So, a day after: I have added all my 4:3 files to media encoder, changed the size manually to 960x720px transcoded everything, than replaced the original (bad) proxy files with the new ones and it's working. Hope that premieres future updates will solve this issue.

It really depends on a lot of things what would be the best setting, but if you want to be very conservative use a few frames. All intra (1 frame) would require a significantly higher bitrate.

Don't use them? Well, I guess it's strange that I created an official video for Blackmagic with a Windows 7 system... I think, for the sake of absolute clarification, we need an official statement from Blackmagic on what operating-system Resolve, and Camera Utility, can run on, and if they're willing, for us self-professed system-building geeks, to explain why it cannot run on Windows 7. For the record, I have the latest Resolve (12.5.3) and Camera Utility (4.0) running perfectly on Windows 7 64bit - despite the "minimum system requirements" stating that one requires "Windows 8.1 Pro 64 bit". Also, as I stated in my previous post, Windows 7 is by far the most widely used Windows OS - beating Windows 10 nearly 2:1, and Windows 8/8.1 by 5:1. Dropping support for Windows 7 64bit is not an intelligent move - and if anything, Blackmagic has intelligence in spades. From my knowledge, the base kernel of Windows 7, 8, and 10, is Windows NT, and should be able to execute, install and understand both Resolve and Camera Utility no problem. When I was building systems and Windows 8 came out, being a closed-source OS, I, and my fellow system builders, couldn't really tear apart the OS and look at the kernel changes, however, after trialing Windows 7 against Windows 8 with a handful of system builds I did, it seemed the only raw, real-world difference I could see were that boot times seemed quicker on 8 (I'm talking a handful of seconds here, 5 to 10 seconds - at most). If I were to guess, I'd say this probably has to do with the low-level system-state - it seems Windows 8 doesn't do a cold-boot like Windows 7 does - it seems to hibernate rather than absolutely clear all cache/RAM/virtual memory. However, I am not as versed in low-level software as I am in hardware, so I may be wrong. Anyway, I hope we get official clarification on Resolve/Camera Utility regarding Windows 7 64bit

Oh god, I hope they unlock the 1080p mode on the eosm too.

@fuzzynormal that's about right lol. Examining their source code when writing plugins it's clear they need a complete from-scratch rewrite, ideally combining After Effects and PP into one program (HitFilm gives an idea what this can look like). Latest FCPX looks really nice and is much more stable and far faster with 4K than PP CC. Resolve is also coming along nicely (still a ways off from being a full blown NLE to compete with FCPX and PP CC). @Parker 2015.3 10.4.0 has a huge memory leak (also happens on Windows, so it's core code, not OS specific). 10.3.0 leaks less often. Another issue has been NVidia drivers- it should not be possible to bring the OS down on a crash (this can happen when using OpenCL. CUDA never crashes the OS but exhibits the 'black screen' bug where after a while the view goes and stays black until PP is restarted). Everything we do currently uses green screen and compositing (Ultra for keying)- appears to cause more problems for PP CC than simple edits. @raf702 thanks for the report. Let us know if you find any issues.

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 wish they'd just focus on developing a killer new model of the BMPCC. To me, it looks like they've wasted a ton of time and money developing all these niche cameras when the one camera they have that sold reasonably well and has broad appeal is in dire need of a hardware update. One or two cameras for BM is more than enough. Keep it simple. They have spent a fortune developing all these other cameras. Just focus on improving the 4.6 and the BMPCC.

I personally would use the G7 as my main A camera and the GH4 as B camera , the g7 does have the better newer cleaner sensor . I would shoot it all in 4K UHD 24 fps mp4 (internal codec is very good in 4K mode ) Natural profile saturation -5 contrast -5 dont go over 800 iso light your sets for about f2.8 or f2 max G7 focus assis is great it has 2 settings I use H I would use your Zeiss primes as they are superb lenses same glass as Zeiss Ultra Speed cinema lenses - no differance yes use the internal camera audio as I guide track and ADR it all in post All the above is how I shot the feature film Pandora

Yes I do have the MKII. The DPAF is amazing. If I'm using it handheld I'll use the Canon 17-55, or 24-105. It's very liberating to use this camera b/c the native battery will run for hours, the SD cards will run for hours, it's rock solid but lightweight, the ISO range is super wide. It really does just get out of the way and let you shoot.

For docs and promos I'd suggest C100ii. It is the perfect camera in that price bracket. I think you'd get a more cinematic/rich image from the URSA but you'll also deal with bigger files.