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I once went to Stockholm in person to pick up the Panasonic G7 and saved me 230 or so bucks (had to be there anyways, but still, http://www.prisjakt.nu proved helpful). I ordered the G80 from UK and for EU body prices got included the 12-60mm, a Panasonic 64GB card and a battery grip. It does help to look around. Usually I check http://geizhals.eu . I find it very helpful to get some oversight. That said... 1999 for either E-M1 Mark II or GH5 is a matter of perspective. So here's mine... No DSLR for me. I don't like mirrors and I don't like optical viewfinder. I'd rather just have an EVF and excellent liveview; what you see is what you get. Plus, mirrorless cameras just about standard give you peaking, zebras and all that good stuff No fullframe camera for me. What fullframe cameras would there be? Let's see... eh... Sony. Well have you seen what those bodies retail for? And then you need big bulky 35mm covering glass that ain't cheap either. Don't know. Just not for me S35/APS-C. Now we're talking. Excellent. Yes, I'll have one, thank you! What can I choose from again? Ah, more Sony. Well... they sound good on paper, but in practice... between the overheating, rolling shutter, color issues, poor design and its price... there's not really that much that makes it an attractive choice. I think I'll pass until they come up with something a little more reliable and enjoyable. Fujifilm XT-2. Ooh, me likey. Too bad there's no sensor stabilization, vari-angle touchscreen and headphone-jack on the camera body. Tough. Canon? The new EOS-M5... overpriced stripped down 80D much? Maybe cool as a gimbal AF tool, otherwise nope. Nikon? Not making anything. Samsung? Dead; although the NX1 is pretty sweet. But you know... the XT-2 would pull ahead of it. Well... that's kinda that. Unless you want to go proper cinema style camera and throw a couple of thousand bucks at it, but at the cost of losing a innocent looking versatile hybrid system that packs a punch That leaves... drumroll please! Micro Four Thirds, MFT, M43, M4/3. Now... I kinda made my peace with the 4/3" sensor a long time ago. Hell, some even accepted the limited conditions the BMPCC would shine in. S16. And as such I don't need ISO12800. I mean, ISO1600-6400 would be kinda nice. Don't really like to go beyond ISO1250 right now due to the decrease in peformance. But somehow, you just make it work. You work around the sensitivity by lighting, by using more sensitive lenses. You work around the crop. The shallow depth of field. With a smaller sensor you kinda lose some color accuracy, dynamic range... I mean, it's not like you're not paying for it somehow, but you manage. In return you get to have one of the most versatile systems out there. With small bodies and small pancake primes. But you can also rig things up and use speedboosters. And especially with the features in the new E-M1 Mark II (which I feel they should've just called a E-M1 Pro/E-M Pro to avoid the negative backslash it being so much more expensive than its predecessor), you now have one of the most complete cameras on the market out there. Compared to a mirrorless APS-C Sony... it has a far better choice concerning lenses native to the system and sensor format, it has that vari-angle screen, dual cardslot, superior sensor stabilization, neglectable rolling shutter... and most importantly... it's reliable. Compared to either XT-2 or NX1 it has the vari-angle touchscreen (frontfacing option) and 5-axis sensor stabilization. You just can't really fault the E-M1 Mark II on hardware level. The GH5... we don't know much yet, but it looks like we're going to keep that GH4-styling. That's good and bad, because I was actually hoping that with the GH5 they would really re-think what they wanted the top of the line GH-camera to be for general video production, as well as more advanced cinematic application. So I was thinking a different style body, more room, better interface, more ports, bigger ports and all that good stuff. Still though, even with a GH4-style body and souped up internals, this could be something very different. We already kinda know that its sensor and processing allows for internal 4K at 60/50p and 4:2:2 10-bit at 30/25/24p. There's 6K Photo. If the E-M1 Mark II's processing and speed is any indication of what the GH5 might be like, we're really getting some performance. And people who've been using the GH4 as a production tool, will gladly embrace the improvements in noise control and overal image quality that has already gotten a boost with the arrival of the G7, GX80 and G80. Not to mention the probable inclusion of sensor stabilization. Rolling shutter could be neglegible as well. Super slowmo. Who knows? Ultimately though, this is a tool not to be underestimated and of great value to independent and indie filmmakers, production houses and the sorts. Would I say 1999 is pricey? Yes, most definitely is. But I think the E-M1 Mark II makes sense. There's all this Olympus PRO glass and these people need a camera to go with it. It's not some incremental upgrade, it's a new game altogether and offers things in a complete package we haven't seen yet before. To those who think it's not worth it, they have a great selection of alternatives... the E-M1 with firmware upgrade is pretty solid, E-M5 Mark II, E-M10 Mark II... Panasonic G80. Talking about that last one, that is a fine camera for people looking for a serious hybrid camera that don't neccessarily be using the more pro applications such as V-LOG L. Pay less, only use what you need. The GH5 on the other hand is the ultimate video production tool, by the looks of it. Either used stand alone or rigged up, if it sells for 1999 it will provide shooters with a the most complete video package under 2000 bucks yet. If they would tell me 'we have a promo going on, one time offer... we see you have the GH5 in your basket, we'll change that to a URSA Mini 4K (that you're not allowed to sell) but leave the 1999 price. Which camera should we ship to you?'. I'd probably go with the GH5. I just really like the idea of a camera that I could use with a 20mm f/1.7 pancake lens and at the same time could rig up to be a set-up too legit to quit. But that's just me. You also got to consider that because of the pro features, less people will have use for it... and in turn therefor they sell less units and need to increase prices. As has been said before, we're just a marginal piece of the pie... the people that care a lot about shooting video with stills cameras, so when they cater to us, I'm really excited. And currently I see the E-M1 Mark II and the GH5 as the most complete packages out there for hybrid shooting with a video edge. There's always things that can be improved, but that's going to remain to be the case.

Thanks Andrew, this is a good article. I think consumers will be perfectly happy with their smartphones. They will get better, and consumers will have no need for another camera - it's not perfect, gorgeous, well composed shots they are bothered about. This reflects through platforms Instagram and what content is popular. Long gone are the days when Instagram was a creative photo sharing network..... you get FAR more likes on Instagram for a noisy, badly lit selfie of yourself eating a takeaway pizza, rather than a magnificent, beautifully lit, well composed shot you'll never match again. Again, because of the consumer onslaught of constant videos and photos being uploaded and shared online, there's some great stuff out there which isn't getting a look in. Actually getting anyone to give a crap about your latest masterpiece is much harder. A video of a drunk fat man dancing is widely far more interesting. Coming to cameras - we are that the point where they actually matter less. Models are getting replaced within months, users are on and endless buy-sell cycle to have the latest, and many people are not really learning their craft properly because they can't keep hold a camera for long enough. Lenses, lighting and camera movement have a FAR FAR greater impact then your camera. There's really no point in constantly changing, swapping , upgrading. It's a waste of time. Recently, I got an FS5 and soon an external recorder. I can grade the Slog footage well. I have everything I need - LOG, HFR, ergonomics, audio, blah blah. Man I can now do 200fps RAW!! But since having the camera, my videos haven't improved at all. I have more bells and whistles.. but it all comes back to what the hell I am actually filming with it. Sometimes, something does arrive which will dramatically improve your work, or will heighten creativity or make your life easier. However this camera race is far too distracting for many of us, and for a large bunch I think some people have took the eye off the ball as to why they are using cameras in the first place. I'm sticking to what I've got, and will be spending time on throughly improving my skill set, rather than my camera arsenal.

Please explain why it's somehow a point of pride to say "I stopped reading when". Choosing to hear only what you like to hear is a sign of ignorance! "I stopped reading when" means that you were unwilling to give a writer the benefit of doubt. Do you stop reading a novel 75% of the way and then say that it had a terrible ending? Same logic applies here.

I thought I would drop some of these in on some footage. Just dropped on the footage...no other adjustments. I really like the look of these...Appreciate the work Ricardo and will be using these quite a bit. GREENLEAF LIGHTHOUSE BLACKLAKE ASPEN

finally had a chance to play with this camera and i'm absolutely stunned by the 4K quality.. definitely the best i've seen out of APS-C.. the film simulations are really great too, just a little extra grading and you're good to go. a shame no internal Log though (any idea if Fuji is planning on getting it internal in a future update?). Very very impressed overall though and seriously considering this for my 4K needs and travel cam.

Northrup's point is the tortoise-like advance of dedicated cameras have been bypassed by smartphones, leaving cameras that feel clunky and archaic, esp from a consumer UI and ease-of-use standpoint. However he did NOT address that this was likely an unavoidable development, rather he implied it was poor decision making by the camera manufacturers. Apple is on track to spend $10 billion per year on R&D -- Nikon spends $550 million. Apple spends more on R&D than every camera company on earth combined (unless if you consider Samsung a camera company, who spends even more than Apple -- $14 billion). For many people the cost of their smart phone is subsidized by the cellular carrier. This produces a mobile device that is unusually powerful, very refined and artificially cheap relative to a consumer camera. It is not just limited to cameras. I have the highest-end automotive Garmin GPS. It is OK but the UI is nowhere near as responsive as a 2016-model smartphone. Garmin's annual revenue is 1/100th that of Apple or Samsung -- they can't spend the R&D of those companies, and there's no cellular carrier to subsidize their product. Of all the companies making cameras, Samsung might have the highest annual revenues. It's further interesting that the NX1 was probably closer to Northrup's ideal camera than most others. My point is there is a lot more to implementing Northrup's vision than the *idea*. Implementing that at a polished level and a consumer-affordable price requires an *immense* and ongoing R&D investment. Admittedly there are also the corporate cultural issues of a camera/instrument hardware manufacturer in a software, UI-centric world, but I question whether Canon and Nikon could have delivered Northrup's ideal consumer camera in a timeframe to make any difference -- even *IF* they had the vision. Like you, I am not sure if it would have made much difference anyway. This is a tidal wave of change sweeping across the photographic landscape. The idea that consumer cameras could somehow "carve out" a protected little enclave by adopting a few more consumer-friendly features is questionable.

This big techno change (mass photo & video using cheap cameras on smartphones, which the photo/video elite - „pros“ - despise) looks similar to the big techno change in the XV-XVI Century, when the Gutenberg press machine enabled that "everybody" could publish a book in large quantity, instead of handwriting/copying them. And than the elite said it would ruin culture. But, not "everybody" started to write and publish books, "everybody" start reading (consuming), and the press broadened from books to magazines and newspapers. Etc. The analogy is this: like in those times, "everybody" now makes photo/video with smartphones, the culture has changed from verbal texts into pictorial texts (photo & video are texts, too), and this has broaden the audience into the new market. Only some will continue to make movies ("write books"). The former do not need 2000-5000$ ILCs, 2000-5000$ set of lenses, cages, rigs, tripods, gimbals. The later care and will continue to care about quality of the movies, and for it they need better equipment. Here the analogy should stop. The question (both of Northrup and Reid) is weather the divide between the two camps will grow, and what is the sense of it. It is a big question and I can say only this: With the massification of video culture, we now have young videomakers (some of them will become moviemakers later) who look less like the the movie directors or producers before when they were almost all alpha males (or had to behave like alpha males to find the funds and put the filmaking chaos into some sort od order); the new generations start to learn photo/video on their smartphones, some of them will move onto higher quality level, but their non-ILC beginnings could give them some experience and sensitivity we from the old times did not get. I wish I had a smartphone 40 years ago to start with. So, "Do you want them to learn it with crappy smartphones? Thats just bullshit" (Deadalus0506) does not stand, imho.

Venice looked nice. Curious what lens is producing all that chromatic aberration though.. it was pretty horrendous in a lot of those shots. Like if I was trying to teach someone what chromatic aberrations look like, I'd probably just have them watch the first minute of your video. like damn if that's not pretty distracting

Now we are talking. inspire 2 announced with 5.2K raw and 4K60fps raw. H265 is here too. And they will have a new kind of Osmo for it. In 1" or 4/3 format. You pick. Isnt it funny that the best specced cameras on the market are released by a drone company without video experience? VS jokers like canon who will release 4K60fps raw and H265 in a camera of the size of a GoPro in maybe ..... we'll never. http://www.dji.com/mobile/inspire-2

This thread was created so we can all share our opinions on the lut pack, as some of you may know, these were created specifically to the NX1, however, I've made some tests on Sony Cine4, Nikon D800 and Canon 5D Mark 3 with very pleasant results. The lut pack contains 9 different luts, ranging from color to black & white, stylized looks to achieve a filmic effect on the nx1 footage. Heres a sample of what to expect from the looks : Fully Graded with Greenleaf Later today I will add new screengrabs of all the different looks, and what its best used on. Feedback is very very important, this was created for the community, and I will follow all of your opinions in order to update the pack and deliver the best possible results! I hope you all have fun and like using them as much as I've had created them! Happy gradings!! Buyhere : https://sellfy.com/p/HNAk/#

The Samsung NX1 and Sony A6300 have been warned. Fujifilm has arrived! No really. This time they mean it. The X-T2 shoots the best 4K I have yet seen for $1500, with a great lens range, pleasing colour science, less rolling shutter and a different approach to ergonomics to Sony. Read the full article

@mercer These were shot on the NX1 with the Sigma 18-35 lens.

Great! How are you liking the whole pack? Aspen is the softest of the bunch, so its probably the best for babies and portraits. I just finished another lut that I will add to the bunch (I think the people who bought it, will receive an email with the new updated pack). This lut will also be free for download for everyone, i've received countless messages on people wanting to try them out, so this might be a good alternative.

Even though, I may follow Andrew on his X-T2 bet, well, some perspective(s) also will ;-) https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=panasonic_dmcgx85&attr29_1=fujifilm_xt2&normalization=full&widget=105&x=-0.07116278920634347&y=0.7982730037049333 https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=sony_a6300&attr29_1=fujifilm_xt2&normalization=full&widget=105&x=-0.07116278920634347&y=0.7982730037049333 On the other hand... https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=sony_a6300&attr29_1=panasonic_dmcgx85&attr72_0=4k&attr72_1=4k&normalization=full&widget=426&x=0.4260463692707934&y=-0.13237727523441808 https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=sony_a6300&attr29_1=fujifilm_xt2&attr72_0=4k&attr72_1=4k&normalization=full&widget=426&x=0.4260463692707934&y=-0.13237727523441808 As soon as the first 4K camera came on the market that interested me, the GH4, I stopped caring about sharpness any more. We have more detail than anybody can possibly notice when watching the film. Sharpness has become a pixel peeping tech spec curiosity rather than a really noticeable differentiator as it was with the 1080p cams. In fact too much sharpness is bad... high detail should be softer like on the 1D C in Canon LOG, with the option to dial it up with a sharpness filter in post. Yes there are still minor differences - some like the Samsung NX1 and A6500 over-sample from 6K sensors to 4K. Some from 5K-ish to 4K like the A7R II Super 35mm mode and X-T2. But seriously nobody notices when they see your footage.

They look nice on my footage too Thanks, Ricardo!!! GRRENLEAF ASPEN

Looks like you had a lot of fun with the shoot! I just bought a C500 and the Odyssey Q7+, I had started a thread over on DVXUSER Fan noise be gone! There is a solution to the fans on the C500 that kick in 7-10 minuets in while recording in 2K and 4K mode: http://mattporwoll.com/problems-solved/ I bought one of these units through AbleCine here in LA, the fan system looks streamline on the C500, and even better it works and is super quite while on! You can read all about the fan noise in the DVX thread, it goes back to some other thread spinoffs that talk about solving the fan noise issue. Now I can roll on those long winded interviews without that dreaded fan whining noise kicking in recording in 2K or 4K

Here are some rough graded screen grabs from our shoot. All shot RAW Cinema 4K to 4K ProRes HQ. Also, here is a DB link to the ungraded TIFFs: https://www.dropbox.com/sh/xltljff7euy65iq/AABIShq-mPu2YdYVmLRqpRUIa?dl=0 I included a chip chart on some of the interview setups too if you guys wanna have a crack at it.

We shot this whole thing with the 1dc and Leica R glass. Really loved that. I personally own a set of CONTAX Zeiss lenses and love the look they create.

Hey, has anyone here actually flown to another country to get a camera and take a free vacation? Some of the US/ EU price differences are the price of a transatlantic flight...

The only issue I would take in how you phrase things is using the word "Western" or "US led". There is no more a coherent western position than there is a coherent Syrian position. By saying western it sounds to some that you are against 'western' liberalist values such as free speech etc, which I am sure is not the case. If you were to say "Globalist corporatist factions of the western establishment" or something along those lines, it would help avoid this misconception. The fact is that these factions are only getting away with this because the corporatist media are brain washing everyone. They exploit the fact that people understandably have suspision of dictatorial governments, but if the media were honest that western agencies where arming and militarily supporting wahabist islamists (the word extremist is obviously superfluous), and were honest about what these people represent, then more people in western countries would be opposed to it.

My experience: "Pro" means in fact 70% very good marketing and sales skills,,,Only 30% is about filmmaking skills. And marketing skills means, try to impress customers with technical assets, specifications and "spectacular" or expensive looking gear. Professional and successful work (from the point of view of the customer) has nothing to do with stellar expensive gear - but this is something, most customers don't know... ;-) At the end of the day, the story is quite simple for filmmakers doing paid jobs: the result should be the most important criterion: acceptance, views, sales, reactions and impact of targeted audience...But after failing, many film providers try to perform lame excuses by pointing to technical criteria as excellent resolution, contrast, color and image quality...I never saw a RED shooter admitting, his work was worthless for the client... :-)) The gear doesn't tell any story - even an 8K RED is useless as storyteller. And it's all about a story and emotion...

I'm very, very happy I own the NX1. Even happier now that no new camera still matches it as an overall camera system. With the 180mbit hack and the new arouke's luts my footage is more than great, for my own standards.

http://www.43rumors.com/ft5-more-gh5-pricing-info/#disqus_thread Body only: Price will be between 1 800 € and 2 000 € in Europe for the DMC-GH5. Price will be ± 2 900 € for the DMC-GH5 + the new Panasonic Leica 12-60 Lens (not the older 12-60mm lens!) In Korea that's around the price of a a7r ii or a7s ii. Kind of crazy.

Nice, would maybe be useful in a wedding situation though... Thanks for posting the footage. Just like the D750 image, very clean with a great organic noise. If the D760 offers 4K full frame like this I will have to buy it. D500 crop is just not worth it for me right now.

Makes me want to rebuy a NX1. Well done. Love Porto!

Out of all the video Ive seen from the XT2, none look like Andrews. Footage from a few different users, and none look like this. So I doubt you should worry about your purchase. The thing is, there are similarities with Andrews Canon 1DX MII Video... Something strange, not what I have seen from him in the past. His NX1 video's are what pushed me to give the NX1 a try... but I cant call it with recent uploads - baffled honestly. SHRUGS, I still plan to purchase the XT2.

Well done Ricardo! Even though I just do my own grading, and just add 30-45 impulz film grain I will consider them when/if go down in price in the future. The most apealing to me is the Denver one, can you comment on this specific one? Also, I would like to say that the original in camera footage seems great to me also. Very good exposure I guess. Thank you for your great job.

YES! This is so obvious, crazy purple fringing and blown highlights ruining most shots! Everyone is saying this is so great but to me it looks awful. I have just received my X-T2, its sitting in its box at home and I'm not sure whether to rush back and rip it open and get shooting or send it back and swap for a Sony A7ii, Sony 6300 or keep my Lumix GX80. This is good timing for Andrew to review the X-T" but that video has left me with real doubts. Is it just due to the 1.2 lens wide open and grading or is there a real problem with this camera?

As i'm the camera nerd of my group of friends, I often get asked advice from people who want something better than their phone for holidays, family pictures/video etc. The features that we might think are gimmicks are always the most requested specs they want.... How do I get it on facebook, how do i get it on instagram, can I send images to dropbox... can i add filters... can it autofocus like my camcorder did.... how do i get that blurred look etc etc The consumer market has irreversibly shrunk, but it is still a multi billion $ industry. I think the fact that these companies are trying to tap into the mobile mindset is a good thing. It means we are a step closer to getting an app market for cams.

The tools of videomakers (Smartphone, Camcorder, DSLR, Arri, Sony, etc.) are not crucial. Essential is content / information / emotionality and acceptance within your targeted audience. For technical and specification reviews, OK, quality of content is decisive. But - as Andrew said - this is all about just a small audience of freaks or enthusiasts. The "big audience" doesn't care at all about technical aspects of the films. As media consumption becomes more and more mobile (between 45 and 75%), videos/films published for internet audience and smartphones/tablets will never care about resolution, color grading or the last detail of color science. As long as viewable screens are quite "mini", as in case of smartphones and tablets, there will be no need for "extraterrestrial" 4K-8K filmmaking (from technical point of view). BUT there is a need for good/funny/informative/narrative/entertaining content. Completely indepent of the degree of technical implementation/excellence. In RL nobody cares about "smooth/mushy" 1080p out of a Canon-DSLR or the 10%-debade on color display/differences of Canon vs. Sony/Pana. Just my 2 cents... And even discussing about display on bigger screens than mobile ones: Take a look at surveys and serious statistics on media consumption. Current screen resolution of PC-Screens, laptop screens or consumer TVs (US, Southamerica, Europe, Westaisa) will make you laugh when debating on 4K...For most of display devices, 1080p is more than OK. Why then pixel peep about the "last 5%" difference and 300% percent crop within 4K footage? In my eyes this is absurd and narcisstic - without any significance for audience. It's only significant if you want to make good sales by telling your future customer, that a RED and 4k/8K production are decisive for the success of the coming film. If this is not a multimillion production, this is not decisive. It's just a marketing lie. A profitable one from the point of view of providers, but still a lie...

That was all auto white balance by the way, which I've always found works pretty well. And I have played with the Electronic VR, and it's a mixed bag. There's a crop for starters, I'm not totally sure what it is but it seems half way between normal and the 4k crop, so maybe 1.7x -ish? And while it does a great job if you want to hold the image completely steady, if you try to pan or tilt there's a lag so the image stutters as you move -- not even remotely close to being smooth. It basically mimics a tripod. The good news is that you can turn it on and off in the movie quick menu that's available when you're in live view, so it's easy enough to turn it on and off, but it's nowhere near a regular use feature.

I start to think about the housing for my verbascope with single focus

I apologize for any perceived attitude. I'm a camera enthusiast who still shoots as a hobby (I used to shoot tv professionally), but now that I'm working in post I get to work on some even higher end projects with the most cutting edge camera systems and lenses. And I wanted to share some of the latest news that I was incredibly excited about as well as my experiences with different camera systems. Every day I' working with Alexa footage with the highest end lenses or Varicam footage and with the highest end lenses, which is especially fun for me since I'd shot with almost every camera system previously, but I get an even better impression working with the files in post and interfacing with people on the cutting edge and learning their preferences and prognostication. And I never got to the level on set where I could shoot Ultra Primes next to Aluras one day and then C Series anamorphic the next, but I do get to work with that footage now on a daily basis. But I get that with this (and my confidence in the people around me and what they say–not in my own opinions, which I try not to mix in and apologize for my misunderstanding regarding the rec2020 color space*) isn't welcome here because of the perceived arrogance, and I won't be posting here anymore. *That said, Canon's white papers do indicate a camera that fills most of the gamut (which naturally includes imaginary colors the eye can't see and so arguably needn't be filled) and we've seen before that a camera needn't resolve a full "4k" to be 4k compliant and yet Netflix does exclude some cameras from common use that claim a 4k spec. So there is a middle ground, and I believe this is where the divide falls. The advice I'm hearing from the top brass at top labs is that 15 stops and support for high bit depth high bit rate rec2020 will be what producers ask for from a camera when shooting HDR. Canon had HDR in mind specifically when developing the C300 Mk II and C700. That said, I will have to trust you that the GH4 can also fill almost the entire rec2020 gamut as I have not read the white papers and my only experience with that camera is without an external recorder or VLOG, where it still performs well for the price. As regards the 12 stop spec in HDR10 for acquisition, that is news to me, and interesting to consider given that Dolby (where I consulted for free simply due to my enthusiasm for the product; I have friends with financial interests, but I don't have one) is looking toward much higher numbers.

Maybe not so soon. But we are definitely heading that way. Check this out. https://light.co/technology

You can also contact Raf cameras for a custom adapter quote, he's done great things for me in the past.

I have seen a handful of reports about what ISIS has done in regards to my people. What I wish to uncover and show is how the more "moderate rebels", as Western media phrases it, have also done the exact same things to us that ISIS have. That is what I was getting at. Though I disagree with some parts of the article, i.e. "U.S.-led Western coalition trying to restore stability with an as-yet-unidentified new regime" (that's a nice way of saying "we're trying to overthrow a government and replace it with a government that is favourable to us"), I am glad to see my people's plight get exposure, regardless.

Hi nikos. That illustrates C-Log's softening quite well. I wish I'd seen your post before now as you had also spotted the black dots that are exacerbated by in-camera sharpening. It's barely noticeable at base ISO, but as ISO increases C-Log gets progressively softer. My guess is that it underexposes by 1.66 stops, pulls up the shadows and then goes to town on the noise reduction. This, then, is the cause of the image softening and ghosting. I went out and took a series of clips in daylight, alternating C-Log at 500 and EOS Standard at 160. I fed both in to FilmConvert and, with a contrast and saturation adjustment the results are almost identical. There are slight colour shifts but I think EOS Standard is closest to C-Log. Full gallery is here https://postimg.org/gallery/2agvnxize/ Sample comparison: The implication of this is huge for me, as it gives me the confidence to use EOS Standard in low light and get better results than C-Log. I'll test low light stuff with movement later this evening.

It's a shame that Western journalism, especially in the USA, has turned to complete and utter s**t. The mainstream media isn't really the "Fourth Estate" anymore, nor does it hold or adhere to the "muck racking" ideals that the Fourth Estate was built upon. Rather, it has mutated into nothing more than a public-relations firm - regurgitating and glamouring-up State Department press-releases and political speeches. I remember when I began my Media Degree at University here in Sydney, the first lecture I attended, the lecturer's opening words were; "The modern mainstream media...is a lie. The Fourth Estate is dead." It's funny how Australia gave the world that wretched bastard, Rupert Murdoch, however, has also given the world Julian Assange and John Pilger - two great inspirations to me personally - and the future of independent media - how the Fourth Estate was originally intended and meant to be. I hope to be travelling back to Syria soon to make a documentary about my village/region (Syria's Christians), and how they suffered at the hands of Western-backed "rebels" - something that is never reported on in the West.

You presume too much, because many citizens in the US that pay half a mind to whats going on in the world are well aware of all that. In fact, I grew up 15 miles from one of the chemical plants that made Agent Orange and remember numerous and continuous protests at the plant throughout the years as a result of that notoriety. Moreover, AgentOrange was so widely known and understood it was integrated into numerous popular culture narratives throughout the years. The reason citizens can find out about this stuff is because U.S. media is free to disseminate that information. Never mind that over half the people in the country opposed the Iraq war - during the Iraq war. You might have an antagonistic itch to scratch regarding U.S. Americans, but we're not all idiots walking lockstep in some homogenous ideological blob. We're a blob, but we seldom agree about anything and are willing to let our government know it. In fact, that's exactly what our government supposedly is: a bunch of disagreeable people sharing the responsibility of making it up as we go along.

Excellent article, Andrew and I find myself agreeing with you rather than Tony Northrup. Then again, I'm not sure how much Tony Northrup really agrees with Tony Northrup: his video smacks of being one to pull in an audience with a headline-grabbing title... Sure, I'm all for improving usability wherever possible but proper photography and "hey, look at my friends having lolz tonite" pictures on social media are two different things. There really is no point trying to make cameras operate exactly like mobile phones because for the vast majority of people, it wouldn't make any difference: they'd always opt for the phone and the phone-alone because it's 'good enough' and the extra performance of the dedicated camera just doesn't warrant the cost/size etc. Ultimately, if people are genuinely interested in photography they'll move up to a 'proper camera' and learn to use it. I don't subscribe to this dumb-down/ race-to-the-bottom mindset that says we should gear everything toward the people that have grown up in the smartphone/iPad era.

I am Syrian. I am Antiochian Orthodox Christian. I come from a place in Syria called Wadi al Nasara (known in English as the "Valley of the Christians"). I come from a village called "Safita" - about two-hours north of Damascus. I currently reside in Sydney Australia. 99% of my family remains in Syria. If you are not Syrian, if you have not lived in Syria, if you don't have all your family and friends in Syria, please do not pretend to know about Syria, or talk on behalf of Syria. I have lost many family and friends in the past few years. All at the hands of the US and NATO's so-called "moderate rebels". The youngest was two-years old - killed, along with her mother, whom was attempting to rock her to sleep, by a "moderate rebel" sniper. Why? Because she was unfortunate enough to be punished and killed for no other reason other than for being born a Syrian Christian. The Western-backed "democracy loving rebels" destroyed our towns. They desecrated and burnt our churches. They beheaded our priests (two from the village next to mine). I am doing my absolute best to control myself as I write this. I keep telling myself to back-track. Delete the post entirely. In all serious, what is it going to change? What is going to happen other than having myself, my background, my history, exposed? It will most likely be in vain - most people have been manipulated by Western media for years. My hope is that perhaps one mind could be changed. If that. Regardless, I am absolutely fed up with this diatribe and propaganda that is purported and spurred on by Western exceptionalism at the behest of US/NATO hegemony. Obama. Clinton. Merkel. Erdogan. All these NATO war-mongers, and their partners in the Gulf, namely Saudi Arabia and Qatar, have armed, trained, and funded these Salafi and Wahhabi proxies militias against us. I blame them personally for this. I blame them for all the family and friends that I have lost. What's worse, Western media would have you believe that was is happening in Syria is all in the name of "democracy" - that it was some "popular uprising" - when anyone that is Syrian, or has lived in Syria, especially during the war, knows that that is complete rubbish. Regardless, the idea that the West wants democracy anywhere is a joke. Only political romantics that do not understand geo-politics, Western hegemony and realpolitik fall for this. The West wants democracy in Syria, huh? Even though they partner, arm and train the two most undermocratic governments and armies on Earth - Saudi Arabia and Qatar. Give me a f**king break. I don't care for Trump. I don't like Trump. I don't have hope for his administration. Personally, I supported Jill Stien. Regardless, anyone that thinks Clinton would have been any better is deluded and ill-educated on her neo-con and neo-liberal history and agenda. You know what - I'll tell you the real "cruel irony" - the one BBC, CNN, and the rest of the faux news wont tell you - that people who support LGBT rights and women's rights, the people that are against crony capitalism and corruption, the people that are against war, are the same people supporting and protesting for Hillary Clinton - a woman funded by Saudi Arabia and Wall St cronies - whom are the absolute antithesis of everything those people stand for - that is the f**king cruel irony. And this whole anti-Russian sentiment has reached ridiculous proportions. You know, I got off the phone with my Dad in Syria the other day. He said to me; "If Russia dies, we all die." If you were a Syrian Christian, or a Syrian that supports secularism, you would know what that means without even needing explanation. Russia is the only reason Syria hasn't fallen to the proxy armies and militias of NATO and Saudi Arabia. If if wasn't for Russia, there wouldn't be a single Syrian Christian/secular Syrian, left alive. People want to keep playing this anti-Russia card, fine. Keep believing the same bulls**t media and governments that sold you the Iraq WMD lie. Or the photo-op phony NGO groups like "White Helmets", et al. Real Syrians know the truth.

I don't have anything in production to show, but today I shot a couple of short clips that I've uploaded to Vimeo: The password is: eoshd The clips are straight from the camera, you can download it from Vimeo. The first is my son backlit with a colour card in very light shade, there's bit of flare at top of frame. The second is to give you an idea of what kind of dynamic range you can expect. Both are shot in 4K using the Flat profile with the Nikon 20mm f1.8, around f2 - 2.8 (can't remember). Regarding live view, you have to engage live view every time you turn the camera on. I'm pretty sure there isn't a way to have live view turn on automatically. Then again, even when the camera is on it uses very little battery, so there's very little penalty to leaving the camera on and live view off. Except for changing lenses with IS/VR/OS elements, if you don't turn off the camera the lens won't park the moving element and you'll hear the lens rattle like crazy. I'd appreciate it if you don't share this all over the internets, I made these for this community because I've learnt tons here and I want to give a little back. I just feel a bit weird about my son's face all over the internet even if he is hiding behind a colour card...

Since there's an example of the 1DX II skin tone in a wedding video, here's one with no Canon cameras. Just Sony and Panasonic.

We've been using the 1DXII for weddings for the past month. Skin tones on a bride are always important, and I think they are great with this body. I don't have any full films completed but here is one of our teasers : Matt // www.thefilmpoets.com

Nice video. I noted 2 things though: 1. Crazy amounts of purple and green chromatic aberrations. 2. Strange motion cadence... I could see the frames. Possibly due to shutter speed choice? Most notably seen on the first shot of the gondola coming our from a bridge.

Just dropping some more insight after doing more tests.. Don't use the Highlights/Shadows adjustments when shooting faces. It evens out the skin, giving that "waxy" effect. Classic Chrome with +4 color is my favourite profile. Provia can be a bit too orange on skin. ProNeg Standard is good too if you want something slightly flatter. 4k jello is real. Close to the Samsung NX1 and Sony A7S. Use with caution. Thankfully the 1080p is sharp; much sharper than my D5500. AF-C is very usable if you get to know it. In JPEG stills, the Grain option on Strong actually lifts up the blacks a little bit, giving that VSCO effect, which I quite like. The 23mm f2 WR is a weird lens. Out of focus areas have a rendering like some vintage lenses I have used. It's nice but not what I expected from a somewhat expensive modern lens. The f1.4 has a more modern rendering but the mechanics act more like an old lens. The below were taken with the f2 WR. Really want to go out and shoot properly but just don't have the time at the moment.

I have to agree with jcs on this one - the Canon looks great out of camera but I was curious about the A7S II still so I messed with it in PS for a few minutes and came up with this. Not a dead on match but not bad either.

The DSLR is dead. Long live the DSLR.

has anyone tried the from this link? https://github.com/ottokiksmaler/nx500_nx1_modding/blob/master/ST%20Commands.md maybe that will turn off noise reduction? Also there was talk about 3D lenses maybe switching off Noise reduction. Has this been tested?