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Keeping them but I will be selling the A6300 as I now have the A6500.

I mentioned it (not to be like "I already mentioned it, Jimmy! "), but yeah, same reasoning

@Neumann Films if you wanted more shaky footage could you let's say use a GX85 with ibis on? Also if I wanted to buy a camera in the future what codec would you suggest ? I am afraid I might have more fun decoding your messages than transcoding my future files.

1+ Or ask Ebrahim Saadawi for some help

Slow motion test. All scenes shot at 1600iso.

Price dropped to 599 GBP! Seriously Mate, bargain. Also, reposting the music video I shot recently:

I got a set of Ianiro redheads (the original redheads!) for under £150 on ebay - 3 lights, stands, scrims etc. Got a 300W Arri fresnel plus stand for around £30. Nearly a full Lowell kit - Omni, Tilta and the other one whose name escapes me, in separate ebay deals for a total of around £100. A bunch of good stands for £20. A boom and stand for a tenner. You can definitely put together a lighting package for little money if you're prepared to take it slowly and look out for deals. The only instruments I've bought full price have been a few different LEDs - there doesn't seem to be the same kind of bargain-rich secondhand market in them yet. Plus, I should mention, Lee gels are, for what they are, really cheap! I should add, @Dustin, that I don't know where you're based, but the UK used cinema lighting market is like a tiny gnat compared to the big buffalo of the US one.

It depends on how much weight you are putting on to it and how you are using it. Depending on the circumstance (like in my case) having the column decreases the strength of the setup so it is more prone to tilting and flexing. Obviously for static shots / photography they are convenient (but still give less rigidity). Once you start moving things or put weight off center, the strength goes down. I also find I rarely use my center columns, yet 7 of my 8 tripods have them because I thought they would come in useful (and also they are photo tripods, and basically all of them have a center column)

Who said the GH5 will be?

Amazing visuals. Great soundtrack and V/O. Great edit. Lovely lighting. That was some visit... Well done!!

Not blown away by anything out of the camera so far and since my own hands on with it I've been shooting with the Panasonic G85 and realised it is by far the better deal. The stabilisation doesn't seem much better on the E-M1 II compared to that camera for video. The price - is it worth double just to shave 0.2x off the crop factor in 4K? The ergonomics - I feel the Panasonic menus and controls are less convoluted somehow. E-M1 II doesn't seem to have an advantage for ISO 3200, 6400... unchanged since old E-M1 Don't remember being blown away by the EVF compared to the G85 at half the price either. Main difference is the higher bitrate codec and less rolling shutter.... but neither are a particular problem on the G85 either. Both are very good cameras for video but right now I am leaning towards saving $1000. Not least because the GH5 is around the corner which gives the E-M1 II a useful shelf life of about 2-3 months for your $2000.

Not sure how we have gone from wedding video tips to discussing the RED Helium!? Probably overkill for most people's weddings btw, for most people, once you are delivering decent 1080p (maybe even pristine 720p)... Colour becomes way more important than additional resolution.

I think the fact that most people are comparing the NX1 to RED's or URSAs is already something astounishing to say, considering the NX1 was on sale a few days ago for 500$ and the rest of these cameras cost +4k$. I personally do believe its one of the best consumer cameras out there, it has a lot of strenghts and its weak points (at least to me) arent that big of a deal, but of course this all means nothing if your needs are different. But one of the things that most of my clients say when they first see the films is "the colors and image is beautifull", so I think even random clients appreciate the colors much more than what we think they do.

Has anyone mentioned the Canon 1DC yet? That is around £4k new now. I know you want 10 bit, but we are talking about compromises here.... I found it to be not as huge a compromise I always imagined, due to the 4:2:2 colour space and the very high bitrate. The motion is really nice, due to the mjpeg codec and the look and colour is still very unique.

Maybe I've been spoiled by Canon/Nikon, but no I've never had to update firmware out of the box for basic operational usability (although that seems to unfortunately become the norm with everything electronic these days). Furthermore, again I wasn't even aware lenses had or could be FW updated! Then again most of my glass is vintage Nikkor and my Canon stabilized lenses always worked fine right of the box. Maybe I've been lucky? Or maybe Fuji dropped the ball on this one. The 18-55 OIS kit lens isn't even new, it's the same then on XT1. So I'm sorry but I feel the blame is on them for not testing and not the user for not having searched every second of every review video.. Anyways let's bury that subject since issue has been resolved. @jonpais Speaking of the kit lens, I was actually positively surprised by it (above issue withstanding) yes it isn't constant aperture which I also despise but it does have OIS which seems kinda invaluable for handheld work, especially in 4K where micro shakes are increased. It's also really well built (as most Fuji lenses) with aperture wheel which can be set to automatic or manual. It feels fly by wire so it's really smooth which is great for video. Optically it's also quite excellent. For only 300 extra it's kind of a no-brainer although if I keep the camera I will of course purchase primes which is what I favor shooting with. Nice review btw, and glad you're getting along with the camera! Could be Honeymoon phase but there is definitely something different and unique about the Fuji experience.. it doesn't feel like just a tool like Sony's for example..

So whatever it is what you are testing How are the noise levels comparing it to a GH4? As on the GH4 iso1600 was unusable for me. Hopefully on this new camera there will be a massive improvement on this department. And how about the Dynamic Range, is it small upgrade or quite good? And finally is it still the same codec or could we expect something different like h265? Thanks!

Hip Hop video clip 4K, shot hand held:

Might be worth while looking at some used Miller Solo sticks and a 75mm half bowl to mount the slider on. 10 lbs weight at one end of a slider might be a challenge for one tripod. Good thing about the Solo sticks is they can get down nice and low. Good advice.

Cheap sliders slide on tubes, better ones use a belt of some kind. And the even better ones have a heavy flywheel. But it depends on the weight of the camera you are using. You don't need a heavy duty one for a Go Pro. And you can't use a cheap one with a heavy camera. Pure Physics.

I don't like hearing "the many words in gray" thingy! 6k thing not surprising.

Great and promising info, thanks Luke! (E :-)

I was thinking the other night, the 1DXII is unique right now. Nothing can do what it can at the moment : 1.3x sensor with Canon color, 4k with no overheating and autofocus (and that excludes the 4k 60fps and 120fps 1080p) C300 II - crop sensor, large size c100 II - 1080p 5div - 1.7x crop 1DC - no autofocus, no slow mo A7sII - FF but sony colors, 4k overheating a6300 - sony colors, 4k overheating nx1 - crop, funny colors gh4 - crop, autofocus Now there are lots of things to like about every one of those cameras. They are all fantastic really, but the 1DXII has an edge in several areas along with some downsides, but aside from the massive file sizes I'm happy with this thing.

That came out well. Every colour nailed perfectly!! Also, your 'German' christmas markets are much better than the real ones in Berlin

This issue was a real problem for some 1DC owners. From what I understand, it was caused because there was no way to re-map pixels. It didn't apply to the 1DX and doesn't to the 1dxII either. I have no idea why it was exclusive to the 1DC other than it was a hot - rodded camera and had some design changes.

Testing pre release ver?

Except, sensor in 1DxII is completely different dual pixel design.

This might work: Upload video to youtube » your translator easily adds captions via the online editor » download the captions from youtube » load into premiere like that » you're ready to cut.

Lovely work...another good example of why I've kept my 5D3 and have not bought any colour crippled, 8 bit 4K over-sharpened newer offerings. Now ML is refining it's 10-12 bit and crop mode options - the improvements and surprises of what that camera can do are STILL being uncovered.

I think it's as simple as those two examples representing the two opposite extremes, and people here want something more in the middle- a detailed image without artificial sharpening making it look gross. 6D footage has issues outside of resolution and sharpening- mainly awful moire and aliasing- and you can't really fix them.

The Crane was originally built and sold as a gimbal for camera+lens combos of 350-1200gr. Nevertheless, its motors are quite powerful and soon users realized they could get very close to 1200gr and even over that limit and the gimbal still worked. Turns out 1200 gr. is a very conservative limit. Zhiyun, acting responsibly -which is unusual nowadays-, provided a wide margin so that the product would work as advertised. Having said that, after so many enquiries from some users and answers from other users going over the limit, Zhiyun released an "alternative" firmware that extends the payload limit to 1800 gr, though it also raises the minimum required weight. Therefore, if you are going to use a small mirrorless, bridge or compact camera the "regular" firmware is recommended but if you plan on using a larger DSLR, you can dowload and install the "alternative" firmware from the same Zhiyun page. Hope the explanation is clear!

I think as well, like relationships, expecting things to change is a lost cause. It's key to accept that a cheap and difficult client will always be a cheap and difficult client. Time spent trying to shape them otherwise is time *much* better spent by finding better clients. I'm definitely guilty of this trap.

These are for C500 and Red and FS7. I do not thing that you need anything like this, and they cost multiple times the smaller ones. Check the S2 kit (the whole thing can be very cheap), and the S4 is just right for smaller rigs. I have S6 and it is a bit overkill, but maybe the right price/size/features if you want to buy something bigger in the near future (C100markII and LS300 are perfectly fits). If you can afford it, and you want something medium, buy the Sachtler, better than any Manfrotto combo for the price (only the lack of lighting at the leveling bubble is just stupid!).

I ignored the flags, just looked at the bottom line. Big bad mistake.

I do a fair amount of music demos and the 1DX II has been amazing on a gimbal. I LOVE the 4K, and the AF isnt just for shallow DOF movement. Big long pushes with deep DOF still benefit from the DPAF. But keep in mind that the sweet touchscreen isn't available on a gimbal, I'm currently testing ways to get it to work with my iphone. This is a teaser for a Music video, so not synced up or anything :

I am trying to match the GX85 to my Canon 70d. I love the colors that the Canon produces. I have found on the GX85 that Standard +4 -5 -5 0 Highlights -2 Shadows +2 I dynamic off comes close. On the Canon I am using Vision Color Profile sharpness 2 Contrast -1 Saturation 0 Color Tone -1 I am flying the GX85 on a steady cam and needed them to match to save time in post. Testing highlights and shadows. Compairing hignlights -2 or -3 shadows +2 or +3 I am liking -3 +3

The filmic look comes from dynamic range, but unfortunately not all cameras have enough to have that filmic look, therefore we raise the black levels to mimic that style. Its a stylistic choice, I dont like vibrant looks, to me, thats as vibrant as I would go. But I dont think its the cameras fault, its as versatile as any other camera. This is a friends work, also with NX1 : I think the NX1 has a much more pleasing look than any of the sonys for example, specially after trying my new a7sII, its very easy to have terrible skin tones.

To me that clearly seems a stylistic choice. I'm more drawn to wedding videos that are a little more cheerful, upbeat, happy, bubbly, but that does tend to get a little cliché. So, I admire the spin on it, to make it a little more dramatic yet mellow. There's a calmness, it's peaceful/serene. The grade reflects that. It's not another overly energetic video, it's not poppy. Certainly that's something that some couples can appreciate, also pretty sure that's something that wouldn't fit the personalities of other couples. But when you're talking about taste and creative choice, anything is subjective. So I wouldn't go and say that's wrong.

Not really. If you're using native lenses, it's only an extra 1.17x crop. Instead of a 35mm, your 23mm turns into a 40. Oh no, what a tragedy. If you're using adapted lenses, a simple speed booster takes your crop factor to a badass 1.25x. Either way, it's nothing I'd cry over.

gh5 confirmed to have 5 axis stabilization. Rumor rated 5.