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What was everyone's favorite new camera or lenses or lighting? Mine is the ice light - cool little light. don't know if it came out this year. thread of the year is Ebhrahim's Epic Rangefinder journey. Sorry, had to get that in there. That was about 30 hours of my life.

Albert ( @Brother ) traded in the G7 for the GX80! Of course he had to go and get one of the sickest lenses out there for it.

Kino, I wouldn't need encryption as well. Rather I'd kill for the 4k cropped video option from nx500 to be implemented in nx1...any chance for this?

@Ed_David

@tomekk asked for a 1DX II test to see if it suffers from a problem reported for the 1DC. 1DX II 4K24p recorded for 20 minutes in a 75F office with lens cap on- didn't get very hot. Ramped from ISO 200 to 12800, Lumetri exposure set to 2.5 stops to show noise pattern:

Blacks are crushed.

One more:

People didn't try to do everything on their own in the professional video field of old. For interviews it would be a team A sound guy, a camera man and the actual interviewer. If you're doing all 3 jobs and find it hard, no shame in that... it IS hard Being a camera technician on top of the other 3 roles is just too much. Get an Ice Light 2, keep the GH4, keep the tripod and lav, dump the rest.

We need to hound DPReview until they remove the criminal https://***URL removed***/members/9734214696/overview Tactics?

Indeed i did! I thought that the GX80 would make a perfect B-cam for the GH5. But who knows, the GH5 might be the worst camera ever, in that case i'll keep my GX80 and be happy with it Oh, the Olympus 25/1.2 is amazing by the way! Thank you!

Eventhough the gx80 is a great camera, especially if you take the price into consideration but if you had to make a choice then the G80 is a better camera allround and worth the extra investment, the internal audio on the gx80 is really bad, you can't plug in a microphone, the viewfinder is too small, the lcd screen doesn't flip open and it doesn't have cine-d or v profile. These are all shortcomings the G80 does not have, for me the G80 is camera of the year.

Ebrahim would vote for Sony RX10 III https://***URL removed***/articles/5779264212/have-your-say-best-high-end-compact-of-2016?comment=8675944557

6K!

Hi to all! My friend Juan from France sent me Moller 63/2x, so I decided to remake it as rework other bulky ana projector lenses. First impressions - can work with that lens. Overall weigh of lenses without body around 700 gr. Little lighter than 35 NAP 2-4 / 2-2 (800 gr), and much lighter than 35NAP 2-3m (1 kg). First examples: In future I'll add examples to the extent possible.

Nice recording! Orangenz, out of curiosity why did you not upload this 4k onto YouTube? I think your white balance is fine (but perhaps you corrected it in post?), but I find the footage a little under exposed (which is the source of those strong red and orange tints). If you look at the scope it is mighty crowded in the black and shadows region. I disagree with Vesku that highlights are clipping. Lighting is a bit uneven, some of the reflections are a bit harsh. I don't know how many lights you used but it is sometimes worthwhile to point one towards the ceiling to get a nice diffused base light of the whole scene which allows you to place the main and key lights a bit farther away. And great bokeh balls!

Thanks, I will check it out when I get the Pocket (my 2nd... ugh) I just purchased Red Giant Renoiser, during their annual sale, and it seems pretty decent but I am fairly new to grain. This is a shot from the Rx100v. It's my first attempt at slog2, but if nothing else I thought the grain from Reniiser added a nice texture... Btw, your company's new feature... Dead Bullet looks great... can't believe it was shot with a gh4.

Usually I denoise, sharpen, and use DaVinci's new-ish built-in grain on the clip level. I get a lot of studio features in my line of work (freelance editor) and the grain they add is very, very similar to what DaVinci offers. I remember noticing it when i cut this piece for Triple 9. Youtube compression kills the grain, but in the master, I was taken aback by how heavy it was. This and others have been a nice education on how studio pictures implement it.

Thanks for the advice anamorphic doctor ! As the coating was already 75% gone, I had to remove it anyway. I'll try to find a company in france who can re-do the coating, very good idea

Very true, I have it mounted on the GX85 with a Speedbooster and I feel sorry for the flimsy body Low light performance at f/1.3 is great though:

What's the day-rate for an assistant over there? Going by your setup, I don't think you need more gear or even different gear. Better to invest in fellow humans than peripheral gear that gets replaced every 9 months and that you already regret immediately after buying. That assistant of yours might actually grow with you and your business, take away your stress of trying to manage a million little technical details, provide a different creative view outside of your own echo chamber and let you step back a bit from worrying about nuts and bolts and concentrate on direction and vision. I mean think about it, instead of monitoring levels on your audio, you can actually listen to the content! Instead of pulling focus you can really direct the talent and assemble the frame you want quicker. The better your work the higher you can request for your budget too no? Oh and hey, everyone on set (including yourself) might actually enjoy some keen, eager, not yet jaded energy around!

San Francisco at Night with lots of bokeh balls. Camera: Panasonic GX85 Lens: Sigma 50-100mm f/1.8 Metabones Speedbooster Most scenes recorded with an aperture of f/1.3 using ISO 1000.

Hi, Justin! If you remove coating, contrast falls (your sample compare confirms this) and light streaks not blue as usual, but white. You can find the optical plant that causes coating on optics, and if they do that in your case, also try to clear the full coating and give them for work. I have not yet done, but try as an option.

It is hard to qualify objectively what is "big" in this case. I think IBIS is great even with lenses that do not have IS. Another great lens is the Panasonic 42.5mm f/1.7, that one works great in conjunction with IBIS.

I am getting a GX85 because the GH5 arrives in march and I go to Patagonia in February.. For those who have info or tried, does the Dual IS vs just the IBIS make a big difference in video? I would like a Panasonic 12-35mm f2.8 or the Oly 12-40mm f2.8 which is better but with no IS (therefore no Dual IS possible with the GX85). For video, is Dual IS clearly better than using the IBIS + let's say the 12-40mm Olympus? If dual IS makes a big difference, my combo will be the 12-35mm f/2.8 + maybe the 42.5mm f/1.2 IS Thanks

couldn't agree more. my C100 is most often found sitting on it's shelf, until i get a call like a couple weeks ago to shoot a corporate docu, and in 2 days of use it already paid for itself. no way would i have been able to do the things i did with the XT2. Canon Log, Zebras, ND filters, the insane battery life (a full day of shoot with ONE charge) and yes the killer feature: dual pixel AF. Not to mention the ergonomics and confidence you get by having such pro equipment. that being said if you're an amateur/enthusiast, maybe C100ii is overkill. certainly not the camera i'd bring on the street, on vacation or kids soccer game..

I think that is sound advice, thanks! However, some stuff is just too much fun to ditch, like the gimbal and ifootage slider (the pan tilt head was an admitted mistake). I am not ashamed to admit I rely on them to lift the narrative of my corporate work - even though everyone insists the story and content is more important (which I agree with), I want both. 10 years ago I used to be so envious of companies using motion tools and now they are finally at a point where they are reasonably priced to invest in for rhe type of stuff I do. I dont sell movement to clients, I just suprise them with that little extra that they may not get elsewhere. however, I do make sure my ideas are on point before I choose the tool, not the other way round. This all reminds me that im in that right field, because as you mention its hard work and you need to love this gig to go through this and I geuss I do. Marco Pierre White always says.... "perfection is doing lots of little thigs well." Thats what I tell myself every morning im packing all this nonsense into a bag and going to war with these overpriced, finicky but lovable creative tools.

Unless you're having financial issues, then why sell the C100ii? You have one of the best, for its cost, cinema cameras out there with insanely good AF. That camera will pay for itself in less than a year by doing an odd job once or twice every couple of months.

Haha I wish I had your time, my 1 year old daughter leaves me close to none Right now I have no reason to buy the 16-55 as I have very little experience with the kit lens, I bought it 2 weeks ago. But who doesn't love fixed aperture zooms... so I wanted to buy the ND filter for the largest lens I might buy in the future. I come from Nikon so I have no Fuji glass at all, and I want to be prepared.

Jonpais! Love the SOOC look with the 50-140 :)! I just got my x-t2 and am starting to shoot a little with it. I have to say it is excellent! I need to look at other lenses for lowlight options. Could you take some video shots and night and indoors with limited light? I recently invested in a c100 II because I'd like to do some video/doc. work for my students and myself but I am having major buyer's remorse now that I see how great of an image x-t2 is achieving. I'm actually strongly considering selling my c100 II and 24-105 with less than 2 hours of recording time.

Emailed Richard Butler at DPReview. But since he's on so many sites, it would really help to somehow get a wider audience to know what he did. REVENGE!!

Don't know about Andrew, but I'm very partial to drinking 4992 glasses of water over 3744 days. Hmm, that will take me several new years resolutions...

Good stuff!

Thx jcs, I appreciate it.

In case you were wondering...

Jcs, the video looks good! The C300 II is a high quality beast. Skin tones look really good. Sound is really good. Well done. By the way, it is an important topic which affects many people. Cheers.

I'm going to second this, rented it for 3 shoots this year, 2 videos and one Wedding photo shoot. It's performance is incredible.

I'm very impressed with the Sony 24-70 G Master. It appears to be parfocal, focus by wire works well and autofocus with Sony A6300 and even the A7RII to a lesser degree is very good. At the long end, it has nice bokeh wide open with a 3D pop to it. Resolution and color are outstanding as well.

Best new camera is the one I am reviewing right now, the Panasonic G85. The new sensor is way better than the GH4 in terms of image quality. The stabilisation is amazing. The ergonomics just-so. The price a bargain. I love everything about it. Best Panasonic camera since the GH4 and LX100. GX85 earlier in the year also gets an honourable mention! Best lens of the year, hmm... so many to choose from. It would have to go to the Sigma 50-100mm F1.8 but it's just so damned big and breathes a LOT. So not that. Let me think... Sigma 20mm F1.4 ART... or is that last year?! Ice Light looks interesting. Worth the money? Do you have the Ice Light 2?

Cheers mercer, yes it's far too long & it was even longer, but as I cut, I ended up putting other things into it. Going to give it another good chop at some point, just got to decide what to take out of it & what needs improving. I did cut up a speech from JFK & made his words relevant for today's climate - so that has to go in. Oh well, it's Christmas now & time to relax & enjoy!

The zoom ring on the Olympus lens turns the opposite way compared to the panasonic lens so that might be annoying if you are not used to that, also the panasonic 12-35mm does not produce micro jitters like the 35-100mm does. Another advantage with the panasonic 12-35mm is the OIS so that does give some extra stabilization when combined with the sensor stabilization and if you plan on using this lens on a GH4 or G7 you at least have a lens with IS where the Olympus lens does not give you that option. The focus clutch on the olympus, eventhough very handy, is like the panasonic still fly by wire, not sure for the g80 but switching between auto and manual focus on a GH4 is very easy and fast as well, I have the olympus 40-150mm f2.8 and everytime I pull that focus clutch to have manual focus the image shifts out of focus, doesn't happen on my gh4 when switching between auto to manual. The panasonic is also smaller and lighter. If I had to choose I"d take the panasonic over the olympus. For photos the olympus is the superior lens but if your main focus is video you would have to pixelpeep to see the difference in IQ.

It's all fixable! Don't worry about anything. Also you are not leaving anything behind just because you might switch from DSLR to a pro camera. EOSHD is about both and I was an FS5 owner earlier this year. I just prefer small cameras, for me they are LESS complicated and get out of the way of the artist, far more so than a big complicated cinema camera beast. Variable ND or standard? V-lock power is a major pain in the arse for pro cameras too not to mention having a heavy brick to haul around on the back of your not so mini URSA MINI GH4 is much more simple. Blackmagic were on the right track with the Cinema Camera and Pocket Camera, but they never got the internal battery side sorted out... the cameras were too hungry for juice, lacking the economical processors and sensor of the Panasonic 4K mirrorless cameras. Not much has changed with the URSA Mini and on the RED / Arri side it is the same too. One of the reasons why the C300 was so popular for day jobs... easy on the power, easy to power, easy to carry anywhere without so much hassle. You might try investigating the C100 Mark II with Dual Pixel AF if you want total convenience and everything built in. External ProRes 422 is always meh because the HDMI is heavily compressed, not real 422, not real 10bit in my opinion. The next step up from 4K 100Mbit 4:2:0 internal is the 500Mbit 4:2:2 MJPEG on the 1D C and 1D X Mark II, then you have to step up to RAW. When I use ProRes it is only in transcoding after the shoot to get files that edit smoother in 4K. XAVC-S and H.264 can be quite heavy going when you start grading them in Premiere and having multiple tracks going. Another reason to keep things simple and not bother with ProRes externally. Keep the GH4, lights and NDs, dump the Pocket Cinema Camera and extra power / monitors. Simply the shoot so you can concentrate on the content. Stop down the lens for easier focus and maybe see if you still need NDs when you have lit for a slower aperture like F2.8 or F5.6. Interviews rely on good sound so keep going with the Rode gear. It's very good quality stuff.

If anyone needs further convincing of the 1dxII - put on a diaper and watch this in 4K. https://vimeo.com/192756025