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You would enter the actual focal length of the lens (or of the lens + booster as a package). Native lenses are of course labeled with this, although you don't have to enter anything for electronic native lenses, as they communicate with the body. For non-electronic native lenses (Voigtlanders, Samyang/Rokinon m4/3 lenses, etc), you would have to manually enter the lenses' stated focal length. Same for any manual glass with a plain (non-booster) adapter. For boosted lenses you would enter (lens focal length X speedbooster power), so for instance for a 50mm lens with a .71x booster you would enter 35.5mm (50mm X .71 = 35.5)- or the closest option in the IBIS menu.

I agree about the lens choices too. Can't figure Why the M43 makers don't concentrate on Faster Lenses. Like maybe a few f1.8 zooms or f.95 primes Even if it means collaborating with Voigtlander or Sigma. Leica is great but their prices aren't.

I made a quick and short dynamic range test video for the GX85

Oooh, she's a pudgy girl. Been snacking on processors and IBIS assemblies have we?

Hey everybody! I don't know if anyone would be interested in trying this but I just wanted to make sure I'm not seeing things.Ok I decided to experiment with 4k cropping mode but instead of using it for panning or zooms I used it to shoot 1080 30p video,meaning I set the start and end points of the mode to cover the full area of the lcd screen "images below". As I understand it in this mode 1080 30p is scaled from 4k in camera which gave me the idea to compare it to regular avhd 30p.First of all when shooting in 4k cropping mode you're limited to 20 or 40 secs and of course it's 30p. Long story short I have found the 1080 30p from the 4k crop to be visually superior to regular avhd 30p with the down side of a slight crop. I don't know if this would be of any use to anyone but I found it to be very interesting if someone wanted better 30p sotc. It would have been great if this mode allowed shooting in 24p to give a better 1080 image but considering the modes intent I get why the framerate was left out. Lastly I would be interested in those with 25p cameras to do the same test to see if you get similar results.

I average $1 per 1000 views and have yet to earn $250 in two years lol. It is good to be monetised, though, just in case you film something extraordinary that gets a few hundred million views in a short time whereby advertisers fall over themselves to pay the top rate for a few months. My biggest gripe are the spammy companies offering to license your video and offer you 60% - how generous of them. To be a top earner on YouTube you generally have to appeal to the lowest common denominator; which is to have wild hair, a whacky disposition, be stunningly good looking, have a knack for tapping into the brains of the near dead, master the art of false humility and get people to feel sorry for you, be a big fat show off or any combination of those listed. There are many seriously talented folk on YouTube who get nowhere in terms of hitting a million subscribers (or even a thousand in many cases) but then that is not why they are there in the first place. Philip Bloom has around 125,000 subscribers Casey Neistat has around 6,125,000 subscribers That tells you all you need to know about this world.

Would like to know what you think about our newest work. Shot with the infamous Panasonic GH4, internal V-LOG 8bit, -5/-5 NR and sharpness. Used Panasonic lenses: 12-35mm 2.8, 20mm 1.7 and 42.5mm 1.7. Used a Tiffen Black Satin Filter to get rid of the sharpning artifacts still left over at -5 and add some smoothness to highlights and shadows. Budget: about 0$.

Whew what a year, I think I have tested nearly every brand of camera and I keep getting pulled back to the BMPCC. I briefly had it back in October, but my copy had some overheating issues and I returned it. I quickly got caught in my day job and didn't get the chance to process any of the footage. Since then other cameras caught my eye, but I recently sat down and spent some time with ProRes HQ footage. This is what I came up with... Even with my color massacre, I find the image out of that camera to be the most robust, filmic image I have ever achieved on any sub-$1000 camera... so is the BMPCC still a relevant option with all of the 4K consumer cameras on the market and soon to be on the market?

Can you link to some of your work then? Just for me to see what "progress" really means. You don't need to post the links here, you can PM me.

Looks good, you're absolutely right, it is an amazing camera with the true cinema camera touch. Too bad the Micro Cinema Camera wasn't quite the replacement for it. Though, the BMPCC could really use that Mosaic Engineering VAF, IR cut filter, image stabilization, vari-angle touchscreen and better battery life. I hope they get to read this and take it into account for their new year's resolutions. Imagine something like that in the G85 body. Gold!

Most of the photographers I work together with at weddings are professional, a few have been award winning for whatever that is worth but every single one of them uses either a flash on camera or has 2 separate flashes which they place separately or clamp onto something and which remotely are triggered from their camera, often they also use such an umbrella or whatever it's called. Now I don't have any experience shooting photos but when I look at some of their work, they certainly know what they are doing because their work is stunning. I"m not going to link to some of these photographers here but if you want I can send you a few links via pm so you can judge for yourself.

Actually, ISCO integrated lens is smaller then Cinelux. There are more other ISCO made big lenses. To say flares, they all have different version of coating. And Cinelux new and old version are different too. But basically they are all belong to quite week as flares.

Many here complain about lack of ports. While I do somewhat agree, there are workaround... For example, using usb-c cables to replace your existing cables does away with the need for dongles. Or simply use a dock. Honestly, I don't miss the SD reader that much, as my serious camera uses CFast, not SD. So I was using an adapter anyway. So far, in my limited use with the new MBP, it's been great. One note... Do not waste money on the Apple USB-c to USB 3.0 adapter... It does not work correctly with devices that require fast data rates. I ordered a new one (different brand) on Amazon. I did transfer some 4k files from my 1DXMkII. QuickTime playback was much better than on my PC workstation. I then imported them in FCPX. Playback was smooth as silk. And everything was really fast. I'm really liking the new MBP.

The 85 1.4D is a tank, the 85mm 1.8D is terrible however.

I haven't had the 1.4D in hands but other full metal AF-D's like the 20-35 2.8 are filthy tanks compared to the plastic shells of the cheaper D versions. Yes I really liked the 1.8G I tested, too

I offer this to show what the official Panasonic LUT produces in terms of color from its VLog. Shot AWB, Vlog (10bit ProRes 422 HQ In the Shogun) with the Panasonic LUT applied in Resolve with no tweaking of color at all: And, yes, there are skin tones too.

Saw La La Land and had huge problems with it. Emma Stone has two incredible scenes but I felt that the musical numbers were overdone, not well choreographed, and poorly edited. Unlike you spink I had major issues with the ending, not how it ended, but the filmmaking and editing used to convey the scene. Personally loved Arrival, High-Rise, Hacksaw Ridge, Kubo and the Two Strings, "Hail, Caesar!" , The Nice Guys, 10 Cloverfield Lane, and Fantastic Beasts and Where to Find Them. Still want to catch: Don’t Think Twice, Sing Street, The Lobster, Hunt for the Wilderpeople, Loving, Silence, Manchester by the Sea, Moonlight, Hell or High Water, Fences, Paterson, Zootopia, The Boy and the Beast, Captain Fantastic, Green Room, Fences, The Little Prince, A Monster Calls.

I like the Panasonic AWB too. It is very reliable and changes slowly or not at all during a clip.

The 85 1.4 D doesn't feel solid. The G and D render differently, I prefer the G.

Little things like the joystick are going to be very useful. Sounds like Panasonic perfected their GH line to the ultimate little camera.

On the Panasonic version you can use AWB. Only on the Sony version I recommend custom WB as Sony's auto-WB is rubbish.

6K setting on the top-left dial. Joystick on the back, nice touch. Redesigned d-pad / click wheel but I'll be using joystick instead. Full size HDMI port rumoured. I hope Speed Booster XL still fits the mount, and ridge above it seems lower?

Why use AWB with EOS PRO COLOR? Usually people say it is a stupid idea to use AWB.

@noone the "noone" part was from Homer's the Odyssey. Second book of European history (after the Iliad) What is wrong with what I said? It is plain english. I do use a7sII occasionaly for video, never for photos as there are much better photo options out there. Don't be so brand defensive, I am completely brand agnostic, I just care for myself, not them corporates. Most of the people here are using multiple brands/systems or have used many. It is just a tool, and you are "noone" (same book! The story with the Cyclop!).

I had no idea that every single photographer I worked with the past 10 year got stuck in the 60's

You can't be less than just 100% right ; ) One of my instructors at film school was used to say the same since my early days at film school 2 decades ago... Like button on twice mode :-)

People speak of XLR as the end of it all but in my view XLR itself is nothing but a chunky connector standard that should have never left the studio. If anything, it's the mini XLR that should be used on the field cameras. But then there's really no need for balanced inputs if the cable run is not very long and prone to interference -- and also phantom power is not something that is necessary with every good mic to be found, e.g. Ambient TinyMike is great and it doesn't require phantom power neither a battery. Feed from commonly used wireless receivers such as Sennheiser G3 also doesn't need phantom power; neither it is balanced, so a 3.5mm jack is totally fine. All you need is a decent preamp/ADC. NDs and good AF have also been implemented in the mirrorless form factor -- and so if the heat isn't a problem, I really don't see any reason going for a bigger body. The ergonomics of GH4 with a few programmable buttons and touchscreen works great for me for the run and gun type of work.

I was just looking at cheap shoulder rigs. sometimes the cheap ones like rest on your stomach partially.. looks a little awkwards, but supposedly those can work well. but I was mostly for the specific 16mm style cat-on-the-shoulder look. Not sure the audience will really see much of a difference between that and regular handheld though

He can't! It's great.

Best thing about this holiday season, GH5 leaks! Also, 2 different lenses are pictured. One is the Leica 12-60 f/2.8-4.0, and the other is Lumix 12-60 f/3.5-5.6. Neither all that terribly exciting. Would love to see a surprise announcement of a Leica 25mm f/1.2 with an dedicated aperture ring.

I think you are mistaken, IBIS is based on the actual focal length of the lens which is smaller in case you use a speed booster. The crop factor is not relevant. But someone from Metabones should probably give the last word on this.

Saw La La Land. Good, not great. The stand out movie for me this year was Sing Street. Doubt it will receive the praise it deserves though.

@noone + @bigfoot Obviously I am not the only one having some issues with the low light AF (stills) of the a7s ii: As seen in this article...This might be a good explanation for slow AF in low light... @webrunner5 Not necessary to get ironic. I am sure, I use enough flash and lighting - when possible....But there are many situations, when it is not possible or permitted. For example I shoot horse sports (show jumping) indoor. In Germany - in most indoor competitions - it's not allowed to use flash. When I shoot show jumping, I mostly need 1/1000s shutter. And no flash. As you see in this case, there is a real practical need for high ISO cameras having fast AF. In many cases, APS-C (7D / 7D ii) fail with noisy, not acceptable IQ (though using HQ tele with constant aperture f2.8). In my eyes and from technical point of view, I speak of photography (implicating my quality needs) up to ISO 12.800 (on FF cameras known for good low light capabilities). Till this point it's light processing. Above this ISO, it's no more photography as processing of light, but interpretation of darkness. It might sometimes be useful, but it is not my understanding (!) of photography.

from: http://www.nokishita-camera.com/2016/12/gh5.html

Anyone see "Moonlight" yet? I met Barry Jenkins the director once a long time ago and he was pretty chill, oozing with insight and creativity. My cousin did the film school thing with him at FSU. And I liked "The Nice Guys" for all it's endearing shabbiness.

The first video from this shoot is now live. Check it out for a point of reference. Concealed Carry Belts: Please forgive some of the camera shake... I was testing out a dual camera rig. Although it got the job done, the rig needs improvement and... more importantly, I need more skill wielding it. Between the two cameras here I was able to cover most of my mistakes and got some interesting Dutch Angles. The NX1 was simply mounted to a magic arm off the rails. The tighter shot was the BMCC 2.5K with the 50mm F/1.4 Super Takumar and a cheap speed booster. Stopped down to about F2. With the backlighting it was flare-tastic! ... I should have put on the matte-box, but we were in a hurry. The wider shot was the NX1 with the MIR 37mm at somewhere around F4. Somehow, although Sang and Mickey where standing next to each other, I really only managed to get Sang on the left in focus. That's user error. I tried to cover the mistake up with Luma Sharpen in Resolve... good enough. --- Alright, lets try picking up where I left off. Grading... The Samsung cameras put out a solid image with plenty of detail as you would expect. I used Andrew Reid's Flat LUT on the front end in Resolve as I was setting levels. After that I dropped on Hook's Luma Sharpen... and then the Super Film Stock powergrade from Color Grading Central (oddly I don't see his Luster Grades pack for sale online anymore). I've been using that same powergrade since the beginning Carry Trainer videos. Lastly, from there I tweaked the base colors on the levels layer... nudging the reds and blues a little to my taste. Coming out of Resolve, I rendered the video in uncompressed 10-bit 4k for finishing on Sony Vegas Pro and final output to YouTube. Vegas is much nicer for audio... and it's just what I'm use to. In case your curious, the opening was done with some simple shots feed into the Prolost Handcrank plug-in in After Effects. It could just be the lenses, but I did like the image from the BMCC better even though it had less resolution 2.5k vs. 4k, but with 4:2:2 maybe that's debatable. 12-bit RAW still has it's advantages. They were both good, but the BMCC just looks richer with it's own kind of film grain. Once my NXL speed booster arrives, I'll try using the same 50mm Super Takumar 1.4 on both cameras. With the variation in sensor sizes, that should work-out perfectly and be a better grounds for comparison... As you can probably tell that's my favorite lens these days. Meanwhile, with my amateur shoulder shooting I could definitely see jello issues with both sensors. The thumbnail/cover image for the youtube video was a Macro shot with my my NX1 and the Canon FD 35-70 Macro zoom. I had the belts inside one of those light tents common for product photography.

I have used the NX1+16-50s quite a bit on a Ronin M, pretty awesome combo. Obviously pretty big and heavy though. I now own a Zhiyun Crane, but personally I prefer to use a little bit lighter setup with the handheld pistol-grip-style stabilizers like the crane, since the easy mobility and lightness are why I bought it. It's definitely a little trickier to balance the heavier the lens, and the 16-50 is pretty robust. The crane's powerful motors are certainly more than a match for the weight though, once it's balanced properly.

All rumors so far have been great but it highlighted that Panasonic needed a better autofocus system and higher fps in 1080p. I really hope this these rumors are true. It's shaping up to be the ultimate camera.

Temp mixed with water content of the air. Condensation is more a problem when going from a cold environment to a warm one. The machine is cold and being introduced to warm moisture filled air (because inside houses people breath) creates the condensation. I tend to leave the camera in the bag when going inside and leaving it in there for a little while so it warms up slower.

Mine came in last night. 1tb HD, 2.9ghz CPU, 460 GPU Only bug I've encountered was an annoying thing with the touch bar where the volume slider wouldn't come up. That required a restart to fix. Pretty much confirms my concern about the potential for touch bar to wig out. What happens when escape won't work when you want to force quit? I've defaulted these keys to their standard control strip functions for now anyways, with fn key to pull up app specific commands. These app commands are cool but not exactly revolutionary. Keyboard takes getting used to but don't think it will bother me after long. Main annoyance is just that escape key. I wish it was a real key. I use it while editing and on top of not being able to feel it anymore, they've slid it inward a bit so it's not where your muscle memory would have you think. The larger trackpad is nice but can present a challenge while typing because my standard resting position for my hands puts my wrists squarely on the trackpad. Seems like they have the finger detection pretty well in tune because I'm not actually ever accidentally moving the cursor with my palms, but it still seems weird resting them on the trackpad while I type. Other than the one time the volume slider was weird I haven't encountered any big red flags. I was able to get Adobe Suite CS6 installed after jumping through some hoops and everything is running smooth. No problems cutting in Premiere or encoding with Media Encoder so far. None of the crazy haywire graphics thing. Will report back when I have my monitor in and test further with that, as I believe other graphics card issues popped up when driving a monitor. It also required jumping through some hoops in order to instal the ProRes codecs I walk around with because they've locked down changes in the System folder (I think this was true on OS 10.11 too). I've been hanging onto a 2012 MBP with DVD drive for a while and thin as this is it doesn't feel particularly lighter. This just reaffirms my wish that they'd made it a bit thicker to put beefier battery and graphics under the hood. Also. Like. Card reader. WTF. All of that said, it's fast, it's quiet (fans, not this effing keyboard), it looks great (space grey all the way), I can see where the universal plug thing will be great one day in like two years (plugging in power from either side is def nice but still maybe not worth the tradeoff of no MagSafe), and I've been able to work with 4K H264 footage natively without any problems.

I can understand Brian's frustration, some autofocussing systems have become so good that in particular situations, like when shooting with a very shallow dof on a steadicam or just a shot of a person walking towards the camera, will be much easier to achieve with a a6300 or any Canon camera with dual pixel autofocus. There is a reason why professional and expensive camera like a c300 have a good autofocus, it's not a amateur function anymore if it is well implemented.

Nice video, and so true! They have two Varicams, and the one Light, which can be a super FS7 if you like (the "super" part makes it rather expensivy). I would be more interested in a super FS5 (or a hyper C100) and I wouldn't mind if they called it a Varicam Micro, Mini, or whatever. I am one of those people that find the C100 form factor as one of the best for doing run and gun video, which is 95% of my work. It would be interesting to see such a camera with 180fps, 10bit internal, IBIS, whatever - everything for less than 5000. and then I would have a G(X)85 - GH5 and a AF5, or whatever it is called. Covered from all sides, super happy!

I think I'm gonna try doing more handheld this year or camera movement in general! Gonna try to do more with the strap for sure. I've seen those pistol grips that might be worth a shot too? Probably gonna get a cheap shoulder rig or something at some point. I see no point in buying a gimbal at the moment when my camera doesn't do autofocus great anyways.

Bloom is likeable if you get British humour, which can be purposely angry and dark - though I could imagine him being a nightmare to work with until such time you are comfortable to give some back. Kai is simply likeable and one of the few big YouTube personalities that I enjoy watching. He has not produced one piece of art in his life (that I am aware of) but I doubt that he clubs stray dogs to death when off camera.

Photo consumers are moved by things they don't understand/really need all the time, haha. Kinda reminds me a little of this: I see no real reason for the GH5 to be a larger form factor if it can be fit into a photo-cam shape/size/weight. If Panasonic made a larger cam I would hope that it would be closer to the Varicams in ability. Like a super FS7.

Very happy with the Eos Pro Color, the footage below apart a light contrast in lumetri is untouched. FS5

There are tripods, monopods, feet (that can walk the distance and use a wider lens!). I am surprised that suddenly IBIS and gimbals became a necessity. Like the a7sii, all of a sudden people prefer shooting in absolute darkness! I am not against IBIS/GIMBALS/HIGH ISO SENSORS, but there are ways working around limitations. After 18 years of pro work, this year was the first to use A7sII and Ronin, great, but only for 3 occasions (2 the A7sii and 1 the Ronin).

What'd we do before ibis, and affordable gimbals?

My area is the same as you and I just got the Canon 1DX mkII because it fits all my needs: - FF for photography -1.3x crop (right in between s35 and FF, which I really like) in 4k up to 60p for video along with proper 24p and DCI resolution. - Internal 8bit 422 sure, but it's not limiting at all, that's more than enough data for pushing it around in post (both for color correction/grading and VFX). - Great motion cadence since it's not Long GOP compression + fast sensor readout, RS is about 14ms. Not bad for APSH in 4k. - Autofocus is wonderful, especially on the Canon lenses that support user defined speed of the pull. - Great in low light, I could easily use 12800 ISO with just some color noise reduction since the noise is quite filmic thanks to the compression. Double that ISO if downscaling for a 2K finish. - There are several "C-LOG" profiles out there now, but only one truly match the 1DC and reacts as it should to LUTs and profiles like Filmconvert that were created for the real deal. Expensive? Yes. But I look at it this way: With this camera I got everything I need without external batteries and adapters and whatnot and all the problems I've encountered in the past like focus issues and having to charge a dozen batteries and keep track of all the little pieces. There is a lot of money I don't spend on rigging for power solutions and speed boosters, a second high res monitor (and more batteries) for a focus puller. It just works! And all the lens choices... Hidden gems like the 35mm/f2 are cheap and a knock out! And Canon won't replace it next year with mk87 of minimal improvements like Sony and why should they? 4k60p will hold up for quite some time. This is a battle tested work horse that will last for years! It's very liberating to have all these features and not worry about the technical stuff like I've done with other DSLRs/mirrorless/hybrids in the past. Oh, and don't let the size and weight stop you. It's extremely ergonomic and so well balanced that I didn't get tired at all despite going handheld (without any rig) an entire day. I was really tired before lunch with the lighter (and also well balanced) Digital Bolex, despite the comfy pistol grip and a small lens.

I agree, it could've been. Like the X-T2 could've been if it had sensor stabilization and a vari-angle touchscreen. But that's just it. They're not seriously awesome and that's because they lack those refinements. Atleast the Fuji is reliable and delivers on the promise on paper, so you know what you're getting yourself into. The A6500 just seems a hot mess. Pardon the pun.