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Quite a surprising move. I didn't expect this! --- Kodak Brings Back a Classic with EKTACHROME Film Las Vegas, NV, Thursday, January 05, 2017 To the delight of film enthusiasts across the globe, Eastman Kodak Company today announced plans to bring back one of its most iconic film stocks. Over the next 12 months, Kodak will be working to reformulate and manufacture KODAK EKTACHROME Film for both motion picture and still photography applications. Initial availability is expected in the fourth quarter of 2017. Full press release at: http://photorumors.com/2017/01/05/kodak-to-brings-back-ektachrome-film/

Man this camera sounds so good. A true video workhorse with 12 stops of DR, improved RS and an excellent codec. All for less than £1700 (almost half the price of a C100 II and a third of an FS5). Neumann's sample footage is stunning. Really looking forward to owning one of these.

Hi all, I shot this in Jordan a month or so ago with a Sony A7sii and a Zhiyun crane. I used two lenses, the Sony 28mm f2 and the Canon Fd 50mm f1.4. We also had permission from the Jordanian gov to use a Phantom 4 while we were there. Would love to answer any questions and if you would like to follow along on Fb and on youtube that would be great, thanks! youtube.com/channel/UCw0J_iNkme1qf2Q1nucVxJA facebook.com/joshuamorinfilm Edit: it's showing up a bit weird. Here is the link: https://www.facebook.com/matadornetwork/videos/10154847045404394/

It seems the camera industry is moving away from enthusiast photographers to professionals for full steam now, the reason why I think the NX series did so badly is because they were targeting regular people like smartphone users instead of the professionals. I come to a point in my life were having the latest and best is vanity, I had my Xperia Z for almost 4 years now and I see that I rarely use it for much else than what you would not be able to do in a low end device anyway, sure it may not have the fastest processor out there and not the greatest camera even for its own class back then, but it gets the job done. The same goes for my camera, its materialistic obsessive to continue purchasing newer and newer products because you want the quality to be superior, its not true a good camera wont make you a good photographer, its the way you use that camera that makes you a good photographer, whether your work turns out good or not. I seen modern Chinese movies shot with 16mm Soviet cameras you can get off eBay for like 80 dollars and these movies have better cinematography than most Hollywood movies and they were a lot more enjoyable story wise too. GH5 looks like a good camera no doubt and price wise is very good as well 1999 dollars for such great features? Its a steal if you ask me. But I too used to be like "Quality matters" but I had time to use my NX1 now which in a few months now is almost 3 years old, think about that for a second, over 2 years old and still produces excellent images and video, the hack has also done a lot for us but it would been even better if they managed to make it spit out MJPEG's with little to no in-camera processing specially making it shoot 2160p60, but I wont complain they did an excellent job non the less. I for one wont be upgrading for a long while, this camera will stay with me for at least 6 years in total, and one day I will use it for a full feature film, I grew up with Soviet cinema and I know that masterpieces are not dependant on camera equipment but only the ingenuity if their production crews. This does not mean a shitty Nokia phone camera is the tool for the job, there is of course a limit and there always will be, for photography most pro photographers seem to say that around 4 to 6 megapixels is really the sweet spot for digital delivery but if you go print you must go higher, 1080p seems to be that sweet spot too, even though 35mm produces up to 6k digital prints if it is low clean ISO film, 1080p still looks great even on a big screen but for me 2k is minimum in a cinema, most cinema projectors are only 2k too. Its been a while since 4k has been out and overall the adoption of 4k screens is very slow still, 1080p came out for the first time in the late 80s, you can start to imagine now how long it will be before 4k is universal standard for everything. They did not even start to get serious about 1080p until 2006 when Blu Ray was being released despite there being a delivery format that supported HD delivery in the 90s like the D-VHS and MuseLD. Another thing I noticed, majority of movies and TV-series are produced at low cost and quality is not generally very important, often they just rent big 4k cameras without giving much about its capabilities as long as it just shoots the resolution they are happy enough. Also most Hollywood films these days are shot behind green screens and more time is spent in the editing rooms than the scene. A good camera is not essential these days even in the industry as most movies uses low range colours and shadows and purposely crushed, video for TV are usually decapitated before being broadcasted in order to limit the bitrate they often kill colour depth and destroy dynamic range to fit it in the standard hence they end up looking very greyish.

Thanks Panasonic for finding 4 dudes for your promo video. I guess girls don't know how to use cameras.

It really looks like Apple haven't just dropped the ball, they've lost it completely. I was looking forward to the MBP as a replacement for my old iMac, but am now thinking that going over to the darkside (pc) will be a better idea & buying a full copy of Resolve. I'm still holding out for an iMac update, but am starting to really hate the way Apple are operating/treating their customers - it's like they are slowly turning the knife that they've already stuck into you! If Microsoft can admit that their loathing of Linux was a mistake, why do Apple continue to think that crippling their products is a good business plan?

The GH5 looks really good but I'll be sticking with my NX1 and NX500. I prefer recording 4k in H.265 recording format and APS-C sensor size. The 400 mbs All-I frame recording sounds a little scary. 10-bit 4:2:2 is huge though...

i think thats a cool concept tbh!!! im over the idea of a lightweight laptop, i dont care anymore! give me a portable workstation that weighs 15lbs that KICKS ASS!!! > in other news, i returned a touchbar mbp today because it failed to restart when connected to an external hard drive (yes thats right). tried different hard drives

Ok gang, I've got a new Carry Trainer video out. There's a different lens on my NX1 here. This video was shot on my shoulder rig using the BMCC and NX1... again, the wider angle shot is the NX1. Here the NX1 is using the 24mm Super Takumar F/3.5. At the start focus is soft on the NX1 until... around the 30 second mark on the video when I nail the focus. The NX1 produces a really nice image. Putting aside my shaky shooting with the shoulder rig, I'm really happy with the footage here. Cheers P.S. I saw the posts above about sd cards. Good information. If I order another sd card it will be the lexar 2000.

8 bit is enough if you expose correctly unless you are into heavy grading. 10 bit is plenty enough data than 95% of anyone but a feature film is going to need. Don't get me wrong who doesn't want more, but 12 bit say 4.4.4 takes a lot of space to use, and Raw 14 bit is crazy a amount of space..The GH5 will pretty much have all you need which is nice. Now the 60fps 4k will be only 8 bit. So that Might need a external recorder for that.

Having a blast with your files, Luke!

Finally here is the proof. I took the E-M1 Mk II sensor and superimposed it on top of the GH5. Marked the Oly sensor with red line for extra clarity. GH5 sensor is 1,42:1 ratio. Same as the old GH2. However, it's only utilized in C4K mode according to Driftwood.

Nice!!! Lets hope it will be cheaper than the fuji leftovers.

I'm not pre-ordering because it doesn't have the Auto Hollywood Mode, in which I'm guaranteed to be a Hollywood cinematographer. I don't want to buy lights and go to all that effort just to get a usable picture at night time. ;-D In all seriousness, the camera seems like a no-brainer. I had and loved the GH3. But I'll be waiting for these firmware updates and some user experiences / knowledge before placing an order. I made that mistake with the RX10 II (which didn't work out for me at all). I also need to break in my A6500 first!

I don't know kaylee, but if I had to edit large projects at remote locations I could see myself using this monster:

"6K/24p Anamorphic Video Mode, while fun, is severely hampered by its 4:3 aspect ratio" UM! That's what an anamorphic mode is - 4:3 Someone let our dear friends at Cinema5D know.

I always wondered what the results would be if someone bothered to put a light 360 camera on a camera's hot shoe that was stabilized on a gimbal. This is the rig I wish I had on my honeymoon, unfortunately we didn't have these options a year ago. Now that I've got around to it, I would like to share the results. Gear: Gear 360 Canon 80D (I recommend a taller camera over a mirrorless. Also, lighter camera won't always work out in your favor if the rig is top heavy which makes the 360 camera prone.) Zhiyun Crane (I tried something very similar with my Pilotfly H1+ GH3, and a GoPro Hero 3, and it was too shaky as the motors was not strong enough). The Zhiyun Crane with the 10-18 STM lens had no problem with the Gear 360 on top. Note: The edelkrone TILTHEAD is only there as rudimentary stand and more importantly a counterweight to balance a top heavy rig. Somehow adding a lot more weight to the bottom makes it much easier to hold for longer periods. Results: It stabilizes very nicely. In fact, when the 360 camera itself is placed on a table that is not perfectly level, the stitching doesn't seem to align that well, but when on a gimbal, it's always holding that perfect longitudinal (roll axis) level, even during movement. If you can get a taller coldshoe mount than the one I'm using (without making it too top heavy), that would be much better. As high as it is, the gimbal is very apparent in the shots if you look slightly down. Premiere Pro has tools to work with 360 videos now and lets you pull normal looking 2D shots in the NLE. And even though the the quality is much better than I expected from the YouTube videos online, the video quality still has a long way to go. The 2D frames offer less quality than a HD (720p) camera would provide. Still useful for something like a vlog. Currently, 2 cameras are being recorded and stretched on a 4K file. I think we need to have at least 8K (maybe more) to match the 2D image quality from a GoPro. Other notes. As you might have imagined, having a big ball on top of your camera will limit the movement of your gimbal slightly. You cannot extend your camera outwards with the camera facing out as the Gear 360 would make contact with the roll axis motor. Also, keep in mind, unless you are willing to hold this above your head, your face is always in the shot, which may be undesirable.

Hey guys, I live and work in Rochester NY and one organization I have been involved with is WAYO radio, a low power station operating out of our city. I filmed their first kickstarter video last year, which secured their first year of funding, and filmed their video this year as well. Just reached funding last night with two days left! Always feels good to know you played an effective role in messaging. Here's the vid for those interested, all gh4 and sigma 18-35. probably a shot with my nikon 50 1.4 in there somewhere.

Best part is that Ektachrome is very easy to develop at home and s8 scanners are affordable or you can make a DIY. Timming is also good as I developed my last roll I had this summer

You shouldn't feel at all crazy! There's so much to be desired in film that digital has yet to nail down. The dynamic range, color and shutter/motion that film has to offer combined with vastly improving film scan technology is a worthy enough pursuit. I've posted this before I think, but check out this gorgeous 2K scan from super 8 film:

@Kisaha I've been meaning to write about my thoughts on the nx-l for a while, now that I've put it through the paces a little bit with several shoots. I really like it... Definitely does what it's supposed to, happily makes lenses wider and faster. I've done a few shots with the same lens with and without for comparison, but nothing crazy clinical like I assume people on here are interested in seeing, as far as a scientific breakdown of how chromatic aberration and sharpness might be affected by the adapter. One negative, I was sad to realize that my contax Zeiss lenses won't mount to the nx-l at all, so that was a bummer. Oh well. Lenses I've used and liked so far with it include the rokinon 50 and 85, Nikkor 80-200 2.8 and 28mm 2.8 ais, Helios 44-2 and tokina 28-70 f2.6-2.8. The venerable sigma 18-35 is still surprisingly useable as well, with vignetting obviously but on the longer range good enough for my uses. The design Luca created is pretty ingenious, the back element, which is square, spins around freely so that it can sit right up near the sensor and then the rest of the adapter can spin around it and lock into place. The build quality is fantastic, really looks very smooth and professional, like it was made by samsung for the nx1. I've got images and video I've made with it that I can post if people are interested, but once again I just haven't taken the time to do super scientific comparisons or anything. It's just immediately become a part of my image-gathering workflow and I consider it money very well-spent.

Are some of you guys still shooting film? I have recently started to shoot analog stills again after a 10 years abstinence or so and I have to say I am blown away how awesome the stuff is looking adding to this the darkroom experience. Makes me want to get a 16mm camera or something altough I would feel slightly cuckoo....

Let's bring up a topic that nobody talked about, are the third party accessories like the Speedbooster, Lens Turbo, Lens Regain work without problem with the GH5? I know, the mount and the foundations did not change, but suspiciously there was nothing about this on the internet. Pre-users, please give us some mind!

I have the sony battery adapter you just linked to and it's definitely worth picking up. I already had a lot of the sony batteries from LED lights and my Konova slider set up, so it was a no brainer for my pocket camera to be able to use all these batteries I already had. It's made a huge difference in the usability prospects of the pocket. The one I own/you linked to has been pretty good. Not the best to rig up, but I've certainly seen people using crazier/more inconvenient solutions. I like that it charges the pockets internal battery too, so if you wanted to be more mobile and unplug from the battery adapter and go more hand held, you can do this and your battery will be charged for the times you want to do it. I have 1 BM battery and around 5 offbrand ones, but the sony battery pack was definitely the way to do. Rig it up to your cage and you're good to go all day.

The S6 is my monopod, and mirrorless/dSLR head. We use the Sachtler Ace for the C100markII, for the C300 we use a Miller one with multiple price of the Sachtler. Every job needs its tools. If I go run and gunning with the C100 the S6 is not enough, the Miller is too much. When we shot a short with the C300 and matte box and Canon Cine lenses, then the Miller is a must. If I need ultra mobility with my mirrorless kit I take my Benro S6 and Benro monopod. I sometimes put a small-small mirrorless as a C camera (for a wide shot or something) I even have a tiny Manfrotto https://www.manfrotto.us/manfrotto-mkcompactacn-rd-compact-action-red which I call my "hipster's" mini tripod, to match fine with my brown small mirrorless! These age, that most of the small cameras can achieve incredible results, big and heavy equipment is overkill for me. When I am a one man's band, I can have a whole 3 camera setup with only one camera bag, http://www.vanguardworld.us/photo_video_us/products/camera-bags/quovio-41.html and the little tripod ON the bag (there is a bigger version, I should have gone for that one, still this one is enough). this bag https://www.cullmann.de/en/detail/id/protector-podbag-450.html for the Benro+head (which is suitable for the C100 too, by the way..), and I am ready to go.

I might take another look at the gh5 in the summertime once it has been out in the wild for a while and recieved all the promised firmware updates and features fully added. I can't really see myself getting one new though, $2k plus a $650 speed booster (a must-have for m43 in my opinion) means it's not exactly a cheap option to move right over to. My NX1 and NX500 continue to astound me, especially now that I have one of Luca's super awesome NX-L's to play with. IQ wise, for me, the files coming out of the Samsung's have more than enough dynamic range, detail, color, and yes even low-light ability (with a fast lens I just very rarely need anything higher than 1600). I had a wedding shoot earlier this week with awesome results and I'm shooting a short film tomorrow with them and am fully confident in their ability to capture great images. I will certainly be very jealous of the 4k 60p, 10-bit color and super cool 6k 4:3 anamorphic mode that GH5 users are going to get to play with though.

If you've got the Pocket SB, then stabilisation shouldn't be a problem - just make sure that you've got enough points of contact with your body & you'll be fine. Never understood what people were on about with the screen, it's perfectly ok (not the best, but far from being the worst) - a viewfinder is a great thing to have, as it allows better stabilisation. As far as batteries are concerned, you can either go for something that will last all day or just get loads of small internal ones: These are great EN-EL20s http://www.ebay.co.uk/itm/Ex-Pro-Ultra-White-Series-7-4V-1100mAh-Replacement-Battery-for-Nikon-EN-EL20-/182393892158?hash=item2a7785ed3e If not this gets a lot of thumbs up: http://juicebox.direct/product/magic-power/ or this one: https://www.amazon.com/XTPower-10000mAh-Recorders-Sensation-Connectors/dp/B00935L44E/ref=sr_1_1?s=wireless&ie=UTF8&qid=1447976251&sr=1-1&keywords=battery+charger+bmpcc

This is exactly the conclusion I came to when I had the GX85. I'm not usually a fan of doing things by halves but -2 contrast I found to be perfect. I left the curve alone though.

Amazing work mate i love transition effects

So you've come full circle! Not much of surprise really as nothing comes close to the Pocket/Micro for image & grading. There's an identical thread over at BMCuser & people are in agreement - for the price there is no beating the Pocket. It'll be interesting to see if BM come out with another camera - hopefully a replacement for their original camera.

Yep, looks like it - 52, 62, 77 & 82 http://www.slrmagic.co.uk/slr-magic-accessories.html Yes you can rotate the whole thing without unscrewing it, so you can cut polarisation. I wished they'd come in a bigger size, but hey, they cover most of the most popular ones. I went with the seperate Hoya IR/UV filter, which stays on at all times & then add the Genustech Eclipse Vari-ND. If you shoot RAW, then you don't really need an IR cut as you can alter any colour cast in post (more hassle though). But for ProRes an IR cut is a must at all times. And yes, the BM sensors are seriously lacking in the IR cut department. If you've got the extra cash then the Firecrest ND filters get the best praise for BM cameras - pricey though.

You're really banking on that GF of yours leaving...

Thanks for providing the files. Since Premiere Pro CC is having a problem with the files, I exported frame, and graded it in Lumetri Color in Premiere Pro. It seems like that Panasonic color is still there, even though you nailed the white balance. I made some changes to the red-green range in Secondary HSL.

Didn't know you had the 2.5K BMCC? I have the GX85 and the IBIS is pretty astounding... so it combined with the 10 bit 1080p is the most appealing to me. But the GH5 won't be in my price range for a year or two... so a BMPCC will have to do... I am not upset in the least btw.

that's what we used to call the Panasonic "mojo".

I should be working, instead, playing...

I tried a bunch of the IWLBTAP ones and ended up thinking that the Panasonic VLog to Rec709 LUT looks the best. Having said that, I'll be getting Neumann's next version of VLOG LUTs when available. I bought all the GH series cameras and I found them the easiest to use with their articulating screens, menu systems and custom controls. I missed that about them when I went to the BMPCC (horrible controls), Sony A7s (bad color), A6300 (bad color and overheating) and Samsung NX1 (no articulating screen and no support but otherwise excellent). Now that the GH5 has all that plus IBIS, 4K/60 and 10bit, I'm already in line with a pre-order.

Ha! Well you never know.... c) might happen! And if it does, the D7000 is going for some dirt dirt cheap prices secondhand, and is quite a notable improvement over the D90. So I think I'd rather replace the GF's D90 with a D7000 than another D90. If I can swing the extra cash for a D7100 for the better video and extra megapickles, I'd like to do that instead of a D7000. f) is just dreaming, but it is good to have dreams & goals! :-D D500 has already experienced a serious price drop, you can see it going new for under $1500! Which means if you're a Nikon shooter like me, and if we lived in a world where GH5 did not exist (as obviously GH5 is now top dog over *EVERYTHING*!!), then the Nikon D500 is a very strong contender as the best video camera in its price bracket (beating out the a6500, and cheap enough than an a7S mk2 to make the D500 worthwhile, and also apply to mostly almost justify the extra cost over a G80). Thus it isn't terribly hard to imagine a world where I get lucky and I find near the end of 2017 a secondhand Nikon D500 for US$1K-ish-ish, but the GH5 is extremely popular and holding strong at US$2K still at the end of the year (and the secondhand market is strong too, with not much of a discount vs new). Then yeah, if I've also swung a little more towards my photography side (at the moment it is pure hobby for me, and it is the filmmaking that is professional side of things, but if I was to take up a few stills jobs perhaps over the year?), then getting a D500 over a GH4 could become a very rationale decision! But ha! You can see in this made up example it would require quite a few dominoes to fall down exactly in place.... as the GH5 is going to be a very hard camera to beat into 2nd place choice!

For those of you who dealt with the GH4 preorder: I want this camera, have the money for it but don't want to preorder yet (would like to get a new CC and get a min-purchase bonus if I'm going to do this). How long are cameras out of stock for when these things first unroll? If it's anything like a freaking iPhone release then I'll probably just suck it up and preorder now but I'm also weary of being a first adopter, I'd like to see how the camera fares first. Just don't want to be stuck months without a camera when the time comes. Also going back to my CC bonus minimum purchase thing: I'm assuming B&H doesn't charge your card until the preorders become real orders?

That's not what he said. He said that in order for Dual IS to work, you need to use Lumix lenses. IBIS will still work with everything else. It's like my GX80, it won't do Dual IS with an Olympus 12-100 but i'm sure getting really stable footage with my Olympus 25.

Not much a video guy. Say 5% or less, compared to stills. I'll wait for an apsc camera able to surpass nx1 in stills AND video.

This month has been terrible for shipments. I had some parts still in customs for almost a month, only yesterday they passed through customs! Pictures by @carlic

I've bit the bullet and pre-ordered.... I've been saying for a while that I will never again by an 8bit/4:2:0 camera... glad to finally put my money where my mouth is!

I think all the top of the line mirrorless/video cameras (of which the GH4 was surely one of those!) can now produce very fine images, as Tom Antos made that point recently in his 4K camera test for end of 2016: Thus while moving image quality forward is indeed important, what matters even more is improving the existing functionality of the current camera and not having any stupid problems with them (hello Sony a6300... or hello Canon 5D mk4!!!). Which adding: 4K slow motion, 4K 30p 10bit 422, waveforms, vectorscopes, better EVF, full size HDMI, better XLR accessory, and much much more.... is what the GH5 does *right*!! :-)

Jonpais, its nothing to do with cameras, just psychology… some people just waste their lives unsatisfied.

For the multi-aspect ratio discussion, it doesn't look like one at all. Everything looks like standard Micro4/3 sensor, I think that ship has sailed. As for the 400Mbps All-I comment I made before. Two of the guys that shot the GH5 promo videos replied back saying that although there is nothing official, they think that the 400Mbps All-I is indeed H.265 and NOT H.264. Nick Driftwood also replied back since I tried to confirm what he said during the Live Q&A and he said "it would HAVE to be h265 I believe :-) dont you?!". When I wrote about wanting H.265 as an additional option I thought Panasonic wasn't really bold enough to pull it off but since the GH5 already have the HEVC encoders and these guys think the firmware update will bring H.265 400Mbps All-I, although there is nothing official about it, I don't doubt it will be indeed HEVC.

V Log L is well worth $100 but it's just silly that it's an add on. I think if the GH5 was 2099 it wouldn't even be a big deal.

I bought the Pocket again last month because nothing else would cut it. It just has such a pleasing, rich image to it, with great color.

Yeah, a lot of the times it takes getting away for a while and looking at it again with a set of fresh eyes and then change it up a little or even starting from scratch (like I toned back the example, because I later saw an excessive red tint in the darker mids). Don't like LUTs that much, except for quickly rotating through a bunch to see how different looks might affect the feel of the image. I'd usually then start from scratch to get close to that.