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The V2 clamping system from Rapido is really solid and priced very well imo. I had rafcamera make me some custom step up fronts with a 77mm thread. Mates right to the Rapido and I used a rotating empty 77mm filter to be able to swap easier once mounted.

I Spent many nights to create the NXL, I started with a vision and with the contribution of all those who have bought and tried I could improve it. The boards of all were useful, I alone could not test it with all the lenses and detect the defects, a project carried out in crowdfunding is this. To answer your question, I must tell you that in reality this would be the Mark XXX version, but I prefer to stick to the NXL version. Currently, the construction costs are very high because it has made in Italy and in a limited number of pieces, so I can not reduce the price, but it remains a good investment given the rarity of the piece, maybe will be revaluated as anamorphic lenses. ALSO I AM SURE THAT SAMSUNG RESUME PRODUCTION OF CAMERAS JUST HAVE INTERNAL PROBLEMS SOLVED AND REORGANIZED THEIR COMPANY.

Niii! Exactly. I thought the old Sony slogan of "Wolf nipple chips, get them while they're hot! They're lovely!" was a bit close to the bone (don't try to put an a6300 in you shirt pocket after shooting 4k for 15mins...er.. seconds).

One thing the Wing doesn't have is motion control. Check out the SliderONE wit motion module for portability. I've just picked up the SliderPLUS Pro with both motion modules. Edelkrone are the only company where I crave all their products!

And look at the ISO 3200 and 6400 shots! They're done in vLogL which previously fell apart at high ISO.

16-H and SLR Magic Rangefinder.

The pinch of salt comes in handy because the Japanese market is so different to the rest of the world. Nice to see Olympus doing well back at home though!

Saw this reposted on dvxuser the other day and found it absolutely fascinating: Film v Alexa: http://www.yedlin.net/DisplayPrepDemo/ Background: https://storify.com/tvaziri/steve-yedlin Philosophical implications: http://www.yedlin.net/160105_edit.html

Just a heads up, I purchased the pro version of Resolve to unlock the H265 editing. Unfortunately the program does not support the audio stream from the camera, so you will get great looking video, but will not get any audio on your clips!

Hi guys, I have my GH5 on pre-order. I will also be ordering a Metabones Speed Booster Ultra 0.71x to use on the GH5 with my Sigma 18-35mm F1.8. However, given that this turns the GH5's crop-factor into x1.4, I started to worry that this will cause vignetting with the Sigma 18-35mm F1.8. Having conducted my own tests with the Sigma 18-35mm F1.8 in the past on a full-frame sensor (http://www.eoshd.com/comments/topic/8444-sigma-18-35mm-f18-on-ff-sensor/?do=findComment&comment=92144), I feel as though the Sigma 18-35mm F1.8 is actually designed, and can work with, sensors larger than APS-C. This is something I also noticed with my Sigma 30mm EX F1.4 - which worked perfectly back when I used to use it on the 1D Mark IV (an APS-H sensor). What I wish to request from GH4 owners, that both own the Speed Booster Ultra 0.71x and Sigma 18-35mm F1.8, is that if they could please test the GH4, with this combination, in 1080P mode (which does not suffer from a 2.4 crop-factor like 4K) and verify that there is no vignetting... Whats more, given the results I found when using the Sigma 18-35mm with my A7S, I am starting to wonder if the Sigma 18-35mm F1.8 will work fine with the Metabones Speed Booster XL 0.64x - which turns the crop-factor into APS-H (x1.3)...

Hi and welcome here Here are a couple of remarks (after viewing it twice) : - It is quite long, i think you don't need 2 min but less than 1, try to keep it concise. - Begin by the stuff which has more chance keeping attention. I think the car sequence or nature sequences have a better overall look than the narrative stuff you put at the beginning. Just my two cents. - Make a nice overlay and a bit smaller. The text you put is quite big but isn't that visible still. A nice but small animated overlay with a two-word description of the shot you are seeing (like Project Name & Date) would be a better solution IMO. Here is the good stuff now : - The car sequences look good, so does the mountain sequence and snow sequences Here is the stuff I don't know what to think about : - The music (As I don't know what to say, no details here :o) Nice to see an F3 user here ! Did you get it used recently ? I'd love to get my hands on one

Black Friday meant a 15% discount on the Olympus 25/1.2 so i bought one. It's a pain in the a*s to use with the GX80 since the body is so small but still, great lens.

And me I would love a test shot of AF continuous tracking a guy coming towards camera

I have dozens of lenses and don't really keep track what's shot with what, don't believe I've used it all that much... it's not the lenses' fault, it's just that I usually prefer to shoot at f/2.8 or faster and when a need for low contrast, there's still the Tiffen Ultra Contrast 3 or Smoque 1. I also just really like primes, because of the size and the optimized quality for the focal length. Also, having a set with same character keeps things matched in a multicam shoot, using two different focal lengths. Although for convenience sake, leaving a zoom on a rig when mounted, the Nikon 28-70mm & 80-200mm f/2.8 D boosted is a combination hard to beat. I do also like the f/2.8-ish Tokina zooms (11-16, 28-70 (2.6-2.8), 50-135), but the low contrast and f/4 is really something that just needs to fit the project, which I guess has yet to happen. Incl. shipping I believe these should turn out around 70-79 EUR. Not much home these days, but I'll see if I can squeeze in taking a couple of samples on friday.

I'm also interested in 1080p. Has anyone seen any rolling shutter test with 1080p? I'd love to see some measurements for that. Is it possible that the sensor readout speeds increase after firmware updates for better rolling shutter? Can you adjust how much the body IS affects video?

Post production can help indeed.

Mate I still love my GH2 720.....Don't mess with it either Mr Panasonic!

Was the ME66 shotgun mic boom operated or camera mounted? If camera mounted it may not help much since the main advantage of a shotgun mic is pointing the broad side toward unwanted sound. It is not like an "audio telescope". If this is an interview, you may need to frame it tighter to get the mic closer. If it is simply voiceover dialog, you can get the mic as close as necessary. If this is a scripted narrative involving subject/actor movement, then you may need the mic further away which could be pretty hard. A high-quality lav like a Sennheiser G3 if place well usually does pretty good. Sennheiser also makes a cardioid mic for the G3 lavs called the ME-4N. This may have some advantages over the stock omni-pattern mic if placed correctly: http://a.co/dbDpkE4 If a boom operated shotgun, you have many options about placement. In a large "echoey" sports gym if you place the mic low and angled upward the speaker, it may pick up sounds bouncing off the reflective ceiling above him. OTOH if you place the mic above him and pointed down it might block some of that out. You said you have no real options to change the room, but simply letting the subject stand on a sound blanket (or even a small carpet) and aiming the shotgun mic down might help. That way the blanket attenuates reflections from the floor and the mic null pattern attenuates sound reflected from the ceiling and walls. Monitoring the audio with good headphones and testing various mic angles and positions at the specific venue and position -- before shooting -- can help. If possible it's best to have a dedicated sound person.

@Neumann Films Did you use neat video on any of the speedbooster footage?

BINGO! Hee hee Sorry went back to vid and noticed it was labelled 1080. I can live with a bit of moire now and then in slowmo, have you found any moire in your 4k footage yet? This is 4K gx85:

Uh, I understand that he was asking about his adapter/focal-reducer, but if I read correctly, he is not sure what mount to get with his lenses. As you subsequently concurred, I suggested that he get Nikon F mounts on his lenses. However, I also noted that many Canon EF adapters/focal-reducers are more expensive than their counterparts. So, he might be better off by getting such adapters with a different mount (that would allow Nikon F lenses to be adapted).

Uh, no. He's asking which Lens Turbo to get, not which lenses. He should get Nikon lenses, and an EF Lens Turbo, if he wants maximum adaptability. Nikon lenses have one of the longest-flange mounts. Canon EF is the shortest-flange mount the Lens Turbo comes in, that has adapters available for longer mounts. FD is actually shorter but adapters to FD mount are pretty hard to find. None of the Lens Turbo II's have electronics, and are all the same price.

Like this? If so, that's the first version of the EF-m4/3 booster, which is .71x power. The Ultra is a new version of this, still .71x, but with slightly revised optics. The XL is .64x. And you're right, the Ultra and XL are both labeled as such with yellow writing. So you almost definitely had the first .71x version. Someone could probably drop those two screenshots into Photoshop and measure the crop factor and we could know for sure...

Go for the Nikon mount on your lenses. You will always be able to adapt the lens with a Nikon mount onto anything with a Canon EF mount (given that the version of the same lens with an EF mount also fits). However, the opposite is not true -- a lens with a Canon EF mount will be incompatible with quite a few adapters and focal reducers, a few of which are only available with a Nikon mount. Furthermore, the Canon EF version of some focal reducers and adapters are significantly more expensive than those with most other mounts, because of the electronics required for Canon EF lenses. Go with the Nikon mount on your lenses.

I've used the 18-35 on a FS700 with a Speed Booster, and I found that it was useable with light vignetting at 20mm and completely fine by 24mm. Corner resolution might suffer, but I think you should be ok even with a 1.3x crop.

You're very welcome...I hope some of my tracks are useful! Was busy shooting a new film this past week, but I did manage to get some new tracks done for everyone. They are on my Fantasy 6 and 7 pages: "Enchanted Places"_Looping "Misty Forest"_Looping "Analog Hero"_Looping http://soundimage.org/fantasy-6/ "Dark Fantasy Open"_Looping "Spell's a Brewin'_v001"_Looping "Some Dreamy Place_v001"_Looping http://soundimage.org/fantasy-7/ Enjoy!

Maybe a film out? I believe this was done with Birdman....or on lower budget films maybe a subtle simulated gateweave with a touch of motionblur applied pre grain might help?

I got the Sigma 18-35 1.8 and lensregain first, big mistake. It's just too inconvenient, makes it unwieldly when handheld. Portability and IBIS are 2 factors that make the GX85 great, the speedbooster combo just ruins it. I'm a big fan of the 25mm 1.4, the last time I was this excited about taking pictures was when I got my first DSLR. Here are some my pics with the 25mm 1.4: https://www.flickr.com/photos/146178233@N07/albums/72157679142129036 AF is another thing, I remember once when I was shooting video all day with the Sigma 18-35 + speedbooster combo. I was tired and thought the subject's eyes were in focus...but in post I found that a plant near the subject was actually in focus. More room for mistakes.

You know Simo, as someone said, the whole is greater than the sum of its parts... ; ) Saluti e Buon Anno, E :-)

There is something in big production movies, especially in american comedies, that to me it is "cinema" at first sight, at least in my definition of "classic" cinema. I don't really know what it is: of course it is a sum of great actors, great directors, great DOP, amazing locations, set design and costumes, great audio, wonderful camera with great DR and colors... But there is something "magical" that to my eyes is not really understandable: sometime it seems like a subtle slow motion - I'm not talking about 24p/180° - I mean like the movements are different from my footage. I thought a lot about it: maybe it is something about reducing sharpening/resolution and the color grading? Maybe it is the choice of framing with longer lens and letting the subject floating on the scene? But movies like Birdman are super cinematic and they have not a shallow DOF... And I can see this difference in movies shot with the same "cheap" cameras or dslr that are videoish in smaller production such as music video... I mean "La Vie d'Adèle" (Blue Is the Warmest Colour) is shot with a Canon C300, not an ARRI. And it has this magic "motion". I don't really understand what it is... For sure I can shoot 24p 180° with Lumix, Canon, BlackMagic and my footage is nice, but I am not able to reproduce that magic motion I see in the movies. If you have any suggestion, please share it

Glad you enjoyed it.

Can you mark the new release with a v2 at least? So I know I buy the latest version and not the old one. Yes I too hope Samsung stops being fools and restart production of their new camera.

I just think that this is a possibility because if I remember correctly, when GH4 came out they advertised beside it their new released SD cards as capable to capture 4K video, but they couldn't guarantee for other manufacturers cards, which happened to be a load of bullshit.

Sure, I concur. I just don't think the opposite is not possible to coexist as much as a few people want the proof of it à la Saint Thomas. But, if faith can be subjective, 'the big concept' cinematic goes beyond because can be quantifiable by numbers. The evaluation of them is its subjective part. “The opposite of a great truth is also true.” ~ Niels Bohr

Just. WOW. Thanks Luke! Looking too awesome!

I also noticed more cinematic motion cadence with the BMPCC and GH4 shooting at true 24.00p with 180 degree shutter opposed to 23.976 and 1/50th shutter, especially using All-I.

I was not clear. I wanted to say...if canon had a mirrorless camera as good as nx1, a6500 or x-t2....which it has not.

Also, compression artifacts will affect our perception of motion.

You forget that Panny makes SD cards also, maybe they are waiting for the release of their new fast cards. I am not saying that this is the case but it is a possibility, especially if you look how they thrown their proprietary P2 cards into Varicam LT instead of widely accepted CFast 2.0.

Live TV is very difficult, because it is live, you can not do it again, nor edit it on post. I used to do shows and stuff, and it was very stressful having to mic everyone, and whatnot (and whatever anyone is doing live, cable people, journalists, cameramen, control room, etc). I didn't in any way tried to de-value your job or any job whatsoever (and not only in this field), I said that you are not paying attention to details on live shows, something really bad has to occur to create problems (and it has from time to time), other form of moving images have different challenges. Live TV and reportage (news coverage) is very different than other video projects, and on the other side of cinema (short/feature films), where there (even though you can edit, and do it again) everything is REALLY strict, and mistakes are not permitted, while on live you can say "well, what should I do about the failed monitor speaker, it wasn't my fault"(true story, no one blamed me, just happened). I am also doing a lot of music documentaries, and today I was working on a documentary about a Carnival that happens in a very specific and special area in my city; 3 5D mark 3 cameras and one had a Zeiss 19mm. There were 8 people with drums, playing traditional Balkan music (with a twist!), and a few flutes and bag pipes (even more difficult, because the wind instruments were completely lost) while there were 3-5 circles of people dancing around them. This is a sound nightmare, and live.. I sensed that Matt was somewhere in between, he wanted to do something cheap, but better than a reportage (and usually on those, people are holding huge dynamic microphones up their noses!) and I responded accordingly. It is a forum that everyone is trying to offer whatever they can, and help each other, and sound is my speciality; you do not see me replying on color correction posts! I also used to do cinema classes in kids and teenagers for a while after finished University, so maybe I sound a bit teacher-y! Kids loved me though, once voted best teacher on a summer camp! I hope we helped a bit.

The Schoeps CMC641 is one of the top indoor microphones if you want the best. The Audix SCX1-HC performs very similarly and is a great deal (we use both and they match well). Curtis Judd doesn't recommend the NT5 for indoor dialog (you can hear the NT5, Audix, and a few others tested here).

I am interested if the MB SB XL 0,64 fits on the GH5 physically. I am told that it almost touches the sensor of the GH4. This would be an awesome combo. Does anybody know of a tester who used this (can't see the video above, cause I'm abroad with a smartphone and have used up my flatrate limit ...)

Thanks again. Then I won't buy the 30mm, because gimbal bumble is the only time to switch to AF for me. I already know. I will (again) make the camera "ENG-style": > put a big soft eyepiece on the excellent EVF, like I did with my GH2 (Zacuto replacement part, € 16): > instead of a rig-diculous rig, I'll buy a grip like this: > I'll re-buy only one lens for the start: the Sigma 18-35 f1.8 for Nikon G. For Nikon, because then I get a MB speedboosted manual aperture ring, which I find more intuitive. And I am used to the direction of the focus ring. > I'll buy two adapters: Novoflex MFT<Nikon. This makes the Sigma a 36-70 @f1.8 (FF equivalent). Then a Metabones speedbooster (don't know which one works yet, don't know how much stops it will boost), with, say, crop-reducing by 0,7 I would have the Sigma be ~ 25-50mm and faster than f1.4. > for a small AF lens, I am not sure. They all seem to shout 'sterile video'! Might then be the cheap and very light 14mm pancake, or should I really spend $1500 for Leica Summi-something?

EV is like 0.5 of a stop better at ISO 100, that's negligible. It trumps D5500 in everything else and that's what you pay for. The best balanced body on the market so you don't have to take 5 different cameras fromy sony and nikon as you've just realized yourself ;). Sensors are similar nowadays from entry level to pro level in FF category. File size might be a problem but that's easy to overcome by buying more cards ;). btw. nice photos

Use Wordpress and buy a theme which is almost exactly how you want it to be from Theme Forest. Only choose themes made in past year with at least 20 4.5 star overall reviews. Embedding videos is much easier and it will boost the video rankings on Vimeo or Youtube. Buy your domain name from internet.bs (avoid GoDaddy they will hammer you with unnecessary addons). Host it with Hostmonster if in US or Vidahost in UK. Cheapest package is fine. Actually the domain name may be free with the hosting. Use Tinypng to compress photos or the plugin SmushIt if you want to batch compress. There is also ImageOptim app on Macs for jpeg. Page speed is a big ranking factor for Google. Dont buy any spam links or it will get banned or penalised in Google. Join Google Analytics and Search Console to help get the pages indexed in Google, get advice and see visitor statistics. Join Google My Business Local if you want local clients or Brand if not. Make sure the category is right, then get a couple of reviews and it can be a short cut to the top with the Google Maps listings. This is my first post on here where I am an expert, usually feel like a noob.

Since there's no comparisons yet it's we just have to guess, but the Oly 25mm pro is probably sharper egde to egde since the Oly 25mm f/1.8 is. It's probably a little sharper in the center as well, but not by much. Other than that the Pana Leica lenses have a nicer color rendering than Olympus lenses IMO, but I haven't used any of the pro lenses. @Michael Ma Have you seen this review by Oly ambassodor Neil Buchant? http://buchangrant.format.com/Blog/the Great looking images! but we don't know how much post processing has been done. I like the PL 25mm a lot since I just want one 25mm for both photo and video, but as @jonpais mentioned Voigtlander might be a better option for video. At laest Shane Hurlbut agrees: http://www.thehurlblog.com/cinematography-micro-43-lenses/ SLR Magic and Veydra are also great. It's a little different than Olympus Neil's photos but I think some of the images in this review look really good! http://toolsandtoys.net/reviews/the-panasonic-leica-dg-summilux-25mm-f1-4-lens/

I would love to see an upgraded pocket. 2.5K. Up to 60p. Better screen. Better battery life. A sleep mode that disengages, or saves battery power. Keep the same form factor and MFT mount.

I saw this somewhere this morning too. Edelkrone really makes some amazing products. Only if they would price them a little less (30-50% less), they could rid of all the duplicates as well a huge part of the competition.