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Well you can buy a Panasonic G7 used for less than 400 dollars and get 4k with it. And they are good at low light also. Plenty of used GH4's out there now for less than 800 dollars also. It is for the money probably the best video camera you can ever buy. Also Black Magic BMPCC and BMCC are really a great way to use a raw camera, and get, for the money, the best Cine look for the money also. Used Sony A6000 are cheap also. The main thing you need to do no matter what you buy when you get it shoot, shoot, shoot ,edit ,edit, edit. By doing it over and over to see what you did right and what you did wrong best way you can really learn what to do. I would suggest using Black Magic Resolve because it is free. Really a powerful software package. I could go on forever on cameras, but you are the one that has to make that decision. Plenty of info on the web. I like Camcorders myself, but good ones are pretty expensive. They are made to shoot video and need very little rigging to do it. Not some camera that has video added on to it.

Blackmagic cameras are sensitive to IR, and tungsten sources emit a high percentage of IR. So, you might want to try an IR cut filter.

Yes. Send the money to the bank details ive sent you and ill have it delivered to you in a few months.

I just got a new toy Pocket cinema camera with 12 batteries original box and cords. For $125?! I just had to snap it up! http://www.ebay.com/itm/222380590185?_trksid=p2057872.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT#viTabs_0 He says it has dead/hot pixels... Like 6 of them I got it and tested it out but I don't see anything wrong with the picture... Perhaps it comes and goes or only happens when its hot? anyways great cheap way to get my feet wet with raw... Just waiting for amazon to send my extreme pro card. And if the seller happens to be here on EOSHD Thanks

Having been making the same journey myself over the last few years here's what you'll probably learn: - Color correction / grading is "horrible" in video compared to shooting RAW photos (which is almost cheating and that's fine by me). If you're used to using lightroom and RAW photos, you'll be in for a unwanted surprise in most NLEs. It's important to get it as close to "right" as possible in camera due to the bit rates and color depth limitations in video files (one photo vs 24fps). Although I am getting better, I really wish they would just put the Lightroom tools into Premiere already (you don't even want to experience Premiere before the Lumetri color correction tools). This is the perspective of someone who started photography in the last 10 years and not shooting video from the 80s. You can shoot the D750 with an almost black photo and pull something useable out of it! Not so with video. - Most 1080p files are pretty soft out of camera and don't get that much better with sharpening - and it's really easy to get a weird digital sharpening look. When uploaded to youtube anything played back in 1080p will lose its sharpness anyways due to youtube compression. A lot of content you see looks fine on mobile or played back in a little window, but when you blow it up it gets kinda mushy and blocky, especially compared to photos! This is kinda why people went gaga over the DSLR shallow DOF look - when you have a shallow DOF I think your eyes think the subject is more "sharp" compared to the "blurry" background, and so you don't really notice the overall crap technical sharpness many cameras produce in 1080. - "Getting into video" is like "getting into photography" in the sense that there are so many styles! So you will get all sorts of different viewpoints. Some people only shoot narrative and they don't understand you can't bring a full lighting kit to your run and gun event you are getting paid a few hundred to cover. Some people never bothered to learn about lighting and don't think it's important even the whole "photography is light thing" is actually a thing. But if you are just getting into it, it's helpful to pick a genre and learn how to do it well. - Software wise, obviously there are a few big popular packages. I think learning one of them is very beneficial if you are wanting to do paid work at all. Mostly I hear about Premiere, FCP and Resolve. I have tried getting into resolve but... dang man why can't you just drag and drop a file in there?! WTF! - Using the Kendy Ty example (check out his stuff) - he shot his stuff on the T2i! Looks amazing because he worked his gear, subject, and setting very well. Maximized his cameras strength of shallow DOF to "hide" the crappy sharpness of the T2i. A lot of people will say "see, the camera doesn't matter, look what Kendy can do with the T2i". Well if that was true everyone would use the $200 T2i to shoot everything with. Different cameras have different strengths and weaknesses, really depends on what you want to produce. Good luck!

Download Devinchi Resolve, a really powerful free editor. If you like Nikon I would stick with it for now. Get the D750, fantastic video in small file sizes. Use your existing lenses. Get a Tripod, a good external mic. and a lavaliere mic. Then shoot and edit as much as you can. Upgrade your gear as needed after that point.

I would love a cheaper option to the E-M1ii and therefore my hope goes towards an E-M5iii. Today I noticed that the E-M5ii has been taken of the shelves at several large stores and stocks are running low at the others. So, Anyone heard anything? What would you like to see in it? Personally I would be happy with 4K, not for the resolution but for less artifacts. And of course the low RS of the E-M1ii.

Smart move to do some tests and then decide. You sound pretty happy with what you've got. A lot of Canon people seem to get super disappointed when moving to another system. But, if you end up preferring the GH5, get what you can out of the Canon. Not like you won't be able to buy another one down the road, probably for much less.

Well, I would love to hear your thoughts once you have both

That's the old macbook. New one has a DCI-P3 Rec. 2020 display. Not sure what it means for color grading, but I looks amazing in the store. https://en.wikipedia.org/wiki/DCI-P3 Don't know how it compares to the Blade. (I will personally try to hold on to my 2012 Macbook Pro for one more year. MacOS actually runs better on it now than it did when I bought it 4,5 years ago.)

It's amazing how many really decent sub $1K video cameras there are these days. For editing, my vote goes to Davinci resolve. You are going to end there at some point anyways, so you will have an advantage if it is your starting point. It is mind boggling what Resolve offers in a FREE package. By far the best NLE for color grading. FCPX is $300 and needs expensive (>$100) plugins for any meaningful color correction and I won't even mention the cost of the hardware to run it . Adobe premiere pricing scheme sucks even more so it's better to avoid starting a cash-bleeding dependency if you can, cause you will need any penny you've got for the additional things that you never knew you needed for video

Pentax released that 77mm prime for portraits back in the film days and a lot of people love that lens. The Fuji equates to 76mm. Still think a 56mm f2 would have made more sense. He said someone at Fuji told him one of the reasons they went with 50mm is for all the people who grew up in the APSC era and had a nifty fifty as their first prime. They like and are comfortable with the focal length. That 90mm is really something else. Incredible lens from what I've seen. Was just watching a comparison of it and the 56mm the other day.

Wow that is a crazy good deal. Grats.

Well I don't even own a Apple Laptop but I know that the older, by older I mean made late 2013 or later will work fine. A late 2013 Pro can be bought for less than 1,000 dollars and will work.

Well with the optimizations of FCPX you literally paying for the performance when buying the hardware to run it . So for the people that use FCPX and need a laptop, a bug-free macbook pro would be a good solution (once it gets there with the next iteration). Now if you use Resolve of Adobe, then yes you are better off with any gaming laptop with a modern GTX card, and there are plenty to choose from . For most people I think a desktop makes much more sense. If I was on a restricted budget, I would build a desktop with an overclocked i7 kabylane quad code, 32gb of ram, a GTX1060, 2 fast drives for OS and cache/projects and a raid 10 spin drive array for media + a couple of spin drives for backup. It should cost ~$2k and it would be very fast for most projects and very hard to beat for the price (believe me I have gone overboard). Puget systems have a series of hardware articles for premiere performance that are worth reading.

RUN DMC with Bobby Brown opening in Phoenix AZ, USA 1987

Blackmagic Pocket? Gives you the opportunity to play with the basics at a reasonable price and still get stunningly good results. Put the raw files into Resolve... then decide you're better off with Prores 422 in Final Cut for the reasons stated above...

Buddy Rich at the Wolverhampton Grand Theatre aged 12. First on my own - New Order at the Civic Hall Wolverhampton 1986.

+1 for panasonic g7

No matter how prepared you are for the project, there will always be a few instances where things just go awry. The 6300 has many pros, but reliability in the clutch is NOT one of them. The Panasonic G7 will give you that reliability you need when everything else is falling apart.

https://***URL removed***/articles/6287665194/understanding-old-nikon-lenses-ai-ai-s-af-and-af-s

I noticed that the menu system is exactly the same as the FeelWorld FW760 I'm testing, so I guess it might be the very same panel just rehoused. Hopefully the Cinemartin will not have the same flaws.

Get the 4k one!! Crazy cheap. http://nofilmschool.com/2017/01/cinemartin7-inch-hd-monitor-99-dollars

Bad as in 200ms or more. Just a guess, but it's very noticeable. Same here. I was this close to buyin' the Neway OEM (or so it seems) of Ikan DH5e (via Personal View) but then a friend bought the FW760 and offered it to me for a test. Of course I was very interested considering the cost. So far the flaws make for a difficult decision. And most of all I was (and still am I guess) looking for a smaller monitor. Just like I suspected the 7" feels a bit too much for my setup and my taste.

I'd like to see the new hybrid autofocus but I doubt it will have it. Also figure it'll have less robust weather sealing/build and some of the photography features will be less impressive. So what will it gain from the EM1ii? I'm guessing it will have the same stabilization system and sensor. Maybe some video features that the EM1ii doesn't have. All for half the price of an EM1ii. Keep in mind the first EM5 was a ton of camera for the money and made a big splash when it was released. I don't think the EM5ii has had anywhere near the same impact so maybe they'll refresh it sooner. Also, John Brawley once said that Olympus viewed the EM5 cameras as being the more videocentric cameras while the EM1 was more geared towards photographers and at present the EM1ii outclasses the EM5ii in terms of video. Things might've changed, but if it's still the case that EM5 is more for videographers, I'm hoping the EM5iii will have better video specs. Not sure what they would be though. It looks like Olympus threw everything they had into the EM1ii. One thing with Olympus, they likely will improve both cameras through firmware.

Here's a podcast interview with the cinematographer for The Witch: http://gocreativeshow.com/the-cinematography-of-the-witch-with-jarin-blaschke-gcs083/

Yup, I replaced my non-ai/ai lenses with their newer ai-s versions for the shorter focus throws. I know a lot of people prefer the longer throw but I find the ai-s work better handheld especially with peaking. I did the same thing with my Minolta MCs and picked up their MD counterparts.

Compressed 8-bit is no match for the power of Raw!

Perhaps renting an Alexa. I have a colleague that can cut me a break. It's all sort of up in the air and depends on budget. Would be nice to play with pro gear and not make as many compromises, no question.

I still love the first A7s as it fits my needs better than any camera to date. I prefer the size shape of the first over the second A7# cameras. I would think the biggest change to an A7siii would be something like 18 or 20mp as well as 4k 60p. Better AF with adapted lenses would be nice but Sony isn't likely to aim for that. Batteries are not that much of an issue to me. Easy enough and small enough to carry what you need and If you use them fresh, you can get a lot more out of them than if you leave them in the camera and shoot sparingly.

I'm interested in this camera as well. I'm certainly looking at alternatives these days. Since my wife is on Fuji, I might end up there too. Really kind of depends on the next project. There's a chance I could go upscale and get a "real" video camera even though I love doing things on hybrids.

Don't you have an nx1..?

From very first post it was obvious you have made your choice before even asking

This would become (FF equivalence) a 34-100mm f2,8 with the speed (but not the DoF-characteristic) of an f2.0 (one stop brighter). You will know better how good the focus ring is. Metabones list of tested and officially supported lenses for working AF with the Ultra: However, I suspect "working" means, it will focus if you are patiently aiming the camera at your motif for stills. Don't think that it's usable for video. Your lens seems to be top-notch. Probably a very good (parfocal?) glass for the GH5 with a very desirable focal range and very fast too. 700 bucks for the SB - if you don't like it, send the Speedbooster back and sell the Canon, that's what I'd do if I were you. The XL (~same price) - if it fits on the GH5! - would make it a 31-88 with the speed of an f1.8 - everything one needs, and IBIS would work with it.

Yeah, I will definitely miss the ease of the a7s. The 4k and low light don't concern me much, as I have always found the awkward rigging of the shogun well.. awkward haha! For lowlight, the 5D holds up very well to ISO 3200, maybe even 6400 - which is plenty for my use. There is also an NAB-factor here. Will be interesting to see whats gonna happen to the older generations of the a7-line cameras, if Sony keep outperforming their products Price wise

My old FD doesn't have as much contrast as native lenses. It renders colors different, CA is more pronounced wide open. Things like that. Also, just the operation of the thing creates a different quality. Pulling focus, for example.

I think I would have gone the other way LoL. Giving up low light, 4k and a better Codec well hmm.. Now going to a C100, well yeah to that.

I actually said goodbye to my a7s yesterday to make space for the 5D3 Looking forward to explore the magic!

Thanks guys. I haven't tried scope, but it basically covers the sensor of the pocket. The corners are maybe dark, I'd have to check the footage again, but that's supposed to be part of the charm of the lens. This week I received a Fujinon TV Z C6X18 18-108mm f/2.5 c-mount zoom lens, and I love it. It covers the bmpcc sensor, looks good at /4 (it's soft, with purple fringing wide open), it's super smooth, parfocal, and a lot of fun. I've always loved the zoom-in/out as a stylistic/emotional effect (think The Graduate and The Shining) so I'm excited to put it to use. Last year I had a Canon V6X17, but I prefer the Fujinon aesthetically (particularly the bokeh). It feels well-built too. It's made of metal yet still light (lighter than the Canon). It's about the length of my Rokinon 24mm, but smaller around than my Panasonic 14-42mm 3.5-5.6. I got a pristine copy from ebay for $50. I'll post footage soon.

I heard that Trump will be setting up his own camera plant in Detroit, the rumours are that the first camera to be released is to directly rival the GH5 and will have these features: 4k, just the best 4K...you'll going to love it. Honestly, the best 4K. Camera body in any colour as long as its red,white or blue. Colour balance is locked to 2700k for uniform orange skin tones. Buttons made for extra small hands. Weather resistant, including urine. Overheating notification in 4K mode is displayed as "Hoax invented by china". Camera strap has red dye to be deposited onto neck of user. firmware accessible via secure server, directed via Russia. No word yet on pricing yet, but rumour has it Mexico will pay for them.

Is there a chance president Trump could only allow to enter the country cameras with internal 10-bit 422 codec?

I have an actual photo of a Sony engineer testing the A7SIII E.F in beta mode. Here's a Sony engineer running away from the scene after testing the 4k60p. The battery was short lived and went brightly nuclear shortly after, that's why they call it Elephant's Foot. Jokes apart (although Chernobyl is no joke), I love, love, love my RX10II but I rather complement it with a GH5 than a small battery, 30 mins limited, tilty screen and who knows what limitations more, one SD card a7siii.

I think the A7s7 is really gonna be the sweet spot

As much as I want to believe, there is something wrong here. I am not sure if it sample variation or measurement error, but this is the first example that there is such a big difference between DXOMark and the tests by DPReview.

This is a complete no-brainer. The 1D C is the one to go for if you want the best 4K. The sensor crop of the 5D Mark IV and poor low light performance kill it. The only reason to even consider it is Dual pixel AF. The 1D C is also a MUCH better stills camera, with a pro body - which means build quality is in a different league altogether.

I have never used AF with Speed Boosters either. I was talking about fatigue setting in after a day of shooting and it creates more room for mistakes, needlessly. Using native lenses opens you up to more freedom of mobility, less fatigue, focussing with lower margin of error. Basically, using a M43 system for what it excels in. I think Griffin Hammond expressed something similar for his video work. I think the speedbooster route makes the most sense if your goal is to move onto a FF/apsc system with your set of lenses in the future (using Canon lenses now with the goal to move onto Canon cameras in the future for example). But I think even if I move onto FF in the future, I would keep a M43 setup for its compactness. For me at least, the GX85 and 25mm 1.4 combo is just so right when it comes to size/weight to performance ratio (and cost). Besides using this for hobbyist projects, I can imagine bringing it with me on vacation without taking away from my experience, so it creates the opportunity to capture more great moments. I wouldn't consider FF glass if I wanted to have a good time.

The 20mm f1.7 is a nice lens. Its AF for stills isnt as bad as its rep imo. For 90% of the people it will be fine. It used to be my goto lens for m4/3. Usually I experiment with adapters, old glass etc but keep at least one capable native lens so I can keep it simple if I want to. Now days its the Olympus 17mm f1.8. Its an awesome lens on a Panasonic, Olympus or Blackmagic. Razor sharp, fast, lovley bokeh and the option of manual focus is very welcomed. Since its been a kit lens for various models, just like the 20mm f1.7, it is now cheap to buy used, €180-250.

Dave looks better on the left and at my age I'd also rather be shot on the 1dx ii. Don't know if that's a good thing though.