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The Infamous NX-1 Varavon Armor II Cage is back on sale... Only $50 (US) YEAH!.... $30 shipping...BOO.... $83 delivered... I just wish they made that has the battery grip option.... Also the NX-1 Armor II Pro Cage... its the same but has a C 100 style Rosette Adjustable Grip $60(US) http://varavon.com/collections/hot-deal-zone/products/armor-ii-nx1-pro-cage?variant=4096862915 http://varavon.com/products/armor-nx1?variant=1176714847 Also various other cages. A7s, 7D Mk2 BMPCC, Various prices... http://varavon.com/collections/hot-deal-zone

Actually Samsung was almost there with nx1 (out in nov 2014), but most ppl were not enough open minded to understand that (both inside samsung and among customers).

Sure thing. These aren't final grades, but should give you a better idea of what the profile is like to work with.

Thanks, yeah the ducks was quite friendly that day. And Gunpowder is smashing, good as new

Alexa ProRes (particularly in 4:3 mode with anamorphic lenses) is without a doubt a theatrical format. Many, many movies have been shot this way, and it's standard procedure for films that are under $3-5 million to go this route. Arriraw is expensive and extremely data-hungry. The Codex workflow, while bulletproof, requires a pricey on-set Vault system, and a skilled DIT to run it. ProRes can be handled with a laptop and a couple of hard drives. Boom. Direct to edit.

Yeah these look fantastic. Great job.

Yeah, with an Alexa.

I've been shooting with the A6500 again today on the Zhiyun Crane and also by stealth on the streets (in the latter, I was filming a public stunt for inclusion in a music video). It seems to me that the A6500 4k image has some special sauce of something going on - it really is quite a fantastic image for such a tiny camera and low bitrate. I've also seem many more examples online of people getting much better results from the A6300/500 than any of the other A7 cameras. The IBIS is also the best I've used in a Sony mirrorless - it's excellent. The only issues I have is battery life and rolling shutter, but they are not deal breakers as they are both manageable.

look at loss of fatal highlight detail as ISO increases. Not great test as it was not under low light, so highlight loss could be simple blowout or NR.

I want to try the X-T2 with a ninja flame for Flog, can anyone suggest a hire company with delivery in the UK? So far only found it on 'hirecamera' but its booked out for a while. I want to try it out myself, but if anyone can answer these questions?- I have no experience with Fuji. -How does Flog grade against Slog2? Is the dynamic range and highlight rolloff equivalent? -With the crop in 4k, how hard is it to get wide angles? What is the Fuji lens range like? -How good is the 50/60fps in 1080? Is it equivalent or sharper than in the A6500? -How good is the colour in flog compared to slog2? - Bearing in mind I don't mind spending time in post... I just recently got an a6500, just getting to grips with it. I like the dynamic range, and the AF, but not the overall build and ergonomics, and price of lenses. The XT-2 looks looks like it has less jello, perhaps more organic image?

here some information about the sensor of the GH5 from a german Forum, who has collected these infos from different sources like interviews, videos etc. it is definitively another sensor as in the E-M1.2 and GH4 and another design The high Iso Performance is supposed to be much better than in the GH4, there is talk about up to 2 stops (An ISO 6400 of the GH5 shall look like an ISO1600 of the GH4). Unfortunately there are no RAW pictures available at the moment to prove that. RAWs will not be denoised by internal software The design of the sensor leads to a faster read out that reduces the rolling shutter. The E-M1.2 Uses the brute-force approach with a lot of calculation effort. Panasonic says, that this will lead to more noise in the end, especially during video. This is the reason, whether decided, to design a totally new sensor. The rolling shutter also is not reduced by the software. the debayering is not done on a 2x2 Field but on a 6x6 Field. This leads to truer colours and to less artefacts. If the RAWs have 14Bit Colourdepth is not clear. all cameras that are tested at the moment have a beta firmware, which is optimized for video. This is why there are no or not many photos available yet. FW 1.0 will be "conservative" That will not use the full potential of the prozessors/sensor yet. Only with future firmware updates, the full potential of the sensor will be used. Updates for the photo abilities Are on the "internal" roadmap, but are not communicated yet. . Higer framerates in serial picture mode are possible but may not be used due to the 4K/6K functions .

Last off topic post on this thread, but you should submit a pic to @dog_rates, my favorite twitter account. They have over a million followers. That picture of her looking over the fence for her best friend might not be your best pic, but the story that goes along with it is just too cute.

To give a rough idea of the macro anamorphic setup I've configured - here are some stills from a video I shot late last night (hence the bloodshot eye). The actual moving image is terrible, as I was filming my own eye and looking at a monitor so is very shaky. The focus plane is crazy thin, so these are really not as sharp as is possible to get when setup is more controlled. Image 1 is result from full 16x9 ML raw capture with 1.75x anamorphic and diopters (16x9 desqueezed to show centred focus plane in context ) Image 2 is 5:3 ML raw + crop mode desqueezed (crop mode is 1:1 crop of sensor) Image 3 is same as Image 2...(it's my top lip btw - not my 'front brush') Images all lit with iphone torch - hence the horrible shadow green skin tones. Images 2 & 3 will make some wonderful profile pictures for my online dating application methinks. ML crop mode is killer for macro work, as it effectively windows the sensor to 1:1 where higher resolution raw recording options can be selected as well as turning any lens into 3-5x it's rated focal length. 5DMKIII ML raw - 100mm taking lens on +1 macro ring - Kowa Inflight 1.75x - Tokina +0.4 - Various power singlet close up lenses (+4+2+0.5) Focus distance was approx 12 inches.

Cheers Tito. It was all very simple really. To be honest, a way more painless way of achieving the anamorphic macro look is to simply use an oval modded spherical prime lens...and just use macro rings and/ or an extension macro helicoid and maybe a high quality diopter. Results will be sharper, less highlight distortion/CA etc. But for anamorphic purists, it is a case of putting your taking lens on a +1 macro extension tube - attach scope lens at closest focus - add lots of diopters, preferably high quality singlets with at least one doublet achromat (tokina +0.4) in there somewhere to help clean up edges and minimise CA as the glass gets stacked. Depth of field quickly becomes crazy shallow, so taking lens will probably need to be stopped down a lot - if not a preset aperture with lots of blades to maintain circular aperture when closed down...bokeh will not be a nice uncut oval. So for 99 percent of macro 'super close' shots I'd go with a oval aperture modded prime + macro rings...since you are probably never going to see a hint of streak flare in the background anyway, and it is so much easier to setup. The benefit of real anamorphic macro is debatable but can be a very cool look. I actually like when you see all the added CA and distorted edges of an image from cheap diopters, but that low-fi distorted look will not suit every shot, sometimes it needs to look as clean as possible - in which case, I'd recommend oval modded prime lens +macro rings.

Well, it took them awhile, but they seemed to have caught on okay in the 19th century. Got a little crazy in the middle of the 20th, but they weren't alone.

Cheers. It was a quick test with Magic Lantern x5 crop mode with diopters on a regular anamorphic setup...I could have gone way closer, if I used a different taking lens (and will do in my next test). So to answer the question, it was a bit of both - closeup ability, with an effective sensor crop of the full frame by using ML crop mode. The subject of these stills was a 3inch diameter glass ball with shower gel/glitter and other liquids poured over it - and let to run down the surface to diffract and sparkle at different depths. It was an experiment to see how easy it is to create ambient light / fluid effects. Password: macro Ive got lots of old enlarger lenses I've put into Chinese helicoids that work really great for macro work...extreamly sharp and extreamly cheap, so I'll probably dig those out soon for a better test.

Have used two for almost my entire income for a few years. Talk about workhorses!

The number of BMPCC and BMMCC that have been sold show that some people are not onto the sensor size race too. Full frame is great, but I prefer S35 or S16 myself, depending on what you shoot, but the clients seem to only care about shallow depth of field :s

Whack the ISO up to max and wave the camera around.

SLog2 is fantastic on the A7 cameras (if you do it right!) Slog3 is too aggressive. (Although I've seen some really nice results). Cine4 is nice for many situations. Slog3 10-bit is where it's at!

I would remove the word 'easily' from that sentence. Compared to a Canon, it takes alot more work.

Then again everyone and their mother are going to sell off their 1DCs and C100s and BMPCCs to buy the new GH5, so your work may be more differentiated by keeping the 1DC.

I am also amazed when people use the Sony a6xx cameras for pro work, but it doesn't stop people from doing so. If I may, I would like to quote Ken Rockwel, "Versus Fujifilm Sony and Fuji are completely different from each other: Ergonomics Fuji's cameras are designed by and for real photographers. Fuji cameras have far superior ergonomics, with real shutter, aperture, exposure compensation and other dials. Sony's cameras have the world's worst menu systems, and then they force you to into menus and screens to set the most basic things like ISO and shutter speeds. Sonys are designed for and by amateurs and online tweakers who don't actually know what's important in a camera. Quality Fuji, like Canon, makes almost all of its cameras and lenses domestically in Japan. Sony usually offshores its cameras — even the $3,200 made-in-Thailand A7R II — to whatever country can do it the cheapest." I couldn't say it better, and maybe that is why I am not earning my life writing about cameras! The bold line is the essence of the difference, that is why young people and new photo/videographers are fine with that, can't really compare, and the spec war is more important for semi-pro/amateurs, than real everyday use.

No way, not going to happen! We'll probably get *ONE* of those specs you mentioned in the a7S mk3. If we're very lucky we'll get *TWO* of those specs. If we're very very *very* lucky then we could get as many as *THREE* of what you mentioned. But to get *all* of that?? Sorry, you need to wait for the a7S mk10 to get that! haha Remember Panasonic had 10bit (though external) with the GH4 years ago, and ***still*** no other camera manufacturer has caught up (for whatever reasons, political/costs/marketing/mismanagement/blindness/whatever) in offering this in one of their consumer stills cameras. When others are still behind the GH4, I wouldn't feel optimistic about them leaping ahead of the GH5 any time soon.

Strange post, it hard to know what you really mean as it's polluted by references to conspiration theories. Not sure all Media is corrupt, never the less Trump has manipulated too many. The underlaying problem is lack of good education in US for a long period (for at lot of people), resulting in lack of good judgement. In Europe we see parallels to what happen in Germany in the 30ies, its is a really dangerous situation. Yesterday it was fantastic to see people finally showed engagement. What do I mean by conspiration theories; that NWO elite has funded ISIS - of course this is rubbish. A very simple thing- some people use religion to manipulate people which has been going on for ever, and they are local, not initiated by the Westen elite.

I've just had a quick look at this thread, as I've recently bought a Zhiyun Crane and used it on an important music video shoot with the A6500 yesterday with no prior experience or practice. I've had a BeSteady, a Ronin-M and a DJI Osmo RAW. The latest, the Osmo RAW is a great idea but needs a lot of work to justify the price tag. There were too many issues and the movement wasn't that great, although the video quality is stunning in controlled lighting. The Crane is a breath of fresh air. Very high quality, not heavy, easy to set up, long battery life, great gimbal movement, simple and responsive settings. I've only used it for a day and I'd say (for the money / value), it's the best gimbal you can buy right now. Love it.

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?

There is a big difference between Made in and Designed in. I was speaking about designed in. The made in just change the price but it does not change what the camera is (specs, innovations...) We lack of a Tesla-like competitor in the camera industry. People who truly innovate instead of spending their time thinking how to best cripple their product to protect their cine line.

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....