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This was done in FF 1080p mode, which is still beautiful looking. I think that the image is improved over the other canon full frame options out there, espically for 60fps. Colors are exactly what I want. I'll try and share a 4k wedding as soon as we shoot one. But, Is not looking forward to storing that data.

The next step will be NXL EOS lens control. My dream is get the Samsung NX1 like a Canon 1D X MKII... Just better!

Finally! Not bad at all!

Thanks Noone for the Kipon info, I will have to check it out. I did a bit more research last night and I'm guessing the Leica lenses are Panasonic's equivalent to Canon's L Series, would you guys agree? Thanks for the video Jonpais, I had watched a few of his videos but not actually seen his one. I presume he's using IBIS but I can't see it stated in the comments. I noticed in the video comments that people mention vignetting if using a lens at 18mm on the Speedbooster. Could someone explain why this would happen, as I thought the whole point of the Speedbooster was that it takes an image from the lens and shrinks it down to M43 size? Why would vignetting appear? Does this mean I couldn't use the Canon 17-40mm? There are three uses for the camera I'm thinking of... If I'm using the GH5 as a B-Roll Camera on a video shoot I'd need to use Canon glass on a Speedbooster to match other cameras. Just shooting video on the GH5, I'd need a good focal range of fast visually matched glass, so all from the same manufacturer most likely. Thirdly, using it as a stills camera I'd like wide aperture zooms with fast AF. Again, thanks for all the comments. Really helping find my way through the rabbit hole I've found myself in. Rich

So, this is my last project. I also have some problems with shadows. If place is dark, the shadows and blacks just broke. Shot with sigma 30mm 1.4 and samsung 16mm.

I've been shooting drone for a long time. On a pure technical standpoint (I'm not going to enter in the legal aspect) - Karma: the drone is big, takes forever to warm up, the gimbal has a lot of drift, the radio link is weak and it's not very cheap ($1200 with the GoPro). In other words this is not the best bang for your bucks, nothing dramatic but there is much better on the market. Just GoPro first shot at it. Perhaps after the recent recall, GoPro fixed some issue, we'll see... - Phantom 3 : the Phantom 3 Pro films in 4K, the P3 Standard only in 1080. DJI recently stopped selling this drone but there is a lot of inventory and you can still buy a brand new unit for cheap. The IQ is enough for most internet stuff however the max bitrate at 60mbps is a little bit weak especially if you shoot in 4k. - Phantom 4 and Phantom 4 PRO: the Phantom 4 is just an updated Phantom 3 with front sensor (collision avoidance). Nothing very different on the IQ compared to the P3Pro However the Phantom 4 PRO has a much larger sensor (one inch) so better DR, ISO and quality overall. The bitrate also max out at 100mbps which is good especially with the h265 codec (but a pain to edit right now), you can still record in h264 at 100mbps. It also does 4k60. It's the most expensive one ($1500) - Mavic: nice and small portable drone, ok price at $1000 but hard to find at the moment (sold out). Offers collision avoidance (front) like the Phantom 4 and 4 Pro. On the con side the drone is a bit too light for windy days (jello and vibration issue) and the bitrate is back to 60mbps. - A note about the focal (FF equivalent): the Phantom 3 Pro and P4 are 20mm, the Phantom 4 Pro is 24mm and the Mavic is 28mm. Keep that in mind depending of what you want to do. - Other drones ? The Yuneec and Walkera make ok drones but DJI products are just better - Is is hard to fly? not really, these drones are full of automation, the flight is assisted by GPS, they will come back to the landing point if you press a button (RTH), they will also calculate your distance Vs battery and start flying back if the battery is too low based on the distance. Some have collision avoidance system. If you are a bit tech friendly and played video game in your life you won't have any issues. To give you and idea, once you start the drone and take off, the thing will stay in the air and hoover by itself until you move the command. It won't drift thanks to the GPS. Can't be easier than that ! Conclusion: You could start with a Phantom 3 standard (1080 max) or P3Pro for $500-800 new or even find cheaper used unit (check the hundreds available on Craigslist and ebay). The IQ is good enough for most internet stuff (similar to gopro), you won't break the bank and/or cry too hard if you crash. The Phantom 4, 4 Pro and Mavic have the front sensor for collision avoidance if you are a noob. Basically the drone will stop automatically on front of an obstacle. The Phantom 4 Pro is definitely a step up in term of image quality but also the more expensive. Last thing, if you buy a drone here is what YOU MUST do and understand before flying: 1. compass calibration, 2. IMU calibration, 3. return to home (set the correct altitude), 4. difference between the flight mode (ATTI and GPS). Check the thousand of tutorial available on internet. Nothing complicated but ignoring these simple things will lead to crash. Be smart, not like Casey Neistat. Here is what I did with a Phantom 3 Pro a few years ago. Fair enough

When snowy. Setup the same as on previous msg.

1: By design power consumption with ML loaded will be increased. As far as I can tell it is far from "eating up" or "draining". Cannot put it into numbers, though. Depends on which modules are loaded, overlays activated and such things. Of course you will see higher consumption writing 40 MByte/s to the card using RAW video recording instead of plain H.264 recording with about 5.5 MByte/s. 2. Sorry, don't own a 70D and cannot answer this one. It should work the same way with/with out ML loaded. If there are issues devs will try address it. 3. No issues here. 4. Sorry, don't own a 70D, I'm not a developer and can't even take an educated guess.

Hoping that Mitakon and some of the other Chinese companies realizes there's a lucrative market for these and gives SLR Magic some competition.

Hello, zerocool22 and all! I'm sorry to crash the party but it has to be done ... While it is true there is no dev with 5D4 at hand you are confusing cause and effect. It is not lack of money setting 5D4 porting at hold. It is just lack of manpower. The skillset is one part of the deal (real hands-on knowledge on embedded systems (ARM-architecture) with some C and Assembler) *and* enough free time at hand to port it and do long-term support. Each ML port will (est.) take some houndred hours work even for those cams without new hardware architecture involved (5D4 = DiGiC6 = no existing port for DiGiC 6 architecture). And every time Canon renewing firmware you have to go through it again. Reverse engineering to find out where Canon's compiler put all the pieces where ML code has to lock in. Doesn't sound like fun and according to devs it's even worse. Just piling up money won't solve the problem. You addressed that with the term "buying time". It may be news to you but ML dev team members do have a very solid opinion about this one.They made it absolutely clear to drop out from the project on the spot if payment is involved. This will - most likely - kill the project you want to support. There is no "ML company" with devs on the payroll. They are doing all the work in their spare time not consumed by job, family, friends and hobbies. There was some kind of crowd-sourcing in the past for some more expensive items the devs asked for. Software licenses for professional developer programs, for example. If there is a monetary problem they just have to ask. So: Why not contacting the very persons you want to support and ask them about this in the first place? And why here and not in the very forum (ML forum) where they are doing the thing you want to support? ML dev team is by no means anonymous. You may even ask why they tend to not react on several offers from forum users to throw in some bucks for 5D4 development. If you have an ARM developer at hand with the will to do some serious work on it and doing long time support for it: Congrats from the community will be yours. If people ask when to expect a cam to be supported I always will give this advice: If there is no ML port for your cam ... act like there will be no ML support for your cam ever. Most likely 80D (or 750D/760D) will be the first DiGiC6 cam to see ML ported. But ML project does not know about timelines, milestones, delivery dates. It's ready when it is ready. Ciao Walter PS: Alway have g3gg0's signature in mind: "ONLY donate for things we have done, not for things you expect!" PPS: I'm a regular at ML forum but I'm not a developer and haven't discussed this with dev team. PPPS: If you want to support ML there are some tasks to be done. Help text needs major work (stalling for years) or just kill some obsolete/outdated tutorials. PPPS: Only 1D and all the C stuff (aka: Canon's professional line-up) is self-declared off-limits for dev teams.

If the budget is not an issue and you really want to use it for commercial work the P4p is the best choice. Camera has much more DR than gopro, mavic, p4, p3p et… has variable aperture so you can use it to control the shutter speed in changing light without need to change ND filter (for sunny day you still need an ND filter). Also the 4k 60p (althrough is using line skipping so is not same quality as the 4k 30p) is handy for smooth moves especially if you slow them down in post. I have p4p and I flew before only toys drones and I’m not good at flying them. The p4p is super easy to fly and incredible stable. In tripod mode is also very slow and stable that you can pull some shots in very close proximity of branches etc… Now I have more than 20h of fly time, but this video I did after only 50min fly time and as I said never flew a big drone (video is far from perfect but it was literally my 4th fly): https://www.youtube.com/watch?v=NgLfAMh4Miw For any commercial work you need at least 3 battery. I brought two additional p4 batteries that you can find at least here around 100-110 usd (they last 2 minutes less that the new p4p battery). I always wanted to have a drone to add some scenes to my work but I was always put down by the camera quality. The p4p is the first “compact” and “affordable” that you can start working with.

Vlog has nothing to do with focusing. It is not the contrast on your screen that counts but the one in reality

Test shots from 35NAP 2-2 | Helios 44-2 F:2 | Sony A6300

Funny, I've been comparing old & new prices [on ebay] recently. The thing that has me most surprised is that an Iscorama 36 (or pre-36) doesn't go for more than a 54 - so plastic-fantastic doesn't outshine a full metal jacket! So to answer your initial question, I bought my Kowa for B&H (similar to a 16H) for £200 about 5/6 years ago.

The Dianna + Brian wedding video is stunning (haven't seen the other one yet). I have just finished a very generic wedding video and this makes mine look like somebody handed a slightly drunk aunty Doris a disposable point and shoot from the supermarket. This is a good thing, by the way. Aside form the drone shots, there is plenty in there which I am going to use (editing technique wise) that I hadn't considered; in particular the overlapping dance scenes towards the end. Thanks very much for sharing.

There is an ETC crop mode that takes a 4K pixel crop of the sensor. It is a 2.7 to 2.8 (different reports) compared to the 2x crop of the full Sensor 5k downsized to 4K mode. The 4K ETC mode uses the same 9x9 pixel debayering pattern as the full sensor mode

Honestly I didn't shoot any video before leaving on my trip, just a few test stills to see if the lens was centered as I sold all my Sony gear a couple weeks before leaving and kind of built my kit on the fly. Bad idea to embark on something like this without knowing your gear, but time was tight and I really like the XT2 after renting one to compare to my a7rII and a6300. That's why I wound up with a 16-55 and 50-140 that are sitting at home (too heavy to carry everyday) while I'm on the road all year. It doesn't help that until I hit Australia/Asia, I'd never actually seen a Fuji camera in a shop so I couldn't tinker with lenses before buying - now I see them everywhere as there are tons of camera shops in the countries I've visited so far - Australia, New Zealand, Malaysia, Singapore and Indonesia. Anyway, I think the 55-200 is pretty sharp, and a really good variable aperture zoom. If you need the focusing speed or light gathering/DOF of f/2.8, then the 50-140 is a no brainer. For a travel lens with more reach and half the weight, the 55-200 has been a gem.

I don't know why people are so stressed about their metabones Columbus veering the gh5 sensor, just use the 4K crop mode if your adapter doesn't cover the full sensor.

With 4K? We are here to learn and from what I hear apple most of the time gets it

Educational - does this mean you have to be a student? I mean, does Apple check for that?

I could be wrong here, but I think that noise problem with 10bit was due to a wrong black level or something and now it's fixed.

Hello Marco, I work on it. The Tamron it's very nice lens for only 120 euro!! Ihkim it's lost again... But I work on my way ;-)

Thank you for the kind words. I agree, neo noir is hella cool, I'm a sucker for the genre in general, watched a lot of the staples of the genre back in my childhood and it has stuck with me. Now that you mention it, yeah, there might be a little bit of Blue Velvet in there as well. I've found that large part of my inspirations are often unconcious and become apparent to myself only later. The movie was pretty much zero budget. Everyone worked for free (we had a crew of 6-8 people, depending on the day), I self-funded everything else, which meant the FX, props etc, and all the running costs like travelling and food. Probably spent around 1500-2000 euros on it. We have a studio and own all our gear so we had free access to lighting equipment, dollies etc, and other things we had already built for other productions like a rain machine we had previously made for a music video. That allowed me to keep the costs very low. As for the BMCC, I have a bit of a love/hate relationship with it. For the price, it's absolutely the best, most robust image you can get - if you rule out hacks such as ML. I shot the whole thing in RAW, and it's just a priceless asset, and combined with the dynamic range it absolutely gives you the tools to make a truly filmic, beautiful image. I can see where the mini alexa is coming from. But there are downsides. To get the most out of the image you really need to dip deep into the grading process, and often manually separate colors and tweak them individually (whereas ML RAW gives you the same beautiful color separation out of the box), the crop factor is obviously a buzzkill, and the form factor can get very restrictive. It's a bitch of a camera to operate handheld, even rigged. We had a beatdown scene where I wanted to get a really deep low angle view for a few shots, and I was really struggling due to the form factor and the integrated screen. But, on the other hand, it has kept me firmly employed and in-demand as a freelancer, and I can use it on anything from food videography to documentaries to purely cinematic filming. It's a versatile image and you can get a lot a mileage out of it. Technically it's been rock solid performer, too. On BMPCC vs. BMCC, I'd go with a BMCC, with an MFT mount to alleviate some of the crop factor with a speed booster. I've used the BMPCC a few times and I'm not a huge fan. The user interface is slower to operate than BMCC (the BMCC touchscreen UI is really nice once you get the hang of it), the screen is somehow worse and I've always found myself preferring the image of the BMCC when shot side-by-side, even with the BMPCC speedboosted. It just feels like it holds more information. As far as RX10MK2 goes, the trailer has one shot taken with it, the burning corpse. It was only used as a slow-motion camera. I shot with the Cine profile with some tweaks I'd picked online, as since we were mostly shooting at night, there was simply not enough light to go for S-log at 250fps. Hate to say it, but side by side with ML RAW or BMD RAW, or even the BMCC prores flavors, the Sony image often looks just straight up unpleasant. It just lacks the tonality the other two cameras have, and the colors always seem thin and somewhat off. Matching the shots always takes a lot of work. I've noticed using some diffusion alleviates the problem a little, but it still has a very digital look to it, which ML RAW or BMD RAW do not have - unless you intentionally grade them that way. I'm frankly not too fond of the little Sony, but in this production it was the only way to get the slow motion shots I wanted (pyrotech, FX shots). And as for the troubles - yeah, filmmaking can be gruelling at the best of times. After the principal photography of this I went to DP another movie after only a weekend's rest, and that went on to take 3 weeks with no days off. That one had less production trouble, but it was more cumbersome (3x larger crew) and somehow at worse conditions. Lots of long nights outside in the Finnish winter. Afterwards I jokingly woved to never shoot anything again outside of the studio - but I've found I do that after every movie production. And I always find myself coming back... :D

My assessment as well in regard to the C100. It's not a done camera....especially the C100MK2. It captures very sharp HD images that are very cinematic looking and upscale well to 4k. I did enjoy this test though and I have my eye on picking up a 1DC. I would love to see a comparison of the 4k from the XC10 on a day scene with the 4K from the C300MK2. I bet they would be really close.

Hi there Thanks for a very interesting post. A nice side by side of the three cameras. However, I’m not totally in agreement with your summary of the models. The reasons I still use the C100 are numerous and for shooters like myself, posting to the web, it is still a relevant camera. You have based your assessment purely on image, (which is fair enough) and from that test I actually think they look pretty well matched. But there are other factors to take into consideration. The C300, your winner, (as it would be mine), is 4.8 times the price of my C100 new (6x more than I paid for an as new, used model with DPAF) so I damn well hope it is a better camera. The same can be said of the 1D C at double the price. (B&H prices). Ok the AVCHD codec is not great, but I think it actually stands up pretty well for web-based content. If you need a stronger, better codec then a Ninja can provide that. Sharpness… on the shots in your test that were actually in focus, the sharpness seemed comparable. Again the external recording on a Ninja is fractionally sharper on the C100. The DPAF is brilliant for fast moving stuff… But compared to the 1D C, whose images I actually find the most pleasing in your test, the C100 has a far better form factor. The DSLR’s are horrible to use for video. I find built in ND’s, a proper handle, on-board audio, phantom power, peaking, wave form, Zebras etc leave any DSLR sadly lacking. These are to me far more important than a marginal picture quality improvement). It would have been nice to see a properly exposed shot using the Wide DR shot on the C100, for which you give praise. As I’ve not used it much. So would I swap the C100 for a 1DC … no, absolutely not !! My days of using DSLR’s for more than a B roll camera are over. Would I swap if for a C300. Hell yes, if someone would give me the ten grand extra over what I paid for a C100. So while I agree with your results order for these cameras… I also feel the C100 boxes above its weight, the only current camera I would possibly we willing to fork out for is the FS5.. a better camera for sure, but I’d need to adapt my range of Canon glass and its AF is not as good. So until I absolutely need 4K I’ll quite happily stick with my aging design C100. Cheers Gareth

Tell me something. Where were the "liberal and progressive" protesters and celebrities when Obama deported 2.5Million immigrants - more than any U.S. President in history? Where were the "liberal and progressive" protesters and celebrities when Obama armed, funded and trained "moderate rebels" that committed genocide against my people, Syria's Christians? Where were the "liberal and progressive" protesters and celebrities when Obama spent $1Trillion on nuclear-weapons? More than all his predecessors combined. Where were the "liberal and progressive" protesters and celebrities when Obama expanded Bush's wars from two to seven? Where were the "liberal and progressive" protesters and celebrities when Obama droned 60,000 civilians - mainly women and children? Where were the "liberal and progressive" protesters and celebrities when Obama dropped a bomb every twenty-minutes for eight years? Where were the "liberal and progressive" protesters and celebrities when Obama's "moderate rebels" killed four members of my family!? Where was the outrage!? Tell me, where the fuck were the "liberal and progressive" protesters and celebrities during that shit show? I'll tell you where - they were busy watching Obama crack jokes on Jimmy Fallon and dance on Ellen. They were busy getting distracted by that shit show to notice the cluster fuck that Obama unleashed on the world. You wanna call anything that doesn't fit your narrative "propaganda", fine. I've had it with all the phoney progressives out there that can't seem to let go of Obama's nuts. I've had it with all the phoney progressives that automatically think you're a Trump supporter because you call out Obama for the shit show he started in Syria, in Libya, in Yemen. I got nothing left to say to anyone. Fuck it. I'm out.

Heres my latest entries : This last one is still private, its only due next week, but since this is a specialty forum, there should be no harm. Everything shot on the NX1+16-50s 2.8, and graded with my own Vellichor luts, available for purchase here if any of you wants to have a look - https://sellfy.com/p/HNAk/ Hope you guys enjoy :D

Hi to all, dear friends! More quick answers in my group https://www.facebook.com/groups/verbascope/ or https://www.instagram.com/verbascope/ Thank you for your interest to my rework of 35NAP family

A tip of the Hat to you Andrew! I am a professional video producer and have historically found my business benefits most from focus on story - grading / color has been down on my list of priorities in terms of what my clients notice and pay me for. I have seen a lot of my colleagues get bogged down in grading to the detriment of their delivery schedules. However This workflow is so easy and fast and the results so powerful that I simply cant ignore it. Indeed I am noticing dramatic results using the LUTS. Especially highlight roll off and color pop - I have always been a fan of those deluxe reds and blues from Canon and now I have them. Those popping colours are a matter of taste - i like candy colors so I am stoked. but one can always dial them down to taste. (Of course I am bracing for the usual online slamming about how my colours are all wrong...) I put together a quick and dirty before (in camera using recommended settings) / after (LUT applied) edit so you can intuitively feel the difference this LUT workflow makes - In my case on GH4 footage - with an Oly 7-14 at f7.1 - shutter speed way up as i don't have a vari ND set up for this lens yet. Dont discount setting idynamic range to high if you are in a challenging dynamic range situation - i put an example of this at the end of the video.

Images shot with recommended settings on GX85. 1.Straight out of camera 2.With only lut applied,notice the slight red tint over image. 3.Lut applied,image adjusted to remove red tint.

35NAP 2-3M, Sony A7S (fullframe), Samuang 85mm F:1.5.

1.straight out of camera 2.with lut applied 3.lut adjusted lowering rose tint and saturation=geat image indeed.

I start to think about the housing for my verbascope with single focus

First owner of Verbascope . My congratulations!

Finally got the rear element ! Just needed a lot of wd-40, a screwdriver, and a BIG HAMMER ! #YOLO #HammersFixEverything

You 're the Man Dr Verbel' Thanks for your work and kindness!!!

Last series shots today.