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Oh yeah, if you're cool with hacks, the best option IQ wise, imo 5d mkiii RAW 10bit 60p Wedding example

My recommendations, as others have already stated: d750 - the body is dropping in price, keep an eye out for a deal. Full frame, super DR and color edge over a7s, but soft 1080p. nx1 - jack up the bitrate with the hack, invest in Luca's speed booster, and keep that ISO as low as possible...you have a excellent 120p performer. Best 120p full frame for the price (maybe the only). Great color and sharpness, lackluster DR and strange highlight/black levels when grading if you ever miss your mark on exposure. a7s - keep it in crop mode and speedboost. Best low light, great sharpness, DR and highlight roll off but, imo, terrible white balance and strange colors. Compression isn't the best either a5100 - super cheap, speed boost it and it's quite comparable to the a7s, a tad bit softer, a bit less dr and a bit more macroblocking/artifacts but for the price... And hear me out Bmmcc - if you can live with near apsc crop instead of full frame, bmmcc speedboosted would probably yield the most beautiful results. But that's subjective, as I value color information a bit more than compressed 60p. buy an rx100 iv as b cam for superior slow mo of any of the cams. Excellent sensor readout and result for a compressed image. 1 inch sensor though.

Unsure why everybody is surprised the AF seems iffy with this camera? Each company seems to have specs they excel at and it takes the other manufacturers a few years to catch up on... I doubt Panasonic is just holding back phase or dual pixel af. Just as I doubt Canon is holding back inexpensive 4K with a manageable codec size. Just as Sony is doubtfully holding back cameras that do not overheat. If you NEED great AF, get a Canon. If you NEED crazy sharp, high resolution video with adequate AF, get a Sony. If you NEED 10bit 4K up to 60p at $2000 get the GH5. Since I assume most of the people interested in the GH5 are event videographers, I would think AF would be more important than 10bit video? As said earlier... you can't get everything for $2000 or less.

And here's the review -

Yes! Sort of a "They Live" type scenario. But with cameras instead of glasses. Luckily Im out of bubble gum and ready to kick ass.

What resolution are you using ? According to http://rawcalculator.bitballoon.com/calculator_desktop, you can get continuous recording on the 5d3 at 1776x1184 (3:2) in 14 bit. (1696x1130 3:2 for the 5d2) Are sandisk cards recommended ? I thought only the lexar and komputerbay are able to deal with the bit rate. Anyway, do a write speed test and see the resolution you can achieve according to that

Well if THAT doesn't come and wash away the rain, I don't know what will.

I have been working with a digital logic analyzer and an Arduino nano. Via this setup I can set the aperture and move the focus to min and max so far. So the setup is For gathering data: Canon Camera + EF extension tube with AF contacts + lens, I have wired the extension tube to sample the data via a USB digital logic anlyzer. For testing my control: Arduino Nano + EF extension tube with AF contacts + lens (no body for now). So the aperture and focus max and min are working as controlled by the nano. Next step: NX camera + NX extension tube with AF contacts + Arduino Nano and use the digital logic analyzer to find the focus commands from the camera, also spoof the lens data. Here is where ihkim's work will be a big help with the lens initialisation, to hopefully successfully spoof the lens in a way the camera accepts. Final case: NX camera signal to contacts on close end EF -> NX adapter, these wired to the nano, then from the nano to the contacts on the other side of the adapter, then to the lens. Then replace the adapter with wired NX-L for focal reduction. Stabilization seems to work automatically for the lenses I've tried, but I think the EF-M mount lenses don't have physical switches, but these are not among the lenses we're adapting. My 10k offer still stands for anyone that can provide native-like camera driven AF. The Apurture DEC does not do this, as I understand it doesn't listen to the camera half at all, in which case I'm only a few buttons away from doing the same with the nano (add button to repeat change focus command one way, another the other way, same for aperture). Wifi would be a bunch of work though, but while nice it isn't on my own wish list. The nano will allow more programmatic control, 2,3,4, etc... focus locations could be toggled, it's mostly a matter of adding physical inputs and writing logic into the nano code to handle them. As I look back to your image of the upcoming system, the contacts are going to go just from the Apurture to the lens, I also need to get to the camera contacts somehow. What I need is camera -> Apurture and Apurture -> lens (but with my nano instead of the Apurture). With the current NX-L design I'm not sure how to get at the camera contacts, running wires even with a hole drilled through isn't great because of the rotating design, so they can be stressed or break if it rotates too far. Solutions that come to mind would complicate the design quite a bit further (e.g. concentric rings for each contact on that part that rotates). That would be great, can you PM me the address, I didn't keep the packaging they arrived in so I lost the return address.

Speaking of Autofocus, Philip Bloom has his finial video on the subject finished if you haven't seen it already. No real susprise on the better cameras.

Keep your eye on Ebay. Sometimes, especially at odd times like say a Friday after a Thursday holiday or other non normal times you might find a used A7s selling to Australia only with little competition. I have had mine for a couple of years now but that is how I got mine. It was actually sealed in box but was technically sold second hand and for a fair bit less than I otherwise would have had to pay. I also have a GX7 that I really like but it has a few too many limitations for video for me. Maximum ISO of 3200 for video and no mic or headphone jack being the biggest. That said, I don't do a lot of video beyond recording the occasional song at rock/blues gigs and I am more often than not over ISO 3200 (sometimes way over) so the GX7 will never work for me for that nine times out of ten. A7s is not the camera for everyone but I think it is worth every cent they go for. EDIT A quick check of Ebay Australia sold listings has several first version A7s cameras having gone in the range of $1572 including postage to around 2100 or so but many of the higher priced ones have extras with them. Plenty in the range 16-1800 range. Some have lots of bids, some only two or three.

I see that we have a couple of jokers here on the forum. Of course the AF is shit. Pana never ever showed the capability. If the tracking would be great we would see it. Early reports say it sucks. Then you say yes but it is a very very early firmware. The camera is releasing next month, are you for real? It is close to final firmware for sure. Then the tech itself, contrast base AF is called contrast based because of a reason. It uses contrast and therefore sucks with low contrast. The AF will be better than GH4 for sure, but it wont touch Canon let alone A6500. Like other said before in this thread focus in video is getting THAT important. So as a guy said before yes we have to choose between Sony, Canon, Pana, and others and they all suck at some important things. Can a company could finally do things right once in their life and put important things in one camera? Too hard to ask to have a 4K60p + 10 bit + FHD 120p + IBIS + tilt touch screen + nice ergonomics and menu + nice color science + Canon like AF, in a regular size body with FF sensor for a decent price? Panasonic, except for the sensor size (but in video it is not that much impacting I think) they had almost everything here. And they fuck up the AF. Damn

Well if it doesn't focus well I am not buying it. The GH6 will be 3 years down the road in reality. That is a long time to hope for Canon like focusing let alone better. I think focus is the big thing now and if you lag in it I am not buying. I am too old to manual focus, and as a one man band it is hard to do even when you are young. They are still sticking to the same focus that the GH4 has. If firmware could fix it they would have done it last year. Sure it looks like they have faster readout and more HP in the computing part of it. That should help, but it is not like having Phase Detection on the sensor. That seems to be the answer for Mirrorless cameras. Look at the difference between the Sony A7sii and the A7rii, day and night focus wise. And I know it is way to early to not consider it, so we will see soon enough. March is around the corner.

I'd be worried you're not gonna like going from full frame to m43 and you won't like going from Canon to something else. I'm not all that crazy about "Canon colors" but a lot of Canon users are absolutely miserable when they move to something else. The move to a smaller sensor and the change in colors, it's a constant complaint you see on forums from Canon users. "I don't like what I'm seeing." I would hold onto the 6D and make sure the company you get the GH5 from has a liberal return policy.

Download OBS free software here: https://obsproject.com/

This nifty thing showed up a couple of days ago. Have been playing with it today and I really like it. Its sweet to have it pretty much permanently sitting on the tripod. That way Im never to lazy to bring along a slider. Did a quick revive as well.

Does ANYBODY have a proper comparison video up yet? What about a direct split screen comparison between the 10bit and 8bit mode? And does 10bit make a difference in the grade? Aside from Neumann all the coverage this time has been total lightweight fluff. Really lazy. Quickly punted out, to collect hits. I honestly don't think any of the testers have put more than 5 minutes of work per video into what they have done. Can't find anything comprehensive at all. They really should have given me a camera, the retards

Would like to know what you think about our newest work. Shot with the infamous Panasonic GH4, internal V-LOG 8bit, -5/-5 NR and sharpness. Used Panasonic lenses: 12-35mm 2.8, 20mm 1.7 and 42.5mm 1.7. Used a Tiffen Black Satin Filter to get rid of the sharpning artifacts still left over at -5 and add some smoothness to highlights and shadows. Budget: about 0$.

Definitely looks more film like than a Sony A7 series can for sure..

There is nothing that can be done, best practice is work with a proper grading monitor that has been calibrated for the space you want export to, sRGB, Rec709, P3, etc.... That way you know you at least it can be properly displayed on a calibrated device. But as you have noticed devices out there are all over the place so you there is no way to know how it will look on someone else's devices. I have seen two computer monitors of same age, manufacturer and model that are impossible to get to match, even with a calibration device. This is not an isolated case and not un-common.

As others have already reported, the NX1 is really excellent for what you seem to need. Strange that you say that: "It's 2017, and still no affordable camera with nice 50/60p slowmo image", since NX1 (120fps@1080 with APSC full sensor readout) has been out since November, 2014, at a lauch price of about 1.500€. I bought it at the beginning of February, 2015 at 1.220€ shipped. Some months later (say end 2015) it was possible to buy it for barely more than 1000€. There have been reports of some new NX1 bodies sold for 800€ or even less, new, in the months following the announce of it being discontinued. I'm still regretting I didn't buy a second one, by then. I don't know your concept of "affordable", but to me NX1 was an outstanding deal since the very beginning, considering that even now it's vastly unmatched for under 3-4x its launch price.

Thought I would share this just for fun. These days I think most shooters know that the black hole sun problem in some Blackmagic cameras isnt new. For example Arri experiences it as well. And its easy to avoid and even easier to fix in post. Today I experienced a pretty much identical phenomenon on an even older type of sensor... film. These are shot with the ever so lovely and joyful Fuji Packfilm System. FP100 glossy. Its more blue, but still.

Thanks Justin! Will do it right away

Totally doable, Ive seen it happen on other forums many times. Logistically its not a problem, they would still ship individually. And I've also done what you did by emailing. I asked a retailer in Sweden if I could get $500 of on the A7sii because they had earlier had such a discount. They said yes. So these "limited" time discounts aren't ver limited at all.

Hey IKSLIM, had I needed to buy a new one for this update I probably would have sold you one, but Luca's kind offer is keeping both with me for now. Upon closer inspection the Apurture design version doesn't have the contacts I need camera side, so unfortunately you're out of luck unless I end up acquiring a 3rd one.

Took my new "Alexa Micro" for a quick spin when my Rectilux HardCore DNA arrived. Some soft focus, forgot to remove vertical lines and low h.264 compression, but can't say I hate the colors! This is probably something I can figure out on ML forums, but did not achieve more than 26 seconds on a SanDisk 128 160 mb/s card... Wrong formatting? Global draw on? Cheers,

Put that in the title then?

Here in NZ you can buy used A7S for NZD$1400 2nd hand, there was a few a7s sold for $1500, dunno why but A7II still hold value steady while a7s took a tumble Here in NZ you can buy used A7S for NZD$1400 2nd hand, there was a few a7s sold for $1500, dunno why but A7II still hold value steady while a7s took a tumble

I've been acquiring anamorphics and these two have been high on my list. I bought a 16H when it was advertised as an 8Z, not bad either way and I got a GREAT auction deal on it so a win's a win. The 16H has warm orange flares and the SLR Magic, from the reviews and videos I've seen, has more modern blue flares. That right there is already divisive amongst anamorphic fans and it also comes down to taste as well, which some have already mentioned with artistic preference in terms of flare quality. I prefer blue flares so the SLR Magic is fine with me but I haven't tested one yet so I don't know what it's like working with it and what my lens choices are. As for the Kowa 16H, it's really handy and the size compared to the big boy projection lenses like the Hifi 2 or something makes it a dream to work with. Paired with the SLR Magic rangefinder, it's a really great and completely practical solution but you're still limited to the 85mm and up on full frame and 50mm and up on S35. To note, I wouldn't use it as a run and gun handheld solution as, whether paired with the SLR Magic rangefinder or not, it can be a wonky setup. In that case, a straight screw on anamorphic adapter like the SLR Magic would be much more capable. Even so, matching those warm orange flares with anything else can be a challenge and, coincidentally, the most practical companion to the Kowa 16H would be the Kowa 8Z as you could hard mount that with a thread adapter. It's expensive either way you go but no matter what you buy, definitely have the rangefinder, it makes just about any anamorphic adapter setup just work. I'm going to be making a video about anamorphics sometime in the near future, I'm still planning it out and debating what to include and the SLR Magic 2X is high on my list, I just wish there was more information and real examples on it as just doing a basic search online there's very little out there and makes me wonder if not a lot of people are using it.

I've used a number of Leica M, R, and S bodies and lenses. Now I shoot stills with an S 007, and videos with a Sony FS7 and A7Sii. I would love for the next S to be upgraded for video. (Someone above mentioned an upcoming one, but that's really based on one poorly translated sentence from an interview with Leica CEO and I think not reliable.) Before that I'm also considering an SL as sort of a combination of the S and the A7S ii. It'd be nice to be able to carry one body instead of two. But after using the S, I don't think the SL's photo quality will suffice for me. In my mind there's little doubt that Leica gear is overpriced (especially when bought at retail prices) relative to performance. At the same time, the merits and aesthetic qualities of Leica glass + processing cannot be fully captured by DXOmark and other quantitative metrics that naysayers tend to cite. For me the richness and subtlety of the colors are always what strike me. Zeiss glass is sharp, Canon and Nikon glass are sharp, but the colors aren't the same. Increasing the saturation or vibrancy in post doesn't yield the same results. This is definitely subjective, and much harder to pin down than "sharpness" and even bokeh. But the difference is there in the images, and becomes very noticeable if you use the equipment over a long period. I don't think it's about irrational love for a brand or Leica mythology at all.

Matt Frazer about Autofocus: GH5 Focustracking Test: GH5 autofocus tracking Zoom 40mm low light at 3200 iso GH5 Autofocus and Dual IS testing Setup for Back Button Autofocus for GH cameras

Looks like the X-T2 could be the replacement for many NX1 users when then time is right for them to retire their NX1 NX1 users are very loyal and maybe a little fanatical (just a little LOL) so I think they will naturally gravitate to Fuji to find a home instead of Canikon or Sony. I'm different to most here in that I'm not professional and just do this for fun and 99% handheld video on the streets, but my options are getting less and less with every camera that's released. I simply hate fully articulating screens and it seems every camera that comes out these days has one !! Until I got he G85 I didn't realise how disorientating that screen makes me feel when trying to stealthily film on the street. So unnatural. The X-T2 doesn't have a FAS thank god so it's at the top of my list at the moment but I haven't made the jump yet. Also looking at getting an ARii again but that's a frustrating camera in other respects (dim screen when filming outdoors, wait for ever for data to write to card, menus all over the place etc etc) I did go and play with a couple of X-T2s again yesterday, and it does feel like a nice camera but I'm not 100% convinced yet. One thing I couldn't see when in movie mode yesterday when changing settings was an exposure needle on the screen but I'm sure that's a setting somewhere. In some ways, I should just choose my next camera on stills quality alone because my GX85 is about as perfect as it gets for me for street video What does surprise me every time I play with the X-T2 is how bloody effective the OIS is in the 18-55 for filming. I felt just as good as Olympus IBIS. Amazingly steady. I reckon Fuji's next big FW update for the X-T2 will include some goodies for video. I'd love to see F-LOG available internal but who knows. I think it will have a touch screen for sure. My little Fuji X70 (which can't focus for shit) has one and it works pretty well ... in a limited way. If they somehow add IBIS to the X-T3 it would be amazing. Could they do this I wonder. Would be such a bonus if they did.

I'm surprised the SL isn't getting more interest on here - imo is a pretty sexy looking camera.

Okay, this one doesn't fit your speedbooster to full frame criteria, but if I was on a budget and looking for good 60p I would just go with the Nikon D5500 or 5600. The 7200 offers zebras and metering with ai/ai-s lenses but the 60p has an added crop, so the D5500 or 5600 is probably a better fit. The Flat profile is amazing and APS-C 60p may hold you over until the A7Siii arrives. Another option would be a D500... 4K with a crop but 1080p 50/60p with APS-C and EIS. It seems to be a beast of a camera.

Let me respectfully suggest you're in a "forest for the trees" situation. If you want super cheap, and are truly strapped for cash, then maybe step back and consider older LUMIX cameras, speedbooster, and a old fast manual prime lens for low-light situations. I've shot numerous documentaries and projects with a variety of LUMIX M4/3 cams. As far as I'm concerned, the 60p on these cameras is fine. I really have an affinity for my GX7, for example. An effective S35 sensor area is adequate. I mean, we're talking about $500 to get all three pieces of gear; even less if you buy used. No, they're not the best low-light cameras @60p, but do-able and that price is ridiculous considering what you can accomplish. If you don't like the results it's not like you've invested a lot of cash. With those cameras, buy used and then sell used and you won't lose any money regardless. Ultimately it'll come down to your abilities with whatever gear is in hand. Certainly don't assume you are going to solve the majority of various production problems just because you own a camera that's 2 stops faster than another one. I mean, low-light-full-frame cameras are fun and all, (I do like them too) but work is work, your budget is tight, and cameras are only a small fraction of the whole process. All that said: NX1 and X-T20 tick boxes what you want, just at a higher price.

That would be great, no hurry!

The JVC gy ls300 is a very capable cinema camera and still has the potential to reach in capable filmmakers hands. Check this out! It was filmed entirely with the ls300

NX1 still best value for money, now with a speedbooster too! They don't make them as they used too..

I hate to be "the NX1 guy" in this thread ha (I'm actually suprised none of the usual suspects have piped up yet)... But it might be worth looking into the NX1, or the even cheaper NX500 for that matter, both produce lovely, sharp 60p (and gorgeous 120p as well!) with minimal moire/aliasing, crazy low rolling shutter, and decent enough lowlight performance with a fast lens, which you're obviously interested in, i.e. shallow dof, or you wouldn't care so much about sensor size. I have no idea what they'd go for down under, but there are lots of gently used ones around for pennies. Our very own forum member Lucabutera is selling some awesome NX-L speedboosters that he has crafted as well, I have one, which gives the camera about a 1.1x crop. Seems like it'd fit your parameters pretty spectacularly. Best of luck!

Great video, damnit I wish the GH5 was a Camcorder Factor, I would pay 3k for that! Get off the dumbass mirrorless form factor for your video cameras Panasonic that is affordable! Not everyone can afford a Varicam!

Some of the best review/tip vids I've seen lately @mojo43 , way better than watching a 15 minutes unpacking. Thanks! What backpacks are you guys using that can swallow up the Zhiyun crane? Both my Incase sling and my CaseLogic backpack have a small bit of the grip sticking out if I put the crane in head down. I've solved my mounting problems / desires now with getting a new quick release system that is rather light, quick and affordable. I've bought a whole bunch of Cullmann Revomax RX448 clamps and plates. I have clamps on my crane, on the ballhead for my tripod, one on top of a manfrotto quick release plate for my fluid head (which also is the mount for my LCD viewfinder loupe and fits into my shoulder rig) and on a mini tabletop tripod that serves as a stand for the crane but can also fold together into a grip for handholding the camera. Now all I need is a way to mount my field monitor and maybe a rodelink receiver to the crane. Guess a super clamp with a magic arm will be the best solution. What a pity that the crane has no accessory thread on the side like some other one hand gimbals. The a6300 is borderline flying blind on the crane thanks to the dimming screen.

I had some free time today and so I went into the studio and did some tests. They aren't very proper and they aren't the best in the world...but hopefully this will help someone out there! I used some of the EOSHD Canon picture profiles for the 1DC part so check that out! I am by no means a professional colorist. I tried to balance the images best I could in Resolve. You will notice that some shots are a tad blurry....I'm sorry about that. I had continuous autofocus on. Here are my findings: Canon 1DC: It's totally still relevant. The fact that this camera came out in 2012 and is competing with the new C300 mkii is incredible. Official Canon Log: Is great. It grades really nicely and is really clean and natural looking. Totally recommended. The 4k 4:2:2 8bit is much better than the 1080p 4:2:0 of the C100. EOSHD C-Log: Its good for sure but not as good as built in Canon Log on the 1DC. I need to play more with it but I had some troubles with it. Other EOSHD profiles: These are fun! I love the Monochrome one a lot! C100: Its done. Too old. Image is soft. Has terrible artifacts. Built in codec is total crap. Get this guy out of here. Wide DR if handled properly could be a good profile to shoot most things on. Its not too flat so the low bitrate doesn't fall apart as much. C300 mkii: This is the best camera of the three (as it should be) but not by much in relation to 1DC! Canon Log and Canon Log 2 aren't very good. Canon Log 3 seems just about right as far as nailing the color science. Everything balanced really nicely and looked great. 4K 10Bit really holds together nicely when grading. I thought 1080p 12bit would be stronger...but I really didn't notice much of a difference between it and the 4k footage. Slow motion: It's OK. There are other cameras coming out that have better slow motion abilities. To go past 60fps you have to crop in on the sensor by 2x which turns the crop from being 1.4x (Super35) to 2.8! That's more than micro four thirds.

http://www.samsung.com/ie/support/skp/faq/1024999

Does ANYBODY have a proper comparison video up yet? What about a direct split screen comparison between the 10bit and 8bit mode? And does 10bit make a difference in the grade? Aside from Neumann all the coverage this time has been total lightweight fluff. Really lazy. Quickly punted out, to collect hits. I honestly don't think any of the testers have put more than 5 minutes of work per video into what they have done. Can't find anything comprehensive at all. They really should have given me a camera, the retards I have to agree with your sentiments here - however Griffin Hammond's work was fantastic - it was great to see a complete production done in low light with such a great look. I reckon your gh3 and Gh4 guides helped sell a lot of ghs in the past- I am really surprised you didn't get a GH5 - much of the GH5 content posted has certainly been very amateurish.

Well people with 8bit displays have been raving about 10bit for ages now so it's time to find out the truth I can certainly see a difference with 14bit RAW but I'm not sure about 10bit vs 8bit YUV JPEGs are 8bit, nobody complains That said, the whole image processor seems to have had a hefty upgrade in the GH5 and I am still expecting good things from it

Well the differences in that video are so subtle I can't even see any The colours coming off the sensor though look fantastic, a big improvement in skintones for Panasonic this time round Is that the 180fps at the end? they didn't bother to label it... If it is 180fps that looksimproved over the pre-production model footage I saw before... not a hint of moire and very nice detail But the 10bit needs some proper evaluation once this marketing bullshit period is over, me thinks

Follow this link: http://support-us.samsung.com/spsn/detail.jsp?ctg_id=1000&sub_ctg_id&live_id=11&video_id=4179489244001

I think these camera chase politics and obsessions slow down the progress of many. We're at a time now where sticking and investing in the system of one brand is the best way to go. i currently shoot with the FS5 + Inferno, A7SII and A6500. I can do pretty much everything with these cameras. I have Sony as they cover a much wider spectrum of uses than any other brand. You understand the operation, the dynamic range, color space, the community, the workflow, the lenses etc without having to change your mindset and learning development much. I'd love a GH5, but it would be a camera too much in my kit, and the odd-one out. Plus I'd need native MFT lenses to get full performance. That money can be spent on native Sony lenses, a new soft light or even marketing. If you're not invested in a system, the GH5 is a no-brainer.

I use this script for downscaling to 1080p 10-bit. It was done by karl from Personal View: It works with 0-255.

Gh5, a7s2, i know that i m totaly crazy but...last week...i've buyed another nx1 body with...16-50 2-2.8...all of the other cameras have somenthing better than my sam...but..i really love the image that i can obtain with this "old" piece of electronic...