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There you go! They live! I also agree with you that the DL had alot on paper. And I dont believe for a second that the "sensor and processor" has anything to do with sales. Im pretty sure 99 out of 100 that buys a camera doesn't even know they have processors. Let alone if its the latest model or not.

A sinister grade LoL. I would turn down all sharpening and lower contrast by a fair amount, not a lot though, in camera, to smooth out the videoish look m4/3 cameras have baked in. Nobody is going to equate a MFT camera with a film look no matter what you do. In reality they have too many MP to get that look. 4k is only like 8.3mp, heck 1080 is only like 2.2mp, 720 is only like 1mp. And most people only have a LCD TV that shows 720 max. Heck old stuff like Gunsmoke, Mary Tyler Moore show, Price is Right all are in shot in 480! So most modern consumer cameras have Way too much resolution for video use. Sony A7s is an exception. When I shot TV news with $100,000.00 Sony ENG cameras they only had a max in camera resolution of 500 lines. Hence 480 output. Pretty crazy. But that was back in the time of Tube TV's and 3 tube, 2/3 Video Cameras.

Very sad/disappointing and kind of serves themselves right for being so ... well ... Japanese in their conservatism and indecisiveness. They need a big shake up ... a western CEO and new blood.

Mind power cropping! Should be able to manage...now on to mind power desqueezing! :-p Found another test vid btw, not too bad either.

It's simply a matter of time before Canon, Sony, Panasonic, as we know them today, will cease to exist. Will take less than a decade, guaranteed. Market for cameras will become extremely niche and majority of consumers will have needs met by next gen smartphones with better optics and sensors. And that's just the tip of the iceberg as changes go. We're living in the twilight of captilism. Enjoy it while it lasts.

Awesome -I've been thinking about trying to rationalise my cameras to better match what/how I'm shooting now and have been wanting to get a good hybrid for both stills and video so I can just take the one camera. I just don't gel with a sony, and want a full frame sensor for stills -so the SL looks mighty tempting especially being able to use m glass on it. I see it has 1.33:1; 1.66:1; 1.78:1; 1.85:1; 2.35:1; 2.4:1 aspect ratio guides - hallelujah. I see some have commented that the EVF is in the same class as the F55 or RED Bomb EVF -so that makes the price seem slightly better when you look at what they go for

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.

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

Was messing around trying out the pocket cam I just scored for cheap because it has dead pixels... if you look closely its in there... Had to shoot on ProRez LT because I only have one small memory card. Used a Cheapo Adapter and a Canon FD 24mm 2.8 & Canon FD 50mm 3.5 macro I have no lights so I took 99 cents store flashlights, a empty box, some foil and wax paper to make a soft box. Man think I like the BMPCC Im thinking about rigging it out... but its hard to blow more money on a $125 cam thats ultimately faulty... Plus it seems I need to at least get a 3 point light set.

I really hope the panna guys at firmware unit fix this

I tend to think if you shoot a "360" degree shutter it pretty much takes away most of the video look. I used to call it "0 degree" shutter, but 360 is technically correct (so I've been told). Whatever the case, it's basically a 24 shutter speed matched with 24fps video. One needs to be mindful of the motion blur, but I really like motion blur because it takes away the video-ish-ness. I shoot my documentaries this way, on m43, with longer focal lengths. The footage doesn't look like it was shot on video at all to my eye. Not sure if you can say they look exactly like film, but it seems pretty close to me. Also, I think MTM was a multicam film production, like other sitcoms such as Cheers. Gunsmoke was film too, I'd wager; single cam. Typical film production style. Price is Right was most definitely live to video tape. Studio video cameras all the way. An interesting bit of trivia you probably know: in the days of before video tape, electronic NTSC tv shows were recorded live to film via a primitive telecine; basically a film camera recording a tv screen. FWIW, the magic bullet suite is a 3rd party plugin from red giant software. I think it costs about $800. It's not installed by default with premiere, so the OP might not have it on his/her particular system. But regardless, you can easily make a custom gradient and overlay it on your video in any NLE. personally, in premiere, I'd recommend just masking a lumetri effect.

Nice setup. Looks like a good commercial spot. Thanks for sharing.

Thanks for the imput. I'll try to go this way.

I did it in lightroom with a gradual filter (lowered exposure and added warm). then some lut on the main photo. maybe you could try to export in tiff, grade in lightroom and make a new video in after effects.

Not easy to track a mask in every take, because they are mostly on glidecam. What kind of gradding do you think fit best for an institutional cops/military video?

Yeah 1 stop is about all you can play with on a m4/3 sensor. 2 stops on a good full frame camera works.

Since both card slots are UHS-II U3 I would only assume you can record at max on both at the same time. If the GH5 does gain at the least a 1/2 stop DR, and a 1/2 stop low light ability, and focus is better, it has to be the bargain of the year for Video shooters. But that is a lot to hope for. And that is what it will take for me to buy it. But damn it sure does have some nice specs! Panasonic has really not held anything back on this thing. It is probably the very best they can do for a m4/3 camera with present technology.

My test with a6300 in real life low light S-log2, ISO 12.800-25.600

It depends of which RAW we are talking about. On RED cameras the RAW catches each frame on all ISO available, on the base of 800, so what you see on screen is just for reference. I don't see the interest to ETTR on RAW. But I can be wrong... In LOG or standard usually I use the zebra. Set to 95%, I expose just one step before the zebra. Don't know if it's a good technique but it works well, on daylight and on night scenes with secondary LED panels.

Man, thats like the perfect bargain.. I am jealous.

Nikon should partner with Samsung and build a killer mirrorless, video oriented camera, to fight gh5 but with an apsc sensor.

What. Im curious to see your raw footage without ETTR or Zone System. Everyone know that the sensor need the best exposition in RAW use, or else we get noisy low light revovery.

Thanks Timotheus! I'm happy to hear! Yeah, I thought about that, but if I didn't test it on full frame, people would be asking about that. And to figure out APS-C, you can disregard most of the edges anyway and visualize with... *the power of your mind!*. hahahahaha. Just kidding on that last bit, but I think it's easier to estimate APS-C performance from full frame footage than the other way around. What do you think?

Once the robots take over, capitalism is dead... and cameras.

Yeah... For sure. But you don't have a m4/3 camera with a Sony sensor, 4:3 aspect ratio, good 2k resolution, good colors for that price ($450 with kit lens). I think it could be a fun camera B (or even C!). And i still think a hack would be possible...

Having used the a6300 and g7 extensively, unless you need the high framerate or log, definitely go with the g7. It never overheats and has a really nice image. Also more DOF isnt terrible, if you are shooting on a shoulder mount or something. Just keep in mind you cant have HDMI output while internally recording on the g7.

My thoughts. Camera-wise: Used BMMCC (Micro) + Rawlite or Mosaic IR cut and Aliasing/Moire reduction replacement OLPF. Uncompressed raw or 3:1 compressed or Prores if not comfortable with raw. 60fps is good for a touch of slow when you need it. If you don't though, a used BMPCC (Pocket) can be had for quite cheap now. Sure only 1080p but 4k for lower budget features is just not necessary IMO. Without knowing much about your technical details for your film, I will guess that the DR and colour of the BM vs GH4 4K will likely make the image look better. Lens-wise: 1. I personally love s16 sized glass, and have found that really excellent cinema quality glass can be found at a good price vs. s35 and beyond. Old Cooke and Canon zooms, Zeiss superspeed primes or Cooke primes are absolutely wonderful. 2. Buuuuuuuuut, you could also go the route of the bmpcc .58x focal reducer and get your crop to almost s35 factor and pound that light in. Throw on some cheap vintage Nikkor primes, the lovely Tokina 11-16mm wide zoom, those Nikkor f2.8 zoom beasts or Sigma 18-35 etc... that others rave about. This path probably makes more sense for moving onwards towards RED and so on without center cropping. Upgrade Path: Did you mean BM 2.5k Cinema or the 4K production? I think I would skip this pit-stop and just get better with the BMMCC until the RED is feasible. Playing with raw on the BM will set you up for fun with R3D too. Really getting to know the camera, where it shines, where it breaks and all of that is probably the way to make better films and really grow. Thinking upgrade and then upgrade to the upgrade for the 1st of 3 cams that you dont have yet might be a little bit much. I guess mainly what I am saying camera-wise is that I think you can condense the GH4 + BMCC/BMPC stages into a BMMCC or BMPCC to start before looking at things like RED or Kinefinity etc... Which btw could just be rented on a per gig basis as well. I'm a big fan of trying before buying, especially when the tech cycle moves so fast. Hope that helps.

Because Tascam specializes in audio for video productions and they have good cheap recorders, while Zoom F4 and F8 seem excellent and specialized for video, I do not see them being close to your budget, or need. The one you mention I believe is a very good performer for its money. The lens comparison works with money as well, in sound you can't cheat on cheap things, the best stuff are absolutely the most expensive, ofcourse at some point you have to consider if getting 1% better performance worths 1000$ more, or somwthing. In sound also, good "investments" last a long time. Sennheisser 416 is almost the same design since 70s, the 25 headphones from the 80s, the wireless mics for a decade or so, my hifi system comes from the late 90s etc A 100-200 mic is like a very good 4-5.6f lens! I have a 50-200 and a 12-24 that are great performer for the money. You need a shotgun, for sure, especially as a first microphone. Also you need accessories for those, if you go outside you certainly need wind jammers, Zeppelins and always a shock mount. Rycote is my main brand here.

Very nice to see a new review Tito, always happy to get a notification of a new video of yours! On topic: as SLR Magic specifically markets this as a MFT/S35 solution, I wondered why you didn't use it as such (S35 mode on your A7S2)? I realize time is a scarce commodity, but this not-quite stellar FF performance perhaps leads us to criticizing the lens on a performance it was not intended for...

The Helix looks like a brilliant, although hardly any in the UK so not had a play with it. Just being able to put it down without a stand is priceless. R

Kodak didn't go out of business, they filed for Chaper 11 bankruptcy protection back in 2012, and exited bankruptcy protection a year or two later.

Kodak went out of business. Big name!

M43 is not going down at all, I heard this years after years and yet M43 is still dominate sales in Japan while Sony with its glorious A7 series is losing sale to crappy EOS M, same for P&S market , as some Chinese companies have joined M43 this still have plenty of life ahead, open standard is the way to go! (look at smartphones, Chinese brands are catching up, while Japanese phone is irrelevant now, not long ago they were considered super advance), look at drone market, currently only M43 is available as integrated drone system.. look at action cam, only M43 have presence, which are all made by Chinese companies. I still see many Oly user upgrading to e-m1mkii rather than to other systems... so royalty is still there, financial report from Oly and Pana is very healthy unlike Nikon

Where in Europe aren't any camera stores?! I just noticed that in my little European country the a6500 is actually 1800€, for that money I would go GH5, and for a super bargain I would try to find the cheapest NX1 possible (probably with the 16-50S 2-2.8f lens). There is a speedbooster for that now, look at the NX1 hack sub forum for info. Middling Panasonics are great too, whatever you buy is good enough for nost things.

It seemed like when Nikon released the D750 and D810 they were on a roll and then THUD rolled into a ditch. They have done nothing interesting for 3 years. And between the D5300 and D-whatever they are on now, also nothing interesting. GoPro rival was a joke... Released just as the action cam market was over the hill... Yet to give the whole show to it at Photokina last year smacks of management issues too. Nikon could have entered the cinema market, they have the optics, sensors, everything... They could have gone into high end mirrorless market, the brand is stronger than Sony. Didn't... didn't... didn't. They won't survive like this... They are taking zero risks.

I don't really believe Nikon is going to survive. They have most of their assets in Photography, even their Steppers are mostly camera output related. DSLRs are nearly dinosours in this day and age. And that is the majority of their supply. And they are not burning up the market with great video specs either. Video is THE thing now and they suck ass in it. And this is their 100th Anniversity year and they have no money, great! What they bring out this year, new D810, new D750 both DSLRs, are hard to predict. They had better be the best thing since sliced bread, or might as well not even bother. I would sure hate to see them go, but they will I think, along with Pentax. Two of the first camera brands I ever owned a LONG time ago, over 50 years. Smartphones are killing all of them off. But amazing what power we have in our pockets now, just Amazing.

Personally I think the image is fantastic for internal. Also don't forget the far higher bitrate as well.

Nikon is very tough because of their legacy and dSLR sales, which -even though a lot of us consider them relics of the past- still sell more than mirrorless cameras, and I take a D750 everyday for pro photo work instead of any mirrorless Sony, and most of my pro photo friends did actually. If they don't make a bold mirrorless move soon though, then they will be left behind and Sony will eat up their sales quite soon and quite a bit,especially with the A7 mark III series of camera that supposed to be imminent. If Sony screw up once more (pro ergonomics, power capacity, heat management) then Nikon gets a few more years, but they do not seem to have the Fuji reflexes, to adapt to the new hybrid age. Best Nikon solution? Give everything they got for a NX1 Nikon. Take the best of the Samsung and the best of D500 and make a 2500€ camera with IBIS, I would buy that in an instance. Samsung has 15fps with a 28mgpxl sensor, and Nikon had to go to 20mpxls to compete with that, and still.. As of video, with a better H265 codec NX1 Nikon can be the best video camera together with the GH5. Add to all these no overheating, best touch screen implementation and wifi/bluetooth on the industry (while Nikon advertised it much but noy that good real world results), ergonomics, battery consumption, oled screens and brilliant EVF (I am sure after 3 years+ they can have a better one), Nikon lenses, colour science and a huge NIKON logo in front and you have an instant success. The DL series didn't seem very competitive as it was, they need a better (more retro-modern design as well) compact line, better make it full frame, and they have to up their video game. Newer generations need exceptional video on a compact camera, and when I say newer gen, I mean everyone under 50! m4/3 is everywhere, even in DJI, with a variable sensor a la LS300 (my opinion is that the GH5 with such a sensor would have been the best hybrid ever made) they can go to 2020 easily, but the small sensor right now has reached its limits (no big DR and ISO improvement from GH4 to GH5, if any) and having only 20mgpxls on this tiny sensor isn't the best cropping solution around. Fuji listens, we like them, I expect them to produce the best APS-C camera soon, and they are going medium format, who needs full frame then?!! The quiting of Samsung save them a big chunck of their pie and a relief, as 3 years ago they were clearly far behind Samsung (and this was very well documentated in various interviews from back then) and they didn't have the tech and resources to compete. Pentax and the rest, I do not know, unfortunately they aren't in my radar. Canon is Canon, eventually they will produce a pro mirrorless that will sell 80% of the mirrorless sales of that year, and a C100markII that we all have to buy! If they make mistakes though, Sony can overcome them as well, but it will take a few camera generations, and Canon to fail completely to see the near future. Everything is possible, I just would love to see this advanced Nikon FNX1!!

I may be wrong, but I'm quite sure this scene could easily be done, with better color on the G85 with the Sigma 18-35 1.8 and Metabones EF to MFT speed booster. I use that combination constantly in low light, shoot extremely clean images and never move the ISO above 400. The speed booster gives an almost full-frame image and drops the f-stop to f 1.1--and the Sigma's manual focus is amazing. To compound it all, the five axis internal stabilization on the G85 does a wonderful job.

With the GH5 it isn't just the specs, the whole package is much easier to use than a Sony or Canon 6D. Way better ergonomics for video than the Canon. Way better interface and button layout than the Sony, as well as better screen visibility in bright sunlight. The A6500 still has the rolling shutter problems of the A6300, whereas the GH5 has this truly sorted. It's well worth the extra $600 but if you think it is over-specced, you can save money by selling your 6D (which is absolutely crap for video quality) and getting a used Sony A7S instead. It may not have the 10bit, 4K, logical menus, etc. or refined ergonomics of the GH5 but it's only about $200 more than what you can sell your 6D for. Unless you need the 6D for stills (fast AF), get rid.

I guess you are talking the difference between 4096x2160 and 3840x2160?? They are different crop factors. One is using in essence full frame, and the higher one using a cropped section of the sensor. I am pretty sure the crop factor you are talking about IS different for each. "The full sensor is 4608 px wide, so the math works out to a 1.125 crop factor for Cinema 4K's 4096 px width (in m4/3 terms), and 2.25 crop factor relative to FF. Your 7mm WA lens suddenly becomes almost 8mm - a noticeable change. For UHD at 3840 px wide, the factor is 1.2 x m4/3 FL, or 2.4 relative to FF. 7mm is now 8.4/16.8mm; and your 25mm a 30/60mm. FHD 1080 will continue to use the full sensor width and preserve the nominal FL." Pete from DPR. So yes there is a change in the Crop Factors if this is your question? Maybe I am not understanding your question, please inform me and others if we don't answer your question. There is no better way to learn than to ask for advice, and there are a lot of very capable people on here that will help. Welcome aboard.

Wicked! It seems like the LS300 could be one of the sleeper cameras of the past two years.

Just updated and all internal noises are gone!!!

Feature on such a camera is a stretch for me. I would be curious. I think Peter Greengrass uses a6300 with the 18-105 for the most intense Bourne moments, and when it is really cold on set. I heard he found the touch screen implementation of the a6500 too gimmicky for real world use, still he likes how the screen dims, it has a certain old school film quality, when you weren't sure what you got before all these film procedures.

The G7 does not carry a signal through HDMI when recording. In other words, you can't use an external monitor with a G7. Now, shooting a Feature Film on a 3 inch LCD screen does not really seem to be a great idea in my opinion. Image quality is great though.

The blueness of those coatings makes me want to vomit. There's far more complexity to good anamorphic flares than the coatings that SLR Magic has been slathering on their otherwise exemplary optics. I also consistently find the images out of 1.33X systems to come off as awkward: not clinical enough compared to good spherical, but not unique enough compared to a good 2X Ana. Just.... Awkward looking, checking all the boxes on paper but missing the mark in practice. There's no reason not to shoot 2X now that 4K is so accessible.