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nice, whats it called? Hello friend sam I have an F35 Sony Cinema Camera in sale in Perfect condition but I am currently overseas performing my medical duties in Cairo. I am willing to sell it for a very low price to honorable board members such as yourself. Please PM me for details. Hakuna matata

I saw a film, swore to myself it was shot on 16mm nope it was shot on the red dragon. (Dayveon) Then I thought it was shot on zeiss ultraspeeds. Nope it was Canon K35s, which I think are similar to Canon FD glass. I saw another film, swore to myself it was shot on the alexa, nope it was shot on the c300 mark i (motherland) I was sitting 30 rows in the back, in the front, all over the place. I couldn't tell anything After all that, after everything we do, and say, at the end of the day, none of us can tell.

First time I am doing a project in 4k: This cam continues to amaze me.

@Kisaha As reading out of your postings, you are making a living out of filming Kisaha. So, you want to earn money...Jumping into the "every year a new camera" race doesn't contribute to making profit. The NX1 is a very nice cam with flaws, as other (much more hyped and expensive) cameras too...So you have to ask yourself, if your clients/audience will see a difference between the NX1 and a "NewestHypedCamera". Probably not. Review forums (like DPReview & co.) are a kind of parallel universe, having nothing to do with reality of normal Joes (as audience) or with getting payed jobs. It's a world in which gear guys film some months with camera A, get tired of it, trade it and buy a new WOW-cam. After maximum 5 months they get tired of it, trade it (with loss) and buy another system. Content wise? Mostly ZERO...Only (oftenly) exagerated gear talk, pixel peeping, armchair expertise and so on... I invested 65 Euros some days ago for a survey under 461 Facebook German participants (all relevant age groups, men/women, etc.) on Facebook. You know what? 78 % of them watch video on their smartphones/tablets, another 17 % watch on PC / laptop, only 5 % watch videos on TV. The best one is: from the 17 % watching videos on PC, a vast majority not even has a FullHD resolution... ;-) So the pixel peepers live in a parallel world and dream about the 16K future and numerous Hollywood jobs - they will never get...The reality is max. 1080p. Same for corporate clients... So...Get your money in good promotion for your business and keep on your work with the NX1, if you like it. Stop living in the parallel world of gear heads...You will never get a paid job from gear heads. It's simply losing time, energy and money.

Wow really nice video. You would be damn hard pressed to tell what camera shot that footage. And you would guess it was a damn good camera that did it. This just goes to show that a darn good camera with darn good grading skills beats just about any conception that you need a Arri to make stuff happen. Nice find.

Don't waste time with the F35. It's old. I think you should check out the Panasonic DVX100. It's a game changer with progressive frames.

Yeah, you're right. I already have a cage, a Metabones Nikon BMPCC Speedbooster, an extra Pocket Battery, so I need to just get a Pocket cam and be done with it, but I just really like the IBIS on the a6500... and the clean 1080p on my D5500... and the point and shoot aspect of my RX10ii... I need to just go back to screenwriting... I don't think so... I think Gorilla Grain comes as an MOV file that you add as an overlay.

When should I book my flight to Brooklyn? By the way, you happen to know anyone in town who has a F35? I wanna swap my new F65 for it and some cash.

If you cant tell, I'll take your F65. Who wants that heavy, expensive old thing anyway. In trade, I'll take you out to Walmart and let ya pick out whatever camera ya want and then I'll buy ya dinner at Applebees.

When this thing was announced it totally blew my mind. And I have been wanting one ever since the first time I read about it. If you don’t know what this is all about just think of it as a Speedbooster. But instead of turning an APS-C into Full Frame it turns a Full Frame into a Medium Format Camera. And as you may know, medium format in digital is pricy to say the least. I will have more info and go deeper into this later on, this is just my first impressions. Opened the box literally just a few hours ago. Its very sturdy and all metal. It balances well after putting on a hefty lens. The lens I tested tonight was a 80mm f4 Macro. I have others but wanted to see some closeups to check sharpness. Its much sharper than I expected. Sharp enough I guess... Also Ive seen no excessive vignette. Any vignette in the samples are added in post. I also added grain. Portrait of GP Closeup Selfie Closest Focus With vignette and grain. Without vignette, still grain.

Don't know what is the widest MF lens that can fit on these adapters, but focal lengths as wide as 35mm were fairly common on MF, which is similar to having a 22mm lens on FF. This is a excellent point, and diffraction can affect the focus, and, hence, the DOF roll-off. Of course, the greater prevalence of diffraction with small formats is due to the physically smaller apertures of shorter focal length lenses -- not caused by the small sensor/film formats themselves.

The biggest advantage of moving to a larger format, even if it is film based or digital based, is Lens Diffraction, ergo the lack of it. The bigger you go film, sensor area wise the bigger you can go F stop wise or actually closed down. I know it is always ass backward. That is why there was a F64 club back in the Ansel Adams, Weston days using 8 x 10 cameras. You can get tons of stuff in focus without distortion. Maybe not totally stopped down but damn close. That is the big problem with m4/3 it creeps in a f8 a lot and damn sure is at F11. So this Speed Booster could be damn interesting for that reason alone.

The opening shot is really nice, imho. That's what I want from IS, just a certain smoothness to handheld, non moving shots.

One user says Panasonic G-cameras (G7, G80, GX80 etc) has different 4k 100Mbs codec than GH4. Any opinions? http://www.personal-view.com/talks/discussion/16153/panasonic-4k-codec-breaks-100mbps-is-not-enough#Item_14

Egads. This is a great video to show why EIS is terrible for movement. You've got motion blur galore (from excessive camera shake) and yet the software has aggressively locked off the frame. It looks completely unnatural and the human brain can pick it out without any knowledge of why it looks "wrong". You should read up on some technical papers on how OIS works. The TLDR implementation of most manufacturers is that it offers 1-2° of correction, which means you have to keep the lenses pointed in the same angle while capturing video. Even excessive handshake will cause the OIS to hunt and create that ping-pong effect you see from most people who complain about OIS not working. This shit ain't magic. At the end of the day it's using data from a gyro and some code to predict what should be happening. Plop a clueless human into the equation and you end up with...

Dear Luca, I just contributed to you 429eur at https://www.produzionidalbasso.com/project/samsung-nx-camera-to-full-frame-with-nxl-adapter/ My number is 14. You still have 6 days to go. I appreciate your comment on timing and shipment. Thanks.

People on reduser band together all the time for group discounts. (Not for something like a GH5 though... that couldn't happen) Can't see why not EOSHD could do this as well in a similar manner? Just don't let anyone from Cairo organise it....

Well I never used any Nikon camera for video, I realize they are not as bad as people might think, but a Pocket is for the money I think impossible not to have, just for the hell of it. It is sort of like a cheap movie camera of the 50's 60's, a thing that makes you smile when you kook at it's output, good or bad. It is different, and a damn good different. It is great different.

That 14mm 1.8 is the most interesting to me! Truly an unseen focal length with that aperture! Going to produce some really unique looks on a full frame image!

Cudos to sigma for their awesome work and lenses at affordable price. we can't say the same from Canikon

Berlin is amazing! It feels like NYC from like 20 years ago. The people are great there. There is a renewed experience, to make the city something, after everything that went down in the 20th century. It's really something amazing to be apart of. Nice guys on all your comments. SAM, yes, you can have my F65. I will go back to shooting on a t2i

Yeah if the ML team has the inclination, and it's possible, the 77D could be a great option for low cost, handheld ML Raw. The software based IS in the XC10 is the best IS I have ever used. It's better than the IBIS in the a6500 and the GX85... no question. Other than a strap I was pulling taut, there was no other physical stabilization. During this shot(s) I walked forward backward and shuffled sideways... try and do that with a Panny...

It's a physical restriction to some degree. The camera sensor with IBIS can only move by a very small margin in all directions without leaving the image circle projected by the lens (one reason why the bigger the sensor, the weaker the IBIS results). To overcome this issue you would need a small sensor (e.g. m4/3) and lenses with a relatively big image circle. A gimbal in contrast can go full potato with movements. Therefore I'm quite sure we will never reach the same possibilities with IBIS that a full external stabilizer gives. Using both together is pretty sweet though!

Your eye is not trained enough. To my ears, all fighter jet engines sound same, but there are people who can hear the difference. Does it matter? I don't know.

Yep, tends to be big boy stuff, and I understand it. Funny though, the paradox is that it's *very* valuable for quick and dirty, low budget stuff, and events. The very places it's used the least is when it can help the most. A lot of times, lighting is minimal, set up time is minimal, they don't want to mess around staging stuff and repeating stuff, so you end up getting what you can get quickly and on the fly. It's very freeing to not have to worry about getting an accurate white balance while shooting. So many times I wish I could go RAW at weddings, but the storage would be horrendous. Crappy mixed lighting conditions, quickly moving between indoors and outdoors, harsh exteriors during mid day. All sorts of things where Raw and lattitude is invaluable. I love only having to worry about composition, focus, lighting ratios (if controlled) and getting a fat negative. The rest is all done in post.

Can't speak on 5D raw, but honestly, the only thing holding back blackmagic pocket raw from being viable is hard drive space. RAW compatible memory cards have really fallen. Couple of 256gig cards would get you almost 80 minutes each. The footage runs really smoothly in resolve. I often shoot corporate videos, and I load the clips in resolve first. Whip through them with a basic grade, export them out and use them in premiere. They cut like butter in both instances, and I have a pretty old computer at this point. If you wanted to do extensive grading, it'd take more time... but for your standard real world looking color correction, it's super quick. You get a ton of lattitude, quality is excellent and workflow is barely impacted at all. Hard drives would absolutely add up with a ton of footage but that's gonna happen with any decent codec in 4K as well. Price you pay for quality, really.

I thought they were down to a lot less now. I think you'd be surprised how much the MX has aged. It was good for its time and put Red on the map (the original sensor was too slow/noisy to be useable and was unusable with tungsten light using the old processing) but the DR is no better than your F3 and you need substantially more light to get a clean image. Alexas are down to around $17k for a kit and are in another league entirely from any Red. You can rent Epics here for a couple hundred bucks a day so I'd just do that rather than buying one but it depends on your market. Depending on what you're after you might love it but also might not. With some work it can produce an awesome image.

Have got very good results with Logarist. Tried it with my GH4 (cine-d) both in Vegas 14 and in DaVinci Resolve 12.5. The instructions are also very clear. I can only thank the people who took their time and effort to develop this tool, and made it available for free!

It's generally easier, faster and cheaper for me to just mail a hard drive with return postage included (at least in the US using Priority Mail flat-rate packages). Anything over 5GB requires paid subscriptions, and postage is cheap.

I've used a pro level Dropbox account for a few years now. No problem here regarding large files. It also will allow for upload interruption and continuation without trouble. So if your signal drops when uploading a huge file, it's no big deal. It just keeps going when you reconnect to the internet.

I would invert your list as Magic Lantern raw has nowhere near the dynamic range of Black Magic or Digital Bolex's cameras

In addition to the suggestions above, you might consider a used camera: the Digital Bolex; the Sony F3 (w/4:4:4 capability); the Sony FS700 (w/raw recorder); or a KiniMini refurb. Also, I've heard good things about the DJI X5R.

"5 axis stabilisation" is bullshit, its a software only thing that you have with every normal Video editing software.

I am curious why you think it would be more of a 'perfect' Magic Lantern raw video candidate than the 5D Mark IV or 80D or even EOS M6. There's nothing even unique about the 77D, even within the Canon range. I can't speak for them but Magic Lantern would probably prefer to crack the 5D Mark IV before touching the most uninspired, basic, boring camera on the planet. 77D is practically the same camera as the 80D. I am shocked it even exists. The "5 axis stabilisation" is a con... it is the same old lens IS plus a digital crop, which softens the image even more. I can think of a million other cameras that are more interesting from a technology point of view. It's not even that cheap!

Did some more testing of the Cosmicar 12.5mm f/1.9 on the bmpcc. Daytime is f/2.8, Nighttime is f/1.9. I'm really impressed with this lens. You can see the video in the shooting section. I love this lens. I don't even really see a point in keeping my Rokinon 12mm, though it's still a fantastic lens, probably slightly sharper, but this has more character. Not bad for an old lens bought for $55. I got excited about c-mount lenses again so I ordered a couple of Kern-Paillard Bolex lenses. I can't wait to do more testing and see how the Cosmicar performs from f/4-8.

I really hope Nikon doesn't get out of the low end camera business like some rumors are stating. I was messing around with some D5500 clips this morning and man is that Flat profile nice.

Uploading a large ProRes master to Vimeo also helps to reduce motion compression artefacts.

The problem here is that the blacks are more or less clipped, the floor looks like a straight line and it is very dense right above. It seems the shot was underexposed in camera. You could try to expand the dense area towards black using a secondary color correction.