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I'm tempted to register there just to reply to him that the only way we'll definitively know if Canon are ripping us off is if we have to pay by Western Union and Canon tell us their mother is posting the 5DMKIVs back.

For anyone wondering whether the VA 7in 4K is a tad unwieldy on the X-T2...

I thought that too, but then I'd be on DPReview.. not worth it

Believe the random DPR commenter!

Using these settings the GH5 should become a AF Monster! So no more AF controversy?

Had there been space left for other people to make it into the frame? I recently saw a doc on Brian De Palma, he said he always shot complicated action sequences with at least two, sometimes three cameras. But of course: he can repeat the shot, you can't. What I particularly like about wedding videos shot with many cameras is that people behave so naturally. And the real-time feeling only a seamless multicam edit can provide, like the best live-TV ceremonies. If you fluently cut from a medium shot to a close up of the rings. Or the kiss. It's so emotional. With one or even two cameras you are so limited. Total failure. Sad.

No, not really. Let's say you go down in exposure less than is necessary to eliminate the zebras. So you're really still overexposed and you should still see the zebras. The problem is you won't as soon as you exit the adjustment. YEAH!!!! YEAH!!!!! And did I say, YEAH!!!! Orangenz, I'd give you 5 likes if I could. That was unquestionably my biggest annoyance with the cam and it's now gone.

And I must have been blind. The photo count does show on the screen and in evf. Top right corner. Silly orange. Different place from GH4? I must have some excuse. you missed my post :O

SOLVED Custom settings/operation/Dial set/exposure Comp - set to lower dial

If you want to ban someone for pointing out real log is different to your flat profile (which is really good and useful, btw)... Then ban away.... I thought you liked honesty though?

That week of the Rangefinder debacle was one of the most memorable forum dramas of all time.

Ha! Great thread. Over the course of this on line conversation I considered the GX85, mulled it over, bought one, tested it, enjoyed the results, bought another one, began to shoot 6 short documentaries with 'em, learned to resent my producer along the way, clashed creatively like I've never done before, shot a ton of misc corporate stuff, did some time-lapse that one time, finished the documentaries, sold the first one to a woman so she could take pictures of her newborn grand-daughter, sold the second one on ebay, and generally enjoyed using the camera during it all. Didn't fall in love with the GX85, but liked it plenty. Still seems like the best value for money on the market if you like smaller-sized cameras. I'll continue to recommend it.

I like this 100 times... Not sure, but I think they hired the same guy(s) for their website GUI that got fired from the Sony menu design team. Seriously, for something as visually aesthetic as the medium of photography, it's like they're deliberately trying to rape my eyeballs with their layout.

Stunning, though I cannot fully appreciate it as I don't have a high contrast monitor - let alone a series of them.

Well let's face it...doing just Trumps weddings alone could be a career unto itself...providing he made an exception with you and actually paid you for the work you did...

The AF controversy seems to keep reverting back to the Panasonic Reps claiming that the GH5 AF is much better than the GH4...well...it is!...so nothing amiss there..I don't think I've seen a single line anywhere about someone blaming Sony reps for not disclosing that their cameras overheat quickly...lol...criticism seems to be as subjective as image quality...

Fuji is kinda annoying me a lot. It's the camera I want for photography, I love the usability. Actually thanks to their colors, I could also easily live with 8bit (no need to bend the colors if they are that amazing. The GH5 shows that for most people 10bit won't help if you're not really skilled at grading) but with no stabilized primes and the declaration against IBIS, I just don't see them as an upgrade path. I don't want to be always stuck with gimbal & tripod requirements, I want to be able to at least do nice, stabilized static shots.

If the Rolling shutter issues are sorted, that would be great. What about the colour depth and picture quality. I would love to see some comparisons between this and the pics coming out of the Nikon and Canon Flagships. Also, if they have nailed it for Electronic Shutter, then it would be the single most significant development, since the creation of mirrorless. Because, the noise, the vibration etc etc are actually handicaps in many ways.

Haha the little psicopath.

That's a big Gorillapod! Some more shots of the SmallRig cage....

That poor little gorillapod...

AF seems to work fine here, but the shots look stuttery (is this a word?) on my monitor, very distracting...I don't see any words about shutter speed on his description, so i can only guess that this was shot on high shutter speed to minimise DOF and test AF?

@Mattias Burling Personally, I don't care about wins & losses of any manufacturer. Adapt and make profits or burn money and retire immediately or in some years. At the end of the day, we don't know Sony's strategy (burning money first for getting considerable market shares at long term?)... Much more interesting for ambitionned stills shooters and pros are some other questions needing clarification: How well will the A9 nail focus compared with its direct competitors 1DX m2 and D5? 20fps means nothing if it doesn't nail focus better than competitors... Focusing reliability and speed in low light, compared to its competitors/low light still cameras (D750, D5, 1DX m2)? Some of the A6300 and even some A7R ii overheated sometimes when shooting stills (after firmware upgrades no more) - hope the A9 doesn't overheat when shooting stills because this could be a deal breaker for many potential buyers (I would immediately return the camera and want my money back - no waiting for a firmware upgrade to solve overheating issues when shooting stills) What does "dust and moisture resistance" mean? Is this a little better than junk consumer cameras, or is this a claim to rely on when shooting outdoor (with all manufacturer warranty commitment implications?) Personally, I don't believe that it could focus fast and reliable in very low light on moving objects (like its DSLR competitors), because no mirrorles can do this until now. I would be very surprized, if Sony disabused me with this point... There is also a point, nearly noone speaking about: the 20fps burst rate is 12bit RAW. You can get full 14bit RAW only when you considerably slow down your burst rate...so 14bit RAW will be the same burst rate as the ancient NX1 from 2014...

Great job Chris! You certainly showed how effective 1-area AF can be. However I suspect no matter what you or I say or do, there will always be the doubters. It's impressive that your video wasn't even shot in the higher frame rate...but of course you'll be chastised for using an external recorder. Yes, we must spread the word and make believers out of the doubters! Here here Borbarad, well done!

I'll try to get to it next week. I recorded a bunch of things with the instamic over the Easter weekend. I clipped it to my kids as they ran around with/without the windmuff and planted it in and out of sight around where the action was.

I just posted a test which kind of does that. Once the camera starts recording no interaction with it other than pointing at objects in the test field - pan / tilt / back and forward on slider. Shallow depth of field, range of objects, varying light intensity. Sound seems to get neglected round here so put a bit of effort into that too.

I can't read this thread and not get upset about Samsung throwing in the towel and not giving us the NX2.

This is a simple clip i did from a vacation to Porto last year, used a D800 (with the bitrate hack) wth 35mm art lens and Samyang 14mm. It really is a simple clip, not that much storyline, just wanted to have fun grading the footage and assembling it to have something to look at thats all. Graded in premiere.

Don't underestimate the 16-50 power zoom lens. Yes, it's slow, 3.5-5.6 I think, but it's a super cheap, tiny, ultra compact and stabilized 24-70 equivalent, and the autofocus is really quite good. I actually done notice much of a difference between it and my S lens as far as autofocus speed goes. If I'm not flying a super wide prime on my gimbal, the humble little 16-50 pz is my favorite lens to use. I also like keeping it on my NX500 for walkaround stills purposes, like on vacation, etc. I have the 30mm too and basically never, ever use it. Ricardo stated it perfectly above, that has been my exact experience with it as well.

Ooo, interesting. It's definitely not as long as.. any other post he's ever made. Maybe his son is pretending to be him, carrying on the family.. you know.. shame

I'd guess that image was taken with a f-stop above 8? Looks like maybe something as high as a f16? When in doubt I shoot more open on the f-stop (using ND if you have to) and the dust particles won't "resolve" onto the image (as much). Since, when traveling, I'm shooting video most of the time run 'n gun style and also swapping lenses, I default to using f2-f4 as a "safety" to avoid any aggressive dust issues I may be unaware of. It hides the problem.

The most funny thing in all of this, is that I am pretty much the only EOSHD member who has always been like "this Ebrahim is a pure joke. Anything coming out of his mouth is worst shit than what comes from my ass". Took you 3 members to be ripped off by the guy to realize, and even then, many EOSHD members where like it must be someone who hacked his account and couldn't believe this guy was full of shit ? The irony of his comment is absolutely hilarious though ? Made my day

That's for me the reason @Edward. I really like the Bolex and I am sure I will regret. I was thinking about a Hardcore DNA, but I don't need him anymore. I don't like traveling with lens supports, rods etc. The Iscorama was only 10 minutes on Ebay.... because I bought him for lower than 2K. Otherwise I kept the Bolex. I am sure the buyer will be very happy with this little gem and perhaps he will post some footage here. Keeping 2 lenses was no option for me. It feels like I switched footbal club, from Ajax to Feijenoord,... or Manchester United to Liverpool.

Do that! IT WOULD BE AMAZING. Hello EOSHD forum btw, been a lurker since 2014

If they could do 8K downsample to 4K they wouldn't use line-skipping in the A7Rii, but as we know from the A6500 they have the processing to perform 6K > 4K. The size of the photosites is less important than the total area covered by photosites - the A7S has better coverage than the A7RII because it reads from the whole sensor without skipping like the A7Rii. In which case I would expect the A9 to do a similarly good job in low light.

Yes agreed, the lens selection is really A1. I haven't used the 75, but almost picked up one a couple months back.

I'd also echo what others have said about the 16-50 S and the 30mm. The 16-50 S autofocus performs excellently while the 30mm does hunt a bit and is a little loud. It does work but just not as fast. Having said that, I still use my 30mm when flying a pistol grib gimbal as the 16-50 S is a little too heavy for it.

I guess things have Really changed since I, and others in my era, Only had One camera at a Wedding! Gee all those poor Millions of people that had Weddings really got screwed! I guess they missed out of people wiping their butt in the bathroom, little kids picking buggers out of their nose, boys looking up women's skirts when they bent over etc. , etc., God I feel bad for them. Sorry people for me Only taking shots of the shit you REALLY needed! I am poking fun at you guys, I guess, well not too sure, yeah I am, I think, hmm. Scratching head, then ass, then head, wow something stinks. Ehh.

Its useable, but still quite slow, specially comparing against the 16-50s. The Samsung NX1 is like a totally different camera when you use it with the 16-50s, I really cant stress this enough, this lens is stunning in every single department, and a must have for this camera. IF you want a cheaper option, check out the samsung 45mm f1.8 its also quite decent, however not as good.

I've heard he just came back from Las Vegas and has converted to Sony fanboy all of a sudden... wonder what happened down there.

I love the 7-14mm f/2.8 Pro by Olympus for the same reason, because you get that pretty sick wide field of view without all the distortion. But... the Laowa is super compact and indeed has a filter thread (49mm), no 3D printing required, lol!

Correct me if i'm misinterpreting (or if there's a setting I've not found), though in (M) manual mode (via MCS switch on front), it seems you can only use the AF-L button before pressing record. So pressing AF-L during record has no effect. However, when selecting the (S) single focus mode (via MCS switch again), then you can press the shutter/record button (whilst recording) to do the focus pull once you've moved the green focus point/square (using the toggle) to the new area you want to focus upon. Another couple of comments about this image are that the mic location is clearly not sensible as it is. Really placed there to give an idea of scale also. For one it's too cramped, but also as the VA has a rear fan, i imagine it's best to keep the mic as far from this as possible when recording in 4K (thinking the fan will run more heavily then?). I'm yet to test 4K because of the fun and games surrounding the need to source expensive, fast and tested as compatible (by BM) SD cards..

I'll give you fair warning that this thread will probably not be most, if anyone's, cup of tea ! And will probably be of zero interest if you are working on narrative projects where you have more time and control and have a broader artistic vision. But it might be worth a look if you are a hack like me and considering doing some vlogging or other quick projects. OK, so, I've got some projects coming up over the next few months (that quite large bicycle race they have every year around France being one of them) where I'm going to be doing a lot more video stuff and the nature of most of it means it needs quick turnaround. I've been doing a lot of testing recently in preparation for this regarding cameras and ancillary packages and workflow etc and one of the things I'm butting up against is trying to find a balance between an image that I'm happy with and getting it out quick enough where it won't have be re-packaged as an historical documentary. Obviously, I need to sort out where the bottlenecks lie and I've been doing some testing today to nail some actual comparison figures down that will hopefully force me to make a definitive decision as its so easy to get bogged down and have paralysis by analysis. The requirement I have is to be able to bring footage in that may not have been shot in ideal circumstances - whether that be to do with location, preparation time and/or just plain incompetence - and make it look decent within time and my own correctional ability constraints and have it be consistent enough to be repeatable to be able to do day in day out whilst traveling and without overtaking my primary gig at these events which is shooting stills. The other requirement is that I'll be shooting this stuff on small stuff like GX85/G7/Mavic/Osmo and X-T2 so there won't be a lot of RAW going on here or even LOG to be honest so this is where it starts to get me bogged down as on the one hand there isn't massive latitude on the way in and then often way too much potential on the way out to go down a rabbit hole time wise trying to polish them a bit. Added to that is that I'm not going to have a massive amount of computer horsepower on the road so whatever I do is going to have to be done with FCPX so, again, I'm trying to minimise the potential for endless fiddling about for that reason as well. Which also brings me to the other issue which is that having everything in H264 coming off these cameras is adding to that pain as well. My options then are : 1) Use a flat profile in the camera that requires a corrective LUT from the get go 2) Use a standard picture profile in the camera 3) Use either option 1 or 2 but record them externally in ProRes Option 1 gives me the most scope for correction but also for time loss, option 2 gives me the best route for speed and consistency (by forcing me to 'learn' the profile and not be reliant on fixing it in the mix) and option 3 makes whatever one I choose a lot easier to shuffle around inside of FCPX. The downside of using the external ProRes recording option is that its bulky, power consuming and eats up hard drive space. The compromise option to keep the ease of use within FCPX is to transcode the camera files to ProRes before they get there and in the case of option 1 add the corrective LUT at the same time. What I needed to do though was see exactly what the comparative times were like using the different options so I can find the sweet spot. Or the least worst option as the case may be. So I shot a 10 second clip on the G7 both in a Flat profile and a standard one (Cinelike D to be exact) internally to the card and then with the same profiles out again to the Atomos Disco Inferno * All files were then copied to a regular USB3 external work drive. I took the Flat and Cinelike D H264 files through a few typical journeys through FCPX, which were 1) Straight through (with the corrective LUT applied in the case of the Flat profile) 2) With a basic exposure and colour balance applied 3) As 2 but with an additional Sharpen and addition of a 'style' LUT applied 4) As 2 but with an additional Sharpen and FilmConvert process applied I then did exactly the same passes after converting the in camera H264 files into ProRes using EditReady (with the correctional LUT for the Flat file added in the transcode) and then the same again with the externally recorded ProRes versions. For a bit of sport, I then went for the absolute fastest path possible which was to plug in the SSD from the Atomos and edit the ProRes files straight off that. If you are still awake, you can see the results in the spreadsheet I've attached. The results are not in the least bit surprising as - spoiler alert - ProRes files with minimum fiddling absolutely cane H264 files that need massaging but its informative to me at least to see the extent of it quantified within how I would use it. What's interesting is that the H264 files do OK at the beginning but this is largely because the copying and/or transcoding time of the ProRes files goes against them before they've even got into FCPX but once the heavier lifting comes in they are soon overtaken by the ProRes versions. And the cumulative effect of the multiple corrections needed to be applied to the Flat version also add up dramatically, especially when FilmConvert comes into the equation of course. And then finally when creating what would largely be my target output format of 1080p rather than the 4k timeline, it ends up being even worse. Its worth bearing in mind that this is only a 10 second clip so its not difficult to imagine how alarming that 60 times real time render would feel like on something a bit more substantial. Yes, of course, it should be expected that it will take a while with FilmConvert on it but its sobering to see thats already 6 times real time without anything but the required correctional LUT on it. In comparison, the Cinelike D H264 version is half the time and only begins to be drawn back to it when FilmConvert is applied. And the conclusion? Well the gold standard in this test in terms of getting the fastest throughput is the externally recorded Cinelike D ProRes read straight from its own SSD so thats no surprise and would be the way to go for me in terms of shifting stuff if I master the profile and retain control of the shooting situation (or the serenity to accept that I can't) and don't mind lugging around something that is significantly bigger, more power hungry and unwieldy than the cameras its attached to. The other non surprise is that the Flat profile whether in H264 or transcoded to ProRes is the worst performer. Bearing in mind that this test just measures file transfer/rendering time then the additional time in finessing the Flat profile (which would be substantial in my case) makes this an order of magnitude worse. Which leaves us with trying to find the sweet spot which in this case would be split between Cinelike D in H264 if it was only going to be lightly touched or a transcoded version if it needed more work. There is a balance to be found between the two because whilst there is a time and disk space penalty to the transcoding, it does pay off even if you don't go to heavier correction because FCPX plays much nicer with ProRes files full stop. My conclusion for these summer projects then is to stick with an in camera profile, work within its parameters instead of changing them or ignoring them and take the transcoding time hit at the beginning of editing. And buy more hard drives, obviously. * Yes I know its Ninja Inferno but its just stuck in my head as Disco Inferno now and I'm ceasing resistance.

This would be ideal. Also, having the encoder (with 0.8 pitch gear with 15mm rod mount) would allow it to be moved and positioned for larger, awkward lenses...that would not work well with traditional FF units (and may be more practical to focus by hand). Having the encoder engaged directly to the anamorphic focus rotation also maintains 'absolute' calibration...if encoder is reading from FF shaft input rotation, sometimes the gear teeth can jump the lens gear if a stiff focusing lens hits a hard stop. That would then throw off any precise sync that would be driving the taking lens stepper motor. Very interested in the setup, I can see many great applications, especially being able to integrate with other focus solutions.

So here's a short video of some shots I put together from the first time I've brought this kit outside - Password - eoshd Shot on Samsung NX1, gamma DR, sharpness -10, UHD 25fps. Canon FD 50 f1.4 @ f2. Cropped sides and most shots stabilized, also added a bit of contrast with curves. Probably didn't have a perfect alignment of the lenses, but I think it was close. Now need to make a better mounting. Will post some pics of the setup too.

I will archive your face if you don't shut up

vlog graded with my own lut

I'll give you my take: The NX1 is very useable at 1600, in my opinion, that's really the highest I ever have to go with fast glass and a speedbooster. I'll use 3200 in a pinch, but that's honestly more light than I need 95% of the time. There is no gamma DR on the NX500. Most of us NX junkies here on the forum have stopped using Gamma DR anyway, and run with a tweaked standard profile, but the NX500 also lacks a master black level control, so it is quite difficult to get a flat image to match the NX1. Quirks that drive me crazy: You can't adjust the focus punch-in; it's always right to the middle of the image, which is really annoying. Can't do it while recording either. Also, the EVF can't be toggled during recording, you either choose to use it or you don't, the only mirrorless cam I have played with that does this. No mic input on the NX500 also. Preamps on the NX1 are great, head and shoulders better than Canon. Autofocus seems about the same between the two cams. It's no dual-pixel, but very reliable during talking heads, interviews, that kind of thing, and I use it on a gimbal without a problem. I actually like the EVF much better on the NX1 than the Sony cameras, and the screen is way, way better as well. Sony screens and EVFs seem very mushy and soft to me, and peaking is basically useless. The NX1 is far superior in that regard. I've never used a Fuji camera, so I can't comment there. As Mountneer said above, the hack doesn't change rolling shutter at all. My favorite features are the bitrate hack of course, and allowing silent shutter on the NX500, which makes it rule as small, portable timelapse camera. The ergonomics of both cameras, but especially the NX1, are just fantastic. Clear, easy to use menu system, comfortable in the hand-- I just can't give them up. I've been playing around with a GH5 at work quite a bit lately, and it's a cool camera, but... I still like my NX1 more! Good luck!