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"Hackine D" today test on GX80 and Pany 20mm 1.7 , 1080/50p By mistake Sharpness is set "0" :-( And it can be seen , I always set up for panasonic sharpness -5

The very first prototype I did was not too dissimilar actually !

Really just a distinction used in marketing/ sales....something on the refurbished camera could fail the day after you receive it...not that different from the concept of insurance actually...we all feel good until our house gets flooded from a river overflowing nearby...only to find out that's not "covered" by the insurance...below is a quote of how refurbished electronics are defined...as is immediately obvious, it can merely be equipment having been tested and found to be working properly...a somewhat misleading distinction IMO Refurbishment is the distribution of products usually electronics and electricals that have been previously returned to a manufacturer or vendor for various reasons. Refurbished products are normally tested for functionality and defects before they are sold. It is repaired from manufacturer and resold. The main difference between "refurbished" and "used"[1] products is that refurbished products have been tested and verified to function properly, and are thus free of defects, while "used" products may or may not be defective. Refurbished products may be unused customer returns that are essentially "new" items, or they may be defective products that were returned under warranty, and resold by the manufacturer after repairing the defects and ensuring proper function.[2]

I don't know what caused the person who filmed that to fall on his head and damage his brain so much that he thought filming that was a good idea. Maybe the same insanity that Kathy Griffin had? Utterly insensitive and stupid.

It seems like the sweet spot is a third under to a third over, depending on the circumstances. If you're filming in the shadows shoot a third over. If you're shooting in bright light then a third under. In mixed light and shadows, dead center is probably the way to go with cameras that have 10 or less stops of DR. I appreciate what the Leeming LUT is attempting, but you can only push and pull these cameras so much and a half to a stop more latitude isn't turning it into an Alexa. But for what it is, you guys are getting great images and that is all anybody can ask.

There's weirdly a lot of G7 talk in this thread, and I just happened to get one. I've tried a bunch of cameras in the past couple of years and I liked all of them, but this one is my favorite. To use the sentiment popping up in this thread repeatedly, it's a joy for me to use. I love the feel of the body, and the monitor is so good. I shot B camera on a short documentary video yesterday with the G7+Panasonic 12-35 and I can nail focus manually with just the peaking and the monitor. I didn't even bother to hook up my Marshall VLCD50, which is something I can't say about my a6300. I attempted to do the ETTR technique with the G7 on the doc video yesterday, and today when I graded it, I was amazed how much detail was held in the highlights. There also seems to be very little RS skew in 4K. It's there, but barely perceivable. Maybe it's on par or worse than other cameras and the a6300 has just made anything look better. I don't know. I love the image I get out of the a6300 with SLog2 but it's such a fussy camera. I feel like I can get a better image more easily, with a body that feels good to use (and it doesn't overheat). I'll be selling the a6300 after I finish shooting my short film.

Years later and still in top ten? (#9) and rated better than a $7k+ Leica? (this is a money is no object rating any price criteria) Im sure it would be higher in sub $1500 rankings and this is mid 2017 after all the big boys have blown their load of new cams. Fake News?? http://cameradecision.com/lists2/Top-Rated-cameras

I've always adored the Canon image - preferring my wife's stills on her 700D compared to my A6500. I'm pretty much ignoring camera announcements / gear stuff right now - however the C200 has peaked my interest as an A-camera. The DPAF, higher frame rates, Canon image and the option of internal RAW are all reasons to be attracted to the camera. I have an FS5 with RAW upgrade - 4k 100fps, CDNG, 10bit ProRes etc. Hard to beat, but looks a bit weaker against some of the C200's main assets. The C200 does have a big problem - the vacancy of the middle codec. Hopefully fixable in 2018. But there's another one. It's a professional camera, used for professional jobs that pay well. (or it's an expensive hobby camera!) For this purpose, you then have to start thinking about smaller B and C cameras - and this is where the prospect falls. Sony has an A7S II, A7R II, RX10, RX100, A6500, A99II, A9.... many options in different sizes and purposes for an easy multi-camera workflow. Canon has..... erm, Canon 5d mk IV? XC10/15? Both great at some things but limited compared to Sony. I'd love to go Canon and I've thought about it many times, but the compromised features of their smaller cameras make it very difficult to consider, when multiple cameras are being used or you need a backup. I see no financial or professional reason to switch from Sony, I'm just curious about the C200 because I love working with canon images. It's an emotional thing really. Overall, how much of an issue do you think this is?

I'll do a few tests with a couple of different ones I've got around if I get a chance over the weekend. They're all varying degrees of cheapo so I expect it'll be all over the place !

It is true for all Oly lenses that have the MF declutch mode. The 45 1.8 doesnt have this mode, so the behaviour on this lens might be / is different. Like i said, when you have such an oly lens with the focus ring pulled back, the AF-ON button is disabled (I set the AE/AF lock button to this mode). Once you push the focus ring back to normal mode, the AF-ON works as expected (even if you set your camera (not by using the lens!) to MF mode.

Did some digging on the optical cement front. Here's a list of all the adhesives offered by Summer's Optical, along with a brief description to go with each. Any further questions I'm sure could be answered by their customer service department. I'm guessing our best options would be F-65, UV-69, or HS-2. http://www.optical-cement.com/cements/products.html#anchor720308

I shot this video using the oly 17: The lens is really nice, but I like the Pana 15 way more. What is really a pitty about the Oly lenses is that once they are in MF mode, the AF-ON button is disabled. When not setting the lens to MF mode, the focus ring is not linear anymore - very annoying for focus pulls. The pana 15 fixes that since the focus ring is linear and even better than the one of the oly, again even when it is in its MF mode. And since we have a 1.1x crop in 4k anyway (at least for the GX80), the pana 15 actually becomes a 17

Great looking frames. This reminds me that I have a Black Pro Mist from the BMPC4K days left. Might give it a spinn on the XT2.

I think you missunderstood. But its not important and I won't mention it again. Its just that whole scam has bothered me for years when I see blogs write about it and I needed to went Buy what ever works. I will stick to mint condition used with warranty because its what we get here and its cheaper than any "refurbished" Ive ever seen.

Not a quick answer, but found these: http://www.eoshd.com/comments/topic/6344-learning-to-repair-lenses/ http://www.skgrimes.com/library/old-news/old-lenses-can-be-restored-by-re-cementing http://forum.mflenses.com/equipment-care-and-repairs-f6.html https://www.optical-cement.com/cements/cements/uv.html

Would also love an answer on what adhesives are safe for use on lenses...that's an expensive mistake to make.

Ooh! I'll give it a try after this House of Cards episode

Will do. Just let me finish prototyping this interactive picture profile creation tweaker

"Ex Demo" used to be a common way in the UK to get round manufacturer's price controls preventing you from advertising products at discounted prices. When I used to sell recording studio equipment many, many years ago, products would mysteriously go out of stock from the manufacturer if you were advertising below list price. It was completely illegal for them to force price fixing in that way of course but the law didn't stop them being out of stock or giving you a trade discount of 0% if they felt like it, so it was de-facto price control. All of our magazine ads mainly featured an 'Ex Demo' sale list with discounted prices for the products that we weren't allowed to advertise at discount prices. These 'Ex Demo' product prices were, conveniently, exactly the same discounted price we'd sell you a brand new one at if you visited us at the office. So, customers would ring up and go : "I'm ringing about the ex-demo Lexicon PCM70 you've got advertised. Do you still have it?" To which we'd reply. "Hang on, I'll just check.......(on hold to pretend we were looking even though we knew there was no such ex-demo one).....Awww,no..I'm sorry it went this morning....I tell you what though, if you want one, we've got a couple of brand new ones that a customer has cancelled an order for, I'll do you one of those for the same price if you like?" At which point your hand would be bitten off, the customer got a great deal, we had a happy customer who loved our generosity and fairness and we and the manufacturers could live happily in the illusion of no one ever advertising a product below list price. I think some camera stores in the UK are using "Open Box" as being the new "Ex Demo". You knew were you stood with us if it said "Used" though so there was never any confusion. If we ever advertised something as "Used" there was a good chance it had rust on it.

Yeah, I was very interested in how much faith could be put in them if you wanted to really expose to the right and have them set at 100. And my takeaway is that they can largely be relied on if you want to push that far. It was also interesting, for me at least (!), to see the interaction between the profiles and the levels at the same exposure settings. Considering how coarse the histogram display is then this is a good thing What I've seen here might form the basis of a bit more testing for me at some point actually to look at the relationship with the profile, the contrast parameter within it and the additional global shadow and highlight adjusters in the camera. I think there is possibly some scope there to create profiles that incorporate all those parameters into single combination packages to create potentially finished OOC looks that I could make be deployed with a single button press. There might actually be combinations of these parameters that you'd maybe describe as non-intuitive that you look at the actual image its producing and think "You know what, that shouldn't work but I like the way that that looks". With analog synths for example, you pushed and prodded at the controls because they were there in front of you rather than having to deliberately go into menus and find them like you did with digital synths. It brought about happy accidents (as well as absolute abominations of noise) and I think it could be the same with these cameras. Its too fiddly to go in and change things in them through the menus so you become so methodical that you seldom create combinations that might just be really interesting. If all those parameters are laid out in front of you for you to twiddle with and you can see the live results of them (because you don't have to go in and out of menus) then I think that might happen. You'll probably end up with lots of rubbish but might just pan some gold. I'm quite enthused about this now and I'm going off to hack together something to do it!

I would call it a non issue I guess. Cant see a scenario where it would be any major problem. Matching cameras isn't that much work if its important and no work for when it doesn't matter. But if I just had to have a camera cheaper than a A7sii that matched it perfectly without effort (and I for some reason could just use a 5Dmiii or XC10) I would just buy a used $1500 C100 and be done with it.

I think its a big deal too, outside of the 5d4 and 1dx2 you have the XC15 and ..... And all of those have shortcomings that aren't as appealing to me, the 5d4's crop and no EF-s lenses (unlike E-mount that can use FF or APS-c lenses), the 1dx2 is a lot to carry for one stretches, the obnoxious file sizes of the mjpeg 4k are a few things that stick out in comparison to Sony. If you're looking to shoot stills and video from the B-cam, something like the A7r2 makes for a much better B-cam IMO. Plus you have a63/500 and the RX1005 among others as B/C cams. Or you could use the A7s2 rigged up as your main video camera, the r2 as the B-cam and the RX1005 for cutaways, slo-mo and so on. Many more possibilities with Sony for sure. Personally I like the C200 and will rent one when it comes out to test for a couple docs I want to shoot, but I shoot a lot of stills (easily 25k a year or more) and its hard to go back to a Canon sensor after Sony's DR. Now if the 80d's replacement has 4k, and the next Eos M has 4k it'd be a different story as we'd have great B-cam options, but that's just not the case. For C100 shooters looking for 4k, the C200 is a no brainer. For hybrid shooters (like me) and those looking to keep a smaller kit, its a tough sell compared to Sony. Cheers Chris

Just a slightly different aspect to this but I was curious about how accurate the zebras are and how useful the histogram is with these cameras so I did a little test with the G7. I set the zebras to 100 to flash the middle column where the colour checker is stuck on and framed it so the door was in shot to see the different shadow levels with different profiles. Ignore the completely deliberately blown out right third portion of wall and sky as this is for a completely different test ! So that you could see what the camera was actually doing (and more importantly what it was saying it was doing), I recorded the output with the overlays on into a Ninja Inferno and did 3 passes using Standard, Cinelike D and Natural profiles, altering the shutter speed to change the exposure to show where the zebras came on for each. Annoyingly, I can't record the scope overlays of the Ninja Inferno as it was interesting to monitor what the camera thought was 100 and what the Ninja Inferno did. The good news is that the zebras are pretty accurate (I checked at 80, 70 and 60 as well) and you can see that reflected in the scopes in these grabs in FCPX. You can also see that Cinelike D is reducing the peak and stretching other parts of the range compared to the same exposure using the different profiles (all profiles were set to 0 for every parameter so there is more to be had from tuning but that was outside of the scope if you pardon the pun of what I was doing. What I found interesting is how there was quite a coarse change in level between the exposure combination of ISO/SS and F stop that would trip the zebras and the closest one that wouldn't, with the level going from 100 to around 92-ish. Using a variable ND, I was able to slightly tune that between the cracks as it were to eek a bit more out but if you've got the precision to be turning an ND like that all the time then you'd be better off being a safe cracker. So, the takeaway for me from doing this is that the zebras are accurate enough to use at 100 if you want to really expose to the right and the histogram is, erm, a yellow graphic. Download link for the video file if anyone wants to have a look in their own NLE is here https://mega.nz/#!ZyYCgC6R!WTM3Nz2MXfSzKtwG0hPhOBAvSqNaOq4eOnIUycnPQ3I

I tend to underexpose to much at times and that's is something I really need to get better at. It's different but the same as overexposing and very hard to make it look good in post. Your videos look very nice and the exposure is very consistent so I wouldn't worry about cc and grading. I only had to do very slight correction on it which to me means you're doing things very right. I think your documentary/filmic style works very well for your videos. Grading looks however is off course a whole nother chapter.

It is an issue for me. Im part of a documentarian team that shoots, with my wife, an A and a B. As such, I'm frequently looking to rent or buy camera pairs and lenses. Typically, for our own self-financed films, I'll purchase the gear on deferred credit --and then re-sell the stuff 4 or 5 months down the road when everything is shot and in the can. The depreciation between the purchase and resell is what I consider my "rent" fees. Gear comes and goes this way and the cost of having the stuff while the work is happening is very reasonable. Cheaper and more flexible than actually renting. For instance, we bought another GH5 recently simply to pair with the initial one (purchased for another gig) and now we'll be using those GH5 cameras for the summer. Id love a bigger budget, eventually, to possibly employ this strategy for higher end cams such as the Canon C's, but the low overhead of the hybrid gear is effective for doing this sort of stuff on the cheap. Also, I like shooting doc video on a photo camera. I think it offers a certain comfort among subjects/people. It does often seem that they aren't indimidated by that as much as they are with "big" or "real" gear.

Posted this in another thread: "The only thing you have to turn on is the "High Quality Playback" setting. Once that is on you can select different playback resolutions like 1/8 and it will reduce the quality and it won't zoom in." Found this in a Facebook group but haven't tried it yet.

I thought it was pretty funny tbh. Also, the comparison with Kathy is not really valid as she was showing someone alive today in a horrible matter (and could be interpreted as she wanting something similar to happen to mr Trump), and this video is just about a silly eggplant. More of a parody on IS than anything else I think. But well, everyone is different

I've often thought the Sony Vita (the handheld PlayStation) would be perfect for this sort of thing... but I'm sure there must be a reason why it's not!

I'm in love with how natural this looks. What grade of Warm Black Mist Pro filter did you use? Grades 1,2,3 are a bit to much like a 1970's porno according to what I've read. 1/2 is supposed to be most popular, still a strong haze but not overbearing. 1/4 is more subtle and natural. 1/8 is the least noticable. I love the softening of the harsh highlights in this scene, but preservation of detail on the pavement and shutters... amazing. Really takes the digital edge of it and actually looks like haze in the atmosphere rather than a filter.

I think @jase made a very nice video with that lens.

I thought there were two sort of definitions of ettr though; one having the whole waveform pushed to the right and the other, at the same time, that you use the highlight clip level to make sure you preserve highlights from clipping. That and the long essay about exposure I posted does not preclude lifting or dropping problematic areas. The whole point is still those I mentioned earlier: drop the whole image and lifting in post dramatically increases noise problems and reduces the dynamic range of the image. Over exposure clips highlights and under studio lighting can reduce contrast. With those basics in mind the actual art of finessing the final product has the best chance of getting somewhere. My first 10bit vlog test on the GH5 was shooting a person against a sky. Really had to underexpose the person to keep the sky in check and still looked ok lifting him back up. We're living in the blessed age for imaging for sure.

Well, random pictures of flowers and cats look "pro" on an FS7. Kind of the same way in stills, a Pentax 67 with Porta 400 will make anything look good.

Here's the graded shot of the new shot which I would say is a normal exposure. With this shot and the one "ETTR"? from yesterday I had to lower the midtones, but on this shot I could also raise the highlights slightly without loosing to much detail on the shirt. I would say it's a very good exposure for skin tones, but the shirt is loosing some detail, so I think 1/3 stop less would be perfect. On the ETTR I had to lower the midtones, but can't raise the highlights more and lowering them doesn't help with the skin tones or the shirt. On the -2/3 I had to raise the highlights and because the skin tones and shirt was not overexposed it didn't affect the image in bad way. I still think this was the best overall exposure of the bunch, but the new shot from today is also good. To match the brightness of the ETTR and -2/3 I raised the highlights even more from +5 to +10 and even though it seemed to clip the red channel slightly it still look better then the other shots I think. @jagnje we're just trying to find the best exposure settings as these cameras can go from good to great if you nail the exposure. And looking at these test I would say it's worth the time and effort we put into it I understand that ETTR is the way do to it with many cameras, but these cameras seems to perform best when they are slightly underexposed.

That is brilliant, great work. Would be great for a hand grip like FS7/5 but on steroids. Also the little Bluetooth joypad for gimbal work would be sweet. Can't wait

Ah yeah, I feel so dumb now with my googley skills and otherwise pretty solid memory. I've totally seen that, just to have totally forgotten about the fact that I had! Thnx. Good point, looks like it has a gold diffusion filter in front or something... definitely it's the Voigtländer that makes my nipples the hardest as well. Hum, food for thought. Someone has an E-M5 with the Voigt (bit of cosmetic wear) up for sale, is aiming for 850 bucks (as in EUR, without the body is about 200 off, so 650-ish). Maybe I should drop by and see what's what. Maybe you could make the 17mm f/1.8 sing somehow though, like proper whitebalance settings, tone adjustments or something. Still might have something weird going on otherwise, but if there's more experiences out there, please feel free to share your thoughts.

Haha, you got it, I didn't really know how to word it, without saying it.

I found this. Hope it helps.

What about this : https://product.tdk.com/info/en/products/flash-storage/flash-storage/tdksmart.html Let me know your results, I never tested mine actually :D

This "on the go" thing is un-watchable... back to the drawing board guys.

Yes and yes.

Does that also have a 5k monitor, 1tb PCIe SSD and run FCPx? If not, not interested. The new price of my machine was $3299 and at $2999, I still would have passed. I waited until it hit my price point and bought it, with most of a 3-year warranty remaining. They're all over places like Craigslist and Ebay. Running windows is not an attractive option for me as I prefer the Mac integration across all my devices. I don't use HDD's anymore either, too slow. Cheers

Interesting!! You could make a control grip like say the FS7 for using while the Panasonic camera is mounted on your shoulder

All these you are describing are a bit far fetched. First, the camera is not out yet, and you haven't bought it, so there is NO change you will ever loose a job from a camera you can't buy yet. Second, before you go shooting you, the producer, the director, the sound and probably more people of the production (costumes, location manager etc) discuss things and choose their equipment accordingly. There is a certain understanding between professionals, and I am sad to say, maybe you are a professional, but your director WASN'T. If you were shooting film you would be able to shoot for 2 hours straight? and what codec and camera allows you shooting RAW quality for hours? How much this setup costs? I understand that this camera isn't for you, but all the circumstances you described are a bit too much for real life situations. P.S the XLRs are on body, not at the handle...

http://menexmachina.blogspot.com/2018/07/egpu-for-video-processing-on-laptop.html

That's a mean looking rattlesnake. Having a camera nearby at a time when the light was interesting was cool enough, but when I'd framed the shot and set the exposure, and a bloke happened to cruise by on a snazzy motorbike...well, what more could you ask for. It's a form of hunting, and it triggers a primal drive.

I was experimenting with an RX10ii in a local store here for a couple of hours, and after using Sony A5100 with its brilliant touch-screen, smooth and accurate/snappy PDAF video touch-to-snap-focus, excellent low-light (APS-C), I found the RX10ii even with its 4K, ND filter pathetic. I guess I'd love the XC10 but buying a 1" video camera for $2000 without dual-pixels or PDAF touch-to-focus, no ND filter, no XLR. No way I'd buy a camera with CFast2 just to be able to shoot 4K. I love that eventually JVC/Sony/Panasonic stopped pushing proprietary memory card formats. GX80 with its touch screen, larger than 1" sensor, interchangeable lens, 4K, IBIS in video, hmm, definitely, interesting. I wonder when, if ever, Sony is coming out with the 4K version of its touch-screen operable A5100. Exactly, no XLR, no ND filter in XC10, and just add the hilarious prices of CFast2 cards just to be able to record 4K. Even the "consumer" Sony A6300 can get an XLR module. In a couple of months, hundreds of affordable cameras will shoot excellent 4K videos on regular SD cards. I have a decent 1" camera Nikon J5, but definitely, I wouldn't buy any camera with only 1" again, since their low light capability is way inferior to what we can have today from affordable APS-C cameras. To me 1" is dead end.

I think the Canon XC10 has quite soft 4k video. Here is comparison charts for 4k sharpness (Sony RX10 II vs Canon XC10 from Slashcam. https://www.slashcam.de/artikel/Test/Canon-XC10---geschrumpfte-C300---Sonstiges---Aus-dem-Messlabor.html#Aus_d CANON SONY