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See, only thing YOU do is insult, you never post any data to support your argument. even Andrew called you a guy who jumps from topic to topic and that there is no point in arguing with. What I can't understand is why @Mattias Burling could upvote your comment which had zero added value.(BTW unfollowed you just right now, when you support people and arguments like this) " I mean, did Canon steal your girlfriend from you? Did they bully you on the playground and take your lunch money? Did Canon get drunk and smack around you and your mom when you were a kid? " and you have been reported. "smack my mom" ? how low are you bro? it seems you are amateur in various fields not only photography...

A speedbooster is basically a magnifying glass for your sensor, that bumps it up one size. So a m4/3 sensor becomes APS-C (aka s35), or APS-C becomes full-frame. This is only possible with a mirrorless body (short flange distance) and SLR glass (long flange distance). The speedbooster fits in the gap in between. The GH5 shoots 4K60 and has extremely good IBIS, better than the A9 you tried. And if you use it with a newer Panasonic OIS lens the two IS systems work in tandem and the stabilization becomes pretty incredible. Photo IQ wise, the GH5 will come fairly close to your 5DII, just without that FF look. But If you add a Metabones "XL" Speedbooster, your crop factor would be around 1.3X, which is halfway between your 5D and the crop Canon bodies (7D, 80D, Rebels etc). The cheap speedboosters don't allow you to control the aperture on Canon EF lenses, while with the Metabones, you could, although AF will be mostly unusable in video, and slow (but usable) for stills. The A9, 5D4, 1DXII all obviously have the FF look built-in, and are of course better photo cameras, as well they should be at 2-3X the cost of the GH5. None match the ergonomics and practicality of the GH5 for shooting video, though. Actually, the 5D4 crops to about 1.7x when shooting 4K, so that doesn't even get you FF for video. The Canon MJPEG codec is also a lot heavier than I'd want for traveling, too. Sony's lenses let you use their AF, obviously, but kinda suck for pulling focus manually, as they're fly-by-wire. They're also not much smaller/lighter than FF DSLR glass. If I was on vacation I wouldn't want to carry FF glass at all. I would want the GH5 with native glass.

I'm don't do video for a living so here is a different point of view. I was going to school for photography when I got married. I sold off all of my gear to fund a place to live. I have an office job with kids, and cats. I found a vintage lens and resold to get a Canon T5 for one off event photography job on the side. I found 2 more vintage lenses, sold those and the T5 to buy GX85. I found an open box Zoom H1 for $50 at a retail store near by. I'll probably keep doing this and do overtime at work to get lenses and audio stuff. Hopefully will have enough time to shoot and land a small gig next year. I hate my office job, but it feeds my family.

A little secret tip for the very frugally minded: if even an Aputure Deity is outside your price range, then grab yourself an Audio-Technica AT4073a from eBay. (Or maybe even the Audio-Technica AT4071a if you can handle the extra bulk of its longer lengrh) As this was a very popular mic, an "industry standard" even. And a ***tonne*** of these were used by broadcasters for the Olympics (as AT was the Olympic sponsor) which ended up flooding the secondhand market and driving down prices. And unlike the other "industry standard" Sennheiser 416, the Audio-Technica AT4073a is nowhere near as famous, which has helped keep prices down even lower. http://www.dslrfilmnoob.com/2012/03/27/gear-watch-audio-technica-at4073a-shotgun-mic/ I'd disagree with DSLRfilmnoob here, as if you're paying over two hundred bucks then you failed! As with patience it can be found even cheaper ;-) I have one myself arriving in a few days, which I picked up for a mere song.

What about trying EOSHD Pro Color?

I've received exclusive info from a trusted source to exactly what this new gizmo does: 1. VR, Holographic, 3D and some other cool sounding stuff that actually does sound cool but we have to use our imagination into exactly how it will work. 2. New Module - RED Car Control. Simply control your actual car in a VR Google map. Pretend it has guns to shoot other cars in your way. (Bluetooth and Cruise Control vehicles only). 3. New Module - RED Nightmare Grenade. Record and play your worst nightmares in REDs r3d codec at up to 8k 120fps and share your experience online in VR. 4. New Module - RED Weapon Tank. Convert your RED Weapon into a tank so you can film it blow up stuff at 1000fps. 5. New Module - RED Blast Radius. Use your Hydrogen radar module to identify Google, Apple and Samsung phones around you. Detonate them with a single touch. 6. New Module - RED Interrogator. Use your phone's A.I assistant (like Siri but angry and military like) to question other peoples camera choices as they are inferior to RED. 7. Camera Expansion - RED MAX. Combine your phone with RED's new RED MAX projector that can predict the future of all other camera brand resolutions and frame rates. Comes with canned laughter. (the projector comes at up to IMAX size and can also be combined with helicopter propellors for RED SKY IMAX. 8. Camera Expansion - RED Chain Bomb. You can "daisy chain" all RED Hydrogen phones together by Bluetooth or Wi-Fi to create a holographic RED logo in the sky which explodes into red fireworks. Doing this increases your RED Weapons ISO temporarily to ISO 3000,400,700,201. 33. It's so sensitive that you can actually film through objects. 9. Firmware Update - RED Handed. This is sort of like Apple's "Find Your iPhone" app, but this actually detects if someone has stolen the phone and activates an electric shock so the robber drops your phone. It then has wings that come out the sides and flies back to you. 10. Firmware Update - Code RED. Write your own code and add features to your RED Weapon camera, such as a Disney film app or even better, a library of War genre films to watch while you judge exposure on your shoot. The trusted source also said the price for the phone is just for the actual shell of the phone, and you will have to buy all the separate components and modules to make it work. Each module is rumoured to be priced around $47,500 and there will be 437 to choose from by 2019. Text messaging will be added as firmware update in 2020 and it will cost a cut-price of $23,000. Ok, ok....it's Friday, I've finished for the day and I fancied have a mess around. But of course, this is all true!

Eagerly awaiting your Pocket Cinema Camera? You already have a micro for thirds camera and some C-mount lenses? Want to know if they will cover the sensor of the Pocket? Lets find out! I hope you will add your results, so we can make this list growing. I will only add lenses to the lists when you have proof, in other words: images. How? Because we know the active sensor area of the BMPCC measures 12,48 x 7,02 mm, it is fairly easy to check if our C-mount lenses will cover the full sensor. Calculate this by taking a picture with a lens on your micro four thirds camera, and crop out the image area of theBMPCC. In Photoshop: Open the image. Go to Edit > Image Size, uncheck resample image. Change Image width to 19 centimeters, press ok Go to Image > Canvas Size, change dimensions to 12,48 x 7,02cm, press OK to crop the image to BMPCC size. Resize to 1920x1080 pixels Post your results! Note: If you shoot on the GH3 or other MFT camera's, the sensor size is 17 x 13mm, so change the width in step 3 to 17 cm! To lazy to do it yourself or you can't work it out? Upload the full resolution files and I'll do it. List terms explained: Yes = covers the full sensor of the Blackmagic Pocket Cinema Camera No = doesn't cover the sensor Needs modification = Doesn't fit on C-mount to M43-adapter without modifications Equivalent = The focal length and depth equivalent on a fullframe camera (5D Mark III for example) Blackmagic Pocket Cinema Camera Compatibility list Primes Apollo 25mm f/0.85 - Yes = 72mm f/2.4 equivalent [link to proof] Angenieux 10mm f/1.8 Retrofocus (Fixed Focus) - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 10mm f/2 - Yes - Needs modification = 28,8mm f/5.8 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 35mm f/1.9 - Yes - Needs modification = 101mm f/5.6 equivalent [link to proof] Century 9mm f/1.8 - YES (poor quality) [link to proof] Computar 8mm f/1.3 - NO [link to proof] Computar 16mm f/1.4 - NO [link to proof] Computar TV Lens 25mm f/1.8 - YES = 72mm f/5,2 equivalent [link to proof] Cosmicar 8,5mm f/1.5 - NO [link to proof] Cosmicar 12.5mm f/1.8 - YES - Needs modification = 36mm f/5.2 equivalent [link to proof] Cosmicar 25mm f/1.8 - YES - 72mm f/5.2 equivalent [link to proof] Ernitec 6.5mm f/1.8 - YES (heavy distortion) [link to proof] Ernitec/Navitar 17mm f/0.95 - YES (v. blurry corners & distortion) [link to proof] Fujinon TV 12.5mm f/1.4 - Yes (blurry corners) - Mod.? (unknown) = 36mm f/4 equivalent [link to proof] Fujinon TV 16mm f/1.4 - NO [link to proof] Fujinon TV 35mm f/1.7 - YES - Needs modification = 101mm f/4.9 equivalent [link to proof] Leitz Macro Cinegon 10mm f/1.8 - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] Kern Switar 10mm f/1.6 - Yes (slight vignette & blurry corners) [link to proof] Nikon Cine Nikkor 13mm f/1.8 - Yes = 37,5mm f/5.2 [link to proof] Nikon Cine Nikkor 25mm f/1.8 - Yes = 72mm f/5.2 equivalent [link to proof] Pentax 25mm f/1.4 - YES - 72mm f/4 equivalent [link to proof] Schneider 10mm f/1.8 (silver version) - No (almost) [link to proof] Schneider-Kreuznach Cinegon 11.5mm f/1.9 - No (almost) = 33mm f/5.6 equivalent [link to proof] Schneider-Kreuznach Cine-Xenon 16mm f/2 - Yes = 46mm f/5.8 equivalent [link to proof] [link to proof (2)] Schneider-Kreuznach Xenon 25mm f/0.95 - Yes = 72mm f/2.7 equivalent [link to proof] Schneider Xenoplan 17mm f/1.7 - Yes (blurry corners) - [link to proof] SLR Magic 11mm F1.4 - Yes - [link to proof] (added by EOSHD) Tokina TV Lens 8mm f/1.3 - NO [link to proof] Tokina TV Lens 16mm f/1.6 - NO [link to proof] Taylor-Hobson Cooke Kinic 25mm f/1.3 - Yes = 72mm f/3.7 equivalent [link to proof] Taylor-Hobson 25mm f/1.9 - Yes - 72mm f/5.6 equivalent [link to proof] Wesley 25mm f/1.4 - YES = 72mm f/4 equivalent [link to proof] Wollensak Cine Raptar 12.5mm f/1.5 - Yes = 36mm f/4.3 equivalent [link to proof] Wollensak Cine Raptar 25mm f/1.9 - Yes = 72mm f/5.6 equivalent [link to proof] $ 25 noname 25mm f/1.2 CCTV - YES = 72mm f/3.5 equivalent [link to proof] Zooms Ernitec 6-12mm f/1.4 - NO [link to proof] Kowa TV Zoom 12.5-75mm f/1.8 - NO [link to proof]

In December 2016, I wanted a stills camera. After some thought, I was swayed by the A6500 because of the video features. (typical!). I've been testing this camera mostly on the excellent Zhiyun Crane (on a price / value ratio I'd say it's the best gimbal you can buy). On my most recent shoot, I put it in the deep end. I used Slog2, the 18-105mm kit lens and exclusively used autofocus for the entire shoot. Felt weird. (stills attached) Overall, this has the potential to be a very special camera... but it's not...quite...there...yet. Here's my mini mini mini review: PROS The 4k image is the best 8 bit 4k I've used. Certainly the best in Sony's lineup. There's a very special sauce going on here - it's super gradeable, detailed and the A6500 colour is much improved. Colour is improved? The image and skin tones are very, very pleasing - both using a standard everyday look and a stylised look (which I tend to go for). Sony look? Not here. Autofocus is very responsive. Absolutely essential on the Zhiyun Crane, makes it so much easier to focus on the shot as the image is 99% always in focus, even at shallow DOF. Compact power. Very nice to hold in the hand without a rig. Super light. 120fps is surprisingly good. Sharpened up and exposed nicely, it's a stellar 120fps. CONS Rolling shutter is a problem. It's easily avoidable however it can be annoying and ruin a shot. There's very little in the 120fps mode. Battery life is poor. This is a constant issue with Sony mirrorless. Even if they make the bodies a bit bigger for a higher capacity battery, needs sorting! The LCD dims very low. Maybe this is to manage heat or whatever. But the LCD does dim quite significantly. LCD gets scratched easily. These cameras need a cover to come with the camera, or flip the other way round. Got 3 scratches on my LCD from transit. Some of the buttons are flimsy and thin. Sony need to extrude the buttons more. The wheel on the back i especially fiddly to use. CONCLUSION The 4k image in XAVC-S is absolutely fantastic - I've not been wowed by image quality in a while. But it do get giddy when editing it. What's going on there? The shortcomings do dilute the experience a little - and Sony should sort them out for the A6700. With other expected updates, this would be a classic camera. There should be more love for this camera, as it sits under the hype shadow of the GH5. (I expect the GH5 to be awesome, but haven't used it). Overall - it's a very useful tool in the bag with some stunning features, great for stills too.

I did a video on this (2nd try) but it's very dull (link below). My question to the forum is this, what am I missing in this logic? 8-bit video captures roughly 16 million color values Human vision is around 12 million (but let's call it 16 million) Human vision, is around 5-7 stops of dynamic range (without pupil change) CONCLUSION ONE: 8-bit color can deliver a complete color representation to a human; that is 16 million colors over a 6-stop gamut, let's say. In S-LOG, one is widening the dynamic range to 10 stops, let's say, and spreading color information across the fixed 8-bit data space, which means we're losing saturation compared to the 16 million colors over 6 stops? Compounding the above's theoretical question, a sensor becomes noisy or erratic a few stops above and below a range where is can accurately do #4; Therefore, doesn't one trade 16 million colors of better saturation for few colors and noise? (that's my finding after doing some experiments). My current conclusion is S-LOG is not really about dynamic range, unless you interpret that as capturing only brightness values in the wild. S-LOG is a "look". I'm personally tired of it, but that has no bearing here. The question is, isn't it a misnomer to say LUTs put the color back in? When one shoots S-LOG, aren't they walking away with more noise than accurate color values in which to apply the LUT? Will S-LOG look very dated and washed out in the future? Why isn't there more discussion of the destructiveness of S-LOGs on color data? Thoughts?

As per the other thread, the functionality of the controller is now pretty far along and nearing completion so its time to finalise the actual input device itself. The two options are shown here (with a GX80 to show scale). How this will work is that a small module speaks to the camera over wifi to do the actual commands and it will receive its input from one of these devices, both of which are bluetooth. And cheap. They both have a combination of buttons and a joystick but the main difference between them is that the joystick on the larger one is analogue so can be used to progressively drive focus speed whereas the smaller one's joystick is a digital affair. This doesn't rule it out for progressive control just that it makes it a bit more work to fake it. The other difference of course is the form factor. The smaller one is quite neat having that hole in it as you can use it like I've done there with your thumb through it or, depending upon the width of it, mounted on a tripod pan handle. The larger one benefits from having the indented grip so its six of one and half a dozen of the other really. With both of them though, a bit of superglue and a thread adapter will have you being able to mount them on anything you want to.

I recently picked up one of these: https://www.amazon.co.uk/gp/product/B0032XQSN0/ref=oh_aui_detailpage_o07_s00?ie=UTF8&psc=1 For the price (cGBP80/90) it's absolutely fab - makes Final Cut faster and a lot more intuitive.

Although I would like the big one, I would also really like the full blown midi version (not an option for that in the poll ). Looking forward to trying this out

The hardware controller for Panasonic cameras is coming along nicely and I’m looking for a bit of feedback regarding what you might want on it. As I’m settling on the controller type (the two front runners will be another poll) there is a bit of a dilemma over the number of switches and how they might be implemented so I want to make sure I get the best core set that will satisfy most people. Basically, I don’t want to have the controller be some massive unwieldy thing that defeats the object of having small cameras like the Panasonics so by sticking to something compact there’s obviously a trade off regarding how many simultaneous controls there will be available. The simultaneous aspect is important as to get as many functions on as possible they will be switched in layers and I want to minimise that too so I’m trying to find the sweet spot of total functions. My idea with this controller is obviously so that it can be used to give you hands off control so you can operate the camera without inducing movement while its on a gimbal etc, and for general remote stuff like if you had it on a jib or even just for vlogging. However, as it will also do focus control as in controlling focus but also pulling focus, both at defined transition rates but also by manual control so that in itself requires a fair amount of controls to set positions etc. In addition, its other purpose is to get functions that are in menus or a few presses away (like exposure comp or ISO) under direct control to make the cameras easier to operate and add functions like a joystick driven focus point function for the cameras that don’t have it. So…..there’s a fair bit to find space for! What I’d be grateful for you doing if you have any interest in having a controller would be to just check as few or as many of the functions as you’d like to see on it. There’s no order of importance so just click away. Cheers

They're fine for transferring docs or music when you just want to plug something in quick. For the rest there are the rear ports, which are plenty fast on my 4ghz iMac retina. Cheers I'm not using the keyboard to move large files, just for the convenience of a USB at my fingertips and a much better keyboard pared to the wireless one. I have enough fast ports on the back of my iMac retina.

I have a friend that just picked up an Alexa classic package on eBay for $12k. I would agree with you though that getting a new Alexa and selling within 2 years would retain value better. If you have the capital.

Thoughts? Maxi, the legend is back! Awesome. Glad to read you again, Max!

You are correct. SLOG wastes color resolution if it end up in rec709 container. SLOG2 S-gamut is designed to emulate wider color gamut then Adobe RGB, but it's compressed to REC709's color gamut. So if you are using a LUT to recover the full gamut there will be "gaps" if the recording was 8 bit. (so most of the consumer Sony cameras doing this) If you are recording 10 bit SLOG2 S-gamut it's not limited to 16,7 million colors and we no longer talking about the limits of rec709 If our goal is to represent the final footage on a rec709 display we have much more room to shift the colors and luminance in our footage the way we want. Most of the time you cant notice the difference in compression just the noise levels are little higher. So i think it's worth to use SLOGs but not at all costs and not in all situations (i mean in 8 bit, if i could record 10 bit, i would record slog all the time)

S-LOGs are designed to compress the sensor's dynamic range in to a compressed codec to save disk space compared to raw. Slog supposed to be recorded in 10 or 12 bit and it's designed to be colorgraded in post. Colorgrading is much more than a simple "put a lut on it". If you record SLOG2 because someone said it's good, then put a REC709 lut on it you are wasting precious color information like you said. But if you do proper colorgrading it's much more important to have the scene's full dynamic range with full tonality (in 10bit) I would not call SLOG3 "dated". It's very close to the HDR standard, and if i remember correctly you can make SLOG3 footage to HDR with a simple LUT.

They are great products. They have a configuration app which has presets for popular apps but you can configure it to do your own things. The PRO version that Tim has allows you to create your own macros to be triggered by any of the switches so you can fire off a chain of commands from one press. The Express version doesn't offer that feature but if you're travelling or don't need as many keys then its a lot more compact form factor. Its smart enough to know which app you're using as well so it won't go off blindly sending out the wrong commands when you switch from Resolve to FCPX etc

I've just bought an EOS-M for £100 which will arrive next week. Ironically, its red. So expect a Red RAW for £100 post soon ! Or a million questions at least.

Go with this option, great combo. Do you already own canon glass?

Sorry, had a senior moment there. Well a double one actually. Sony are doing a £150 cash back deal which I took to the price I saw one in a store for (which had sneakily already had the discount applied!!). I was also using the not far off parity exchange rate but the pound seems to have made a slight comeback. With the real cash back deal its £679 (not the £529 I had in my head!) which is about €750. So, yes, apart from it being way more expensive than your budget and you hating the screen and ergonomics of it then it was a very sage recommendation

I paid less than that for my 1DC over a year ago But still, it wasn't a very good camera imho compared to a 5Dmkiii or the LS300 I swapped to. Yeah like all robots those studios sometimes go off. But so could an operator. As a producer I would just analyze cost vs fail frequency vs time saved vs etc. If it saves both time and money without any real loss in quality... sold (unfortunately).

Was never a big fan of the screens or ergonomics on the A6xxx series, maybe I should get used to it though. Not sure where the cheap prices come from though, as the cheapest camera body I find is 980€, 1700€ with adapters. Definately a strong camera but personally not a big fan of it

If you're not married to having an OVF, you might want to look at the Sony A6300. With a speedbooster adapter you can have FF FOV, even better low light performance and AF from your Canon lenses and with a regular adapter you can still have the AF and take advantage of the crop for extra reach for your wildlife. And if you have some ice packs around, you can also do a bit of 4K on it as well if you need to. I think it will give you a far more versatile setup for your budget and IQ wise you won't be suffering for it either. With the current price of the camera, you should be able to get all 3 pieces (the body and both adapters) for €1000 budget new.

BTW, pretty sure Canon already held such an event when they released the first 4K DSLR back in 2013.. must be one hell of a party if its still going and adding more people to the crew Yup, my first contact with a fully preprogrammed and automated TV-studio was back in 2005-2007. And it was used for national broadcast of a kids television show. Pretty nifty with an editing timeline ready even before shooting. Camera movement, repositioning, zooms, focus, cuts, lights, all automated from a preprogramed timeline. They had one operator standing buy incase they wanted to go in different direction but it wasn't really needed.

I've been asked to handle marketing for an event celebrating the day when people on forums got real with their expectations and that hell just froze.

I've just a got a job with Canon to work on the launch event for 4K in their DSLRs. That should be me safe for another 7-9 years.

If you want to access your American Netflix account overseas, use a VPN originating from the States. At the moment all these services use ip addresses to determine customer "location." So, tell them you're in NewYork when you're actually in New Deli.

Tbh I kind of hope they do.

High detail--deep focus--bright will be the highest rate. Movement is irrelevant cause compression is intra-frame.

BTM can correct me if I'm wrong, but I believe this discovery is based upon turning on existing code within the camera and not hacking the code. Since the GX85 only shoots in MP4 and AVCHD without any MOV codec, I would think it's unlikely to up the bitrate. But I also vaguely remember seeing the high bitrate MOV codec in the original command list, but I think VLog was there as well and that wasn't possible. It would be great if someone from the NX1 hack could take a look at BTM's work and maybe together, they could come up with some more options, if it's even possible. If it is possible, someone should do it soon, because I have a feeling Panasonic will turn off all of these options in an upcoming firmware update.

Like most people I always look for the best value, best bang for buck, etc. I purchased the Rode NTG-2 years ago when it first came out and it has provided good quality for a very reasonable price. Since it can work with a battery when phantom power isn't available, as is the case with DSLRs, it provides a very light, compact simple solution. On a recent outdoor shoot, I used the Rode NTG-2 and noticed how it picked up a lot of off-axis sound, and was generally noisy, which required a bit of audio post to sound decent: We shot in the same location under similar conditions using the Schoeps CMIT5U, using a Zoom F4 to provide phantom power and also a preamp: I didn't need to do any post work on the audio at all and the quality difference is substantial. With a preamp DSLRs can use high-end mics, and the 1DX II for example, can sound as good as the C300 II. The only issue is the Zoom F4 is big and heavy, so run & gun could use a much smaller and lighter preamp. Something like this: https://www.amazon.com/Saramonic-SmartRig-Audio-Adapter-Smartphones/dp/B00WITIHZ6/ + this https://www.amazon.com/Rode-SC3-3-5mm-TRRS-Adaptor/dp/B00L6C8PNU/ (there are cheaper versions available) would keep things small and light with decent quality. Shot run & gun style with mic on camera using my Filmic Skin picture style and very minimal grading. Canon 1DX II FF 1080p ALL-I (post sharpened) and Canon 24-105 F4L lens using DPAF (could squeak out a little more detail and shallower DOF with the 24-70 F2.8L II when using a tripod).

God yes. These cams desperately need a higher 1080p bitrate, 25mbps is just too low. A bump for 4K would be nice too, but much less needed IMO.

Just tried it out on mate's GX85. So easy and so profound! Friend is quite blown away, flicking between standard and cine-D. He's pretty happy! Thanks @BTM_Pix

anyone have download or create color profiles ? i would be interersting to create and share new color profiles.

I got an NTG-2 on a sweet deal a couple years ago, and I was a little disappointed... until I ordered a Triton Audio Fethead -- 27db's of clean gain for $100-- and it turbo-boosted my NTG-2 to such a degree that I haven't felt the need to buy any higher-end shotguns since. Even with a lowly DR-40, combined with the fethead, the NTG-2 puts out a really hot signal, I can record dialogue around that -12db target at a gain of around 20 on the Tascam, compared to 80 or 90 without, avoiding all that crappy pre-amp noise. Good option for the budget minded, especially if you already have the rode. http://tritonaudio.com/fethead.html

Do you have any BTS pics of mic placement? As that is what matters the most when filming. But yes, the NTG2 is a student grade mic (or for other non-sound specialists who just don't care about sound, such as cameramen. Which is where I use my NTG2 now, as an on camera mic when there is no other option for a scratch track. I should probably sell my NTG2 though, as I have plenty of other options for that). At the absolute bare *bare* minimum, if you're aspiring to do this professionally and/or you just simply *care* about sound then get an Aputure Deity or Rode NTG3 as your shotgun for outdoors.

Errrmm, not sure I'd phrase it that way...

It'll be great if you look at your current cell phone and say to yourself "this needs more screws and vents."

What "it" are you referring to? I couldn't access a lot of "it" when I was in India for the entire month of March. All of the Netflix shows I watch were "not available in your region." Same goes for Amazon Prime Video, despite being a paying customer from the U.S. And still none of it is available in China which is a far bigger deal. Population has nothing to do with individual's purchasing power. China has a much, much larger middle class than India - therefore its a much, much more important market. For example, last year almost 29 million vehicles were sold in China. By comparison India was just over 3.6 million, which is a slight increase over 2012 numbers - sales of cars have been flat in India for years because there is little expansion of the middle class. Meanwhile China has gone from 9 million vehicles sold in 2008 to well over 28 million last year. More of everything will be sold in China, regardless of how many people there are in India - especially since the Chinese middle class continues to expand at a breakneck pace. China has more than 700 million mobile phones in use, India around 300 million. I could go on...

Nope, unfortunately

Ben, I am glad to hear you bought another one, your XC10 videos were amongst my favorite and they truly captured the spirit of this S16 digital camera. I still have the XC10 saved in my eBay search... just waiting for that price I feel comfortable with. I keep chasing the XC10 form factor as well. I've had two FZ2500s and the RX10ii since I've sold the XC10. Both were cool cameras, but neither are as unique as the XC10. The FZ2500 has solid high bitrate, all-i 1080p, shutter angle, decent Touch AF and tracking, multi strength, body selectable NDs, internal zoom, slow/quick at the touch of a button. Even with all its strengths, it just isn't worth $1200 in my opinion. The RX10ii I really liked as well, solid 4K image, okay 1080p at hfr, good preamps, sLog2 but both feel more like camcorders than S16. That zoom through wide angle is a cool trick. I had one for my ZR60 back in the day. I hope Canon continues to update the XC line. As is, it's a blast to shoot with, with a few refinements, it could be epic.

Jimmy hasn't used a GH5, if he had he'd see that it had an image that is better than the Sonys, 10bit codec, much better colour, at least 12 stops dynamic range in V-LOG-L, far less compression, less macro blocking, clean shadows and it does have HFR 1080p all the way up to 180fps.

I've bought the 17.5mm after considering getting a Metabones SpeedBooster and some fast adapted lens and can only say I'm happy I decided this way. It's a great lens, both from a mechanical as well as an imaging standpoint. The downside? I now really lust to have the others!

Simple, this is how:

Hi guys, with all the advices readen on this topic, here is my last work with the gx80. I hope you will enjoy ! Any feedbacks are very welcome... and I know there are still many things to work on ;-)