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I think that's the best all round option as well to be honest.

I did the same thing, over the course of about 13 months sold my set up and went to an A6300, then to the A6500 for IBIS and no over heating, then went to the A7Sii but couldn't deal with the awful AF so went back to A6500, just to end up going back to the NX1.

Our South Korean Friend is back....he has a very glossy High Key magazine style... I cant understand completely as the translate option cant be trusted it seems the intro shots are NX-1 footage then the rest is Red? or is he comparing NX-1 + ReD shot for shot... Cant comprehend the text in video. Check it

Well, over a year later I went to the store to buy the X-T20. Came out with the X-T2. A few weeks later I switched to the X-Pro. There is also a little tiny bit of a video sample from the X-Pro2 in there. But in the full review I will definitely have more, because Im really impresses. Within its limitations.

Well, what does a D7500 compare to... a Canon 80D? And how are they doing again in comparison? You want to talk smack, have a go at Canon. Nikon might be a little traditional and late to the party, that's because they're like parents: oldschool and need a while to catch up to the new age things. Once they do, they actually try to implement that shit. Really doesn't make that much sense to compare a system or camera based on a few little numbers on DxOMark if you're asking me. Hopefully Nikon is going to get into mirrorless APS-C. A camera like my D5300 is great on a sensor and results level, but I just hate the friggin' flippin' mirror that clacks around taking stills in liveview and it doesn't have any of the mirrorless bells 'n whistles either for any type of shooting. From what I gathered it seems they might be aiming at a mirrorless camera that is fullframe. Shame, because mirrorless allows for downsizing and while I like the occassional 35mm image circle throwing glass, it's also nice to have more compact options and APS-C/S35 gives you just that without sacrificing too much performance. And let's not forget, there's still focal reducers to get you back to FF should that be your thing. Lenses really define the compactness of a system, not so much the body. That's why Sony would've been better off having a mirrorless APS-C camera that's more like a A7-series camera than an A6x00-series one. Not that their APS-C line-up is alive and kicking, but atleast they'd have the literal room for improvements that plagues their too crammed full A6x00 bodies. Wish Nikon would go the Fujifilm route. The X-T2 is such a dope camera, a camera like that with a few tweaks (I'm talking sensor stabilization, I'm talking frontfacing touchscreen, I'm talking headphone port on the body itself and all that Gucci fuego) could suck up the whole MFT market and former traditional DSLR shooters.

Alexa Mini with Angenieux zoom Glass. Simple. Cheap. Reliable.

I think you are right and wrong, it isn't a great deal or very encouraging if you look at it as though you need 44,000 people to watch your film, but when you look at the 80 million worldwide subscribers to Amazon Prime and think about it in terms of viewable hours instead of fully watched films, you will see that you get credit even if the viewer only watches one minute of your film. Of course, yeah it is hardly sustainable if you're trying to raise a family off it from day one. But I do feel you have the possibility of making more money than a rental fee variant... because quite frankly... nobody knows who Jonesy Jones is, nobody knows the actors in your film, so without press and reviews... who will pay to watch your film? The key to this, in my opinion... is cheap and fast. To have any sustainability, you need fans and without a catalogue of works, how do you build a fan base? So, make 3 or 4 movies over the next year and create a social media marketing strategy, submit to festivals, even small ones will give you the laurels to put on your poster, also there are a bunch of review sites that get a lot of traffic that you can submit for a review... some require a fee, but also guarantee a watch and review... but they do not guarantee a good review, the quality of work still matters. I would love to hear @Zak Forsman 's thoughts on this because he has sold a movie and has titles on major VOD sites.

@tdonovic Sorry, I have to disagree with your "image quality doesn't matter" line. I have an NX and, from time to time, think maybe I should upgrade or get rid of it. Everytime I have taken shots with a recent Nikon camera I walk away disappointed (and still the owner of an NX1). Nikon has a reputation for great cameras, whereas, Samsung has a reputation for phones that blow up and overpriced washers and dryers. Is it too much to ask that the one with the "great camera" reputation actually produce cameras that are great? Lastly...Samsung in their mind, still own 26% of the camera market...since most people just take shots with their smartphones.

GX85 wedding (with EOSHD Canon colour LUT) Although I now have a GH5 and only use the GX85 as a B cam at weddings here is an example of a wedding shot entirely with a GX85. It's a remarkable camera with the worst sound ever! I used the EOSHD Canon LUT at 50-70%. It works well enough but I don't like the hassle of using LUTs on these type of videos.

idk guys this looks like a serious competitor maybe no holo screen but herbs and spices tho #RED

Damn man, you're really going for it with these cams. I don't own the Tascam mic, but how can you ensure that another sound, say someone clapping, wont stop the camera from recording? Also, I know it depends on your usage, but wouldn't you say the DR10X is a better option? That way you could get a wired lav and still have the recorder on camera for the slate tone or plug in a shotgun for camera mounted audio. It just seems more versatile to me, so wondering why you'd go with the DR10SG.

Thanks for starting this great thread! I first heard of Patreon when I used to read interesting 'Doctor Who' articles by someone who was on it! It's an interesting idea: contribute to the person rather than the particular project. A film-specific crowd-funding community I found (but haven't used yet myself) is Seed and Spark: https://www.seedandspark.com/ Here's an article by Kevin Kelly about fan bases (probably a bit out-of-date now) called "1,000 true fans" which I found quite interesting when I first read it: http://kk.org/thetechnium/1000-true-fans/ And also another by him about the nature of distribution in the age of 1:1 digital copying versus the era of precious copies: http://kk.org/thetechnium/better-than-fre/

So many ppl don't understand how good the NX1 is and are taken over by the "frenzy" of selling it due to Samsung's quitting. IMO the NX1 should be preserved as the best hybrid available, even after almost 3 years.

LawDude, very good.

ill hide the drone in my backpack lol

I think it's very possible but it's difficult. I think Rocket Jump has the closest thing to a good model that there is. They are absolutely cleaning up. But at the begging, when you're small, it's going to be very hard to monetize. If you can move from day job with freelance supplementing it to freelance with creative work supplementing it to creative work paying the bills to creative work making you rich... then you just lived the American dream. If you have a vision, go for it. I have no advice except look to Rocket Jump and only do it if you have a vision and you're willing to fail but so desperate to succeed you don't worry about setbacks and failures. Look to Patreon and YouTube channels, too. And let me know what you find out! And start small. Gall's law is truth!

This is a sales issue. While "people" won't pay for content, your fans absolutely will pay for your content. All you have to do is figure out how to provide them value and they'll pay you. What value does your content provide? Is it funny and unique, not available anywhere else? Is it dramatic, does it tell great stories, does it help people improve themselves, does it help people make decisions, etc.? Can you use your videos to sell related products? For example, we're starting to sell a line of CBD products which we'll promote on our free personal-improvement videos. YouTube ad sales for videos appears to be on the decline for a variety of reasons. That's why people are moving to Patreon. I cut the cord years ago and have been using Netflix, Amazon Prime Video, Hulu and Apple TV to watch online content. Lately I've been using the YouTube app for living room/bedroom viewing and Apple TV or Amazon (not very often) for paid content. I joined Hulu to get Rick & Morty- since the new season isn't on Hulu yet, probably time to turn it off. As a "startup" filmmaker, I think it's important to focus on content and finding your audience to build a fan base. Give it away for free, then later ask for subscriptions once your following is large. Keep some content free to attract new subs. Keep production costs very low, and focus on story and value to others. I remember seeing a couple make videos with an iPhone and a ring light with over a million dollars in revenue. I started out with low cost cameras, lights and mics, and finally have end-game level gear (C300 II, Schoeps mics, high CRI lights), meaning I can't spend any more money to get higher quality (e.g. an ARRI Alexa isn't really going to look any better in the studio vs. the C300 II, plus it doesn't have AF ). The only thing holding back increased sales is producing more valuable content and finding fans who value this content. 'Value' is the key word.

I think this is a very viable model and good info. The thing to realize here too, is that the movie is okay, nothing special at all; meandering and narratively frustrating, but it's about a thing people are curious about, so they're willing to drop a few bucks on it. These sorts of niche markets are everywhere. Also, FWIW, I talked with the producer of this film earlier this year, https://www.rottentomatoes.com/m/first_girl_i_loved/ and he was very encouraging about the self-distribution/marketing paths that currently exist for smaller films. The cliff note gist of that chat was essentially: "DIY niche online marketing with a budget" -- and, if you have a decent product, that'll generate enough sales to get things into the black. His essential sales avenue for that flick is iTunes.

I've never done crowdfunding but from the people that I know who have, it only really works if you already have a large fanbase/network. Starting without or concurrently building one would likely be an exercise in frustration. And it tends to only work well in niche networks (conspiracies, UFOs, cult historical figures, etc)

You have taken the words from my mouth. I can confirm after a few hours of playing around with the GH5, that it is totally self defeating to use my Canon glass on this body. Whereas, on the large Canon body the lenses feel right. This is not the case on the much more svelte GH5. I tested several lenses today. The most comfortable from the Canon line-up was the 16-35mm F4 LII, but there is little point to fitting such a large and slow lens to this body. I'm thinking the MBSB is a mistake for the GH5. That said something for walk around would not be a bad idea. Something like the 12-40mm 2.8 II?

Ha! No drones allowed in Antarctica without a permit! http://www.auroraexpeditions.com.au/destination/antarctica-cruises/planning-your-trip/drone-use-in-antarctica Good luck getting a permit, lol. On the application form: Purpose of Commercial Drone Flights: to capture proof of advanced lost civilizations and advanced terrestrial and extraterrestrial vehicles. Response (large red letters, at an angle): DENIED. Reason: drone overflights might effect penguin mating, might increase global warming and iceberg break-offs, and might enlarge the ozone hole.

Maybe this would be a fun kickstarter etc. project, just to see who tries to stop us and why. Since there is nothing 'official' going on down there, no one should care if we fly drones in to have a peek for ourselves. Surprised Steven Greer hasn't proposed this, or any of the folks over at Gaia.com. Get Steven Greer, Graham Hancock, Art Bell, George Noory et al to get behind it I'd bet interesting things could happen for disclosure, long before any private drone would be allowed to venture there.

In the last 5 years there has been a lot of movement in Antarctica, with a lot of visits from different places, and before these 5 years, nobody care about Antarctic, something happened there for sure, the drone idea has been in my mind also, but there is no way to launch it from LA, the operation center has to be located in Punta Arenas in the south of Chile, probably in a small town near this place, in a small island may be without attracting any attention….

It really boils down to creating content for which there is a large enough market to support your venture. The key to growth is virality. If your viral coefficient isn't greater than 1.0, you'll need to make some changes. This is true for all products, not just video. If people aren't sharing your content/product with others, it's not yet good enough or you're marketing to the wrong audience. Finding your audience is just as important as creating great content.

I once drop the 12-35mm and gh4 from a monopod and both work fine (monopod at 1.3m high), only the lens hood broke. Panasonic stuff are pretty well constructed compare to Olympus in terms of internal robustness. M43 lens is good for ninja shoots and on gimbal, good luck try use that 70-200mm f2.8 to look casual, I only used prime lens on gimbal to save my arm. Even 12-40mm is too heavy for me on gimbal for all day shoots, I only used m43 prime on it.

I still think the Amazon Prime deal is pretty good. Especially once you realize that there are over 80 million Prime subscribers worldwide and you are getting money even if the viewer only watches 5 minutes of your movie. And since it's listed for free, most viewers will give it 10 or 15 minutes. How many places can your movie be listed right next to a Hollywood movie?

The solution to that problem for Panasonic cameras is that the Tascam mic has a slate tone it outputs when you press record on it which can be used to automatically put the camera into record. I just haven't released it yet .....

Hi, I'm Eddie. I designed the Bolex Log color specification and the image processing pipeline for Digital Bolex towards the end of its production run. Also wrote the plugin that lets people process CineForm Raw color in Davinci Resolve as if it were DNG. And I'm not saying this to get into a pissing contest. I'm saying this as someone who is on the manufacturer side of things and has to know the ins and outs of the product and how it's used with other tools. Shoot 8-bit H.264 from a Canon C100 or any of their DSLRs for that matter, then compare it to ProRes recorded over HDMI to an external device. You'll often seen that the ProRes has more noise and fine details/texture. This is because H.264 smooths out the noise in camera and HDMI outputs uncompressed data. You're speaking as if the main reason detail is lost in 8-bit is that it's the log curve, when in reality, the main loss of detail has been heavy compression. I already agreed that using a log curve in 8-bit will redistribute code values so that more space is given to the mids and shadows, meaning less codes per stop when storing HDR data. We're not debating sensor data, otherwise we'd be talking analog stages, 16-bit, 14-bit, uncompressed. So, in this case, compression has everything to do with the image data. If you apply a logarithmic gain at the analog stage (ignoring the electron multiplying case), noise would be much higher than if you applied the log curve after digitization. It's not pretty. Definitely not philosophical in any measure. And these log curves can't pull data that isn't there. It's well known that using a log curve will boost the appearance of recorded noise in any bit depth, color space, etc. I'm not arguing that log fixes noisy data. I'm arguing that recording log allows you to record data in a way that keeps more detail across the range and expose in such a way that allows you to better minimize the appearance of noise in post (ETTR). Trust me, I let out a heavy sigh any time I try to see someone compensating for low light scene or poor scene lighting by recording log. I didn't say you said they don't. But you said professionals are lighting within 6-stop ranges. They have millions to pour into set design, lighting, and wardrobe. I was just pointing out the fact, that in spite of them lighting like that, they still shoot log or raw (which is later interpreted as log in the grading tool). Also, they're gonna be shooting 10-bit, 12-bit, and 16-bit more often than not, so they aren't worried about losing code words per stop, which takes away the main argument of using a standard profile. I didn't say you did. But it isn't nonsensical. Canon raw has C-Log applied to it before being sent over SDI to external recorders for being saved as rmf. ARRI, BMD, CineForm, all write their raw formats with log as part of the specification. While it's not the Cineon-type log they use, it's log nonetheless. But you can grade in a log color space. Hence Davinci Resolve Color Managed timeline and ACEScc/ACEScct. Whenever you grade on top of log image data, your working/"timeline" color space is log. This is where we get out of the realm of objectivity. Because there are technical trade-offs for both sides, it's up to who's shooting as to which is preferable. There is no clearly defined technical mathematical winner in this case (which is one of the reasons I'm happy I don't have to deal with H.264 compressed, 8-bit recorded data anymore). And I'm not saying there is one that checks all the boxes in this case. When I say "retain detail through compression" I'm talking about codec compression. Like I stated earlier, a standard profile combined with high levels of compression will reduce texture in the low mids and lows. It reduces flexibility and the overall naturalness of the image. That is an issue of grading, not the source material. When I grade log material, I have no issue getting thick colors from it. Again, log doesn't add noise. It just increases the appearance. Once the image is graded, the appearance of the noise will look similar to that of the standard profile, but the texture of the shadows will look more natural, especially in motion. But you didn't grade to match which means the higher contrast and extra sharpness of the standard profile will have increased perceived detail of the aliasing and text. And in spite of that, we can see that the aliasing that you point out in the standard profile is present in the log image! When graded down to match, you'll get similar, if not exact sharpness from the log image. The difference between the two being flexibility. I took the log one you posted and graded it down more closely to what your standard profile looked like without the boost in saturation and you can see the apparent sharpness is similar and the noise isn't as much as you were making it out to be.

Except that when you have rigged up the phone you loose all the advantages linked to its size. I mean, if I'm going to add a Beastgrip Pro + DOF adapter + a Canon DSLR lens, why not just use a "real" camera?

Here's scenes from a feature I'm shooting on the NX1. All using the tracking autofocus. I hope this camera lasts a LONG time, because even after all these years, its footage and capabilities are gorgeous and unmatched. https://vimeo.com/225352203

I think there'd be a pretty big market for it. For people with LX100 or GX80 you're getting edit ready ProRes and an audio recorder. That takes both of those cameras to another level, particularly the GX80. For everyone else, the edit ready ProRes would be very attractive even just based on how many threads pop-up on here recently for workflows/computer requirement headaches to handle 4K. Having ProRes from the get go takes care of a lot of that pain. Well, until you have to buy all of those hard drives ! The drop in CFAST prices since the original Ninja Star appeared also means the timing is better for it now as well. As far as I'm concerned, BM have the right spec with the wrong screen size with their VAs as 4K on 5" would be better for compact cameras and Atomos have the right spec on the Ninja Assassin but the wrong screen size too as maybe it shouldn't have one at all like the Ninja Star. So for me at least, whichever of them does 4K on a 5" screen or 4K on a no screen will win.

Apps that use the holographic display will not be simple Android coding. Hopefully something like Unity... But at this point, no one knows. Maybe save your "meh"s for a topic you understand?

Ufo balloons at 1:41" !

I jumped ship, sold my NX1 16-50S & 50-150S. I purchased the a7ii (returned it, I really like 4k recording and this didn't have it), a6500 (still have it, I love the eye AF but the camera is just too small for my hands) and tried the a7rii (returned it, picture quality was good but camera operation was too slow). I am really thinking about purchasing the NX1 again as the only reason i sold it was because I was afraid that if I needed service, no one could repair it. I loved everything about the NX1 the operation, handling and the picture color/quality. The NX1 was easier to take photos with. Also, I can't afford Sony's 2.8 lenses. So I'm also trying to decide to if I should buy the NX1 again.

Actually bought a used GX85 because of the capability you gave the camera to shoot in Cine-D. Decided to get it as a B-cam to my GH4 and they match well in post with the GH4's Cine-D. Thank You, BTM_Pix.

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.

The GX80 is meeting my expectations for run & gun. I think this shoot exemplifies expectations one can have of this camera for your quick, set-it-up and shoot style videos… family, street, etc. Here’s my setup: GX80 Panasonic 25mm F1.7 Zoom H1 Sony ECMCS3 Clip style Omnidirectional Stereo Microphone Settings: GX80: Natural profile (Contrast = -5, Sharpness = -5, Noise Reduction = -5, Saturation = -5), White balance (Sunny, A3, G3), ISO (200), Sutter Speed (1/50), Aperture (F2.8), IBIS (on, but no electronic IS) Zoom: WAV (24-bit, 96K Hz sampling), Level (70) Description of shoot: This took me about 5 minutes to shoot. I saw an interesting opportunity, went to get the GX80 and Zoom H1 from my office. For the settings above, I only need to put the camera in “C” mode to start. The Zoom is always put back with the level at 70, I only need to place it near the subject and start recording. Post Processing: Imported sound from Zoom H1 (just connect, don’t take out card) - 30 seconds Imported video ~3 minute video file - about 3 minutes Synced files - 10 seconds Threw it on a 4k timeline - 1 second Expanded audio - 1 second Select camera audio and push “v” key - 1 second Added 1db to Zoom H1 audio - 1 second Collapsed audio - 1 second Make cuts - 10 minutes Color corrected (highlights = + 15%, midtones = +7%, shadows = +1%, Global color 110° = -3%) - 2 minutes Added FilmConvertPro2 effect (KD P400 Ptra, Grain = 0) - 10 seconds Added a simple title - 10 seconds Rendered video - ~20 minutes Total Post Processing time = ~40 minutes (with rendering) Re-rendered video at constant bitrate of 35000 kbps in 4k with Handbrake, resulting file 690 MB- ~10 minutes Uploaded to Youtube - 90 minutes Youtube processing - 10 minutes Final Product: Picture Quality: Hindsight is always 20/20. I think the scene was a little dark as her face falls into shadow from time to time. I probably could have bumped up exposure and just avoided the window blown out in the background, but it gives you an idea of the limitations in terms of dynamic range. For me, the colors are quite nice and pleasing after applying Filmconvert… before that, not so much as white balance was off due to keeping blue channel from going too low- I guess many cameras need to be tweaked. Notes: This is a video of my daughter trying to set-up a Canon Powershot A410 that I gave her. She practices from time to time and enjoys shooting. Capturing moments like this is one of the main reasons I bought the GX80 for family. Please excuse her coughing as she’s getting over the flu. Also, note that she’s constantly switching from English to French. Good luck trying to understand, but you still have an idea of the audio quality. Of the video I cut out was a portion that was probably unusable as I wasn’t holding the camera steady enough as I moved to another position. Yes, it’s prone to jitters if the IBIS goes past its limitations, but I could easily have avoided this hadn’t it been to user error (movements were simply too fast). Feel free to make comments on any of the above as I’m trying to improve everything! By the way, here’s a photo she took of me looking serious during this shoot.

Yes I have...the video assist works great with it! You can record simultaneously too. If I record 4k30 in the camera the Video Assist automatically changes to 1080p30. Edit: Added an image of the Video assist in action. Another plus is the focus peaking works better than the internal one.

I saw in the marketing that it's: "4K enabled for video capture" Thank god for that! It sure is funny how light behaves when it knows it's being captured at 4K resolutions... More impressive is how Pany has enabled it's lens to deal with those curious photons that apparently can change their behavior. Thats some quantum physics science-y level sheit right there. Good thing the Japanese and Germans are on it. Good design and good ergonomics should be part of the same coin. Minimalism is okay when it's functional... It's very very difficult to design something to be simple but also practical. I own the gx85 and a Em5II. I'd RATHER shoot with the Oly; not that the Panasonic can't do the job, it just doesn't do it, for me, as easily and comfortably as the EM5II does it. That said, I now shoot more with the GX85 because it's technically superior. However... Does one actually get better shots with a camera they love using, even if it's inferior?? Theres harmony to all this stuff. Sometimes when you hear that harmony, everything grooves together and it can be a lot of fun. And I know I'm more creative when I'm having fun.

Best results/best practices vs. the results I'm going for might be a little different. That's okay. I do wonder if my particular inquiry is being confused with the whole 180° rule, which is mostly an aesthetic rule more than a "written-in-stone" technical rule. (We all know how a faster shutter was a visual choice on films such as Saving Private Ryan and Gladiator) I seem to be running into a technical limitation, not an aesthetic one. As for my particular issue, tomorrow I can post 60p/60ss examples from the EM5II and the GX7 to showcase the odd "drop frames" difference between the two cameras when 30p conforming in Cinema Tools. Ultimately, my goal would be to shoot 60p so I can slow it down to 30p. The final frame rate is 30fps. So therefore a 60ss should be okay. If on the GX85 it's not do-able, it's just not do-able. No biggy. I'd lose a bit of exposure because of having to use the faster 125 shutter speed, but it's not a deal breaker, just want to know how it handles this process I want to do. BTW, 60p/60ss conforms to 30p just fine with the Xpro2, Canon, and Oly cameras. Take a look here for some XPro stuff shot 60p/60ss conformed to 30p slow-mo: Anyone with LUMIX cameras, I welcome you to confirm this phenomenon. I mean, I may be completely off base here. All I know is that I've only been able to make slow-mo work with the GX7 using a 125ss. Maybe there's some odd setting in LUMIX cams that I'm overlooking, but that's my experience. Hey, would love to be proven wrong. Another note regarding the shutter angle aesthetic: For what it's worth, I actually LIKE shooting quite often with a slower shutter to create MORE motion blur in the image. To my eye it looks less digital, so I use it. For example, here's footage from a doc I shot with a 0° shutter. If you pay attention, you can definitely notice the exaggerated motion blur in the image: https://vimeo.com/140524680 And here's some footage done with the EM5II 60fps/60ss, with some shots conformed to 30p for slow mo. https://vimeo.com/137311259 Oh, another interesting note about 60p shooting: I typically shoot 60p, but ultimately deliver @30p on the final cut. So, I'm not trying to create a 60p edit, I'm just capturing my footage that way for the flexibility of using a shot in slow-mo if I want to or not. Since this is my process, that 60ss vs. 125ss issue matters a little bit.