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thanks tihon! I went with the 5d raw in the end! Happy so far, but just getting my act together at the moment!

The intro text at the very beginning just states that it's called 'Red Mirage,' that he used the Red Dragon 6K and NX1, the model's name, that it was edited in Final Cut Pro X... Then starting from about 3:20... "The Crane/Crane V2 dual-handle kits were sold out, so this video was shot with one hand on the gimbal and the other holding an LED light. A Manfrotto LED with an internal battery was used, and it was shot with the NX1 and a 12-24 wide-angle lens. (This was the outside spinning shot). The opening was shot with the Red Dragon 6K at 6144 X 2592. The lens was a Tokina cine lens. Outside of the opening, all the shots were with the NX1 on a one-hand gimbal crane (the Zhiyun Crane) or on an Edelkrone slider. The Red Epic Dragon and NX1 that were used for filming." So, in short, the inside opening was the Red Dragon, and it seems all the outdoor shots were with the NX1. Not bad! I'm glad I picked one up used a couple weeks ago...

As far as I understand, the Neway CT500HO is an OEM Ikan DH5e and you can have it for almost your budget in PV Deals. I am actually looking at that option or saving some more money and go for the SmallHD Focus, since it has a couple of attractive features for me like the anamorphic desqueeze or LUTs.

Just keep in mind the 2017 iMac 27 i7 is twice as fast as a 2016 MBP or 2015 iMac 27 ONLY on *some* things -- specifically transcoding H264 to ProRes proxy. Considering that's a very time-consuming part of many H264 4k workflows, that's really useful. It's also limited to FCPX; the performance difference varies with each software. The 2017 iMac 27 i7 is also about 2x as fast (vs a 2015 iMac i7 or a 2016 MBP i7) on the GPU-oriented BruceX benchmark, but this is also a narrow task. On other GPU-heavy or mixed CPU/GPU tasks like Neat Video, it's usefully faster but not 2x faster. On a few H264 long GOP 4k codecs I tested, the 2017 iMac 27 i7 seems marginally fast enough to edit single-camera 4k material without transcoding (on FCPX), which is a big improvement from the 2015 iMac 27 i7 or 2016 top-spec MBP. However multicam still requires transcoding to proxy, and if you want to really blitz through the material, then proxy still helps. If you now or will ever use ProRes or DNxHD acquisition, this picture totally changes. It then becomes less CPU intensive but much more I/O intensive. You usually don't need to transcode in those cases but the data volume and I/O rates increase by 6x, 8x or more.

screen grab from a sequence I shot last week (last airbender fan film), it will have quite a bit of vfx once finished

Exellent work! Color is exellent! What profile and settings did you shoot? cheers, Marty

On the official web site you can see the remote buggy with the camera that they have used for the wind turbine time-lapse http://awaken.film/ At the bottom of the homepage you can see a special gimbal mounted on a car. On the film Instagram account you can see some behind the scenes snapshots: https://www.instagram.com/awakenfilm/

Heres some lens tests with the anamorphot - some come good easy with the focus others not...... the Sony Zeiss is SHARP ! and the AF handy. The Minolta 45 very small and renders well and close focus and sharp with nice flares. The Jupiter 85 is lovely - crazy organic - i think best for middle distance person with focus on them wide open ish. If its close to inifinity then the organic renders a bit too funky for my like. I need to test the Minolta 58 and the Canon 100 macro more........

there are so many reasons to criticise nikon: In no particular order: Their marketing, product strategy, blinkeredness with video, nikon 1, DL debacle, those embarrassing action cams, their locked down firmware, their corporate culture, lack of imagination, inability to listen to their users... the list goes on. But rarely do you hear nikon shooters go *sigh, I wish I could take photos like wot that samsung smartphone does* hee hee

I don't see anything which can't be done with a GH5 or even 4 (external V-Log) in these clips tbh. Crushed blacks are almost standard in every movie since the beginning of cinema and honestly - I like it. The Highlightrolloff in the third clip isn't that great, her skins turns yellow in some scenes with direct sunlight.

SLR Magic 10mm ?

It seems the G85 makes the most economical sense, but if that isn't necessarily an issue, have you considered the Olympus E-M1 Mark ii? The price is starting to drop on them and they seem to have better IBIS than Panasonic's variant. It does Cinema 4K at a higher bitrate than any of the current Panasonic's as well. You can use your current lenses and I feel Olympus has a better out the box color science than Panasonic. It also has a high bitrate, all-i 1080p if that is appealing to you. If you don't need the 4K, the em5 Mark ii is a nice choice as well. However I will add that although the a6500 does have its issues, the 4K really is pretty remarkable... but I understand why you wouldn't want one... the same reasons I returned mine.

Today I did a 5 hours editing session and I did check the temperature and throttling. First I converted h264 files to DNxHD and the machine did run for 1h continuously at 100% CPU with a temp around 80° C for CPU and 65 for GPU (gpu was doing almost nothing) and it did not throttle at all always around 3.380 GHZ. I then did 3 hours of editing and grading 4k and there was really no stress and at the end the final render the CPU went up to 84-87° C throttling it at 3300-3350 GHZ. At the end I played with C200 RAW natively on a 4k 25p timeline with some grading while letting loop continuously the preview it did reach 89° C the CPU and 80° the GPU and after 10 minutes it did throttle down to 3000 GHZ. In my opinion is a non issue for editing because you never play continuously the video so it cools down between every preview.... Worst case it throttle down for the final render but there is not an issue if it becomes 10% slower... Games are probably different because the load is continuous, but I'm not a gamer so I cannot comment on it. Bottom-line for portable editing and grading in Resolve it is a good compromise between price, perf and portability. In 3 months that I have used it for editing and grading I never run in to issues du to the heat.

the a6300 4k exported as 1080 to me looks nicer than the a7s but then I really didn't like the colour science of the a7s and sold it pretty quickly. The colour is much improved I think with the a6300 and it is great in low light up until about iso 6400 - then the a7s pulls ahead.

Here is a new musicvideo shot for a great artist Nightstop. Don't miss this sleazyness! You can listen the music if you haven't heard of it before: soundcloud.com/nightstop

Impressive cinematography to say the least

Just an update for those interested. The product in the top post recently arrived and I used it on a shoot yesterday. Works like a charm and I'd definitely recommend it. Weirdly though, the first time I put my Sigma 18-35 f1.8 on it, when I zoomed in the aperture changed to f4 on the long end, then back to 1.8 of the wide. I took the lens off, then straight back on and it fixed the problem. This also happened the first time I put this lens on my Metabones though. EDIT: The autofocus does work too, which of course comes in handy from time to time, although I'll never use it for video work.

Well, on a real note tho... I was wondering if this was going to influence the Chinese market (there's tons of brands, aside from the more established ones like Xiaomi, Meizu, ZTE, etc, there's a more budget friendly popular scene with phones from the likes of Elephone, UMIDigi, Ulefone, Vernee, etc.) and it seems the first one has already popped up... https://www.gizmochina.com/2017/07/14/elephone-p8-3d-works-promises-unprecedented-3d-experience/

"It's also a showpiece for new time-lapse cinematography innovations by Lowe, including gimbal technology that allowed him to shoot astrophotography scenes from a moving helicopter. To help create the imagery for the film, Lowe's company Dreamcore worked together with Dubai Film to produce new types of camera equipment, and he also collaborated with Shotover to help build the F1 camera gimbal." https://www.engadget.com/2017/07/11/awaken-documentary-trailer/ By the way, Dubai Film was also in the Prod for the Dubai Flow motion video.

I think the colour is much nicer with the a6300, the 4k is pretty spectacular, but rolling shutter is really bad

RED's I guess, even though Tom is Canon shooter too. Mainly for low light stuff AFAIK.

Maybe go to the Heineken museum. Though, in all honesty, if you get the chance, drink Hertog Jan, Grolsch, Amstel etc instead. xD APS-C would allow easy adaptation of DX lenses as well and stuff like the Tokina 11-16mm and Sigma 18-35mm f/1.8 would be native to it as well. Like you said, a focal reducer in between and you're set to still get fullframe coverage out of your F-mount lenses. Like, I don't want to waste a fullframe sensor and only use a S35 crop out of it... in meanwhile paying the premium. I don't mind rigging up my camera with cage, rods, follow focus, etc and throw it on some sticks with one of the 'Bourne' lenses on there, I've got the Nikkor ED 17-35, 28-70 & 80-200mm f/2.8 D lenses, but they are big 'n bulky and I'm speedboosting those now anyways. Seriously needs the appropriate occassion to throw 'em on. For me it's just about the up from 4/3" sensor performance to APS-C, which gets you quite a bit better dynamic range, lowlight high-ISO performance and richer colors. I notice the lack of performance from the somewhat tiny 4/3" sensor, but APS-C I'd be more than happy with. For me, no need for fullframe, but it's nice to have a option to use a focal reducer. And otherwise I just love compact mirrorless cameras with sensor stabilization that also have compact lenses. A 35mm f/1.8 DX lens goes a long way. If they bring a smart adapter, they can immediately benefit from a native line-up to the sensor size. Sony hasn't been developping any consumer level APS-C lenses for like 3 years now (they've only released a few big 'n expensive cine/ENG-style zooms), it's like the entry level to get into their fullframe system... but for the people without the fullframe money quite yet. They're seducted to buy the tiny A6x00 camera and throw on fullframe lenses they can later throw on their A7-line-up camera. For me it would be nice if Nikon would develop an even more compact (than DX) mirrorless APS-C line-up (after all flange distance is shorter)... like Canon is doing with EOS-M. Actually, they might just ask Samsung if they can copy their line-up. That 16-50mm f/2-2.8 S lens and those primes look like the exact sorta thing you want in your mirrorless APS-C line-up! Of course, they could pull a Sony and do just that. An APS-C camera for the fullframe wannabees and a fullframe one/fullframe ones that they'd really be pushing. Just... to me, it makes more sense to make a D5600 mirrorless than it is a D810. But maybe that's just me.

I been humouring the idea whether we should start a fundraiser/kickstarter to get enough money to hire really good developers who could develop a new firmware for this camera.

I have top-spec versions of these: 2015 iMac 27, 2017 iMac 27, and 2016 MacBook Pro. I do FCPX editing professionally. In general the new 2017 iMac 27 is much faster on FCPX than the previous 2015 iMac and also the 2016 MBP. The FCPX performance improvement (esp. in H264 transcoding and rendering) of the 2017 model is far greater than synthetic benchmarks would indicate. The 2017 iMac 27 is the only machine I've ever used -- including a 12-core Mac Pro D700 -- that was fast enough to edit single-camera H264 long GOP 4k without transcoding. While it's about 2x the performance of the i7 2015 iMac 27 when rendering or exporting H264, and 1.6x faster on the GPU-intensive BruceX benchmark, it's not equally faster on all FCPX tasks and plugins. E.g, it's about 12% faster on Neat Video and 18% faster on Digital Anarchy flicker reduction. In theory you'd expect the 2017 iMac to be fastest on GPU-oriented tasks since the Radeon Pro 580 is much faster than the M395X in the 2015 iMac. However in FCPX the greatest improvement I've seen is in encode/decode and rendering of H264 material. There were Quick Sync improvements in Kaby Lake but I didn't think they were performance-related on H264, rather they expanded H265 coverage, but maybe I was wrong. Below: time to import and transcode to ProRes proxy ten 4k XAVC-S clips from a Sony A7RII, total running time 11 min 43 sec. It's interesting in this particular test the 2016 MBP was actually faster than the 2015 iMac, so a 2016 MBP is no slouch -- it just can't touch the 2017 iMac 27. Unfortunately I haven't tested the 2017 MBP. All tests repeated three times. 2015 iMac 27: 5 min 37 sec 2017 iMac 27: 2 min 40 sec 2016 MBP: 3 min 46 sec

But what can Nikon "really" do? They are a total contractual SLAVE to Sony. Sony does NOT sell its image sensors to anybody "blindly". You just cant call up Sony and say "how much for your IMX269's??...I want 50,000 of them". Before Sony will sell its sensors to another camera company, that company must state ALL of the planned specs that their future camera will have. Sony forces and negotiates those specs BEFORE any sensor is sold to that company. These specs are placed into the contract of sale so the competitor CAN'T change them at ANY time without Sony's permission. So....when Nikon or another company buys Sony sensors, they are legally locked in to the cripples that Sony has FORCED on them. The only way arround it is for Nikon to buy from Samsung/Toshiba/Aptina/Cmosis or another fab plant. This of course will be a lower class chip and will hurt Nikon's brand....and Sony knows this very well. Sony's reputation is that they are a real pain in the butt to buy from. Sony is VERY strict on its contracts of sale. The cripples added into the contracts are very detailed. If you want to open your features up, you must pay Sony more and more for each sensor. This is why Nikon is a slave to Sony where Canon is not for FF sensors.

There are more people today taking pictures with a Samsung camera than with a Nikon. Fact.

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

Nice work! Also not happy with the official LUTS provided by Sony.

Nice job.

I used a $900 MacBook Air as my workhorse for the last year and a half. Just recently switched to the base model $1299 13" MBP without touchbar and both computers work fine. I shoot 4k and edited and graded with Arri Raw, R3D, and work with 4k ProRes almost daily. This video really sums it all up: I will say....being a FCPX editor really helps me out. It is such an optimized program that is years ahead of Premiere in speed and optimization.

I was realy struggling with this issue. fixed accidentally by upgrading to 1.41 then downgrading to 1.40. (make sure you are in AUTO mode when flashing)

Back to the Bolex family again! I few weeks ago I just send only 5 emails to Bolex shops all over the world and there was one guy in Ellijay (US) that has one in stock, not mentioned for sale... till I mailed. Today I received this little lens and it is in almost NEW quality. Now I have two 1.5x lenses, but I think the Bolex will be standard mounted on my NX1.