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You're watching it and have the exciting revelation of "Right, they're all the same in the final analysis so all I'll ever need is something that shoots 2K RAW so fuck all you manufacturers trying to brain wash me to lust after higher specs than that, its clearly a waste and I'll never need it and I'll now never even think twice about anything with a higher resolution than that." Its truly liberating and you feel you've broken free of the shackles of this ludicrous pursuit of something you don't need and that you'll never be able to justify having financially, technically and especially creatively. Hurrah!! And then the Alexa 65 came on.

Yes, I think the 25mm will. The 16mm may as well, but I can't say for certain. I know 1" c-mount will have more wide angle coverage. I was getting full coverage with a 12.5mm Fujinon on the G7 and GX85.

Hey @kidzrevil and you other kids!:) I know we are all grownups, so no offense, but when it comes to lenses we are all kids:) The 10mm Tevidon does not cover full m43 image circle. It covers s16 when cropped from top and down to 1:2.35 ration. The 25mm covers even full m43 sensor though with only the slightest darkening of corners as this video shows: Also, Tevidon seekers might wanna check out these two articles, giving a well rounded look into the odd characteristics of Tevidon lenses, at least when it comes to the 10mm and the 16mm. I own the 16mm but don´t have an adapter yet. Charateristics regarding uneven focussing plane, and soft wide shots are to considered when going for the 10 and 16mm Tevidons. And, don´t pay more than 150 USD please, better not more than 80! So here are the nice reads about Tevidon character for the 10 and 16 mills. http://lenscraze.blogspot.de/2015/04/tevidon-10-2-c-mount.html http://lenscraze.blogspot.de/2015/05/tevidon-16-1-8.html Glenn, my vote would be E M5 II plus slr magic 17mm 1.6, if you can get the lens for around 300. Or the G85, which has nice colors too and classic Panasonic 1080p besides its obvious UHD mode. G85 might be the same price as the EM5II. So, unless you assume some better color magic, you might go for the G85. Though Oly color seems tempting. Panny IPB codec with 24mbps for 24p HD holds up pretty well too. A7 video looks gruesome:) Weak codec and aliasing nightmare. A7II might be interesting with its 50mbps codec, still not cheap though. Or maybe consider the A6000 instead of that, which can be found for 400USD and has a gotten an update for 50mbit codec. Check out Matt Kieleys A6000 birthday vid, not only a beautiful shortfilm but also showcase for A6000 colors and HD image.

Wrote up a little guide for people new to this and looking to buy their first recorder. And is the way I see the world of low budget recorders is they're ranked like this (starting from worst/cheapest to best/expensive): Tascam DR22WL / Zoom H1 (I'd suggest skipping right over this tier of recorders! But hey, my first ever short film I did years ago was with a chinese shotgun running straight into a Zoom H1!! :-o Shocking but true... everyone starts somewhere!) Tascam DR60D mk2 (the DR60D mk1, before the mk2 came out, is what I myself started out using for no budget shorts as a budding location sound recordist) Tascam DR70D (the *minimum* I'd recommend for a location sound recordist, even if you're just a student / no budget guy. Although in desperate cases, you could scrape by with getting the DR60Dmk2, but doing the opposite and stretching for an F4 is very worthwhile. Certainly, I could travel back in time I'd just have gone straight for the Zoom F4 from the starts! *Except* the F4 didn't come out until a few years later... you live in a very lucky time with so many wonderful options to choose from!) or Tascam DR680 (these can be found at bargain prices secondhand, which is what I did before I then later on purchased a Zoom F4 once that came out & I spotted an F4 at a good price) Zoom F4 / Zoom F8 / Sound Devices MixPre6 (I skip right over the MixPre3, as the MixPre6 is very similar yet does so so much more at only a relatively small extra cost. Also I regard the three of F4/F8/MixPre6 as all on broadly the same level to each other, just varying slightly from each other in one area or another that ones might have a small lead over the other one. This is the tier where I'd see you're now reaching the semi-pro level) Sound Devices 633 / Zaxcom Maxx / Sanosax SX-R4+ (finally you have now got up to the "industry standard" when it comes to recorders people use for small shoots, especially when mixing from the bag. If you're doing this full time as your job or hiring someone who is, then likely this is what is being used. Either that or similar gear, or even something better above this) And if you considering ones priced above those last three.... you're surely doing this full time as a sound recordist and getting a healthy income from that, so why are you asking us here on Frugal Filmmaker? ha! :-P But yes, tonnes and tonnes more options exist at the higher end as well! Finally, if you're considering something in the budget range within what I just covered, but isn't one of those that I mentioned, then it probably is *not* a good idea to buy if you're intending to be a location sound recordist. Something else only might *maybe* make sense if you've got in mind some other purpose for it, such as perhaps you want to record a band in a studio (which has very different needs / constraints), or you're the rare exception which proves the rule, or you are getting lucky finding some amazingly priced deal which can make an otherwise bad purchase decision then make sense if "the price is right". For instance I didn't include the Roland R88, as I feel it is extremely poor value for money in 2017! However.... there was a time at the end of 2016 when the Roland R88 got a huge price drop because it was being discontinued. Even with that massive price drop, the Roland R88 probably still wasn't a smart purchase vs the Zoom F8, but the big drop in price at least made the R88 a somewhat competitive option worth mentioning in a round up of all the various choices. However, that sale is now long since ended, and the prices I see on eBay for a Roland R88 is even higher than what you used to be able to buy it new from B&H Photo! Clearly those eBay sellers are dreaming. Anyway, that was just one example which might have been applicable but isn't now, so I don't rule out the possibilities of something like that perhaps popping up again in the future especially if you very keenly look around for secondhand deals. But for over 95% of people reading this, that won't be applicable, and just stick to going with one of the main ones I mentioned earlier. http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

Schneider ES Cinelux 2x (Custom single focus) | Carl Zeiss Jena Pancolar 50mm F:1.8 | Sony a6300 Some shots with varyND. Early test, needed to learh how to achieve best result with this setup DIY-body... and few stills at Helios 44-2 F:2 and... ...Carl Zeiss Jena Pancolar 50mm F:1.8

Heres a few lenses tested in stills mode - The Sony Zeiss 55 1.8 is sharp as - where as the Minolta MC 58 1.2 is loose and funky as hell. I need to get the Novoflex Minolta adaptor to iron out some of the issues - most of the funk lies at 1.2 - stopping it down reduces the life out of it - I think at F2 a happy medium can be struck although you loose those blacks which have that nice veiling flare.

I've just picked one of these up and its a pretty nifty little thing. Basically its a series of locking bars that you can easily change to be anything from a selfie stick for Vlogging to a top handle to a shoulder mount or even a poor man's low mode stabiliser. As the joints lock in any angle its really flexible in being able to be shaped to what you need it for. Its really useful in the shoulder mount mode actually because you can make the angle of the piece that runs over your shoulder to be really tight so it hooks in firmly. Each piece also has 3 mounting holes so you can attach handles, mics, lights, monitors, cup holders or whatever else rig enthusiasts like to cram on there if thats your thing. Its light, versatile, folds down small enough to fit in a coat pocket and at £38 its not exactly going to break the bank. With something with IBIS like the GX80 I've got it with here, it gives some great additional stabilisation advantage and still keeps you stealth. https://www.amazon.co.uk/d/Camera-Photo/Movo-SV1000-Aluminum-Combination-Stabilizer/B012Y7UVB4/ref=sr_1_19?ie=UTF8&qid=1498822792&sr=8-19-spons&keywords=movo&psc=1

Greeting folks! How does one lock exposure in video mode on the NX1? Hope all is well. Ruiz.

Hello! I would like to share my work done with GH5 + FM Lens (Kowa inside) and russian taking lenses. Musicvideo is still under work but here is promo clip for upcoming video. Will post it here soon when it's complete.

I guess thats the case -it easy to advertise and promote resolution to consumers compared to better colour/motion/black levels. If it wasn't we would't have the situation where a Pioneer Kuro from 2006 or 2008 has better motion and colour than the majority of TV's sold today.

@OliKMIA my comment was from the point of Nikon, Sony is doing great, certainly wins the war. As it is right now, not even Canon can resist their, in all fronts, attack. It was a big mistake than no one took advantage of the Samsung exit from the market, they had already some very interesting sensors ready for production (some rumored even full frame ones) and a lot of modern electronics technology (memory, amoled touch screens etc). Monopolies are certainly not good for (tech) evolution, the market or the customers (e.g look at what Ryzen does to the market right now).

As embedded computing power increases, the use of RAW will rapidly diminish. There are still breakthroughs ahead based on generative mathematics- fractals, DNA etc., that will encode information without resolution, allowing any desired output to be rendered. Here's one example based on machine learning (not clear if they can generate arbitrary output resolution, however the compression quality is very high):

Sure, but at a normal resolution they still look pretty similar. Remember, he's punched in 4X or something by that point and you're watching on a laptop screen or iMac with a FOV equal to a 200" tv at standard viewing distance. So yeah, on an 800" tv I would definitely want 6k, heck, even on a 200" tv I would. But the biggest screen I've got is a 100" short throw projector or something so the only place where I can see pixels with it is with graphics and text.* I've also been watching a lot of Alexa65-shot content on dual 4k 3D IMAX at my local theater and tbh I can never tell when they cut to the b cam unless it's like a GoPro and then I can REALLY tell. :/ Furthermore, I don't think you need RAW video. That's another marketing myth. Anything high end (C300 Mk II, Varicam, Alexa, even arguably the shitty F55 etc.) is a total wash in terms of RAW vs ProRes. Honestly I'm most impressed that he got the F55 to look that good! And I want that Nuke script! I think the bigger lesson is that you can't apply logic against marketing. Red staked its reputation on a 4k camera that in practice had a much softer image than the C300 (the original Red pre-MX was softer per-pixel than the 5D Mark III–by a lot! I think the Genesis/F35 was sharper despite being 1080p)... and it worked! Netflix and YouTube are pushing hard with heavily compressed 4k... although at least YouTube lets you use the Alexa. 4k LCD panels are gaining some traction in the low end market where the image suffers from a million other problems and the screens are pointlessly small. It's like the megapixel wars. Most digital photographers aren't even printing, let alone printing wall-sized (and those I know who do printed wall-sized were satisfied with 12MP). But the big number works well for marketing departments, and that trickles up to everyone. No one who matters to marketing will watch this video anyway. *I thought my projector's LCDs were misaligned until I noticed that what appeared to be chromatic aberration or misalignment was really just sub-pixel antialiasing! I think 4k would benefit a lot for cartoons, text, etc. Anything with really sharp lines. And for VR I think ultra high resolutions will matter a lot. I love my Rift, but the image is 1990s-level pixellated. I'm not big on VR video, though.

I can only speak to my own job of sports photography but I think they might struggle with a D6 or even a D5s. No one is really crying out for higher speed at this point and if they are the economics are so tough at the moment that there are still plenty of D4 and D4s being used that shows people aren't ready to spend on the D5. That's the problem with selling workhorse cameras, people will take you at your word when money is tight! If this D850 is to be the last hurrah for the D8** line in a mirrored format then maybe there is something in it being called 850 rather than 820. If they are looking to go out with a bang and also keep sports and photo journalists in the fold then a halfway house between the 820 and a D5 would be very popular. Something just a bit less resolution but that had proper performance at 12800 would be enough for me to do what I don't want to do which is buy another mirrored camera! There are plenty of D8** cameras used in sport (by me included) but they tend to disappear into the bag when the lights dim. In the wilderness years before the D500 came along, the D8** was effectively - due to how far you could crop in - the best pro APS-C DSLR that Nikon made and that's how we used it. If they can combine that with better low light performance then it won't be a difficult sell for people like me with battered cameras who are baulking at a D5 price ticket this late in the mirrored game. Who knows, maybe if they're committed to NOT doing another mirrored D5 successor then they might say "fuck it let's just make the last high end DSLR we make also be the best DSLR we ever made". If they're looking for legacy like they did with the F5 when digital was coming in then that's exactly what they should be doing. As it stands, their legacy from this era will be the D3. Which is no bad thing but it would be great if they bucked the trend and went for giving us everything they could in a product instead of holding back. Dream on though eh? It'll be a million mp, useless beyond ISO3200, 1080p with a 5x crop, and have a mirror slap that could be measured on the Richter scale. The only thing approaching IBIS it will have is the Irritable Bowel Syndrome it give you when you shit yourself at the £3.5K price tag.

I have no doubt that as a stills camera, WHEN it comes it will be as good as it gets for image quality. It is possible it could well be Nikons last high pixel count DSLR (I think they might go another round for sports/speed shooters both pro and amateur). Then again, Nikon being Nikon, there might be one more high pixel count DSLR after this too. The only thing that they have revealed here really is that it is called the D850 and not the D820. Many companies give out presents on their birthdays, Nikon gave an IOU.

Let us know, I use one for my NX500 and NX3000, brings a certain super 8 atmosphere back in videoing family videos.

I'm going to pimp this again! Really flexible (literally) thing that can adapt itself to numerous support functions and thanks to the mounting threads all over it can have other things like monitors and recorders attached to it as well. Folds down small as shown with the diminutive GX80

Yes it has the clutch. Its a bit loose, not voigtlander smooth. More like a Sigma or something. But usable. Its a great street lens since you can zone focus. An old pic I took with the GX7 and Oly 17mm.

Their camera list only pertains to projects they produce...most content they stream are shot on cameras not on their list...when they put up 8 or 25 or 60 million to make a project though, they will decide what gets used...really no surprise there at all!

The manual focus stops are the killer feature for me.

The 17 is great and has something I (and others) call mojo, but I dont regret trading it for the Pana 15 for a fraction of a second.

They're trailing it as 'the next frontier' but I wonder whether it might also be 'the final frontier' as far as DSLR's are concerned? At some point the mirror will have to yield and you wonder how many more times round the block they can go before that happens. The D8** series being Nikon's highest resolution cameras and having a 2-3 year cycle, could this be the last one before mirrorless takes over as its hard to imagine them hanging in there until 2020 isn't it? Its weird to think that an announcement like this, which doesn't exactly have the pulse racing, might turn out in the fullness of time to have been for a camera that would be the highest watermark DSLRs ever reached.

Looks nice, great color. Did you shoot it in 1080p?

If you plan to de-noise in post production, 4k would definitively be advantageous.

Not allowing the Amira and standard Alexa is straight up moronic. The upscaled 4K in it thrashes the pants of plenty of native 4K sensors in terms of look and detail. I've had them side by side plenty of times. Looking through the list and numbers and so on, the word that comes to mind is "arbitrary" Also demanding Alexa 65 with Arriraw as the only acceptable Arri format when nearly every feature film is shot on Arri... and plenty on Alexa ProRes... it seems more like a political alliance with other manufacturers against Arri dominance than much else. Which is silly, they're dominant because their product is the best. Thought the Varicam is arguablly as good if it gets the uptake.

It's a weird announcement because it kills their D810 sales. They have clearly done it to try to get people to wait for the D850 instead of some beast from a competitor that they know is coming out soon.

That legendary "mercers 12.5mm Fujinon"! No need for me to hunt for it anymore, since I bought the SLRMagic 12mm. Or am I at the beginning of a 12mm GAS now?:) I found different lenses of a Fujinon 12.5mm lens on ebay, some made in China, some in Bangladesh, looking pretty different from one another. Could you post a link to the right version? I remember you wrote that optical quality is very good. Do you still have it? If so, I would definately support your choice of a MFT camera as your second cam. This video gives a good idea regarding Tevidon lenses and their coverage of m43 image circle. The 25mm looking pretty good, the 16mm not fully covering:

I second that completely!

Thank you. A small 4 wheeled table dolly

I have them both and I actually like GX80 colors more. 50 fps 4K is for me the only reason GH5 is a better choice (and to be honest GH5 looks more like a professional camera, as GX80 looks more like a turist toy). I find V-Log unusable colorwise and I don't see a big difference between 10 bit and 8 bit footage.

Saw this on YouTube. Fascinating. NOT FOR THE TECHNICALLY FAINT OF HEART. But if you're comfortable with TCP/IP then this is very interesting. Essentially, what Danman has figured out is that this HDMI extender transmits the HDMI signal through standard TCP/IP packets. He discovered that VLC, ffmpeg, etc. will read the stream fairly well, and most other software that will display a network stream. From there, you can save to any video CODEC they support (which is almost every one) There are various hacks to get around some issues (like multi-broadcasting to your whole network) which seem pretty well documented. I suggest watching the YoutTube video by OpenTechLab. The only gotcha for you EOSHDers is the latency, which is about a second and half. https://blog.danman.eu/new-version-of-lenkeng-hdmi-over-ip-extender-lkv373a/ Here's what I believe is the right thing on Ebay. Remember, you want the TRANSMITTER. Not the receiver. http://www.ebay.com/itm/LKV373A-V3-0-HDMI-Extender-100-120M-HDMI-Extender-Over-Cat5-Cat6-Support-1080P/191750919298?ssPageName=STRK%3AMEBIDX%3AIT&var=490770381286&_trksid=p2055119.m1438.l2649

For $299 these work pretty well for 1080p (I added the heat sinks mentioned in the comments (just using rubber bands to hold on): https://www.amazon.com/gp/product/B00I16VQOY/ref=oh_aui_detailpage_o01_s00 For 4K and USB 3.0, this works well with the A7S II and GH4 in 4K: https://www.amazon.com/gp/product/B01H3Y3IL8/.

Wait! A camera company, with a history of making cameras in sequence announces they are GOING to make a new camera in one of their sequences (that has been expected for a while)? THIS on their birthday? No longer do companies need to compete with actual cameras, now it is ones in development. Maybe Canon and Sony are working on new cameras? Who would know?

Heres some with the Minolta MC 85 1.7 - similar kind of flares as the 58 1.2 - perhaps not as crazy. A weird vertical flare is produced. Again stopping down helps sharpen the image but does loose that funky rendering - like a painting at times. F4 seemed to be a sweet spot. I think this would be a great portrait lens.

Not with full pixel readout, no way, not in a year. Unless it's a native 1080p (2MP) sensor. I think we'd be lucky to see continuous clean(full pixel readout) 120p in the next year. Aren't the RX cams doing some sort of binning in 120p mode?

Probably in less than a year. Even some cameras in 2009 were recording unlimited 250fps... Not 1080p though

"Put your hands on the car and get ready to die!"

They should have respected his authoritaa.

When he was shouting about being under Citizens Arrest, I couldn't help thinking about Michael Palin in his Monty Python days. Which makes it even funnier, because he now makes travel docs, and there was a Python sketch on the first page of this thread!

I've always been interested in these: http://shop.zenit-foto.ru/view/category/virtuemart_category_id/59 (which are the more expensive: http://www.lumatech.tv/S16 mainpage.html ). Some listings on eBay still: https://www.ebay.com/sch/i.html?_from=R40&_trksid=m570.l1313&_nkw=optar+illumina&_sacat=0 (though, I'd probably get some Russian friends to buy me some there cheaper (37774 RUB ~> 635 USD) and bring 'em over). One eBay listing mentions: 'Will cover BMPCC Blackmagic Pocket Cinema Camera sensor and cameras like Digital Bolex, Aaton A-Minima, Red One, SI-2K, Ikonoskop A-Cam DII, Panasonic GH4! 50mm will cover Blackmagic Cinema Camera 2.5k! 50mm and 25mm will cover Panasonic GH4 in 4k mode and FHD mode without viegnetting! In FHD+2x extender mode 9.5mm--50mm lenses covers without viegnetting (havent tested 8mm)!'. - One of these eBay sellers for the Optars, also has the Zeiss Tevidon 10mm f/2, mentions use for M4/3 mount cameras, doesn't really say anything in terms of image circle and vignetting. Might be able to inquire there though: http://www.ebay.com/itm/TEVIDON-10mm-f-2-9748-Carl-Zeiss-Lens-micro-4-3-MFT-Mount-BMPCC-BlackMagic-GH3-/371811665283 . -- used to be a thread on here for C-mounts compatibility with the BMPCC if that's of any interest:

I've had my GH5 for about 3 months now and I'm loving the files i get from it, both standard profile and V-LOG L. When it's not working all rigged up (see picture at the bottom) it always stays in my messenger bag with just one lens, the Oly 25/1.2 which has become my all time favorite lens. Anyhooow, here's some random (as usual) shorts from every day life. All rigged up. This setup has proven itself to be a very convenient run&gun solution!

Really nice. What did you use for camera movement?

Yeah, but I'm unsure why they believe it needs to be 4K? 2.5k in 24 as 60p would be a fine upgrade for the Pocket and would quench most people's needs for the next couple of years.

Ricardo is always posting such gorgeous framegrabs in this thread, so I wanted to give his settings a try for myself on my latest project... I'm really liking the way these are looking. (Graded with DeLuts and filmconvert)