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Just for a bit of fun and banter... what will a mirrorless camera be like in 2023? My predictions.... Sony: "Zombie skin" is finally history in 8k, but the footage on Vimeo still looks like shit because everyone is shooting at 100,00 ISO at "4k" 480fps in underexposed SLOG4. With the M31 LUT. Panasonic: The GH7S becomes an actual religion, because it's the first camera that actually does everything you've ever wanted. On a M43 sensor. Fuji: The X-T5's video is so sharp that it damages your eyes. It does 8k, but only shoots in F-LOG at 6k. 10 bit in 4k. Or something. Olympus: The EM1 - IV is almost out. Did somebody mention the GH7S? Nikon: The time-lapse video mode is spectacular! Canon: The EOS M-whatever full-frame with perfect DPAF. In 8 bit 4:2:0 though. "Only" 4k. No CLOG. Still the best colour. iPhone: Actually becomes to the level of an actual properly serious video camera with very clever, voodoo type computational imagery stuff. It was gonna happen eventually.

I've never met someone who is against net neutrality. Only bots, and lobbyists.

99% of photos and video will be shot on your personal life device (PLD), CANIKON CORP (they merge in 2021) has just gone bankrupt and the names Canon, Nikon and Canikon will be picked up for a song by the company holding the "Polaroid" name. There will be much debate as to if the large M43 format is really THAT much better than the standard introduced by the 1mm Senors in most PLDs. PLDs and old fashioned larger sensor ILCs mostly being made by the imaging and communication division of the Indo/Chinese company formed by the government owned company of the Peoples republic of the eastern hemisphere. Then again, I could be wrong since my crystal balls sensor was made by Sony.

Forget the nonsense about red buttons... anyone else notice the difference around the AF/AE lock button on the GH5 in comparison to the camera body in Lukes photo? Different Camera for sure.

I'm the guy that launched the petition. I would say at this point the system is obviously toast. I still own and use my NX1 to date. It is still a viable camera, and still as underrated as the day it was released. I've heard from several South Koreans that the transfer in management is what actually killed the previous camera business. Basically, it was a pet project by the much older previous CEO before his nephew took the reigns, and obviously showed us he had no skin in the game. I'm sure it was widely seen as "forward-facing", but in my view it was very premature. We could have had an NX2, maybe even NX3 by now and although it wouldnt have been as profitable as say their appliance and smartphone offerings, it will still bring in a considerable amount of cash and more importantly kick back by reputation to their other products. I'm sure many Samsung employees that worked on the NX system were just as disappointed as it's customers, as it was obvious they were striving for excellence and to cause a stir within the industry. You don't cram all those features (in 2014) into a body when your competition is still shooting muddy 1080p (ahem Canon, Nikon, Sony) if you're not trying to put a stake in the ground. With exception of Mr. Reid, a lot of camera pros were pretty hostile towards Samsung's lineup, and couldn't decide if it loved or hated the camera. The exit gave them more fuel to put down the system, and gave the industry yet another excuse to move at a snail's pace. The NX system was headed towards excellence and household name status. That is what Samsung does. Had it not been for the change of leadership, there's no doubt in my mind that it would have been a leader, if not THE leader and bar for all other manufactures to live up to. I've owned very few Samsung products that were faulty. Some may not like the name or have preconceived ideas about the quality of Asian markets/products (most cameras are Asian born) but at least where Samsung is concerned they are a giant, not just in South Korea, but globally. I'm not sure why the skeptics were so skeptical, but their cynical attitude certainly didn't help matters. What it did do in part was made sure that innovation remains slow and incremental. So thanks. I watch YouTuber's like Tom Antos, Film Riot, Film Courage, Curtis Judd, and many more along this vein. How is it all these channels are acutely aware of the GH4 but have no idea the NX1 line even existed? It never shows up in their gear recommendations past or present, which I believe shows a telling pattern. Tony Northrup, The CameraStoreTV, Matt Granger, Max Yuryev, and Rocket Jump Film School did actually review/use the NX1 and their responses were generally positive. Although the guys at CameraStoreTV were actually more on the fence but they did dedicate two whole segments to the NX1/500, albeit slightly sarcastically. DigitalREVTV did a asinine video review of the NX500 which was basically as one commenter put it, "An 11 minute long bash because it was a Samsung and not Apple". But that Brit is a cynical muppet and Canon/Apple fanboy anyway. But it serves as a good illustration of how many pros received, more like perceived the entire line. What I never understood is how on one hand you could sing the praises of the GH4 and yet dismiss the NX1/500, which in my professional opinion was and still is the better camera of the two. In some regards it wasn't even comparable. The NX system is that anomaly camera/lens that we're not likely to see again anytime soon. If you own any of these products I advise you to hold on to them. Don't worry about the detractors, they most likely never even used the camera. We need to re-petition our hacker community to further investigate opening up the power of the NX1/500, and I would suggest employing them in this effort full stop through crowdsourcing/donation. I would not count on Samsung themselves to resurrect the business or even offer another Firmware update. I and others have done our due diligence on behalf of the NX community in to let Samsung know our love for the NX1 system and our frustration in "their" decision to pull out. I put this petition in front of a handful of Directors, both past and present, using my influence and connections as an ex HTC and Microsoft employee, having worked on projects in cooperation with Samsung. Unfortunately, I'm sorry to say "they" have chosen to broadly ignore our pleas. Employees and shareholders are different beasts, at a certain level it's to be expected. This is how it goes in general. That being said, those that know the beast that is Samsung knows they can be unpredictable at times and pull out a wild card. Translated, I wouldn't hold my breath, and yet I wouldn't count them out in the future either. They will act if they see a value prop for their business and they have the capacity to compete at the drop of the hat on a global scale. I learned one thing in creating this petition. Those that own or have used the NX system absolutely love the hell out of it. You will hardly see a comment (about 928) that expresses a mundane reaction to these products. That truly says something about the quality and innovation of the product AND the gap of this quality and innovation in the market right now. It's awesome and interesting to see people from all over the globe echo this similar sediment. Its a true community.

well guys, ive always been "pro net neutrality", but i really hadnt done my research until now, and guess what? i cant find any anti-net neutrality arguments that arent (a) total horseshit or (b) a blowjob for the cable companies "conservatives" are for neutrality as far as i can see in real life... everyone seems to be, unless your name is comcast. do ANY normal people oppose net neutrality??? then i found out about this: WTF – MILLIONS OF FAKE COMMENTS?!? https://www.usatoday.com/story/tech/2017/12/06/fake-names-and-c-used-fcc-internet-regulation-debate-public-comments-includes-usa-today-tech-columni/923576001/ is this just a case of the government being bought and paid for? or is there something deeper here about freedom? the whole thing seriously makes me want to puke. it sickens me. nevermind the fact that the few high speed providers in the US have a virtual monopoly already who disagrees? why? lets suss it out! p.s. i voted

hi guys!!! im wondering if youve ever seen a "cinemagraph" film... a short or whatever. a narrative for the uninitiated, cinemagraph is a term that has become popular for a certain style of gif – stuff like this i would describe a cinemagraph to a novice who hasnt seen one simply as a still photo where part of it is moving what i find interesting about all this boils down to a notion of controlling motion, and less motion in film. limited motion as gifs so often do, cinemagraphs often utilize a looping effect – a repeated loop of motion. something simple, iconic it reminds me of animation anyway guys, my question is: has anyone ever seen a film like this? does this ring any bells? if theres something similar to what im working on out there, id definitely like to know! happy holidays ??????

Well... can't say for sure anything about that. But I can tell you that the LCD panel on the back of my D750 makes it much easier to tell if things are in focus compared to the LCD panel on the back of my Sony a6300 / a6500, despite the physical sizes being quite similar.

"As detailed in the PDF, the conversion is not simply a shift in known format parameters. You can use LutCalc or buy Lattice to create a tailored V-Log to LogC conversion, which will give you more 'Alexa-like' colors. I know this, because indeed I bought Lattice in my dogged pursuit of getting something more Alexa-like. But as you have likely noticed, the result is far from an accurate match to an Alexa. I made this first and foremost for myself, because I really wanted a true conversion"

I’ll do more tests. It’s not that bad. My white balance was off

I bet one of the Chinese brands will emerge as a major player in the mirrorless world. Such as Yi, Kinefinity, or DJI. Or maybe some Chinese brand will surprise us out of the blue like Aputure and make a camera. Or even more likely, it could be a new brand name we have not even heard of.

I had the 35mm and the 50mm 1.4 art Sigma Nikon Mount and from what I see the only difference is the sensor not the quality of both lenses which is simply great. If the 30mm 1.4 is bulky the 35 and 50mm for FF are huge. The 16mm Sigma 1.4 at that price is a game changer for both M43 and for Sony A6xxx. If Sigma could offer a 14-30mm F/1.4 zoom lens for m43 ... (the 18-35 1.8 and metabones speed booster is too bulky for my tastes) A 24mm and a 45mm (field of view equivalent) F/1.4 of that quality on a Sony it's simply great.

@Matthew Hartman Yes I know... It was strange how much value Samsung brought to the table for such a low price and it was ignored.. That bald dude from Camera Labs completely ignored it... Philip Bloom had one still of it and never looked at it again until he was bored 2 years later and did a auto focus test. I think directly or indirectly the other companies(canon, sony, etc) made it clear to big reviewers that they would not appreciate coverage of Samsung NX1 and maybe they would forget to send you the next product for review or forget to invite you to the next swanky New York sony event.. I see it like the Tucker cars of last century... They made a Superior car in the 40's they were the fist to have windshield wipers, seat belts, etc standard but all the other companies Ford, GM, conspired to take them down. Sony defiantly kicked into high gear when they saw the threat... they released like 4 bodies back to back... I think Samsung forced their hand thats why all their cameras have overheat issues because they weren't quite ready yet. I think we should create some kind of a bounty for incentive to get us some raw video... Ive said it before NX-1 can take 28mp RAW photos @ 15fps = 420mb of information a second If you could some how tell the camera to only record 8mp RAW still(every 4k frame is 8mp) @24 fps = 192mb of information per second You know the hardware could do it! EOSHD was pretty much the epicenter of the NX1 buzz/cult... I was just about to drop $900 bucks on a Canon 70D and then Andy dropped the Lisbon video... Doh! Today only like 6 of us on average post on here weekly. The dream is dead. Or is it?

Sure; the essential reason for this is to achieve a more accurate (and visually pleasing) conversion for the given light source. Here is a longer description I wrote on Dvxuser: "There are two things which combine to result in a color science output; these are the sensor response and the interaction between white balance and color space. In the case of sensor response, this is the wavelengths of light that the RGB photosite dyes allow in to constitute red, green, and blue, and how the pipeline interprets and sums this base signal. Because of this, different sensors will 'see' different results in the same light source. While daylight and tungsten are highly predictable, leds and flourescents are highly variable in their exact wavelength distribution. For a fully accurate conversion, one must be made for each distinct light source. Each new conversion is work intensive. In the case of white balance interacting with color space, each profile - and each white balance of that profile - will differ in the same camera with the same light source. All of these moving parts constitute a fully complex system with a predictable result given fixed conditions. I am working on ideas to tackle this (a conversion for each fluorescent tube, each led dial setting, etc. would not be practical)." Perhaps I will make examples of how each light source looks processed with both conversions, so that you can decide what works best for you.

I just found a new cinema tech introducing 10 times more light than current best cinema projectors. In dark theater the reflecting light pollution ruins the contrast but this will be interesting.

Having lens IS or IBIS helps a lot. Even with perfect camera balance on a Gimbal, having both stabilization gives you better result. Many YouTube video prove that and experienced it myself. Even more true with longer lens. Now be careful with the Crane M. It stabilizes less well than the normal version even for 500g camera. Now if your camera has good IBIS like GH5, I think you are good to go with the M

FF: 35mm works very well, I had a 12mm Samyang which I sold (kinda regret it) that gave me the same FOV on the BMPCC. Moderate wide angle, still works for faces, easy to stabilize n' track. @UncleBobs: If you take your time to balance your gimbal and tweak the PIDs you shouldn't have any jitters @ FF: 35mm.

Chinese and Korean lens manufacturers increase their total market share to 20% worldwide auto focus,DSLR and mirrorless lens sales.They shewdly employed some of the best computer programers so that their lens autofocus could match or exceed native lenses.Face detection now gives a facial "freckle count".

I predict the downfall of at least one of the bigger players. Probably two. Other than that it will be the same story. Just like today cameras will have every single thing we asked for a few years earlier. But we're still not happy.

Outlawed, probably - except for security cameras and body cameras on robocops. They'll be made by Sony, of course.

I'm waiting on the E-M5III too... Then I'll be DONE. No more GAS.

Oliver don't make things even harder. I can't buy a GH5 cause GH5s is coming. I can't buy an E-M1mkii either cause the new E-M5mkiii is coming. A7rmkiii? No, because the A7smkiii is coming. An X-T2? How can I when the X-H1 is coming? Of course I can't buy Canon or Nikon cause their kickass FF mirrorless is about to unveil for few years now. Terrible christmas I am telling you. Now I will have to use all these lousy cameras that already have everything that I have ever wished for.

I liked this one

Yes, it's a 1000mm f/10 Rubinar i bought in Ebay for 150 euros. It's not very sharp, but it can be used for wildlife shots with reasonable quality in HD. You can see two secuences shot with the Rubinar in this vídeo. At minute 4:36 and 6:10.

Wow, that looks so good. Sorry for OT but I love seeing good videos from old forgotten cameras. I spent an hour this afternoon watching old hacked GH1 videos.

On my GH5 I actually purchased a 400mm FD lens on ebay for $300, especially for moon shots, which gives me, if my crop info is right: Regular 4K (no crop): 800mm 4k crop (1.4 crop via ex tele mode enable in the GH5 menu): 1120mm 1080 crop (2.7 crop via ex tele mode enable in the GH5 menu): 2160 mm Personally I usually shoot the moon in 800mm or 1120mm "modes" because longer focals are hard to managed in terms of vibration. In body IS can help but it can also get confused on the tripod and be counter productive. Past 1000mm or so, simple light wind can have an effect on the camera shake especially with long and heavy tele lenses which extend far in front of the camera mounting point (because of the arm effect that amplifies the vibration). To counter this I purchase an adaptable tele support. This way I can balance the setup and move the support point forward. Another point is that the moon moves quite fast and tighter focal is harder to frame. Finally, wide aperture lens doesn't matter much for moon shoots. I find myself closing the aperture down to f/5 or f8 for full moon shoot. It's bright ! You can also get the FD 300mm for $50-100 on ebay. All you need is a cheap $25 ring adapter.

OK So for anyone wanting to try this, I have made a really simple method to do it. I have tested this numerous times on my GX80 and it has lived to tell the tale but obviously do this at your own risk. All that this process does is fool the camera into thinking its talking to the smartphone app and then the commands it sends are exactly what the smartphone app sends. Or would do if the smartphone app thought it was talking to a camera equipped with Cinelike D ! So as such it is only getting sent what the Panasonic app would be sending to it so there are no hacky or sneaky debug things getting sent to it. Again, though, proceed at your own risk. Although I would say, if you’ve tried that region switching hack on YouTube with the 10 million key press combos during power up then you’re already brave enough to try this! Bear in mind that my unit is a GX80 and the firmware is version 1.0 If you have a GX85 or have got a different firmware then I just don’t know because obviously I haven’t got any other devices to test it on. Here we go then…. Follow these instructions exactly and you should have Cinelike D on your GX80/85 You will need a laptop or a phone with a browser, the camera and to download the simple html file attached. 1) Switch on camera and turn on wifi as though you were connecting the app and you should see the waiting screen on the camera 2) Load the Deploy Cinelike D.html file into your browser 3) Select ‘Handshake’ 4) You should see the browser page change and it confirm that its connected to a GX80 5) Hit the back key on the browser 6) Select ‘Connect’ 7) You should see the browser page change to say ‘ok’ and the camera give you an ‘Under Remote Control’ message 8) Wait until the camera screen shows you a live view 9) Hit the back key on the browser 10) Select ‘Deploy’ 11) You should see the browser page change to say ‘ok’ and the camera should NOT now be displaying the Photo Style you had selected (i.e. Standard, Vivid etc) 12) Cinelike D is now active on the camera 13) If you go into the menu on the camera and select Photo Style you will see that it is blank and you can’t navigate to other Photo Styles such as Standard etc. 14) To restore the Photo Styles hit the back button on the browser and select ‘Restore’ and the camera will display the Standard photo style and you should then be able to go into Photo Styles and change them. 15) Repeat 9-14 to switch between them to your hearts content! So, like other settings, the Cinelike D profile will persist when you switch the camera off so if you want to use the other Photo Styles again then you MUST go this process again to re-enable them. However, if you would like to switch between them without using this method again (and who wouldn’t) here is a neat way round it. When you’ve done Step 12 and got Cinelike D on, set all your other parameters (4K24p etc) as you’d like them and save these into C1 of the custom settings. Then go to Step 14 and use the ‘Restore’ to get your standard Photo Styles back, set all your other parameters (4K24p etc) as you’d like them and then save these into C2 of the custom settings. Now when you switch the camera on, you simply choose C1 to have Cinelike D or C2 for the standard Photo Styles and forget about using any nonsense about using browsers and wifi connections! In couple of weeks I’m hoping to show you how you can do stuff like this and some other useful bits and pieces from a little hardware gadget that will work on the Panasonic cameras but have fun with this in the meantime. DEPLOY CINELIKE D.html