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Thought I'd post this here for the curious who are not part of the Kine FB group. The only adjustment made to the footage is applying an Arri rec.709 LUT. Shot with Tamron 24-70 f/2.8. f/2.8 - 4.0 ISO: 800 25 and 75 fps 4300K Downscaled to 2K and exported in 422.

Yeah, I'm ready for some hot new KeyMission goodness! Bring it! 'The storytelling revolution has begun.' https://www.nikonusa.com/en/nikon-products/action-cameras/index.page

Its great for selfies and bokeh balls as well

Even having the same DR at 2500 as the other low base ISO is still a big win!! From years of watching him, that might maybe be true in the stills realm, but not in the video world.

It is not true! (that guy is an entertainer) Far from only 1-stop faster. It is beyond 2 stops to be conservative.

Nice as well! I’ve heard good things about that 35mm. Here’s a few more from the Minolta...

There's nothing (not even) similar to FUJI... That's the most close to film capture in the digital realm, ARRIs included*. * I only don't add here Blackmagic because I really can't :-)

Pretty good schtuff:

How so?

Well, as much as I admire your photography, I'm going to have to respectfully disagree with a lot of what you've said there. Everybody prefers the quality of primes. I shoot almost exclusively on them. But that's not the only consideration. When you're filming actuality that's changing fast in front of you, you just can't afford to faff around changing lenses. That's where a good quality (and yes, that does mean pricey) zoom wins out. Every time. This comes down to the shot. DoF is a storytelling tool like all others. It works best when it is used with an awareness of contrast. Shallow depth of field, after shallow depth of field, just starts to lose it's impact and meaning. Mix it up a bit in keeping with the flow of the storytelling, is my preference as both a viewer and a shooter. One thing I feel strongly is that super shallow DoF is destroying the relationship between the subject and their surroundings in a lot of short films I see online. The main thing is that you should be able to make the choice based on your own creative interpretation, not just because you've run out of exposure options. It's pretty easily demonstrable that most lenses are indeed sharper slightly stopped down (regardless of cost). Having said that, I'm generally happy to shoot wide open on most lenses despite the slight difference. Erm... that's exactly the thinking that's driving me towards the GH5s - it opens up more creative choices. His comments apply to just about any LED panel or hard light out there (apart from the massive new 4 x 4 flexlights, or the really high output lights like the 300D or whatever). Getting them to look nice and soft *and* retain a decent level of brightness is often a struggle. I actually think this will be one of the biggest benefits of the system.

@Mattias Burling I literally just saw and liked this on IG... nice shot.

The dual gain depends on the capabilities of the sensor, so my guess is that by design that sensor is fixed to 400/2500. Changing that would require changing the analog circuits on the sensor. I agree. And that is the main advantage of this sensor, having a very good dynamic range in dim light. With a linear scale such as RAW the bit depth directly translates to the stops in dynamic range. To get around that, non-linear functions change the input-output relation (gamma) and companies use different names for them (S-log, V-log, C-log..). Depending on the capabilities of the sensor and the bit depth of the file, the log can be more aggressive, by compressing more the highlight information. The bitrate does not affect dynamic range. So Sony could do it by a combination of sensor performance/more aggressive log gamma. No. That is only the case when you move to global shutter.

And that is a big deal for many - that the GH5s retains the 12 stops of DR at iso 2500 whereas by then the GH5 has dropped to about 9.5 stops

Yes. I'll give you an answer with little explanation, because your question also doesn't explain what you're looking for in a lens, which camera you use, what kind of scenarios you shoot in, etc.

man.... thats really not funny ? im so sorry jonesy edit: i just read thru the patriot act and you can actually be thrown in a secret prison for misgendering someone. so it could be worse

I know this has Nothing to do with video. Well I use a Pencil to write story boarding and scripts. Does that count? But I will never look at a pencil the same again. Amazing amount of work and machines to make one! Amazing Photography to boot. https://www.nytimes.com/2018/01/12/magazine/inside-one-of-americas-last-pencil-factories.html

WOW! theyre gorgeous! me too!!! its great, i dont have to hit command+S all the time

Funny that about 36 hours ago, even without camera to test, I had mention 3 stops seemed to me too much: Here comes this one now:

Broadly, it depends by whom and what you mean by "censor." (In this case it's just a warning before the video, so I'm not even sure it's censorship.) Generally, I'm for private self-censorship and rating boards but not for government-mandated censorship. One reason England has the BBFC (which is allowed to censor and/or ban movies as part of a government mandate) and we have the MPAA (which is simply a private rating board) is because the American film industry took it upon themselves to "censor" (or just self-censor among their exhibitors) films produced by its members and exhibited in its theaters. This tamed the moral hysteria of the era and avoided government censorship (which would be, imo, anti-first amendment) like you see in the UK. So as much as people (often fairly, imo) complain about MPAA ratings, I think the institution is a good one and the institution of private censorship is a good one, too. YouTube, FaceBook, Twitter, etc. are not public institutions. They have every right to ban and block whomever they want, and those people then have the right to look elsewhere to express their opinions. I'm not for government censorship of hate speech, though. I support The Daily Stormer's right to exist every bit as much as I support the web hosts (private companies) who refuse to host them. In sum, yes, I support YouTube putting a warning before hate speech. It's their freedom of speech as a private enterprise that allows them to put that warning there, after all. So at the private level yes and at the public level no.

Guess they are killing the mid-market line then. It probably is, but doesn't mean that they have to fill up the product matrix. That provides for 12 cameras but in this market we're going to see 4-5 at most. As it is we have the GH5, G9, G80, GX80 and GX900. That's five cameras, six if they do a GX9, which may not happen. I do mostly stills, the only real benefit would've been a nicer EVF. The few times I've done video the GH3's 1080p has managed to acquit itself fine. Any shortcomings were mostly down to me. It does? I think it's quite clear. What's not clear is how Panasonic will fill the gaps. As I said it's not a great market so lines will come and go. I suspect they won't do a GX9 for example.

@jonpais My dear fellow of these boards, I am. Just didn't express my opinion for the subject matter. Nice to read your heads up! : ) Changing topic, here's another GH5S sample from distinct settings slowmo included; seems promising:

I wish they’d pull a Fuji and give us focus peaking and waveform. That’s all I want gosh dang it.

Yeah. And that was just the first spin I took it out with. I happened to have found myself in Salzburg and thought I'd roam around with the newly acquired D5300 and 35mm back then. Funny enough I was approached by someone outside a small artsy gathering type place... who asked me if I was the photographer that came to shoot the band. Apparently he was running late. Didn't actually end up stealing his gig tho. Did take a couple more random shots. Something about 35 mil, ey? Don't take either piece of gear out much lately, the usability of the D5300 is just not there (I implore you, oh great Nikon Gods, please give us mirrorless APS-C!). But looking back... I can't deny the APS-C and a certain Nikon mojo. And with that lens it really has like a 2D stacking, with subject plane in almost complete focus with such a creamy background, really gives a pop. Like one of them cards. But now is not the time to make myself feel bad about MFT, dang it.

Yeah, same here. Though with the Metabones Speedbooster 0.67 XL I opted for the Nikon one (have no EF lenses, so the expensive electronic implementation would be wasted on me... I'm fine with the simple aperture ring that mechanically interlinks with a lot of Nikon mount lenses). Yet... Nikon and some other mounts, including Contax Zeiss C/Y don't play nice together very well: you'd either have to perform a mount swap (Leitax; which doesn't work for all) or use an adapter with an optical element in it (which is never good for image quality). Nikon mount lenses might rule for adapting, but adapting to Nikon mount is a different story. So... a Zhongyi Lens Turbo II for EF especially it was. Then you can take either Contax Zeiss C/Y or as well Leica Summicron-R for example that faced the same problems and use a cheap adapter to get them to fit EF. My pick over these last couple of years has mainly been K&F (Kent & Faith) Concept: https://www.kentfaith.com/contax-yashica/KF06.129_contax-yashica-to-canon-eos-mount-adapter . Just put in 'Adapter C/Y EF' or something on eBay and look for listings with an adapter and that black/orange box, Leinox in black/brown are pretty great as well (in the early days I had Fotga ones, but e.g. missed a ridge on one of the adapters that pushed in a pin to pinch the aperture to the set value; of course you might be able to find decent Pixco, Kiwi Fotos, Fotasy, Vizelex and Kipon adapters as well): Works a charm. So Contax Zeiss [C/Y] or Leica Summicron-R [L/R] to [EOS] or [EF] and you're in EF. This is how the adapter would look: It's flippin' thin! There's just no way you could do any focal reducing on that if EF is your native mount. A BMCC (Production 2.5K) with MFT mount would've been more helpful there, otherwise, just use it as is. As far as I know there's only focal reducers to mirrorless mounts (well, I do believe there's PL ones, though I guess that counts as mirrorless), so any MFT, Sony E-Mount, EOS-M, Fuji X-mount even Samsung NX. Not Canon EF(-S), not Nikon FX/DX.

Feelworld has i think three models in the 4 ish to 5 ish inch range. Am very tempted by them. But will wait to see what Aputure brings out this year, hopefully a smaller monitor is in the works!

Should've phrased that better. I'm sure it'll come to the sub-5000 market eventually, but I find it more likely we'll see them become common in upscale cinema cameras first.

Anyone guess what might be going on here then?

You know, back in 2015 (likely in response to Canon's Video Creator kits), they'd gotten all funky on us with: There's even a link to a PDF regarding HD-SLR video compatibility... and a learning center. Who's to say they won't throw us a bone in 2018...

So basically If Nikon made a D760 with 10bit 4K, IBIS, and a hybrid optical/Evf it would be exactly what everyone wants apart from not being able to adapt other manufacturers lens to it.

Nice, I am wanting a gimbal solution for my GH5, however, traveling with LOTS of stuff is never fun.

I'll make sure to do a side by side with the UM46K when I get the GH5s.

You must have no memory of RED at all to think that?! Kinefinity has been really good with making and delivering products in comparison to RED's history

Because it's antisemetic blather? The public sector might not have the right to censor hate speech, but the private sector does. I'd argue that putting a warning in front of something that offensive is an example of YouTube showing responsibility.

I miss BTM_Pix! Where's he now? "Last visit October 2017"

Very unlikely. One inch sensor would require a larger camera and lens, thus bigger motors and gimbal to handle the load with higher ground clearance and larger vibration dampening system (=higher skids, bigger battery to handle the front heavy CG, etc.). There no free meal. I'm not sure that you can design a compact drone like the Mavic with a one inch sensor. The Typhoon Plus is interesting, the main point of this drone is redundancy. Thanks to it's 6 motors, the Typhoon can withstand a single propeller, ESC, or motor failure whereas any quadcopter would spin-crash to death in case of prop/motor failure (note: the Inspire 2 has ESC redundancy). Unfortunately I doubt that Autel and Walkera can shake DJI technological and commercial advantage. Autel is facing DJI lawsuit and they announced drones in the past that failed to materialized (X-Star 3 & Venture II). They are lagging in terms of technology. Their RC link are way behind DJI lightbrige and ocusync digital links. The Typhoon plus is based on a classical PX4 flight controller. DJI owns the market. The pathetic attempts like the 3DR Solo and the GoPro Karma have been commercial failures. DJI will probably announce a new Phantom or an updated Mavic (higher bitrate, etc.). Perhaps a new Osmo or X7 compatibility.

I'm assembling and adjusting the first 100mm prime right now. Samples of the 100mm and 32mm should be ready by the time Cine Gear rolls around. Another two (50mm and 150mm) hopefully by the end of the year. The "in-betweens", 40mm, 60mm, and 75mm will likely not appear until next year. I'm not sure about the adapter schedule yet.

Panasonic will soon(ish?!) send me a GH5S to play with so I’ll check it out.

Heresy! Posting pics of an a7 series camera in a GH5S thread

I've built prototypes of an iscorama-style single-focus adapter, but its really only suitable for shorter focal lengths in the 35mm to 75mm range. Also, its a bit large, and the front element moves during focusing, which may cause some issues with matte boxes. I'm also building a second type better suited for longer focal lengths in the 75 to 200mm range. I'm still debating whether to modify these for internal focusing, which would be good for heavy-duty cine use, but would make the adapters larger, heavier, and more expensive. To be honest, I've put the adapter project on hold until I get a few focal lengths in my anamorphic prime series completed.

You have eaten too many Avocados LoL. Lots of my fathers relation live, and lived there, and one of my my daughters does now. She is a Psychiatrist. She says she could Never run out of patients in Calif.. She is stinking rich off of them.They are all crazy, and so it Jerry Brown, Really crazy, even my relation now, and my daughter, well She Has Changed!. I have seen it all first hand lots of times. Please succeed from the union before you slide into the ocean and I have to help pay to bail you out! JK,, ehh I think. PS: I am a Republican. So you see the conflict. But they do have some damn nice Video stuff on Craigslist out there!

How about your experience? Are the diopters useful or not?

A quick video demo of the new prodder in action. All controls are real time with feedback of the parameters on the LCD screen. The video shows a recording of the G7 being controlled (and of it being controlled as the changes are live when its recording) but will obviously work with the other Lumix cameras. Parameters controlled are : Profile type (Standard, cinelike D etc) Contrast Noise Reduction Sharpness Saturation Hue and ISO so you can see any effect changes that may or may not occur with your current settings at different ISOs Now there may be no bugs in the software but there certainly was in the video. A real life bug crawling across the Colour Checker!