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I am surprised Canon don't do their own EOS spinner. It would be lacking some features though to protect the higher end model.

This is hardly a rumor, it was simply a three line response to the countless request for comment that says "maybe you will get a gift while you fight" this means absolutely nothing and out of the very long list of what this could mean an NX3 is very very very far down that list. Here is my list of what this could mean in order of probably 1. Probably means nothing and we are not getting anything. 2. A software update that helps with compatibility with newer phones 3. A software update that helps with compatibility with newer phones & gives minor phone interface improvements because it was easier to connect their new cell phone camera app to the NX1 then to make the old app work with the newer cameras. ... 10,000. They have taken all the tech they learned with the NX to make a concept camera of the future for display at tech shows and showboat what they could do if they wanted. ... ... 1,000,00. they have an NX3 that will be released in two years that is nothing like a camera as we know it and more like a cellphone with 1" sensor like all the other cell phone companies are coming out with now. (actually, this is probably not that unlikely but really has nothing to do with cameras or the NX1) ... ... 10,000,000. they have an NX3 that is an iteration of the NX2 and can use NX lenses.

And then there is the other 10%... who hang out on camera forums such as this

At the same time, some of the most brilliant movies are considered great because they appeal to everyone at many levels of intelligence. Think of The Godfather, for instance. Cinematography nerds can love Gordon Willis' innovation of using darkness and top-lighting to establish mood in a way that was scary to Hollywood at the time. Writing and story buffs can enjoy every morsel of how Puzo and Coppola adapted the novel to screenplay form. The production design. How many times has Pacino's performance in parts one and two been called "brilliant"? I enjoyed the movie as a kid, as a teen, and now in my middle age just as much, but for different reasons. There are great popcorn moments in The Godfather just as there are deeper things you can think about for a lifetime - what does being an honorable son mean, for instance, or how does capitalism and loyalty corrupt one's ideals? In the same way that using a lot of big words might make you sound smart but won't necessarily mean that you're a great communicator, I think the ultimate brilliance and intellectual challenge of making a film is how to talk about big ideas to a mass audience. Films like The Godfather do that. There may be audiences (albeit smaller ones) for stories that don't try, don't "pander", to people with low intelligence, and that's fine. But let's not confuse being intellectual with quality filmmaking. The flip side of the coin, of course, is the lowest common denominator. The films that do well precisely because they do pander to the audience but don't stand the test of time due to their lack of depth and intellectual rigor. Think of films like Dances With Wolves, which won best picture the same year that Goodfellas came out. Most film buffs, even the dumb ones, have watched and talked about Goodfellas many times in the intervening 25+ years, but time has not been so kind to the other. The studio system, and many such systems guided by groupthink and large investment dollars will often ferret out the most original ideas in favor of safe ones. Which is why we have so many sequels. But the alternative of making pedantic movies for no audience is just as dire for the audience.

In the article, it says that paramount did a couple of test screenings and found it to be too intellectual.... Which explains a lot.... I remember being in a second year psych. course in University back in the early 2000s.... And the professor asked a question, can't remember the actual question or what prompted him to say this.... But I remember it almost on a consistent basis.... He said, "You are technically smarter than 85% of the population." Which made me think... It is true on some respects, you need to get the top grades (85% or more) to get into University.... But, is this true in respects to everybody.... I'm starting to believe it is.... I've been running into a lot of them too, and Im sure some of you guys have too.... Examples: Some cashier that can't do basic math, a barrista that can't get a simple order right. Ever get a time when you specifically say... "No mayo" or something similar and you repeat it a couple of times too, and they say "yes, yes.... No mayo..." And the sandwich comes back with Mayo. Then you look at the sandwich and ask what the hell is this.... And she is looking at you weirdly... This has been happening to me on the regular. And, I generally go when it's not that busy cause you don't want to hurt their pea brains with small requests like this amongst all the other requests. I know.... The above sounds a bit petty, especially if you've never experienced it yet. But, if you experience it on the regular... I, especially, try to avoid confrontation too... I completely try to avoid the dumb peeps... I always say, these people work here for a reason. Going back to this movie, if it's only going to appeal to the top 15 percenters.... Then I too would choose those that know how to subscribe and use Netflix.

Subscribe to Harv Video / Audio Stuff on YouTube and win a copy of EOSHD Pro Color V3 Purchase EOSHD Pro Color V3 here, for just $19.99 The British do not do YouTube like Jake Paul. There's no "whaaaaats-up bros!?" as an introduction. Believe me, this is a good thing. Read the full article

Mine has sculls on it

Yes this is crap about YouTube, it should remember your connection speed each time and only drop the quality if your connection is suddenly a lot slower or you are downloading a 100GB game patch on Steam in the background Vimeo meanwhile, I agree with all the comments about their reliability... It's pretty shocking. I don't know how such a well funded and successful business can continue to neglect the basic fact that they need to deliver their core business....Streaming. Videos. Smoothly! I suppose there is a balance to be had between YouTube's pixilated first 10 seconds and Vimeo's 10 minute wait before even one frame moves.

Working on something now that I think you're going to like ; )

No Problem. I attached a LUT I exported of that grade if you want to try it out as a base for the sequence. It includes all the adjustments minus the power windows to bring up his face. I think power windows are your friend on a project like this where you really couldn't light. They give you the ability to draw the attention to the right places by bringing the exposure up or down in certain areas. Grading is a very fine art that takes a lot of practice, don't give up! It's worth taking the time to learn and practice and become a master. (I still feel like I have a long way to go here) Jungle Grade V_1_32.Screen Shot 2018-02-01 at 8.46.59 AM.cube

Robert I don't think that is the case, as per Sony specs the HDMI output of the camera is uncompressed therefore the final bitrate is dictated by the encoding you use (the maximum you can get on the Atomos is Pro Res HQ which at 30p in QFHD has a data rate of 882Mbit/s plus you get the benefit of the 4:2:2 colour sampling) This is very interesting, thanks Emanuel! :-)

My feeling is that 'intellectual' works better in a subscription model like Netflix than in the Cinema. We see that 'intellectual' like some TV series or documentaries dont attract high audience figures but they do tend to inspire loyalty to the channel brand and anchor subscriptions. So on that note, we dont know 'how much' Netflix is paying Paramount 'NOT' to release it in the Cinema. Afterall Netflix spent over US$50m making 'Okja' last year (which I thought was excellent.) Anyways, it is useless blaming 'bean counters' and 'studio executive' or 'youtube' when they are simply catering to audience demands. Considering that 'Fast and Furious 8' generated US$1bn faster than any movie in history, it is just heroically optimistic to expect a next Godfather movie.

Remember, S-LOG should be exposed differently to Cine 2 - at least 1 stop to the right. That's why the Sony shots look too dark in Phil's test. But we'll forgive him. He has the flu! What strikes me from that one is the colour on the GH5S is way better than Sony's default settings. The typical zombie yellow is there on the A7S II especially. That's what EOSHD Pro Color is for, as it fixes it.

Paramount don't think Ex-Machina director's next film, starring Natalie Portman will make any money so they scrapped the cinema release and dumped it for cheap on Netflix's porch like an abandoned baby. https://www.theatlantic.com/entertainment/archive/2018/01/annihilation-paramount-netflix/551810/?utm_source=atlfb These execs are going to be the death of cinema. Good thing is we have great TVs now and HDR Alex Garland is one of the most talented directors and writers working today, loved Ex Machina and it was a huge hit. Intelligent sci-fi is in. Black Mirror on Netflix is popular. Arrival was a hit. Why not this? Apparently Annihilation is a direct to video B-movie in the eyes of these Paramount idiots whose summer schedule consists of a Transformers spin-off called Bumblebee and another Mission Impossible... and practically nothing else.

BestBuy demos are terrible. Before I could watch HDR using videos I chose or shot on my own viewing devices, based on what I saw at BestBuy I thought HDR was a marketing ploy. If you can adjust the TV picture mode away from Retail Vivid to Normal or Cinema and play an HDR video using the TV's YouTube app maybe you will "get the picture". You also need to view a good video. Maybe people here can suggest some examples.

Unlike Sony's fidget spinner which is too magenta, costs £3500 and overheats, causing your fingers to burn off. Brings a new meaning to "having your fingers burnt" over an expensive purchase

No he didnt test the sensor readout for video. But we know (for the A9) it is much lower than for stills - in fact by the rolling shutter tests I have seen, the readout is the same as the A7riii. So did Sony intentionally cripple the A9 for video (quite probably) and was the reason they didnt include picture profiles because they deliberately didnt want people buying the A9 for video expecting that the fast electronic shutter would lead to less rolling shutter (again quite possible but just guessing.) Still if a 24mp A7siii or a 12mp A7siii takes advantage of the incredibly fast readout from a chip like this, it would virtually eliminate rolling shutter on a FF sensor....??!!

Yes indeedy. Fidget spinners are popular too by the way.

Ooo, a reasonable discussion of this over here. It's hard to find one that doesn't involve mindless critic and studio bashing. Personally I was looking forward to watching it since fantasy cyberpunk is a genre very close to my heart. Some good comments in here and maybe I should watch it after all, even if it's not so good.

Well, in theory you could build a Cordova/Phonegap app where the index.html inside the app does nothing but a window.location.href redirection (as long as the target URL is whitelisted in the app). Then it would be the same as your app, and it could be compiled for other platforms too. I haven't tested it but I don't see why it wouldn't work.

In the last year Vimeo has moved a lot of their focus to business use (white-label and Sony Ci-like video proofing) which will not be counted since they're on private pages. In addition, most video is viewed in Apps (mobile) and increasingly on TVs. As such, their public numbers will likely decline even if their viewership increases. Alexa is a poor measure in this area. I think Vimeo's move towards business is a good one. We dropped Ci and are now paying Vimeo more than $1000/year for proofing and video hosting for our TV apps (multiple accounts). There's a lot more money to be had for them here than in hosting personal passion projects.

Panasonic knew, and knows they were not going to sell many of these cameras. You might be right but it seems crazy to me to believe it is Not a Sony built sensor , with Panasonic input. But Panasonic did build the GH1, GH2 sensors. With those and the Gh5s all being multi-aspect type it does not sound like a Sony thing to be honest. I guess someone will rip one apart and we will find out down the road.

Errr... it wasn't like they finished the GH5 and *THEN* started on the GH5S, rather it was started waaaaaaaaaaaaaay before

I really don't think Philip Bloom ought to endorse Any product at all. Test them, tell it like it is, and don't take money doing it. Anytime money is involved it is easy to get the results they want you to get ,maybe not the truth. Now if he needs money go out and shoot for a living and give up reviews. Pretty simple concept. I just don't think a person ought to do both for money. And he Ain't doing this Kinefinity just for the hell of it. He is getting gear, or money, or both.

Take a look on this: sample extracted from (minute 28:30): https://vimeo.com/114978513 Bit rate is more crucial than anything else...

Where does he say that it ISN'T a Sony sensor? Everything I have seen from Panasonic about it is a bit vague leaving me to believe it IS a Sony made sensor but with Panasonic input. EDIT Never mind, I see it is from the B&H video. Nothing there tells me I am wrong and it isn't a Sony made sensor (based on a Sony sensor) tweaked to Panasonic's requirements.

I watched "Bright" pretty much BECAUSE of the negative reviews (and also it is Netflix's most expensive one ever, that alone is worth a watch). Was it one of the top 1% of films last year? No. Maybe not even the top 5%? But no way did it come within a million miles of being within the bottom half of films in 2017. My biggest criticism is I felt perhaps it was trying to do "too much", I felt like there was so much of the world unexplained that it needed to be part of trilogy (like the Lord of The Rings is). But maybe that was Netflix's intention all along....

Where did you hear this? According to Panasonic the sensor in the GH5s is a Panasonic design. Sony had nothing to do with it.

I haven't believed in what critics had to say in a very long time. I, generally, look at the overall score of what everyone from regular viewers thought of it and what critics think... If there is an uneven shift, on either side.... I might check it out to see why one side hated it while another side loved it. You have to think that critic's job is to critique.... They have nothing else to do. So, with their vast repository of movies that they have watched... They compare it to stuff like Citizen Kane, Casablanca and the sort... Anything less.... Or not original is a cliché or remake... You can't please these people. I wonder if I filmed dog poo for 90 min., while Morgan Freeman narrates some existential bullshit - it might be universally panned (by critics) as being something truly unique and groundbreaking. As for Bright.... For me.... It has a solid foundation, and there is a lot of anticipation for where it can go in terms of story.... But it just left us a speckle of ice from the tip of the iceberg... Not even the tip of it.... **SPOILERS** I would like to have seen when and where the main orc came from.... His back ground - I mean he is goofy, but he came from a terrible background to become the first Orc Police Officer. What motivated him to do that... Other than the superficial stuff that he says.... What about his tusks.... Never got a clear idea (some visuals would have helped) of why his tusks were sawed down. Now that we know Will Smith is a Bright... What's next? Off to Hogwart's Adult Night School? Now the Dark Lord rising... I really wanted to see this happen... Oh well..? Whatever.

You make a valid point. But then again, as a current GH5 owner, I already know and trust Panasonic. The same can be said for most of the major manufacturers out there. So when I watch a work by someone such as @Neumann Films it's not so much about... is Panasonic a trustworthy manufacturer? Or, are their product reliable? It's more about the footage. And I believe in these cases the footage alone can speaks for itself. We no doubt disagree on this point. But for myself, before parting with several thousands of dollars I need to be convinced that it is cash well spent. I need to know that the product will be reliable and that the company is here to stay, and will stand behind their products. Any service issues must be handled promptly. I'm not staying that this will not be the case with Kinefinity... I'm simply saying, I do not know. If this was a camera I could buy stateside, from one of the major retailer, I would be more adventurous. But buying from a Chinese company and hoping for the best is not really my thing. I could be wrong, but I suspect many here feel as I do. Deny it all you like. But until Kinefinity can convince people such as myself, that have the cash to do business, but choose not to, because of these uncertainties, they will remain nothing more than an interesting oddity.

I agree, Bright was a decent, fun movie. The critical reception it got was perhaps a good reminder that critics are just as prone to bandwagoning and empty virtue-signaling as any average joe.

If it's *just* about money, if the only votes that count are those of the shareholders, this industry is doomed. Applicable to everything. If we are measured by by the degree we can be exploited, our kidneys will be sold and the rest becomes soap. Watch The Cooler. The old casino mafia ruled this frivole business with cruelty - and passion. Then the bankers appeared and took over. And the world turned to shit.

I've had this question before, and I think it comes mostly down to compression. Big budgets are shooting ProRes or raw, not low bitrate h264. I haven't watched all of Max's stuff but from what I can tell from experimentation, there is definitely a tradeoff between dynamic range and color information when not shooting raw. I'm a great colorist (from years of dealing with S Log), but after reading/watching Max's take on the negative tradeoffs, I've been experimenting with using more contrasty profiles and have found that for compressed footage, even 10 bit, the image is much more robust by starting off closer to final image in camera. This is more true the higher the compression, and especially the higher the noise. I stopped shooting SLog on my FS5 on 120/240fps all-together, and on dark overcast days pretty much don't use it either because there's so little color in the world to begin with. To me, the real advantage of Log on compressed images is keeping the shadows and highlights from getting macro-blocked together and lost forever. But this definitely comes with the sacrifice of color fidelity. I've also come to realize that 90% of viewers don't care if blacks or whites are clipped, so long as people (skin tones) look great and there's a smooth roll-off.

@Gregormannschaft @IronFilm @markr041 https://www.essentialphoto.co.uk/product/pixapro-led100d-mkii-daylight-balanced-led-studio-light/ They ship worldwide! Free shipping too. I'm in the US, so I got it even cheaper than the listed price, since that already includes VIT for you European folks.

Yes, that article, from 2009, goes into the trade-offs of LOG gammas! My theory is that many young filmmakers identified LOG with professional, so when LOGs appeared on their cameras began to shoot with it, forgetting the fine-points of data capture mentioned in technical papers like that. Also, the cottage-industry of color profile makers set out to "fix" LOG footage, conveniently forgetting to educate their customers that sometimes what a filmmaker needs, to get the colors they want, is to shoot in a normal rec.709 gamma.

No, the Canon doesn't "win". Kinefinity with eND for the win: http://www.kinefinity.com/product-category/kine_acc-en/previous-accessories/mount-adapters/?lang=en Exactly. The market budget alone of Canon is I bet massively bigger then Kinefinity's budget for everything.

You are right ceteris paribus, but the bit depth statement and the visual comparison ignores the role of bitrate (that is, you have compared different bit depths for highly compressed clips (I assume)). The test posted above shows us that bitrate matters also, and that it matters more. Remove the high compression, and the difference by bit depth shrinks almost to invisibility. So you are correct, it is just that it turns out something is even more important than bit depth (they interact). That is, when you use 8 bits but do not highly compress you get much less banding. I have heard this before; I am not claiming the bitrate effect is correct other than interpreting what the poster showed (and I do not see anything wrong with his test).

It seems to me that most of the banding disappears when the lightly-compressed, high bitrate codec at 8bit (probably ProRes 422 - that is what the Shogun uses) is used compared to the highly-compressed low bitrate internal codec (middle panel compared to the first - both 8bit). There is a gain from going to 10bit from 8bit, using the exact same compression (bitrate), but it is relatively minor. The poster should have indicated the bitrates, not just the bit depth.

I have the dirt on this guy. Definitely look for a different eBay seller.

over priced seller. I'd stay away.