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I just found a Q&A with a 'Black Magic Design Expert'. Let me know if there's a better way to display this. I'll try to add to it as more information comes.

I dont see it myself. The numbers dont really add up. The digital camera market (ILC/compacts) is a US$10bn a year market of which Canon/Nikon/Sony hold 85%. If Samsung re-entered the market and we heroically optimistically assumed they gained a 10% share - it would only amount to US$1bn a year - less than 0.5% of Samsungs US$200bn+ annual sales. Compare that to the US$500bn a year smartphone industry. However there are, I think, two 'possibilities that could bring Samsung back into the market. First, Samsung and Nikon are almost a 'perfect' fit. Samsung key competencies are electronics and Nikon's core competency is photography - ideal when cameras are turning into electronic products. Samsung brings image sensors, image processing, lcds etc and Nikon brings lenses, brand, market share and distribution. Furthermore, Nikon is ultimately going to be seriously disadvantaged long term relying on Sony for sensors (Sony being a major and growing competitor in cameras). So a joint venture/strategic partnership between the two makes a lot of sense (assuming that Samsung is interested in the digital camera to showcase its tech.) Second, and related to this, Samsung could quite easily acquire Nikon. Samsung is a US$300bn market cap company and Nikon is a US$6bn market cap. company. So acquiring Nikon is chicken feed to Samsung. So if Samsung wants to reenter the market, it makes a lot of sense to buy into the market rather than try to recreate their market share from scratch. But even the Nikon/Samsung tie up in one form or another I see as pretty unlikely because Samsung really hasnt shown a lot of ambition in the image sensor market (despite some press reports to the contrary.) Take the flagship S9/S9+ as an example. It continues to use both Samsung and Sony image sensors (and people dont seem able to tell the difference.) https://***URL removed***/news/0634864640/tech-insights-teardown-confirms-galaxy-s9-uses-samsung-and-sony-image-sensors So if Samsung cant be bothered to showcase their image sensor tech in their flagship smartphones, I dont think they are likely to do it in digital cameras.

I will use these lenses in the BlackMagic Pocket 4K ...

Dialogue in Panasonic headquarters meeting: (Manager) Well, Cinelike-D and Cinelike-V should stay available only for our bigger body cameras... (Engineer) Ahn...there is a problem... (Manager) What? (Engineer) A guy in a site was messing with our wifi transmission protocol and discovered a way to enable it in our smaller cameras. (Manager) Oh, fuck. Where? (Engineer) Looks like a Canon site by their name, EOSHD. @BTM_Pix is the handle of the guy. (Manager) Can't we disable it with a firmware update? (Engineer) We can...but since we usually only release updates to fix errors in our smaller cameras, and not to improve them like that Fujifilm assholes, probably will not be a good idea. (Manager) How did that happened? (Engineer) An internship guy was assigned to handle the wifi protocols and... (Manager) Amazing job, geniuses. Now we have to enable it to not look selfish... The engineer was moved to Panasonic's washer division. ================================================================= New firmware v1.1 [Cinelike D] and [Cinelike V] have been added to [Photo Style]. [Flash Mode] can now be set to [Forced Flash Off] for the built-in flash. http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/dl/gx9.html

The LANC controllers don't trigger the autofocus but you can get to it via the SBUS interface. It needn't cost a massive amount of money and I've got one of these cheap (£7.50) pistol grips to take apart to house something experimental that will work. They can be mounted on the side like that Ursa one with a simple adapter or you could even fit the rosette if you wanted to get fancy. I haven't got a BMMCC to test it with unfortunately but I'm sure I can get round that when the time comes.

Data for digital cameras come from CIPA 2017 http://www.cipa.jp/stats/documents/e/d-201712_e.pdf Actually they show the entire digital camera market at 800 billion yen or about US$8bn (but that is at shipping values which would be lower than retail.) Mirrorless is 220 billion yen or US$2bn. Yes its growing but I do think it is really about splitting up the digital camera pie which is why Canon/Nikon is interested in mirrorless. Arguably Canon/Nikon/ Panasonic/Sony/Ollympus/Fuji are just fighting over a US$2bn market. Total number of interchangeable lens cameras sold in 2017 = 11m (CIPA). Total number of smartphones sold in 2017 1,536m = a multiple of 140x!! https://www.gartner.com/newsroom/id/3859963 The cold reality is that Samsung is not in the digital camera market because they are in the smartphone market - and the cold reality is that Panasonic/Canon/Nikon/Sony/Olympus are in the digital camera market because they are not in the smartphone market.

The most hype man in fashion this year, Virgil Abloh (who recently made headlines after being appointed creative director of Louis Vuitton) held a fake press release for his collaboration with Nike, shot on throw away point & shoots and retro digital video cams: ..on the right there is the Canon XL2 series zoom, released in early 2000s. always loved the look of that camera from shape, ergonomics to color scheme.. Had some pretty cool features as well for the time including 3CCD, 24p, cine gamma & even film grain feature! https://youtu.be/tsz4asyrmjs

URSA Mini can do just that and so I assume the P4K too since they'll be running the same OS..

I'd love it if you can record for example 4k50p in ProRes HQ (or raw if you like) to the SD/Cfast and 1080p50 proxy through USBc. That would make editing super fast, as you could just plug the hard drive in and work with your proxies, while the bigger master files are copying to an archive at the same time. Then just relink when you need to do colour work or export. If that's not possible, it could be worth buying the Atomos Star. I bet they're super cheap now. You could film the highest quality possible in cam, and then get 1080p proxys (up to 30p I believe) through the HDMI. Maybe not quite so convenient... Even better if you can send a LUT over HDMI, but not bake it into the internal recordings. I assume this would be possible for client monitoring and things like that, but have no basis for my assumption.

The OP is on a tight budget & a used D750 is twice the price of a used 5D2. The 5D2 also gives the option of Magic Lantern RAW.

I'll bite. CIPA says almost 3.3 million mirrorless cameras were shipped in 2014, in 2017 its was about 4.1 million. Its been growing over the last few years, but not exactly setting the world on fire. This year is trending pretty far behind last year - mirrorless may very well have peaked in 2017 as the overall market continues to contract. If CaNikon goes FF like many rumors indicate - we're still talking lower volume/higher margin bodies at the upper end of the enthusiast scale. I'd love to be wrong, but there just doesn't seem to be a business case for a unknown camera brand to start producing ILC's. CaNikon going mirrorless is different than Samsung trying to resurrect the NX line. The big 2 have a massive advantage in terms of brand recognition, retail penetration and user bases to draw customers from, and over 100 million lenses produced by each to build upon with mirrorless offerings. If given the choice between a $3000 body from Samsung and the same from Sony, Canon or Nikon - few will opt for Samsung. And when you read Samsung's financial reports, their imaging and sensor production is focused on mobile and automotive applications. Backup cameras are pretty much standard equipment these days, and features that are becoming so popular like self-driving, lane warnings, surround view, night vision and so on mean the demand for multiple cameras in cars is rising sharply. If you can sell 250,000 ILC's - which would be about half of what Olympus forecasted for 2017, and probably far more than what Samsung actually could move - after extensive marketing, R&D and so on - or you can sell a few million to Toyota, a few million more to GM, a few million more to VW and so on, its easy to see what direction Samsung is going. I've been to 55 countries on 6 continents over the last couple years, every city I visit, I find stores carrying cameras - from specialty camera shops, to electronics stores, to department stores and CaNikon still dominate. Outside of Japan smaller brands like Fuji, Panasonic and Olympus were few and far between. Samsung was an afterthought to the buying public when they actually had a presence, re-entering would be an uphill battle requiring a massive capital expenditure for marketing. And then you have existing users/reviewers asking a logical question - how long until they pull the plug again? Despite Samsung being a tech Goliath, retailers aren't going to suddenly stock Samsung ILC's alongside CaNikon because they say please - that will cost large amount of cash. Again, not much of a business case for making a move back into ILC's. Just my $0.02 Chris

testing out x-h1 on a street. a lot of 100fps shots, mixed lighting, handheld, no nle nr. not gonna say much more - thats not why im purchasing a camera): https://youtu.be/4nAobE-xbhs * for 2160p view only

I think what makes film and retro games popular are specifically the flaws and artifacts. To that extent, I think it's more likely that old point and shoots, cell phone cameras, vapor wave, Simpson wave, anything really really technically bad but with its charms will become associated more with a classic digital look. A band I knew in college used to be into the idea of how heavy generation mp3 compression was the millennial's equivalent to vinyl hiss (though it looks like millennials gravitated to vinyl hiss, so maybe it's the next generation that will gravitate to low quality mp3s). I agree still cameras haven't progressed that much since Nikon introduced the D90, and even video is leveling off now. But I think the "classic" look will be associated with the bad, not the good.

@TheRenaissanceMan I found that comparison test pretty interesting. Didn't you? I also found the tester has arrived to the same opinion your comments point out and I share. Reason why I pushed the 'like' button over your posts and posted that. @jonpais When I was @ law school before to conclude my learning there, I had dreams, you know? I thought filmmaking was much easier to match my own expectations. Then, I went to film school where I could have the experience of 4-years full training on post-production and directing departments. I also realized at that time the post graduate studies in the field of production could lead to better waters for the kind of work I would like to experiment and became a producer. You can find the links in my signature shot with many different cameras. In one or another I had some influence on the camera decision front, as well, some other gear connected with. Without mention some creative choices to make, non-technology-related. On a few others, none of my business for that specific project. On the leftover, I don't find a forum like this one may call the best location for that. I am not a reviewer nor tester in any way other than non-scientific tests I perform when other ones have much more work to show. So, I'd rather post the best I can find to illustrate my own finds. As a still photographer I also much appreciate to shoot, oh well, frankly on that one, follows the same rule in the last paragraph, at least in part. I always praise my work as very personal. There's place for everything in life and life out there : ) The right location.

I looked at the timeline of the NX platform and it was seriously short lived... 4 years, then they pulled the plug. This was 2010-2014 and so it was before Sony released the A7R II and more. Even Canon are now saying the mirrorless market is accelerating and they want in. Samsung will be back.

We are currently shooting a piece for my city's marketing company. It's all about inclusion and social diversity. This shot is from a boxing training session for people with Parkinson's disease. A very humbling experience. Shot with the Canon FDn 35-70 f/3.5-4.5 and a chinese focal reducer. I recently bought it for under 20$, while searching for the one with a constant f/4 aperture. The only gripe I have with it is that the front element and the filter threads retracts into the front barrel, and I do not have a 52mm ND-filter

D750 is magic. I want it back.

We’re still talking about the fan ? Like all BMD cameras that have fans (most of them) I’m sure it’s not a problem. Theybuse solid state cooling and a heat pump. The fan move air across the heat bump. It’s low speed and constant. JB

In fact, Don. These major players are tough manufacturers. Their glass never disappoints, at least to me :-) I fully agree on that one, Jon. We live great times... My own expectations in 2001 when HDCAM arrived (and put my plans out of film path) have been beaten indeed. I personally heard Tonino Guerra to tell me and a few other people there that those Japanese cameras were the future. Michelangelo Antonioni dreamed with when he shot The Mystery of Oberwald two and a half decades before. Pity he had no chance to be with us nowadays.

This video might change your mind about how good IBIS is versus lens OIS. Canon, Nikon have sort of used the latter to good use for many years.

Canon FD glass is a luxury that is not dispensed with... Once addicted, count on forever, my friend : ) People call it old, yeah... Once, a hotel owner in Rome told me it is not old! It is antique hehe :-) Vintage in our terms means gouden standaard :D BTW, I nowadays live half an hour away of Leica standard manufacturing... ; ) Sorry for the contamination LOL

Haha it is one thing getting trolled by a kid from Germany, quite another getting trolled by a chaebol that makes tanks. By the way for those interested just in stills... an NX30 is amazing value for money at £200 used... articulated EVF and smaller, lighter than the NX1 but similarly nice ergonomics.

I have found an affinity for old Canon FD glass. It's cheap and quite plentiful. I have a 50mm f/1.4, a 28mm f/2.8 and a 35-105mm f/3.5 and I got them all for less than $200! I also have a generic speedbooster which gives me a few more focal lengths to play with, but optically, it's kinda trash, so I don't use it much. I'll probably invest in a proper one soon.

If they do come back with a new camera it would be hilarious if they announced it had RAW and was being released on April 1st. This forum would turn up outside their door like this. With a lone voice pleading to think of the children.

Make sure to show us some test footage with those lenses!

Then it makes sense for Samsung to expand in the camera market. To sell higher-priced models to the millions of customers using their low-end cameras - i.e. smartphones. It is not about the existing size of the market as measured by CIPA. It is about the potential size in the future.

Bloody hell, guys. There's plenty of other posts like these from other organisation with similar offers of work. Up to the individual to weigh up whether they want to do it based on the exposure, experience and their situation. No need to label them old hags.

I'm seeing a lot of awful images on Instagram shot on film. The people who know what they're doing like Dana Gonzalez and John Chema obviously have stunning results, but I look at accounts that are great with digital cameras and their film prints are cringe worthy.

There are some companies that make them, but they cost almost the same price as the camera. I cannot stress how small the camera actually is... about the size of a rubicks cube, but once it’s kitted out, in the most basic of way, it becomes pretty monstrous. With that being said, and how Matt has demonstrated, it’s a gorgeous image. If the new Pocket just had all of the specs as the Micro with a screen, it would have been a winner in my opinion.

Unpaid job for a feminist film. Did I wake up in purgatory this morning?

You'll probably find that in general, even broadcast shooters don't use 1080i. Almost everything I shoot is sent out to TV, and I always shoot 4k25p - although I will shoot 50p where available. From there, you can create 1080i and no one is ever going to tell the difference, unless they're really looking for it. You might get a dirty frame at the very end of each clip, but who uses the last frame of a shot anyway? That said, depending on how you process it 50p will (in theory) transcode to 25i perfectly, taking the upper fields from frame 1 and lower from frame 2 etc. So yes, who needs internal interlaced anymore?

^ I figured that out my first week with the GH4, comparing how different the Pana 12-35 image looked to the Voigts. I think the auto-corrections done to native M43 lenses probably add to the sharpened/digital look, too, vs legacy/manual glass.

I wonder if the modern digital camera manufacturers are missing a trick here. It seems the desire for a more 'filmic' look for video is fairly universal. However if I go through the 10 picture profiles on say my Sony, I basically find an odd mix of either 'digital video' looks or 's-log' which is really an attempt to give you as much leeway in post to create your own look (which isnt a lot with an 8 bit file.) What I dont see is much attempt at creating 'creative profiles' that match what would be considered a 'filmic look' straight out of camera (or with limited tweaking.) Seems this is the route that Fuji has gone down with the x-h1 and the Eterna profile and it has been generally well received.

One of the things I hear people say about the GH5S, GH5 and GH4 before it is this 'videoy' adjective. This could mean many different things depending on who you ask. The noise reduction is too high, or the colors are way off (or off from what you think they should be), or the contrast is too high. But what I've figured out is this: Everyone is trying to emulate the imperfections of film! You PAID MONEY to add in grain after waxing an image clean, all because you didn't like the SIZE of the sensor's native grain! So, if you have a GH4, GH5, GH5S try this: Noise Reduction to -5, Sharpness to -5, Contrast to -5, Color to -2 and use LEGACY GLASS. The low contrast of this glass will give you what you desire.

The GH5S has this option. I just ran across it the other day, and I was like who needs interlaced anymore? Well broadcast! ?

I don't see it. Samsung is a consumer electronic company. I think they want to sell TVs, phones, etc. and the electronics in mass volumes. Having a camera company is more than just designing a few camera bodies. Samsung is a global brand, and this decision is not just about can we make money now. The question is, how much distraction is it vs. how much money can we make it. What is the opportunity cost? Will our brand take a hit if we can't deliver. How are we going to support the prosumer market. Who will service and fix these lenses. And as the market is becoming competitive, can we still make any money from this market? Will our product be that much better to make a differentiation. Samsung tried that, they had a better product and they still couldn't make it work. I just think, for Samsung is not worth it. The best you can hope for (as others have suggested it) is for samsung to make it a bit harder for Sony and start selling their sensors and give buyers more options and more bargaining power. I think they can make the inside of the cameras , but they probably will just remain inside some other brand (Nikon is being the most logical choice as pointed out with @Robert Collins ) So, I just don't think so.

Blackmagic should be able to custom white balance, possibly tap to focus (very slow), delete and format in camera, and also has a wide DR setting for a nicely colored image without grading. It can stabilize with OIS lenses, same as the GH5s, but not like the GH5 with IBIS. It can't dual-record simultaneously and does not likely have more than 1 hour of battery life. Blackmagic is not too far off in terms of video features but we may never know until it ships. That being said if you use a cheap shoulder rig with a v-mount battery as the counterweight, most of the issues with IBIS and battery life are rectified, plus you can plug in an external SSD and record for hours too.

But would any one trust Samsung again to buy their products? Or will they just orphan them again.

Short film about the seasonal opening of our recreational area 'Het Twiske' in our neighboudhood. Samsung NX1 - Voigtlander 40 f2.0 - Bolex 16/32/1.5x - Rectilux HCDNA.

Highlight and shadow rollof is going to have a huge effect on motion blur. Thins that usually looks stuttering is dark objects like lamp posts against a bright background like sky. If you look closely you can see it has 180* shutter but half of it is so faint it's almost invisible. So what you end up with is a lot higher "shutter speed" than what you originally thought. So you would need to overcompensate with say 1/40 or even 1/30 to keep those parts looking smooth. But then other parts that have lower contrast ends up being too smooth, maybe. Since old film cameras sometimes had a rotating shutter the leading and trailing "edge" would be somewhat faded and not as abrupt which I guess would lead to a smoother motion. Just like the filter thingy mentioned in the thread.

Nathan Gabriel asked in topic about BMPCC 4k - but I think that promised samples better fit here... @Nathan Gabriel Do you know how the quality of the SLR Magic 10mm compares to their 17mm? I have the SLR Magic 17 and it's nice, but it doesn't come close to the quality of my voigtlander. @anonim Later I could extract some snapshots from last clips shot with 10mm... I hope that these grabed-stills could give you at least some idea about SLR Magic 10mm - yet unprepared material, almost straight OOC with some skin corrections for this occasion, taken with Atomos proreshq, so obviously lesser sharpening than internal codec... I'm shooting one short about triathlon champion (and painter also), so sorry for maybe boring content from one session of running in the nature, I choose SLRM10 for it...

I’m looking at something like this for the P2. It should fit comfortably right next to my beer...

... Jump to minute 9:23 and you'll see another much acute comparison... Don't forget to take a look on minute 11:12 as well ; ) Well, sharpness is far to be a standard :-)

I talked to a rep about the olpf at NAB and they said that they tend to not put filters on their cameras and if they do its always minor because they are obsessed with image quality. Kind of a shame in terms of IR pollution. I remember having to put my Hoya IR cut filter on every freaking lens I owned because the original pocket had such bad IR pollution. I think this cam will have the same issue.

In my opinion with cameras that have baked-in sharpening & contrast, the sharpest, cleanest, most flare-resistant lenses, usually give the worst results.

Thanks for all the love so far. Really appreciate it. And sorry for the late replies. Pre-Production took a few weeks. Uche Aguh wrote it basically while casting and searching for locations to shoot and adjusting the script to it at the same time! I worked on a shotlist, schedule and lighting/equipment. Production took place nearby Atlanta in a small town called Palmetto. A very eary place tbh. We shot over a time-frame of 11 days. We had a crew of 6 people. Right now we are working on post-production. Some bts pictures can be found here: http://55media.net/portfolio/the-house-invictus/ pushed it up to 6400 in some situations. I already added some grain. Sadly the internal NR on the GH5 is very strong and smudges lots of low contrast detail and YouTube does the rest... (Waiting for the Pocket 4K) Here is a link to a higher quality version on vimeo:

Looks like the Micro is already going down in price on the second hand market. I got one for under $700. This is my first test, also my first time shooting Raw. Love this little camera. My Micro and Pocket should compliment each other well.

It is the same protocol as the Ursa and BMD have already released the documents so there is nothing stopping someone working on products for it now in time to be ready for launch. It is Bluetooth LE so is much easier to talk to directly from cheap single board computers if someone wants to make a hardware controller. So you can expect anything from phone apps, basic start/stop triggers to full blown hand grips full of buttons mapped to all controls.

Its the distillation of my hardware Panasonic controller experiments from last year. Self contained, internal battery, pocketable, magnetic base for mounting. It acts as the central interface to the camera so can be used standalone to change settings or as the middleman to pass on commands from more ergonomic controllers for focus and aperture control etc. And it actually sort of kind of works as well.