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A rant. I mostly shoot on DSLRs for my work. Got a big yesterday with a Sony FS7, big ass tripod, monitor, the works. Ohhhh fancy stuff by my standards! But here's the thing. It drove me nuts. Moving, positioning, getting shots was so damned cumbersome. Shot some Broll of a guy on a sailboat. I garauntee I could've gotten way more and frankly, way better and more interesting content with my trusty GH4 and gimbal. Blah blah specs, I don't care. Footage would've been nicer and more interesting to 100% of audiences. I know there'll be some "back in my day, cameras weighed 1000lbs" folks who will scoff, but you know what? Fuck large camera systems. Fuck them.

@dxotic One neat thing that I geek out over, is that it is so smooth - PREVIOUS NEW And the PREs are so much more accurate (8 bit/Premiere/photo styles) - PREVIOUS NEW - 8 bit Premiere PRE at work

I believe it's user error, and a common one unfortunately, even among people who actually teach log grading. He shot many clips in S-Log2/S-Gamut, and forgot to convert color space during color correction. This a screenshot from his video: Here it is corrected with the color space transform plugin in Resolve, I only added a bit of contrast: Now if I skip color space transformation and only apply contrast and saturation, see what happens: And finally this is the uploaders grade: So it's pretty clear what's happening here, it's not the camera's fault.

there are pen cameras as well, or button cameras.

I honestly find the Sony color science bashing mildly offensive - and I agree with Philip Bloom’s statement that it’s easy to get the new Sonys to look almost anyway you want (within the limits of the 8-bit codec). If people don’t know or won’t take five minutes to learn how to grade slog2 but still use it, no wonder a lot of footage looks like shit. The color space transform plugin takes two seconds to apply. And have people not heard of the fucking qualifier in Resolve? If you’re too lazy or pressed for time to grade correctly use EOSHD then and apply some minor tweaks. There’s little to fault with the colors from the a7rIII in this clip: The famous “canon colors” from the 5d mark IV looks like thrash straight out of the camera by the way with a nasty highlight roll off and too much red in the skin.

The path recommended for utmost fidelity is: VLog in Resolve Those using HLG in Premiere (for example) will not be at a major loss - the difference from that optimal condition is slightly less rolloff accuracy and slightly less smooth. For 4k 60p Vlog in Resolve, no PRE will be needed (likewise 10 bit VLog, except ProRes). Subsequent paths in order of fidelity: VLog (10bit) in Premiere VLog (8bit) in Premiere HLG in Resolve *** in Resolve HLG in Premiere *** in Premiere In Premiere, avoid the Luma curve of Lumetri. Rather use the lift/gamma/gain wheels, or RGB curves (in Obsolete)

Just buy a 1DC and call it a day. Use the leftover money to buy some margaritas and lounge back in a chair as you convert MJPG to ProRes all day.

Looks like ML for 80D is just around the corner. First 1080p 14bit DNG sample in post #291. https://www.magiclantern.fm/forum/index.php?topic=17360.msg200539#new

Does anyone have experience using Resolve in Linux? How smoothly does it run? Does it have limited video codecs in Linux? Or just any of behaviour that you wouldn't expect?

Firstly this review was with the old firmware and Samsung addressed most of the issues with the later firmware. The credibility of Cinema5D is probably less than Mata Hari the double agent. And their ability to take criticism is worse than Uwe Boll. The sheer number of rude comments on this very post of Cinema5D highlights the very problem with brazenly biased reviews. They wrote a scathing initial review of the GH5 too calling the Vlog a joke or unusable or something on those lines. I believe Panasonic threatened to sue, so they took down their article to re-write It, removing all the vitriolic rubbish that had made itself to the initial review. This kind of shamelessly biased writing dismisses any hope of credibility. That's more than a lot of full frames of that time (including the 5D Mark ii and iii).

Sir, you are, to put it mildly, talking out of your ass. I'd shot Canon for years before jumping to the NX1 as my main photography camera (commercial, portraits - studio and outdoors), and it's not even fair competition to the Canon (ever tried lifting the shadows off black hair on a Canon?). The NX1 has an insane dynamic range, and I find it does comparably well next to a Nikon or Sony. And I say this as someone who still uses the NX1, and has done photo shoots side by side with a Sony A7R2 and a Nikon D850.

I'm adding sync record to my hardware controller(s) so that when you press Record/Stop it will simultaneously start and stop both the camera and the external audio recorder so that you A) Don't have to do it yourself B) Have better matched files to make post sync easier (i.e. no bunches of 30 second video clips with only 1 long audio clip because you left it running) and, of course, C) So in the excitement of putting the camera in record you don't actually end up forgetting to put the audio into record . If you have any of the Tascam recorders that can be controlled with their RC10 wired remote then you are covered as I've just finished incorporating that already. For everything else, I'm just trying to gauge the popularity of them so I can prioritise them accordingly. At the moment, I'm just looking at ones that have a wired control input (tenuous but doable for SoundDevices and Roland) but IR isn't totally out of the question. If you have a few recorders then feel free to select them all. Thanks in advance.

I'll be your hands!

@jonpaisoh my god...unnecessary! You just acted like a spoiled child and without any reason to.

@BTM_Pix Now the same button make different actions with same wiring just with diferent resistor values!! You rock! Many tries/error left tonight. Hope someone own the original remote and can take a picture fron inside, things will be a lot of easier.

Loved your review Dave! Would be awesome to see the whole documentary about the balloon artist. Is that possible?

I think Simon is right actually. If money is no object, I would go a7Riii over a7iii. I found the rolling shutter performance especially in the S35 mode to be truly remarkable. The best of any mirrorless Ive ever seen!

MixPre, hopefully the 10T.

It looks fantastic - I can't wait for the official release! I'm looking forward to knowing the recommend shooting format(s). Is it best to record in HLG or V-Log or Natural or other? With an emphasis on getting the best 4k 60p internal recording quality for color grading in Resolve. And also for 6k anamorphic. Thanks!

all these examples are in daylight conditions.. skintone issues start to arise in mixed/artificial light if you're not super careful with WB/Color settings..

I am sure they Could do it, but with this new 4K BMPCC and the Sony A7 mk III at the prices they are it would be even more risky now. We don't know if the next GH6 will come out cheaper because of it than the GH5. Will it force Canon, Nikon to really change the price now of their new Mirrorless stuff. I think both of these recent announcements have to effect the market pricing pretty big time going forward. I think even Sony has put themselves in a tight box with the A7 mk III pricing. Is a better EVF and better LCD worth 1000 bucks more? Is the A9 worth 4 grand now new? They now have 4 FF cameras fighting for the same market in a sense now. Is the A9 worth twice the price of the A7 mk III now. Doubt it. To a Pro it is, but how many are they going to sell to them? And now with Fuji picking up the pace in video with the X-H1, which I am sure Samsung could beat specs wise, but still the market is not as forgiving as it was a few years ago. I don't see how you can sell a APSC camera now for even 2 grand, let alone m4/3 cameras at that price. I just don't see an opening for Samsung in any market, APSC, FF or less. The mirrorless camera market soon is going to be packed with all kind and brands of bodies. It is going to get really ugly soon. And it appears Blackmagic and Sony are willing to just about give their stuff away to grab and keep market share. And it also shows how little money is needed to make one of these cameras and still make money doing it. Unless Samsung has some total groundbreaking camera like the 4K BMPCC in a APSC size I think it would be suicide.

I tried all kind of combination but only with one button. It seen that RC600 has 3 buttons. My led color sign was OK (green for standby, red for recording even peaks blink in orange) But i miss resistor and other 2 buttons. My electronic skill level is: Beginner

If you are interested in raising the efficiency of your set then I suggest two things: Look at what is lowering the efficiency of your set by actually looking at what is happening rather than what you think is happening Recruit the people you hire to also raise the efficiency of the set, which can only be accomplished through trust Most workplaces are radically inefficient, often because instead of actually looking for what is actually going on and trusting their teams to do the same, they think they already know what is happening. I remember one example of an inefficient set was because filming at a rural location the portable toilet was about a 3 minute walk away, so every time they made a change everyone had a 6 minute walk to use the facilities. When the schedule got more and more behind the response of the AD and Director was to yell at people instead of moving the portable toilet. Complete fail.

4 pole 3.5mm, as original one. I keep a photo of my prototipe where pin 1 was inner pin and pin 4 (GND) was the outsider pin of the 3.5mm connector.

One way is to use these free tools. At the bottom of the 3dlc page, are +/- exposure and +/- wb generated for specific gammas/gamuts. This can be done with lutcalc as well, but these are already made. Place these look up tables proceeding any other lut/transform, so the following recieves the values it's designed for. Read up thoroughly on luts/transforms etc...if you have not. Use camera man Ben's lut calc to transform from one gamut and/or gamma to another. Xdcamuser is also a great place to learn about your sony cameras from someone who is an actual expert. Most of the talk here is quite simply the blind leading the blind. https://cameramanben.github.io/LUTCalc/LUTCalc/index.html @Gregormannschaft https://3dlutcreator.com/3d-lut-creator---materials-and-luts.html?pro=vvk&utm_source=google&utm_medium=cpc&utm_content=NEW-TEST&utm_campaign=PS&gclid=EAIaIQobChMIluzG-bnV2gIVW7bACh1M_g7UEAAYASADEgKD6_D_BwE

While there's no outright, one size fits all reason to not ban phones on set, prohibition never works. It will just generate distrust and people will spend 20 minutes in the bathroom surfing instead, which is way worse. There's a guy I often work with who does this and it very frustrating, but I'm not exactly going to tell the producer that I'm keeping track of his bathroom schedule haha! Another example I've had is when I was filming while my wife was 8.5 months pregnant. There's no way I'd turn my phone off, even if Spielberg asked me to. I made sure to remind our director, producer and talent of my situation, so if I had to, I could dash out at any given moment. Thankfully it never came to that and the job was finished before baby came. I realise this won't be the case for 99% of people on the set at any given time, but you don't know who's mother is in hospital or who's trying to buy a new house. Everyone has their personal stuff going on, and a blanket ban of phones isn't going to be appreciated. I'd just ask everyone to put phones on silent and at least pretend to be professional about it. Check an email or write a text, but do it between takes or setups.

The camera has the best ergonomics ever made in this planet and I own (-ed) cameras from the Pentax Spotmatic, Canon AE-1 and I am still using for pro work most of the cameras in the market (in the last 10 days I had to work with the Canon C100/5Diii/A7sII/GH5) and I am still do not think of letting go my 4 NX cameras, I am crazy, or just happy using this equipment? At the time (2015), Samsung had a very good collection of lenses, with only a few gaps, and a lack of very tele lenses which some do not use anyway. Only Fuji had more lenses, and even Fuji lacked some of the Samsung ones, the problem wasn't the lack of lenses for most people, the problem is that they stopped producing more, while they had 300mm, 2.8f ready for production, and some other lenses in the final stage of R&D, sadly it didn't happen, but I am happy to own 7-8 NX lenses, that cover everything I do, from 10mm fisheye, which no one else does natively - not even Fuji, to 200mm. That is all I need, honestly, and have taken me so far. Is smaller and lighter than the GH5 and the new Fuji H1. In my opinion, just perfect for an APS-C PRO body, the best ever made. I am wondering if you consider the Sony boxes as pretty, because they are flat out ugly, but not ergonomic at the same time. It took them 3 generations to reach the level they are in today, which still is behind what Samsung did in 2014 with their first generation. We care, we own, we use, we saved money using the same system since 2014-2015 while other have changed 1-2-3 systems since then. @webrunner5 sorry, but your opinion means nothing, like all the rest that never bought to the system and make words out of nothing. If you have never used one, how can you judge? also, the camera is from 2014 dude, so why it is weird to compare it with a camera of that age? also, that camera cost more than double the price and is a full frame one, so it should be superior in everything, but not only isn't vastly superior, it looses in most usability, modern features and video specs. A 2014 camera came into this era, and still been competitive of better than even the modern ones, with a few gems of lenses, and a sidekick (NX500) that you can even use as a B cam, or every day "pocket" cam (with one of the excellent, tiny pancakes, and ultra sharp pancakes) like the 30mm/2f) and that's that. Another fact. I did a photo shooting to some friend'ss events, professional photo/videographers, the one owns Sony, and the other GH5, both of them and their families loved what I gave them out of the camera. Color Science is something we do not talk much when we talk about NX, and you know what? because we do not have to, unlike some other brands that still can't fight the yellows or the greens.

Wasn't there a patent earlier this year for a 1.5" sensor (slightly bigger than m43)? If the rumors are true and Canon is actually committing to mirrorless later this year, then using the EF-M mount with an optional EFEF-S-to-EF-M speedbooster (made by Canon) would be a great move, made usable across multiple Canon cameras (1.5", APS-C, FF). I've learned the hard way to never discount Canon's ability to screw over potential customers, though. Plus no holding off on purchases to see what Canon will come out with. They've thrown away all trust at this point. And their patents have a nasty habit of never becoming real products, so nobody should be getting excited at this point.

i think banning phones is going to make people hate you, so Id just ask for phones to be on silent, making the point that some boogeyman producer wants NO PHONES AT ALL, but i thought that was unreasonable. see im nice ?

I decided to try out the Fujinon-TV 25mm 1.4 and 50mm 1.4. They need to be modified, but I shot some rough test footage to see how they look/compare to other c-mount lenses. Fujinon-TV 25mm 1.4 (wide open) Canon TV-16 25mm 1.4 (wide open) Fujinon-TV 50mm 1.4 (wide open) Fujinon-TV 50mm 1.4 (wide open) Fujinon-TV 50mm 1.4 (f2) Cosmicar 50mm 1.9 (wide open) The Fujis are very nice, but I'm not sure they're really all that different or better than the Cosmicar and Canon lenses. Not really sure if I'll bother modding them. At least they were dirt cheap.

Can't wait to get my hands on this Sage and any updated info for grading.

I've always loved the DVX100. It was the BMCC of it's day. I shot many things on it for about 5 years, including my first feature: Before the DVX, my first "big boy" camera was the Canon GL2. Here's a short I shot with that camera: These cameras are definitely "retro" now, which is weird to think of.

Victor Suwatch told me he only shoots in the 3x crop mode in H.264 (and doesn't recommend shooting Raw). But I used the full sensor in H.264 and liked the results. Even without Raw, ML is a godsend for the EOS M.

Though I'm a little bit late (almost 2 years late, that is), and topic starter has already solved his problem, I'll still put my 2 cents in. These things happen with old flash cards, so you have to be careful when you use them like too often (wedding video business count in), as it can melt down any moment. And the thing is, it's almost unrestorable - like, you will only be able to restore those 10-20-30% of your data before the crash happened. It's different when you have some physical damage done to your camera - this way your files can be recovered, as you have your data stored somewhere on the card, but it's marked as an empty space (this is the reason why you'd better not turn on your camera again if the damage happened - first recover your corrupted media - or this "empty" space will be overwritten, and your video lost forever). You should make an image file and restore it sector-wise - or send it to some good video recovering service, e.g. restore.media. Hope this might be helpful to someone with a similar case. Best of luck!

Or maybe one for those with eyes and one for you. Not exactly earth shattering as seen below, the NX1's performance at moderate ISO's is pretty bad. And that's compared to a Canon released in 2012. You said it "redefined photography" - all it did was redefine the amount of noise reduction one had to apply to raw files. Combine that with the fact that the system lacked fast lenses to help keep ISO's down - F/1.4 and faster are easy to find in EF mount - and you have a good stills camera, but not great. But I liked where they were heading so I still bought into the system. I got out when there were whispers of them shuttering the NX line and moved to a vastly superior stills and very good video body - the a7r2. I'd still have my NX1 if Samsung was in the game and actively producing new lenses/bodies. No I'm not talking out of my ass. And the NX1 is easily over a stop behind the a7r2. It is what it is, a good APS-c camera from a few years ago that - like all APS-c cameras - lags behind FF from the same generation. The noise is just awful, in both stills and video and there's really no way around it. The d850 has superior DR as well, the NX1 is simply good for APS-c, and on par with Sony's APS-c offerings. Calling it anything else is hyperbole. But I haven't touched any NX1 files in a couple years. I'll dig some out from an old storage drive and revisit with LR CC to see how they compare to my current lineup of the a7r2/s2 and Fuji XT2.

I don't think so. In addition, it is often helpful for crew to be connected to the world outside the set, as, for instance, they might be expecting delivery of gear/expendables or waiting on the arrival of other crew, or if they are consulting a technical expert on a new piece of gear outside the set, etc. Are you certain that they have not consolidated gear nor prepped for the next shot? With pro crews, a lot of that work is built-in to the process and is muscle memory. Would you rather have pros who do their job without thinking and who, consequently, have free time to deal with any unexpected eventualities, or would you rather have inexperienced crew who must constantly focus on every detail and might miss something important or strike out when thrown a curve? If you are genuinely concerned about whether or not they are prepped for the next shot, you can merely have your AD remind the department heads what's coming next. If you do so, you will probably find out that the crew is several steps ahead of you. By the way, consolidation of gear is usually automatic and built-in, because it it makes the work much easier for the crew and makes it easy to deal with unexpected problems, and, most importantly, wrap goes much faster! If you see a pro crew sitting around on their phones or twiddling their thumbs, it's probably because everything is done, dressed, staged and prepped, and they are waiting for the department head to give them their next order -- it's usually a good sign. Also, if there are any sudden, unexpected changes, there is a free pro crew on hand to roll with the punches.

Yeah When I had my Panasonic AF100A it took me forever to get anything I was not ashamed to show anyone the footage LoL. These higher end cameras are Way too complicated to just Point n Shoot. They have too damn many options. And you trying Raw on top of that, well I am not surprised you are having some problems. Maybe just doing the C Log thing with a LuT for awhile to get used to it might help. Dynamic Range isn't everything. It is only as of late many cameras have over 10, 11 stops and there is some fabulous footage from them out there. Heck the original C100 is a good example. 8bit and no Raw. Just C Log to help. Now that is a good help mind you.

Quality of the mic pre-amps, more channels, dual level recording, compressors and all the other reasons you'd use an external recorder? The control box is attached to the recorder and speaks to the camera wirelessly (wifi on Panasonics and Bluetooth on the Pocket 2) so keeps you cable free if you have a dedicated sound recordist or the camera is on a gimbal and you want to keep the recorder off it. Yeah, the DR70 could do with a grown ups mode where phantom power can be switched on without it reacting like you want to put a toaster in the bathtub.

I have had one of these for years. I have always liked the idea if being able to hang it off the bottom of the camera. And it is pretty small in reality for all the stuff it has in and on it.. http://tascam.com/product/dr-60d/

I’m unsure why people are so adamantly opposed to ML Raw around here? The process is rather painless now and the hacked firmware is as stable as Canon’s original firmware... in the year I have been shooting ML Raw, I have had zero issues with reliability. The post processing time is a hair more time consuming but with MLVFS, it is pretty quick... once you copy the MLV files to a hard drive, the footage runs in Resolve as if it were any other footage. Sure if you’re an event videographer and need to collect a lot of footage, then it may not be the right choice... even though there are wedding videographers that use the 5D3 and ML Raw to much success. So the only issue is storage. For the most part, storage isn’t that expensive. Personally, the “storage restraints” have forced me to become more thoughtful about what I shoot. I am working only on narratives, so in a lot of ways, ML Raw has been a godsend. I no longer have hours upon hours worth of footage to comb through. I pre-visualize my scenes, make a shot list and get the shots. I don’t do a bunch of takes for the sake of it.

I remember when the XC10 was launched Canon was talking about it as "the successor to the camcorder." Perhaps they've decided to invest in the format as a fully-fledged professional ENG alternative/competitor?

So he's used it for a couple of hours max, recording in a low stress nature setting with perfect natural light. He proceeds to make a review admittedly littered with exaggeration. Definitely fits in at Eoshd.

Lots of Skaters still shoot with Sony VX1(/2)000s, check this dudes instagram, he repairs them and does cool paint jobs on them, pretty rad. https://www.instagram.com/aaronburgundy/

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.

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 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.

Crap! The 5D2 is a great stills camera & is also capable of shooting absolutely amazing video with Magic Lantern RAW but also very decent cinematic video without any hacking. Just because there are newer more expensive cameras with even better low light performance & higher resolution that doesn't suddenly make the 5D2 a rubbish camera. Here in the UK you can buy a used 5D2 from Wex for £500 including a 12 month warranty. That's amazing value for the quality of the camera & the images it is capable of. This video made over nine years ago before the 5D2 was shipping is what started the whole DSLR revolution (unfortunately for some bizarre reason there are no 1080p HD versions that I could find online any more) If resolution & dynamic range is what you want then what about this shot with a 5D2 with Magic Lantern RAW?

Most yanks have a gut bigger enough or a mouth to go with it after all it was Anzacs that showed you how to tool up on the Western Front ...ROFL

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.

Gimbals and Drones are a bit faddish at the moment. I mean once you've had a drone shot in your sequence then you still have to do the basic story telling. It's a shot..or two maybe....or maybe it's the intersticial tone shots in between scenes at most. Gimbals require more time and people to do well than a Steadicam does and offer very few advantages, and come at the cost of dramatic feel. Everytime I bring this up with a pro gimbal human, they say hey you can go low to high in-shot or go through a window and hand off. And yes, you can. But I rarely see this being designed in shots. Now I just see shots that should be done hand held or on a steadicam being done to an inferior standard and for impinged dramatic feel using a gimbal because that's the tool of the moment. Don't be seduced by the tool and use them to do what can do well. JB