Andrew Reid

Corpse like. No it depends how you move it. Just hand-holding it steady won't be enough to hurt the image. Throwing the camera around like in a Greengrass movie wouldn't work, but most other stuff would and don't forget you can fix rolling shutter easily in post most of the time, although it does involve a bit of a crop. OIS on the lens helps too. Plenty of Canon lenses with this via the metabones adapter. Not quite so many nice Sony lenses with OIS.

1. It takes 30ms to read out the entire 6K sensor. More pixels to read out. 2. What do you mean by video "lag"? Lower frame rate? 3. I don't really get this... ISO 3200 does not = 280 due to pixel binning

Because Sony's noise reduction is voodoo magic.

I'm afraid all the replies so far aren't right. The NX1 uses a power saving live view mode when not in video standby mode. In this mode for framing up a shot, there's hardly any rolling shutter skew because the sensor is doing a very fast sweep, missing out a lot of pixels and lines. We call that binning. In video mode it does a 6K full pixel readout for the great quality 4K recording it has. That takes time... approx 30ms for the rolling shutter to expose the entire sensor, which is what creates the skew in video mode. Switch to 1080/120fps and it reverts to pixel binning and there's less skew.

Yes has the viewfinder adjustment diopter. No it doesn't... same.

Doesn't it crop the sensor at 4K 30p? Only 24/25p is full sensor readout from the 6K

Canon have a knack for this. When all around them is a circus of silly menus, bad ergonomics and underperforming images given the raw power under the hood, Canon with their underperforming specs have over-performing images with very good automatic white balance, well thought out menus and no frivolous stuff to get in the way on a shoot. I like the simplicity. Clearly you get a lot more colour information in a 300Mbit or 500Mbit 4:2:2 file like on the XC10 and 1DC, plus it helps the colour science is bang on in Canon LOG unlike in S-LOG. Clearly Sony know something is wrong otherwise they wouldn't have added 3 separate S Gamuts to the FS5 for different WB temperatures. Sony seem hell bent on squeezing every last drop of dynamic range and colour gamut out of the image, then packing it into as small a file as possible... the end result is a bit of a car crash. The A7S II was almost the 'dream camera' wasn't it... but I've barely felt compelled to use mine... I keep picking up my NX1 instead. That's because the body design of the A7S II is soulless, feels awful in the hand - it has the ergonomic charm of a brick. They went backwards from the A7S and that wasn't exactly perfect to begin with. Please Sony hire some designers from Fuji or whoever were responsible for the NX1 body at Samsung. Then sort the menus out - it isn't rocket science. I think they underestimate the importance of this... the shooting experience. I feel a little bit guilty when I see someone struggling through a shoot with a Shogun bolted onto the top of a small Sony mirrorless camera... great specs and we should support the push, in the face of Canon's paralysis... but it's a horrible shooting experience isn't it...

Internet culture is just a reflection of real life - there's a vast majority of stupid people in the world.

People are all entitled to not like a film for whatever reason they care to choose. It does not make them misogynists. I honestly don't think anyone 15-35 of my generation even know what sexism is any more. The term is applied so liberally to so many things. People need to learn the difference between prejudices, tastes, personal preferences and the -IST words. You might prefer pizza over burgers. This is a preference for pizza, it is not a form of food-racism. I am sure many of the people upset at the new Ghostbusters movie are just saying that the don't like it, rather than saying that they think men are superior to women, whites superior to blacks, slimer superior to marshmallow man. I think if they substituted Lara Croft with Rambo in the next Tomb Raider, fans of the series would be equally disappointed. And that is mostly the sentiment here. I am sure we all have our preferences when it comes to much loved 80's films and what made them work in the first place. For me the male buddy-comedy central characters were a big part of that. This does not make my opinion sexist. Now some will say that preference for a male cast is sexist... some will say it is anti-feminist, anti-woman, even anti-ghost. This shows they do not know the definition of terms like sexism and racism. Do I like the trailer? Nah. Fan edited one is better than the studio's own! It is definitely not a feminist film despite what the marketing and the gender of the cast wants you to believe. Crude vagina joke, lame script, poor VFX. The reboot is far more a cynical box office plot to appeal to a larger female demographic than anything else.

Why not just get the A7S used then? It isn't much more expensive. The 1080/60p is good in APS-C mode on the A7S. Excellent in fact. Not much good in full frame mode though. The D5500 and D750 also shoot very good 1080/60p.

Yes the Sigma is good But you will need to go past 35mm sooner or later. The old Sigma 50-150mm APS-C lens is pretty good... compact and F2.8. The upcoming 50-100mm F1.8 will be much more expensive and you'd never get that and the 18-35mm under $1k together. The 18-35 and 50-150mm you could do. Also the Samsung 16-50mm F2.0 to F2.8 OIS has stabilisation.. Sigma 18-35 doesn't. Something to bear in mind as well as whether you need AF to quickly establish a shot before the opportunity vanishes whilst you're in the magnified focus assist with a lens adapter

Yes it does Best to shoot 4K with it even for 1080p delivery Bottom shot S-LOG 3? Off-colour bands in the sky S-LOG 2 all the way with this camera!

Only works on the stills. The video is insanely sharp and detailed. It has aliasing and moire but it feels really alive. I love the ergonomics too apart from lack of articulated screen and the ISO dial is a bit ridiculous. You can't really turn it without accidentally knocking the shutter speed dial. It's a great stills camera to set to A mode and auto ISO with exposure comp dial when you need it and super fast AF, reel off a video clip and 9/10 times out of ten without any effort in post at all it will give a more satisfying image and certainly rec.709 colour than any of the more hyped 4K cams.

Does it heck as like More dynamic range?! Better noise texture? Really... Have a clue.

Camera 2 is the Fuji X Pro 2.

*Drum roll....* Nobody has got it yet.

Yes 2 is full format but with a twist It is using a Speed Booster...

The commercial filmmaking world is 99% producing shit. Most clients have no idea what art is. They just want a certain production standard and for efficiency. Turning up with a Samsung badged small consumer camera goes against the grain. This is the main reason RED exists - for pros to look professional in front of clients. Clients don't know much at all about images. I have seen what happens when they try to make their own LUTs. It even happens right at the top. Robert Richardson took his name off World War Z for precisely this reason.

Main reason for me why 4K was a nice step on cameras like the GH4 and NX1 was it got us away from their poor 1080p images and gave us much nicer looking 2K when downscaled in post plus the freedom to reframe. Editing performance is still shoddy though even on a high end machine. And I sometimes miss 60p for slow-mo. Main reason to get the A6300 are what it offers for the price is a lot - S-LOG 2, lots of features, slow-mo, tiny form factor and of course the big one - the advanced AF system for video - SLOG 3 image seems to have issues though AGAIN sadly. They need to upgrade the codec.

Answers to 1 and 3 On other page, so if you don't want to see the spoiler just continue on this page. Let me know when you guys are ready for the final answer for camera 2. Nope

Not Super 35mm either unfortunately.

Nikon was in focus. It is just softer than the others. With sharpening in post you can get it closer but it still has a weakness there for wide angle shots... this was a 28mm Just realised I had the WB of the NX1 shot too far towards magenta so ignore the skin-tones on the book cover with that, it's just a camera setting issue.

4K's time as a differentiator on the market is pretty much over when you can shoot it for $270 on a interchangeable lens camera with large sensor. Only a few years ago we were impressed at the idea of 4K at $4K, something which didn't even exist yet. I think we're reaching 'peak stuff' It's going to be very difficult from this point onwards to people to part with what they have, because it's already more than what they need. To make use of 4K you really need a 105" TV. How many people would find that practical in their living space? Meanwhile the 'affordable' 4K displays are mostly stuck at 55" or 65" and they have zero content. I was really surprised Sony didn't go all out with 4K PS4 games that would have sold a TON of UHD sets I think we should be judging cameras based more on the overall image - dynamic range, colour, features, ergonomics, from now on and if its 1080p, so what. It's just that most of the 1080p cams have been crap so far... still waiting for an Alexa like 2K image. 5D raw is closest perhaps.

Liam is closest 1 is the Nikon D750 (flat profile, lightly graded) 3 is indeed the NX1 but in 1080/120fps not 4K 2 is...? Clue... Not 1D C or FS5.

Not necessarily