gethin

thanks yup I know. I used the canon 10-22 for years, that was a pretty distortion-free bit of glass. Not sure how sharp it would be now though for video use (and I'd need to get a a7s or gh4) I've looked at all of those, the best in terms of distortion are also the slowest. Ho Hum. Will wait for some of the new tokina reviews to happen

I'm just finding this lens a bit soft on my d5300. Its also got quite a lot of barrel distortion at the wide end.

so is there a difference in IQ between d5300 and d750? I'm finding d5300 a bit mushy. (and is a7s better again.?)

I didn't want 36MP. 50 is just plain silly. For my work I nearly always downsample to 14MP on export. Still it would be nice to have a nikon that focused reliably.

I'd love to see a d810/d750 comparison too

Thanks Andrew. All I can say is woot! For what I do speed is of the essence. I've got really used to the 5300 - (not the speed of using the thing that sucks) but the speed of editing the footage. For me it means I can consider sticking with Nikon gear rather than investing in another system. I'd live to be shooting stock in 4k but my bread and butter is 60p at 1080. The a7s' weakness here is one of the things that's been putting me off. Now if it can still pull off 14 stops of dynamic range in still I'm sold

I'd say that its a step up from the d5300 as well. Better rolling shutter by the looks of it, too. Still the 4k lumix stuff you posted looks nicer still. I haven't handled it yet, but I agree my issue with the d600 grip was the depth. Do you know if there's any crop in video mode like there is with the d800? If not then I may consider selling the 5300 and getting this. The d800 is an extrordinary stills camera, if this has similar dynamic range and feel in stills then its quite appealing

OK so decent processor, 2gb rram 16gb (meh) but mSD card (yay). BUT only to be released in France and Germany before Christmas. Boo http://www.engadget.com/2014/09/15/panasonic-lumix-cm1/

I had a Samsung galaxy with android back end. It was sloooow, changing modes, apertures, iso etc was a pain in the bum. That Spinny touch screen aperture dial is a total gimmick. It has momentum so you'd often miss the mark. A simple list or slider would be better. I hope they squeeze in a decent processor and lots of ram. (Because if the phone doesn't suck I will buy it)

PS you might want to preface these questions by laying down some schmooze or they may be the last you get to ask ;)

The Nikon questions are pertinent. Especially #1. In fact you could almost just ask that, 10 times. In relation to it I'd like to know this - seeing as the don't have a cinema line why is video not seen as a major differentiator between them and the completion? Canon will cannibalise its own sales if it doesn't knobble the 5d line video in some way. Nikon has no such worries. So why no greater emphasis on it? Is it technically too hard? Is it a management failing or philosophy?

I'm sceptical about the 4K update - I'd love it, but the modus operandi of most camera manufacturers would be to release new hardware at a higher price point to add new features. is it possible that they were testing this firmware for a new camera that will have the same innards but a few shiny video features and buttons, and cost twice as much?

Well then why not open up the firmware in the way apple did and let the croud produce the innovation?

Yup. Its a constant source of bewilderment to me that the only full frame camera manufacturer that has no vertical integration to worry about is not producing video cameras. Nikon could produce a raw video camera with their incredible dynamic range for $3k that would sell like hotcakes. They desperately need a mirrorless evf solution. They need someone with just the teensiest bit of vision and forward thinking to capitalise on some of their technologies which are still market leading. I've given up on canon. They've got too many reasons to cripple their Lower segment cameras. I would've sold my last one if it wasn't for magic lantern.

Actually it has quite a lot of nice stuff under the hood for stills. One thing I'm curious about is the "exposure smoothing" technology for timelapse. Currently the d800 is a pain in the bum for timelapse as it open and closes the iris for every exposure. This seems to be mechanically connected to the mirror mechanism because it doesn't do it in live view mode. If they are digitally smoothing exposure without addressing this SNAFU then facepalming will ensue

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Having shot with both I can say that for what I do, you are wrong. At least once a week I thank the dynamic range gods that I dont have to combine exposures or HDR to get a shot I want. But anyhoo Its all a bit off topic isn't it? Its a great stills camera. Have you seen the price of the d810? Holy moly

Thanks christina, Hurrah! I knew there must be a simple way to do this. :) I think every time I've asked this before everyone has assumed that I wanted the best option for frameblending or pulldown (sorry axel) :)

THere must be a way to do this! I just want to get slow mo. I'm on a 25p timeline and I've been given 60p footage to incorporate. Its all silent. I've dropped the 60p (59.94) into premiere and slowed it down 41.71%. Seems a bit of a bodgy way to do it. Is there a better way? (like in virtualdub? Ideally you could just hack the header info to change the time signature.

Yeah but. If its 4k full frame how does it get 4k from a crop? Unless its actually like 24mp but only using every other pixel for its full frame image?

I've Shot with 6d and own d800. Chalk and cheese. I found the 6d noisy and a bit gnarly for a 20mp camera. THe d800 shadow noise cleans up very well. 6d still had that typical low frequency fuzzy purple and magenta chroma noise that is hard to clean up. The d800 continues to blow me away with how much range is usable. I wish as a company they had just the teensiest bit of vision.

It was interesting getting the d5300 and being able to quantify how much salt you need to take the dxo tests with. D5300 rated about about 13 stops too if I remember (about 1 stop less than d800/d600), but the ends of the range are not nearly as usable as those cameras, with noise an issue at all isos. The proof of the pudding is in the pushing - its always the really tough lighting conditions that sort the men cameras from the boy cameras :)

Sandro: you don't have to spend a fortune to get wide angle on micro 4/3. I've got a d800, d5300 and gh2. I've grown to really love being able to use may tokina 11-16 with and without a speed booster on the gh2. Now if metabones can make an adaptor that can shrink a full frame image down to m4/3 size then I could use my 14-24 as a 14-24 f1.4 (I'll ignore the 4k crop), a 20-35 f2, and a 28-50 f2.8. That's why I'm wishing the a7s was apsc. Still that perfect camera is bound to come along shortly

Sorry I should've said I was hoping to do this straight from premiere, rather than transcoding. I wonder if h264 as JCS suggested would be OK. My technical knowledge let's me down here. (I have no idea if premiere uses more than 8 bit space to work in, and if not whether there are any gains to be had from prores over h264)

If the a7s has a couple of stops of extra dynamic range (without looking too digital) then I'll be interested too. I just wish it was aps-C. With a speedbooster gives so many more options.