Simon Shasha

A Pocket Cinema Camera, same form-factor, with a higher-quality/resolution screen, and 48/50/60FPS @ 1080P (at least), for $1000, and it would sell like crazy.

Sony "A6100" will be the best buy of 2016.

Wow, that's really unfortunate. I didn't realise how low the bitrate in 10bit was on the FS5. Hopefully a firmware update pushes it up to 200Mbit - or at least 100Mbit...

I'd take 10bit 1080P over 8bit 4K any day.

Haha, I thought that's what the "Lock" and "Open" meant! Thanks again for the help and reply, much appreciated!!

Hey mate, Thank you so much for the reply! The ones you linked were the ones I was looking at earlier, but I was under the impression that they didn't control the aperture ring in Nikon-G mount lenses...

Hi guys, I'm in a real rush to find a Nikon-G to Samsung NX adapter that allows manual aperture control (as I am wanting to use my Sigma 18-35mm F1.8 Nikon-G mount lens). Does such an adapter exist? Please link me up if so - thank you!!

Hey guys, I'm thinking of grabbing the NX500 and a few Samsung pancake lenses for use with my gimbal. Just wanted to know - is the NX500 identical to the NX1, except for the lack of 120FPS and the slight crop in 4K? Also, when shooting video, can autofocus be controlled via an Andriod tablet/phone? Thanks in advance to any replies

Andrew, I know you said that the RX10II, at ISO1600 in 4K, was perfectly usable. How about for 1080P? What is the highest ISO one can go with 1080P with a relatively clean image?

Found this video here by Daniel Peters: https://vimeo.com/135591796 I was already rather impressed by the dynamic-range exhibited by the RX10 II. However, after bringing it into After Effects and pulling down the highlights by 2 stops, I was even more impressed. If only it were 10bit. Regardless, pretty amazing for the price and form-factor. Gives me high hopes for the (possible) BSI based "A7000". Anyways, here's the original shot, followed by a shot with the highlights pulled-down, then a slighted graded, de-noised, and re-grained version: ORIGINAL SHOT HIGHLIGHT'S PULLED DOWN GRADED, DE-NOISED, RE-GRAINED

€999 for the SB XL? Where on Earth are you buying it from? It's only $649USD direct from Metabones - which is around €595. Or is there a crazy import-tax or something I don't know about? If you can afford the SB XL, get the GH4, if not, get the RX10 II.

Andrew, just wondering, can you put an anamorphic lens on the RX10 II? In particular, any of the SLR Magic anamorphics?

Andrew, just want to verify; the SLog picture-profile can be used in 1080P 120FPS 100Mbit continuous, yeah?

Hey guys, Would love to have a lens on my BMPCC that will make it literally pocketable - the Panasonic 14mm F2.5 looks like a good candidate. Only thing I'm worried about is distortion. it seems to exhibit some heavy barrel distortion in stills shots I've seen (non-corrected RAWs). Given the BMPCC has a smaller sensor than MFT, I guess the barrel distortion will not be as bad/obvious. Does anyone have any experience with this lens on their BMPCC? Would love to know your thoughts Thanks!

For professional photography, which requires AF most of the time, I can understand. However, if they were to invest in Nikon-F mount lenses, there would be no probably with system jumping. It's actually why I invested in a bunch of Nikon AIS lenses years ago. They've survived the jump from my 7D, to NEX-5, to D7100, to GH3 to BMCC and BMPCC, to GH4, to A6000 and A7s. In fact, I'd say the Nikon 28mm AIS F2.8 is the best lens I've ever owned. Not only in build-quality, but in optics. Masterpiece of a lens.

I would have never have bought the GH3 or GH4 if not for Andrew's insights regarding the GH line of cameras. As for my two-cents; I don't think the A7RII or the NX1 will be what buries the GH series, or MFT for that matter. I think it will be the "A7000" (or whatever Sony will call the A6000 successor). If this camera comes with an APS-C sensor, low-noise (like my A6000 - pretty much noise-free until ISO1600), great AF, 5-Axis stabilisation, SLog2, and most importantly, 4K (and perhaps even 1080P at 120FPS, to combat NX1), all for $699 - $899, then I'd say it's pretty much over for the GH line.

According to the B&H A7RII purchase page, the A7RII can do 120FPS @ 1920 x 1280P? "Onto video, the major addition is internal UHD 4K 3840 x 2160p recording at 30 or 24 fps with the XAVC S format at 100 Mbps. This is possible using either the Super 35 crop mode, with no pixel binning, or the full-frame readout. Full HD 1920 x 1080p is still readily available at up to 60 fps and HD 1920 x 1280p is possible at up to 120 fps." I'm assuming it's a typo, and meant to say "1280 x 720P"...

First, apologies if I posted this in the wrong place! Bought an Atomos Shogun for use with my A7s, but never got around to using it. These days, most of my work (90%) is photography orientated. So far, the only time the Shogun has been used was during a low-light test I did at home - besides that, never took it out in the field. Anyway, it's virtually brand-new. It also has a 3-Year Atomos warranty that is transferable to whom ever buys it. I spoke to Atomos directly and confirmed that, since I haven't put the 3-Year warranty in my name yet, who ever buys it from me can have the 3-Year Atomos warranty put in their name. My Shogun is the complete kit version, and not the "bare-bones" version. My Shogun kit includes the following: Shogun Main Unit Atomos Shogun Carry Case 2 x Master Caddy 1 x Dual Raided Master Caddy 1 x 2600mAh Battery (N, L Series Compatible) Single 1000mA AC Battery Charger HDD/SSD Docking Station D-TAP Battery Connection 1 x Lemo to Balanced XLR, Phantom, Mic Breakout Cable If anyone is interested, please feel free to send me a private-message. I'm also more than happy to provide my private e-mail and/or phone-number to anyone that wishes to inquire in more detail Thanks Simon

Just pointed my A7S + Sigma 18-35mm F1.8 at a plain white wall. Shot in 1080P at 24FPS in full-frame mode.

Yeah, I'll do it, give me a minute

​Well, that's odd. Mine is fine between 26-35mm...

I agree, it's a damn beautiful lens,especially at 35mm. And, over time, I've grown fond of the size and weight of it. I used to hate it at first (I have never liked zoom lenses in general, with the exception of the Canon 70-200mm F2.8L II), especially coming from a strict "prime-lens only" mindset/background. But the Sigma 18-35 just keeps on proving itself, time and again.

Hey guys, Not sure if anyone has pointed this out before, but last night I was messing around with my Sigma 18-35mm F1.8 on my Sony A7S. Once attached to the A7S, I reminded myself that I was going to have to switch it to APS-C mode. However, to my surprise, the lens wasn't vignetting, even though the A7S was still in full-frame mode. Eventually, it did vignette, but not until around 24mm. I concluded that between 26-35mm, this lens is absolutely fine for full-frame sensor use. You can even get away with 24mm, which produces a very slight vignette (if you letterbox your footage, it would hide the vignette at 24mm). Anyway, just thought I'd point it out. Enjoy!

​Your problem? Your problem is being a major prick. That's what your problem is. You're going to define my entire life, my entire career, from the random shit I've uploaded to my Vimeo channel - something I haven't even used in over a year? You think someone's Vimeo channel is the be all and end all of what makes them a "professional"? Are you that friggin' daft? Who the f**k are you to condescend me? To tell me I have "no idea what I'm taking about"? To call me "kid"? To tell me that I might "learn something"? To say the small amount of work I have shared is "NOTHING"? Huh? Who the f**k are you to cut me down and burn me like that? You arrogant prick. 99% of the work I do for major artists can't even be shared on Vimeo. I'm under contract, you daft f**k. I don't own the footage. I can't share it, no matter how good it looks and how bad I want to show it off. Whatever. F**k it. You just keep doing your thing, J.F.R. Keep being a major, hypocritical wanker. Keep condescending and character-assassinating others based on a handful of words and Vimeo uploads. Nothing but another friggin' keyboard warrior.

​To be honest, I don't know what causes it on a technical level - I'm no camera engineer . It's just something that seems to be rampant among various Sony cameras. Except for the Sony F65 - that doesn't seem to suffer from it - and others that have noticed this problem with Sony cameras, but not with the F65, say it's due to the F65's mechanical-shutter... I dunno. Maybe it's subjective? I just get this real "video-ish" vibe when I see footage from the FS100, FS700, F5, and F55...