Nikkor

It's film, fuji something or kodak ^^. Looks nice. If I'm wrong I want to know how you made it look like film.

I'm just paraphrasing what I read some time ago on some CES article, I might be wrong

According to the HDR TV specs, it need to be able to play 10bits files, but the panel doesn't have to be 10bit, the importance is that it can be very bright and very dark at the same time. The color space is something lige rec-709 but a little bit wider, so no 15 stops in 10bit.

The nikkor 50 1.4 is a high tech lens compared to the samples. Here 2 samples from the first pre-ai 50 1.4 In the opening post the images look like from a very small sensor with a very bright lens = Nothing is in focus. On the samples you can see that the nikkor is totally different.

digital bolex and some exotic cheapo tv f0.85 lens.

Modern sensors are HDR, they just have to change the codecs/processing.

If you are in Europe and want the 28-70 2.8 nikkor with a broken autofocus you can PM an offer.

Yep, the nikons don't like foliage.

Any modern MF lens is sharper wide open than it's FF counterparts.

Top secret.

Mystery solved. https://newrepublic.com/minutes/129335/feminist-gloria-steinem-says-young-women-support-bernie-want-attention-boys The girl is looking for a boyfriend, or at least attention (whore?).

The secret,exclusive and miraculous Mattias Burling Stores, am I right?

Don't post his videos and give him views, that's what he's looking for.

Vote for a President that gets rid of the FED, the NSA,etc... and please leave us alone, we don't want your noses sticking in our business, stop bribing our politicians to accept things like the TTIP.

It will be the same weight, and moment. Unless they redesigned every lens for it's mount (which would make them different lenses) they all have the same distance from the optics to the sensor, so the weight of the adapter is inside the lens housing, and the distance from the front to the sensor is the same, as is the distance from the optics to the sensor, so in the end the moment is the same also. You can adapt nikon to canon, just in case you don't know. If you do so, get a good adapter, I have bad ones an they are terrible.

If the camera has zebras and you are working run and gun without lights, just expose as high as you can until the zebras blow where you want. If you work with lights, get a portable lightmeter and expose with that (it's always a good idea). The zone system works wonders, if you have skin get it to 18% grey, but do this with your light meter.

Since he said that the 4k 30fps is also a "twoish"crop, my gues it's around 2,35x from fullframe (similar to gh4 4k)

Bumbumbummer... It says that 1080p 120fps is cropped (he says 2x crop) as well as 4k 30fps

Well that's a raw still, so it has nothing to do with nikon beside the lens. I think I used VSCO portra 400 profile on that particular image.

That is a still from the d800, fullframe cropped to 16:9

Here's a sample from that old CRC nikkor-o 35 2 pre-ai, I love the pop but notice the strange bokeh in the corners.

And this is how it probably looked, underexposed face, noise and mess from slog 8bit encode in shadows = color problems (very evident all around the chin.

Thanks for the info!

I had to laugh, destruction of wealth. Dollar is king again (who knows for how long, expect stock prices going down, oh oh I can feel the bubble bursting).

I have no idea about the XC10, but the moire from the Nex-5 and all the other lineskipping cameras, is so strong because of lineskipping not resolution. It happens when something is in focus and this something has "fine" highcontrast things. The problem with lineskipping is that the gap between pixels is so large that almost anything will give moire. The lowpass filter of the camera is useless in this scenario because it blurs between adyacent pixels, so it has no effect on pixels that are separated 2 lines from each other. Then there is moire in sensors that read per pixel, the likeness of encounter moire will depend on the pixel size and the strongness of the lowpass filter. In a stills camera with very high megapixel count, like d800 onwards, this filter isn't that usefull because only the very finest details can give moire and most of it goes unnoticed, but the lack of the filter gives an overall better sharpness, so they removed it. But in video it's totally different, you don't wan't any moire at all because with moving pictures, moire becomes very evident. I suppose the XC10 does a per pixel readout, so since it's thought as a videocamera and has a very small sensor with lots of DOF, it has probably a very strong lowpass filter so you loose a lot of finesharpness, but the image will always look "good". In fact, this is not your classic moire (which can also happen and happens) but aliasing artifacts from the bayer sensor, ((Blue,Green); (Green,Red)), a very bright source that hits the Red part, but isn't there anymore in the others which should show dark pixels, will still affect these. Since the other pixels get little light, the interpolation of the adyacent red will make things Pinkish (in case of the blue pixel),etc...