Nikkor

Try a digital medium format back and come back.

Speak for yourself, I don't tend to play around to make the stills look like what you see on 500px. I like to color correct my stuff, I don't like heavy grading. Digital cameras, especially cheap ones like the d800,etc... usually have very bad colors, even worse when you use the jpgs. So once you have the raw image you have to spend some time to get good looking colors. If a h264 video gives good colors and sharp images I wouldn't care at all about high bitdepths/raw, but that's not the case. I have been shooting film lately, the colors might not be accurate but they look good, if I could tell the camera "portra 400, pushed 2 stops" and get a jpg with that kind of look, I would just need to set the correct exposure and whitebalance, and that's it. I have no idea about panasonic cameras,but if I had to buy a camera with 1080p h264, I'd just get the om-d e-m1, even keeping in mind that it only does 30p and it's m43, just because the stabilisation is so convenient, and it's also an excellent stills camera. But hey, I don't really do any video, and I'm currently so in love with my mamiya rz67 and the pentax 67 that I'm selling most of my nikon cameras to pay for the film. I'm enjoying it a lot, giant viewfinder or prisms and the lovely films... and I am not a hipster...

If you already have the d600 the hack will improve video, the latest hack also sets the "normal" quality to the old max quality so you can choose it when you need 20min takes. But you already have a BMPCC so I can't think of any reason to use it unless the tipical 50 1.4 , 85 1.5 shots. I'm leaving video on a hold as long as I don't get stills quality :rolleyes: , I wish I could have the portra 400 pushed 3 stops look, I guess it's the same look you get as when shooting kodak stock on a real 35mm cinema camera.

Well the 54megabits happened a month and a half ago, now it is 65megabits https://nikonhacker.com/viewtopic.php?f=2&t=1866 The problem is that you are limited by the 4GB file size, this means 8-10minutes max recording time. Another problem is that you can't replay these files on the camera. The biggest benefit is with footage that has a lot of small details moving around, and the noise in the shadows which turns into nice grain where usually there is a lot of macroblocking at normal bitrates. I like it, but the way the d800 handles highlights in video/jpg is terrible, the transition is not smooth no matter what picture profile you are using. Overall the footage becomes easier to sharpen and to color correct because of the absensce of macro blocking. Btw, get used to nikon yellow in h264/jpgs...

It might be oldfashioned but moderadors are probably the best idea. A closed forum most likely would die off soon. Also, less posts = less google placement.

Why not 4x5, I can see the Aero Ektar 178 2.5 skyrocket to a new level on ebay ^^. Actually there is a guy who spent 200.000$ on a 8x10 digital back http://www.popphoto.com/gear/2011/08/meet-six-figure-8x10-custom-made-digital-back Maybe in 20 years we can have a video one ...

Square would be great indeed. Btw, I placed a isco blue star in front of a mamiya rz67 with a 110 2.8 and it doesn't vignette as much as it does on a 60mm in full frame, if you crop to 16:9 you wouldn't see it. I can imagine a iscorama 54 or even 36 will do wonders. One thing that makes medium format shine against 35mm 3:2, is the aspect ratio. 6:7 or 6x6 gives you a much wider view compared to 3:2, this is also what gives the extra shallow depth of field. So when you shoot a 44mm wide sensor in 16:9 aspect ratio the medium format lenses won't really shine, even with 54mm backs it still wouldn't be comparable to the sensation you get with 6x7. Obviously if you haven't worked with 6x7 stills you probably won't miss it, and the depth of field works a lot nicer, so you can shoot wide open with the background blurred out and still have the relevant things in nice focus (it just looks so great). Another nice thing about medium format is that most good lenses cover a lot more than they need, so you don't get the ugly cat eyes in the corner specular bokehs (like on the 50 0.95 noct, which looks horrible to me).

I guess IMAX is medium format because 70mm film is just something like Fullframe. Anyway, this pentax might be great but it's just 44mm, so it's not really medium format. For the price it's going to cost there will be probably some professional version of the A7s that will perform a lot better with just 1.2 crop difference to the pentax. Also the CMOS don't give such great colors compared to the CCD backs (as long as you stay below iso 400), at least that's what they are saying on MF forums. The scaling from 50MP to 4K is also a mystery to me. I just checked: Image area of 65 mm film is 48.5 mm × 22.1 mm (1.91 in × 0.87 in) (for Todd-AO), in IMAX the image is 69.6 mm × 48.5 mm (2.74 in × 1.91 in) tall. So it will be something similar to 65mm film.

720p @ 120fps is only APS-C crop.

AA AIt has S-Llog2 but only 50mbits//s

Oh comon, only external 4K.

IP TV seems to suck :rolleyes:

Please 1399€ ^^', I wish it had IBIS but I guess that's too much to ask....

I wonder which features this sensor has. There were rumours about a foveon type sensor. If that's true these 12mp will look a lot better color wise than normal bayer sensors. (although sigma foveons have bad low light capabilities) There was also a rumour about a sony camera with a moving sensor which focuses by shifting the sensor, not the lens. I can only see this happening on close to infinity ranges, anything getting into macro region needs huge traslations. These movements also would be used for stabilisation. I can imagine that sony could be tempted to come up with expensive recorders for raw,sdi,etc... similar to the gh4 brick, since they have been doing some very agressive steps with the A7 line it could be possible. But in the end it probably will be another shitty codec cam like the rx10 ;)

Wow, 12mp. This probably means better low light than nikon D3s (which is 5 years old). If they go the 12mp route they will probably have some very good codec, and some very interesting burst/silent raw recording, otherwise it makes no sense, because you can't really sell a 12MP FF camera to photographers these days. I almost buy a A7, almost preorder GH4, I guess this one is going to be the one ;)

For video manual lenses aren't a problem, unless you want IS, but on a A7 type of body anything bigger than the 24-70 is total overkill and I can't think of any reason to go under 24mm (even with special microlenses you will get problems light angle problems, and retrofocus designs under 24 tend to be pretty bad). I guess they will leave the 5 axis stabilisation deal they have with olympus for future cameras, even if they aready have solved the cooling problem.

Haha Andrew, here comes your 50 1.2. I guess the codec will be crap but let's wait. I wish metabone would come up with a medium format speed booster, they have 70mm free flange distance, but I guess they won't because they designed these "almost diffraction limited" lenses for panavision which I guess are large image circles compressed for smaller sensors but with high quality design and components.

You won't get that kind of posterisation with film, unless you are shooting movies with polaroid...

I think all these filmconverts,luts,etc... when not used the way they were designed for they might work very well on shots where no direct sunlight comes into play but in scenes with a lot of DR they tend to look aful (unless you really are looking for the posterisation).

Olympus brings the 5axis IS to a compact travel zoom camera. The sensor is tiny . The Olympus STYLUS SH-1 will be available in May at an estimated street price of $399.99 (available in Black, White and Silver). The Olympus STYLUS SH-1 is equipped with an updated Advanced Movie Mode for powerful video recording functions, including fast 240 fps*6 (or 120 fps in 720p) High-Speed Movie, which allows users to capture subjects that move at split-second speeds, and 60-frames-per-second HD recording*7 for smoother images of moving subjects. Photo & Movie Capture allows users to simultaneously capture full-res still photos while recording Full HD video. The Time-Lapse Movie*8 feature compresses up to five hours of action into a 20-second time-lapse video. 240fps -> 20 seconds 60fps->29minutes so the bitrate must be low. http://***URL removed***/news/2014/03/31/olympus-brings-pen-style-and-5-axis-is-to-stylus-sh-1-travel-zoom?utm_campaign=internal-link&utm_source=news-list&utm_medium=text&ref=title_0_11

As Häns Punk said, you need an additional system that moves weight to keep the center of gravity in it's place, because when you focus you are moving the lens -> changing the center of gravity.

I would like to have someone explain me why compressed camera footage always has this stuttering motion blur, I don't see this in compressed movies. Even when shot at correct shutter angle.

Yeah it does. Actually it's funny how the last change between 1.4 and 1.2 seems so minor but in many shots it's the difference between nice and so so.

Heh, I was going to say 80 1.2, I use to avoid foreground blur but these pictures have a very very nice feeling. I will keep an eye for some shot like this with the mamiya rz 110 2.8 btw, how do you think does the 50 1.2 compare with the nikkor 1.2 50. I'm loving the mamiya shots so much I want something "similar" to use on my small FF bodies, but they are all nikons.