Quirky

What would be the point in that? What would be the point of stuffing yet another (4K) movie camera inside a dSLR? I think it would make much more sense to take their existing Cx00 mirrorless design and build a new version of the C100, for example, and call it C4K or whatever. Nevertheless, keeping in mind we're talking about Canon, they might just do yet another 5D mk whatever, with or without 4K capabilities. But not as a reaction to the A7s, which Canon will not see as a threat to their business. Nor do they apparently bother about the GH4, either. It'll be more like a reaction to whatever Nikon is squirting out. I wonder how well would such an A7s successor with internal 4K work? A full frame sensor and internal processing inside a mFT-sized body, where would they fit all the excess heat? I believe the heat excuse may well be a valid one, for the A7s not having internal 4K. Therefore it would be logical that a much bulkier a99 successor or another A-mount (perhaps even a Z-axis, multi-mount one?) camera to be released later (late 2014, early 2015?) might come up with internal 4K and other goodies, too. Or maybe they'll come up with a new, slightly bulkier flagship model, an A9 with all the goodies next year? We'll have plenty of time to speculate and spec-ulate, or just pick either of these two, as soon as they hit the shelves. Speaking of goodies, it was nice to read that the A7s has some rare (in its class) goodies like the gamma profiles (like S-Log2) and zebras, but I didn't see any mention of internal ND filters, which is a bit of a bummer. It would be a nice feature to have, á la RX10, which is no doubt cheaper than the A7s will be. But it still looks like the most interesting hybrid option these days. If only they let us know the price.

Suppose it is, sort of, but let's wait and see what the footage will be like IRL.

Yeah, I won't join the choir of whiners, either. I think the A7s sounds interesting indeed. All I wish to know now is how much will it cost. Along with full specs and test runs by testers who know what to look for. BTW, fellas, do you really need to start three or four similar methinks/mewhines threads for the very same topic? It's rather confusing and distracting. Surely just one such topic should be enough. Until we get the actual EOSHD review thread.

Standard nerdy-nam-nam. Species typical behaviour. People love to complain about cameras that no one has even used yet. It's just what gadget geeks do. The EOSHD forum is no exception to the rule. So let's just carry on and ignore the noise for now, while waiting for the full reviews by Mr. Reid and others like him. ;)

So instead of just one mob, you actually let two different mobs rule what you should buy and use? Fascinating. Disclaimer: not intended to be taken way too seriously. B) I remember not so long ago, up until 2005 or so and the iPhone halo effect, using a Mac instead of a Windows machine would give you a deucebag snob label among the mainstream "mob," who would always recommend against buying an expensive and obscure Mac. Same if you chose some less usual brand vehicle or whatever. I have never let that bother me, if the product suited me and served me well enough. But I do sort of understand the social pressure, if one just wants to conform and fit in the crowd. In the case of FCPX, I believe the biggest issue with it was the notion that the seasoned legacy FCP users just couldn't wrap their heads around the new interface and the concept of magnetic timeline, and were reluctant to learn a new way of doing things. Which created this negative meme within the "mob" for a while. But it's not really that bad, and it's not like the app is profoundly inferior. It's a matter of taste and habits. Along with Vegas, FCPX is one of the nicest alternatives to the subscription model on the Dark Side. Not that Premiere ever was or is too shabby, either. Here, too, it's good that we still have nice alternatives to choose from. We can joke about each other and our different choices, but other than that it's all fine.

Quite. It does indeed make a lot of sense to come up with strong conclusions based on spec sheets on paper, without ever having seen, let alone used one in real life. Although the footage created by measurebating hardly ever gets nominated for the Oscars, does it. Speak for yourself only. "We" don't buy cars, food and cameras based on looks alone. If I had enough money to spend, I would probably buy the D16 despite its looks, not because of its looks. I don't actually like the cheesy fake retro (girly?) looks of the D16, but I'd love to have the guts of the Digital Bolex in a less conspicuous package. I'd tolerate weird looks and even a few quirks for a nice interchangeable lens video camera with a nice CCD sensor. I'm looking forward to the Mk2 version of the D16, whatever it will look like, hopefully with most of the " version 1.0" issues fixed. I think it's great we now have more choice than before.

It's also the first time I've noticed the quality gear wheel go all the way up to 4K in YouTube. Maybe that has been the case for a good while now, but this one was the first one I noticed it. I wonder how close to real 4K that YouTube thingy really gets, though, or is it just another marketing gimmick.

So, rather than trying things out yourself and making your own decisions, you let the online mob vote which the gear and apps to use? Fascinating. It might be your own long suppressed voice of reason. :P Anyway, since I'm a long time OS X and Quicktime user but not an Adobebot, FCPX is a natural choice. No regrets so far. I'm sure Premiere, Vegas and even Avid are great tools, too, if one happens to use a Windows machine.

That's nerdy-nam-nam relevant and of any interest only to a small bunch of gadget nerds on these online forums. For the rest of the world, the fact that even Canon have a semi-sensible pro/prosumer video camera line without dominating the market is a good thing. The situation within the pro/prosumer video niche is healthier than over the mainstream camera side. There will be plenty of users for both Canon C-series and the Panasonic hybrid line. Including Sony, Blackmagic and others, too. Things are different inside the mainstream photo and photo/video hybrid segment, where the market is stagnant and sales dropping, thanks to Canikon. Even the competition from the likes of Fujifilm, Panasonic and Sony are hoping that Canikon came up with new (mirrorless) stuff, because it would help their sales efforts, rather than "murder" them. As for stuff coming into eBay, I for one am looking forward to seeing both GH3's, Canons and other gear coming for sale with lower prices. That won't murder anyone. Interesting times ahead, for both aspiring and pro filmmakers. Whichever brand they're using.

The C-series is Canon's way to start moving towards mirrorless, and it sort of makes sense. They're choosing to start from a niche market of pro/prosumer video, where they have no market domination, and thus much less to lose. When that's done, they will eventually (have to) start doing the same on the huge mainstream market, where they still rule, and hold the market hostage with their ageing dSLR-only product line. Some people may point at the EOS-M and say that Canon's mirrorless business is a joke, but I'd say it's not. The C-series is pricey for sure, but other than that, that is their actual mirrorless line. For now. In relative terms, the C line is already doing much better than the EOS-M line globally. When shooting video only, the C line simply makes more sense than the EOS dSLR line. Even though their pricing model may not always seem to make much sense. The EOS-M is just a glorified Ixus or whatever, a me too product which may evolve into a real mainstream product some day, or it may not. Dump the bar of soap point-and-shooty body, and the lens mount should be quite useable for anything up to S35, wouldn't it. Probably without 4K to start with, though. Unless they'll merge the C-line and the new M mount at some point, and base their future mirrorless product line on something like that. I'm not a Canon fanboy, far from it, but we got to admit that in this particular opera, Canon is still the fat lady, and the fat lady hasn't sung her last aria yet. How long will the audience stay listening to the same old opera is another story, though. And getting a bit off-topic, too, I suppose.

Does it really matter whether there are rules or not, if you are to ignore them, anyway? Why bother with such things in the first place? Just turn off the computer and go shoot something. With a camera, that is. Whatever floats your boat. If you fancy your own footage but are still in doubt, anyway, show your stuff to a suitable target audience and ask for feedback. They'll probably tell you if they agree with you or not. Then, get a monopod, tripod or some simple rig. ;)

Nope. Because... That's good enough a reason, isn't it. Other than that, yes, it probably is a good idea to sell the 5Dm2. As long as the video side of things is concerned, it would make sense to sell the 5mk2 soon, as long as you still might get decent money off it. That won't last for too long now, though. To which system to jump into, if changing to another one in the first place, is another matter. I believe that right now, of all times, before NAB, before Photokina, before a number of anticipated new releases, one may not want to be in a hurry. Unless you really need a new camera. If that's the case, none of this speculation really matter. You need a new camera and you want a new camera - two very different things. It sort of depends, but in general yes. So called full frame glass will work with full frame, APS-C/S35, mFT, 1-inch and S16. It doesn't quite work the other way around. The full frame glass is less likely to go obsolete, for that reason. Even though you can get along without it, too. Other than that, it's a matter of taste and your personal preferences. What you like, what you're willing to carry around and so on. So whatever fancies you but please... Please, it's 2014, stop propagating the silly idea that mirrorless equals micro four thirds. That is simply not the case, and the smaller size of the gear is just one part of the whole point in going for mirrorless systems. There are several other reasons as well. On the video side, more than on the stills side, the mirrorless system has obvious benefits over the traditional dSLR design, regardless of the sensor size. Even Canon have been moving towards mirrorless systems within the higher end video segment, hence the C-series. There are already mirrorless systems from S16 to full frame, so the shallow depth of field vs. mirrorless is a moot point. The Sony A7r, whilst perhaps not the best candidate for video, is just the first full frame mirrorless body. More are on the way quite soon, and probably not only from Sony. Same goes for APS-C size, they're getting better, too. There are three trade shows coming within the next six months, and I bet that until March 2015, the palette available for us is even wider. With compelling options in several different sensor sizes. So not much point in digging oneself into outdated trenches. FWIW, I for one have come to the conclusion that if you want to have the best of the both worlds, stills and video, buy two different cameras. A hybrid to do both will always be a compromise. At least within a reasonable budget. So all in all, I'd say if you fancy the GH4 just go for it, but if you're not in a hurry, well, then don't be. Your desires, your wallet, your decision.

Ha.

The Voigtländer 12mm Ultra Wide Heliar comes to mind without even 15-second research, and there may be others in the C-mount range and possibly others, too. But none of this really matters, does it. It's all just needless nerdy-nam-nam, and veering off the original topic. What matters is that any wideangle prime, be it the Olympus, Samyang, Panasonic, SLR Magic or even some other mount lens between 7 and 17mm, they're all still wideangles, and as such much easier to shoot with than the suggested 50mm Nikkor. A lens around 12mm or slightly wider would be ideal for moving/gliding footage. More practical as the first lens than some 100mm equivalent telephoto one. I thought my point was clear enough in the original reply to jonpais. How many different 12mm options there are is beside the point. If one or two is not enough, pick another focal length. Again, no need to make life harder than it already is. /OT

I don't usually like to engage in nit-picking squabbles but you said "AFAIK it's not possible to buy the GM1 without the 12mm-32mm F/3.5-F/5.6 kit lens," which simply is not the case. Your comment mentions nothing about keeping it inside the UK only. The notion that you haven't found one in the Old Blighty doesn't mean you cannot find a one elsewhere in the continental Europe, let alone the whole world. Soon after Andrew's GM1 review here I spent maybe 5 minutes or so researching online to confirm that I can easily get one, in any of the three colours, from Meppen, Germany, for example. That's just one store, and apparently there are other places, too. But since I only need one (if I decide to get one), that one shop (that I know is a reliable one) was enough. If I was in the UK, I might try asking about such special deals, anyway. Some of the local dealers might do it. If not, all you need is an idle three-blade (UK/IE) power chord to replace the two pin (EU) chord that comes with the models shipped from the continental Europe. Which will have full EU warranty, too. Problem solved. Life doesn't have to be harder than it already is. PS. If you don't happen to find an idle UK/IE power chord around, let me know, I might still have one. ;)

As far as I've understood, the BMPCC is using a peltier cooling system, which uses a lot of battery power, but the heat is dissipated into the camera body via the cooling element, it's not the battery that generates the heat. So the body getting pretty warm at times is normal. In theory a component breaking inside that cooling system could possibly cause problems. But it's pointless to speculate, as we really don't know anything. It could still be a number of reasons. It's the 2010's, and the whole mainstream media has become brain dead. Click baiting and copy&paste journalism are the new normal. Oh come on, don't join yet another internet lynch mob, and help propagating yet another pointless (and often purposeful) internet meme. Let's not be played by yet another silly distraction for all the wrong reasons. This isn't worth it. There are at least two sides to this story, too, and we don't really know either of them. All we know that a camera started (apparently) overheating for some unknown reason, that's all. What BM will or won't do as a consequence is none of our worries. Some (now viral) online video won't make it our business. People were criticising the uploading of that video without all the facts, and the way the controversial video now gets promoted online as "news." It has nothing to do with BM per se. So let's move along, shall we.

More are on the way from other manufacturers like Samyang and no doubt soon Panasonic and some others, too. It's also possible to use other mount super wide lenses with adapters. Besides, as long as the GM1 only has (room for) one lens mount, one 12mm lens would be quite enough. So it's a problem only if you make it one. ;) No offense intended, but less than 15 seconds of research would have been enough to show you that that's not quite the case. At least in Europe, it's possible to buy an officially imported GM1 body only in all the three colours, from a well established online/b&m shop. Same seems to be true for some Asian stores, and no doubt individual sellers here and there are willing to break up the kits if necessary, as they can sell the lenses separately for a decent price. All it takes is to ask, if you don't see a ready made deal. If your local dealers say no, you can always resort to the Asian imports, or just sell the kit lens on eBay. I've been thinking about buying a GM1 body to be used as a pocketable b-camera for a good while now, as soon as the body only deals came available. But I haven't bought one yet, because the less than desirable ergonomics of the camera. I still might, though, at some point.

That seems to be the price throughout the EU. I wonder how much is the actual purchasing price (w/ taxes) in (the most of the states inside) the Obamaville? I take it that the $1698 mentioned in the header is w/o taxes, isn't it. Just curious.

Well, the question in the headline and the question in the opening message are actually two very different things. ;) To answer the one in the headline, I honestly don't know. I've seen/heard nice things about some Quantum lights, for example, and no doubt there are a handful of other good and pricey ones, but so far I haven't had the chance to use those myself. Are those Omicrons the best, let alone the best for you, who knows. The ones with the least colour issues aren't necessarily too portable, and never cheap. The rest is a matter of taste. To answer the question in the opening post, the on-camera one I have is a Youngnuo YN-160. It's cheap, and easy to find in almost any online and b&m shop. It takes the common Sony (and maybe Canon) camera batteries as well as AA batteries, it has a rudimentary brightness level switch and barn doors, and it comes with the usual colour filters. But other than that, it's pretty much as crappy as the other small and cheapo LED lights out there. It's small enough to be mounted on a camera hotshoe or a rig, but I hardly even use it that way. I use it as an occasional backlight, 'emergency' light or whatever, whenever colour balance is not critical. In hindsight, I might have chosen a slightly bigger and different one, like a Polaroid, Walimex or whichever generic brand ($80-$200) model that has a narrow but wide LED panel, rather than an almost square one. Or maybe a regular shape one by Manfrotto. But on the other hand, the barn doors are a nice touch, and the Youngnuo was quite cheap and in stock at walking distance from home. When it comes to the light quality, I think the ones under $350 price range are all pretty much the same. Each have their own colour signature which you either need to measure and work around at each desired brightness level, or just ignore.

No one knows, but that doesn't matter. This is the 'internets.' Squirrel! The motivations behind cases like this usually boil down to either emotional needs or hidden agendas (personal gain). In this particular case, even though the person behind the video is not a teenager, the core motivation was apparently attention seeking. That would be the most logical explanation, and it is the most common emotional need online. Now he got his 15 minutes. On the other hand, I question the motivation behind re-sharing a controversial story with caps locks and all, and thus helping in creating yet another false meme. What's the point? The reasons behind that strange incident are nothing but clear. Even though it appears (according to some speculations) that the battery might not be the reason for the frying, there are still a number of third party variables we know nothing about, including the conditions under which it really happened. But none of that seem to matter. The story has already gone viral, a number of blog sites are already speculating it, without knowing the facts, other than that the camera burnt out. It may well come down to just one faulty component inside just one unlucky camera unit, it may also come down to less than ideal handling of the camera, or to a combination of several different things, or it may not, we really don't know. But who cares, a new internet meme has already born; "Don't buy a Blackmagic camera, it'll blow up on you and burn your house down." Well done.

Well, sometimes shit happens. To cameras with batteries, cars with batteries, etc, etc. Ho hum. Not really worth caps lock, is it. Anyway, I hope they'll get a new camera, either from BM or the insurance.

Well, other than a decent copy of a Helios F2/58mm, I wouldn't bother too much about the other old Soviet era lenses. But to name some favourite legacy lenses like that, the old Planars and Distagons, Biogons, Schneider Curtagons and some Pentax Takumars come to mind, in the 25mm, 28mm, 35mm, 50mm, 58mm and 135mm range. Personally I've got a soft spot for some Minolta Rokkors, too, but they don't really look like the Helios, and they need a different adaptor. But nice vintage lenses, anyway, and not too expensive. Same goes for many Rollei and Contax/Yashica mount lenses. Fortunately even the better adapters aren't ridiculously expensive.

PS. IF you do decide to go for another brand camera system, anyway, and your goal is to shoot mostly real estate stills and video with just one camera, you might wish to consider a mirrorless camera with a decent EVF. It would make your life easier. Something like a Panasonic G6, GH3 (or even GH4), or a Sony RX10, for example, especially with an Atomos Ninja 2 recorder. All those cameras are capable of delivering decent looking results. Better video than your current Nikon, and the stills would be good enough, too. Besides, as long as your photos and video clips are being viewed mostly online in a web browser window, you wouldn't really get much benefit from the most expensive, top of the line camera gear, anyway. As long as we're talking about regular dSLR type cameras for both stills and video. PPS. I just jumped to post a reply without reading the already existing ones, and looks like some similar thoughts have been posted already, so sorry about the repetition.

Well, partially yes, sort of, but for the most part, no. Let me be the first to point out the obvious but unpopular proverb; "it's not about the gear, but how you use it." By which I am by no means questioning your skills. My point, however, is that your primary problem may not be the camera. Sure, from those cameras you mentioned, a Canon 5Dmk3 might be a noticeable, albeit incremental improvement, but it wouldn't remove the problem you're referring to. Even in many (most) high production value advertisements, TV episodes and even in Hollywood productions the teams sometimes need to, and they will work around the shortcomings of the gear, whichever that may be, and control the variables on the set, like lighting. I'd say lighting is the key here, too, not the (brand of) gear you're using. The rest is scripting and post-processing - the way you're delivering the story. Picture a high production value commercial with actors in an interior set, for example. In many cases the light you see coming from the windows is a carefully metered and colour balanced light put outside the window, made to look like daylight, and/or the problematic shadow areas are being lit with additional lights, reflectors and so on. Often just barely outside the view. They do not let the sun (or the lack of it) dictate the look of the footage. They can't afford to. Unless they're after some dramatic mood to begin with. In commercial uses like yours that's usually not the case, though. The rest of the magic happens at the editing and grading stage with software. In other words, yes, you might get a minuscule improvement by investing in certain more expensive camera models or in a whole new set of gear. But an easier and more cost-effective way to improve your current footage would be to invest in some lighting gear, post-production tools and, time. Try to plan your shoots in advance as much as you can, giving the weather and time of day some consideration, too. In your case, investing more time on the location would probably increase the quality of the footage significantly. In most cases I've been frustrated with my own footage it has been more about the way I've done it, rather than what gear I've done it with. In many cases I'd been be better off with just some thinking outside the box kind of thing. Adapting, and making the most of the stuff I have. But I, too, tend to blame the gear, anyway. Oh and one more thing, put the perfectionist on a vacation when doing those shoots. On a non-negotiable one. ;)

I've developed a slight interest for aerial shooting, too. Or at least floating action footage from unusual points of view, if not for pure drone/chopter shooting. For that I've been considering the new Sony HDR-AS100V action cam, which might be a reasonable compromise for 400€. A different compromise than a small CSC like the GM100 or even G6 for roughly the same price (body only). I'm in no hurry with 4K. It does 60/50 Mb/s 1080p XAVC-S and 240fps slo-mo, it's small and weather sealed without a separate box and so on, albeit with only a 1/2,3 inch sensor, fixed wideangle lens and no manual settings á la HDSLR/CSC. But it still might be a cool toy and usable as a b or c camera, too. It might. There's not much point in debating how good or bad a choice it actually is for each of us, because it's mostly a matter of personal preferences, and because the damn thing isn't even out on the shelves of the shops yet. Since I've got no urgent need for one, I can wait. Not for a newer and shinier model from NAB, but for the actual need, along with some field test reports from sources that know what they're doing. So far there seem to be none. Hopefully there will be some usable reports soon-ish.