Nick Hughes

​Not denying that the Kinemax looks like a great camera, but it's not the right tool for every situation. VICE shoots on C100 and C300 and they put those cameras through their paces over and over again. Try taking a Kinemax into a desert combat zone, or the jungle, or the antarctic, or any of the other places they visit and see how well it holds up for a week. Chroma channels and high frame rates become a lot less important in certain situations. The C series are seriously built cameras that can take whatever you throw at them.

​C-log, as well as (presumably) better DR and low light performance.

This really does look like an incredible upgrade- pretty much every problem I've had when shooting on the C300 has been alleviated. Can't wait until the production companies I shoot with start buying these, but that probably won't be for quite a while.

NX1-LX rumors are very speculative at the moment. We're not even sure if it is coming (ever), let alone what the bit rate will be. Jello doesn't have anything to do (directly) with mirrorless. It has to with whether or not a camera uses a rolling shutter or a global shutter. RED uses a rolling shutter, which can indeed induce a jello effect. However, RED uses a much faster rolling shutter than a 5D or NX1 or any DSLR-style camera, so it isn't a problem in most situations. If you were panning quickly with a telephoto lens while on a train, you may see some jello.

No, shooting 'flat' on a DSLR is nothing like shooting real LOG. I use VisionColor profiles on my canon because I like the look, but not because I'm squeezing a ton of extra details out of the sensor.

Improving and adding more options sure sounds like innovating to me. You can't reinvent the wheel every year. A smart company should absolutely be looking at what the competition is doing- it's good for everyone, especially the consumer.

Ironically enough, the first time I encountered 'plastic' skin tones was when I installed cinestyle on my Canon.

​I've found that those who profusely complain on forums are seldom actual pros who are out there working. Pros know how to work around problems (record button) or are skilled enough to avoid the problems that amateurs seem to get stuck up on (skin tone).

I bought this after working with a Vice crew that uses them. Holds the mic very sturdy and reduces noise well. Yeah it's $120, but I've heard some people say a good shock mount should cost as much as your boom pole or more.

... here's the latest video I DP'd, which makes use of plenty of slow-motion and other film 'cliches.' I love every minute of it. We filmed it last fall, but the music wasn't mixed/mastered until very recently. Shot on FS-700. Canon lenses. ProRes through Ninja Blade, internal for Slo-mo (I hadn't yet discovered the magic of the 7Q). Some variation of a flat profile, but not quite S-log.

NICE. Any wild guess on price? It's hard for me to know where this sits in relation to their other products.

BTW, I was just poking fun at Ed with that link to his own slo-mo test. I personally think it's totally fine for people to put up their own test videos online. Some are scientific, some aren't. Sometimes they're helpful, often not. Yes, there's an over-saturation of media online these days, but it's only going to continue. Complaining about it isn't going to help anything.

Yeah, we've got way too many videos like this:

I don't like to dial down the saturation too far in the GX7- I find it difficult to bring the colors back to life.

The safety track on the DR-60D will work with phantom just fine.

Nah, seems like it would be a great choice for you. I imagine the D750 is much more rugged than the NX1, which gives it an advantage in your situation, especially when paired with weather-sealed Nikon glass.

​I find moire to stand out much more on close-to-static shots than on those that are moving.

Fuzzy, I wouldn't count on Oly for a firmware fix when they can't even do one for 24p on their flagship camera.

​Throwing a drunk temper tantrum is not an industry standard nor is it justified.

I find that people who complain about politcal correctness are usually the ones who want free reign to be racist, sexist or derogatory with no repercussions. Whenever I see someone bemoaning our PC world on Facebook, it's usually right after they've been called out for saying something along the lines of 'let's bomb the whole middle east.' If you need to put down others for the sake of 'comedy,' you're probably not a very inventive comedian. You can be still be edgy and controversial without being an asshole.

​But god forbid you show a (female) nipple.

This is all speaking to the broader topic, and not to this specific incident. There's a fine line we have to walk here. Creative freedom doesn't mean you need to have fun at the expense of others. Good art and good comedy don't require you to alienate minorities. ''PC culture' isn't about your freedom of speech. It's about our right to be offended.' We should be allowed to call someone out for being insensitive and derogatory- Andrew did it with his article about 'The Interview.' We don't need to make sure there are 50% women on camera in every single production, but we absolutely do have to acknowledge that women are given far far fewer opportunities in the industry than men. We need to take steps to correct that, and we can do so without going to the extremes that some people think women's rights advocates are suggesting.

​I've been looking for a practical way to mount mine- you look like you've find a pretty great solution! Mind posting any detailed pics?

Maybe this camera just needs to get in the hands of better operators, but I can't help but see unnerving parallax shifting in the 'tripod shots' and the handheld moving shots end up shifting in robotic, unnatural ways. It's the same thing I see with a lot of these cheaper brushless gimbals. And when the aliasing shows up, it's pretty jarring. A lot of the footage looks perfectly good, but I don't think the camera as a whole is quite there yet.

You shouldn't sharpen a letterboxed image- add the crop after you grade and sharpen. Low-contrast images can be very nice, but that doesn't mean high-contrast (or really, normal contrast) isn't filmic or cinematic. Sometimes when I'm watching a film, I'll realize halfway through that there are a ton of crushed blacks or just high contrast in general, especially often for movies shot on film. And it's still beautiful. I personally think ultra-low contrast imagery will start to look dated at some point, so I try to make sure not to go to far down that path. Striking a balance is (usually) always best.