Cinegain

Well, growing up with so much awesome gear around them, perhaps just pass down the knowledge and skills by homeschooling them in the art of photography/cinematography. Imagine The Kelly Family if you will, but instead of playing instruments and singing, they grow up taking pictures and video. That's a pretty mean production crew put together right there!

Ah. I kinda forgot that we had a whole friggin' topic on those recently. http://www.eoshd.com/comments/topic/18969-does-it-worth-to-upgrade-to-zeiss-distagon/Will probably follow Andý's advice and be abele to send junior to Harvard instead of community college after all by not going with the faster ones. I might just try a 35 mil first since that's a focal length I have the least alternatives for. Would have to get me that focal reducer if commited, though. I'll sleep on it. - Hum, I see that's actually what richg suggested there too: Man, there so many awesome folks around here with great angles on things. Good food for thought.

Yeah, I noticed that too, with the close-up it almost looks greenscreened. The foreground is very nicely separated from an almost 2D rendered background. So bloody filmic!

Why aren't they reaching out to people like you in the super early stages before they release these kind of cameras? I bet they give it to a bunch of people when there's almost final pre-production units, but are these 'first look'-folks just so grateful to have the oppertunity to look at these things before everyone else that they dare not speak of any issues they encounter in the fear of ruining the relationship they have or what? Anyways! One of the greatest things you can show as manufacturer is that you care and that you listen to the people who end up buying and having to use these puppies!

Your not so distagont future. Here too btw. I've tried just about everything, but so far nothing Zeiss branded yet. Though they have this sexiness to 'em. Mmm... and now with the cheaper C/Y focal reducers... who knows. My finger might slip and press some button on eBay by accident, you know. Which would be the one to go and try first?

Yeah, I waited forever for it to arrive. It's pretty fresh! I just got my Patona power supply for it sorted this week (didn't just have Canon stuff around being a MFT system shooter and all). I guess retailers ship 'em out when they get their small quantities in, so you're best off, if you really want one, to order as soon as you can and then keep your fingers crossed they'll get a shipment from BMD in, within a few weeks from ordering and there isn't a massive waiting list for 'em. I think it might take a while for them to just be readily availlable. The VA takes SDI 4K, but I haven't got any HDMI to SDI solutions around, so it's HDMI 1080p for the occassional V-Log L mainly. Recording ProRes out of the GH4 is really nice to have, even if just FHD. Didn't do more than running some tests out of the box. Now will have to update the firmware and see what that's like. But so far... it looks well worth it... especially since I'm probably going to get the BMMCC with it. 4K is cool to have, but solid 1080p doesn't really bother me. As everyone already mentioned, it's probably one of the most pleasing images for the money... and now it has global shutter and the battery doesn't run out on you in a blink of an eye, as well as now you'll use a dedicated monitor, instead of the iffy display on the back. - Actually, if you don't mind a demo unit, they have one for direct ship out over here: http://www.one4av.com/ex-demo-blackmagic-design-video-assist.html?___store=default_en&___from_store=default

Well, I already have the BMD Video Assist for use with the GH4 and contemplating selling off two BMPCCs to order a BMMCC (indeed: global shutter or rolling w/ 60p and increased batterylife!). But I'd rather use it like this, not too different from a vari-angle grippy camera such as the GH4: ... than how Blackmagic showed us like this: Just looks a little awkward. And how are you going to mount it and what if you're taking a break, how would you even put it down?

Yeah, but they're talking about FPN in well lit conditions as well, making no sense. With so many negative reviews you'd think there's fire where that smoke came from...

Ouch. That sounds nasty. Especially BMD just replying that what they're encountering is normal behaviour. Bit of a shocker. But then again. I thought everyone knew the 4K wasn't the one to get and the 4.6K is probably where it's at?

Internet cred. 1337 FTW. +1 Or stick around for the next round and maybe win yourself that refrigerator!

Framegrabs look sweet! What TRM said!

There's no 'C' in the name. So be prepared for disappointment! Fingers crossed though! That would be one mean hybrid cam if it were to be any good. May also leaving you paying a lot for stills features you'll hardly use though. So Indeed, a proper 5DmkIII successor with 4K... that would be something! But remember... I referred to Sony the other day as possibly 'pulling a Canon' should they not give the A6100 the much desired features we've recently seen in cameras such as the RX10M2, RX100M4, A7RII and A7SII... 'you're serious about video? Pay serious for serious video'. I feel like that's a thing over at Canon. 4K video on the 1DXII might be focused towards some kind of 4K Photo Mode. Possibly without including 24p and things like C-Log, since it's a camera focused on serious stills, not serious video. - Could have recording times of max. 3 minutes and shoot cropped by 'pulling a Nikon' too of course...

So say 'hello' to the Japanese consumers out there. And from what I've gathered a lot of these people usually don't care too much for casual shooting, they have their phones or dedicated selfie camera for that (especially young women!). Though when they do shoot something you'll often catch them trying to recreate footage to look exactly how it looked at the time of recording. Lot of hobbyist out there with a passion for trains for example. Or Tokyo's Disneyland. Theatre. Green parks. Fireworks. YouTube is filled with a shit ton of footage they've shot. I've noticed over the years by searching for sample footage of many cameras. Modern 4K crispness, higher than 24p framerates... it doesn't bother them! Looks like a soap opera? Well then: mission accomplished! No thick grading... a lot of deep focus detailed shots which are quite true to life. They hardly shoot handheld. Most of the time is tri- or monopod. When it's handheld you'll see them using gimbals, walking around like some true Japanese ninjas! They can upload 2160p videos to YouTube, they're not going to settle for Canon, who is known not to push consumer grade cameras when it comes to video and still focus on 1080p. So I'm not at all surprised to be honest. To me Japanese seem the kind of people that roll with the times. And Sony, Panasonic and JVC rank high on rolling with the times as well. I bet they went crazy when the FDR-AX100 came out...

Well, the eBay listing indeed sells it with the left hand grip... My cut n pasted in photoshop render had a right hand grip from this image: -> With pivoting VA & 8Sinn cage/handle Wouldn't make it wildly different from something like this:

Did you see the latest Canon camcorders? They were 1080p.

True that. And with such acceptable levels of quality, manufacturers making it increasingly difficult to hack into their platforms and with them as well releasing cameras one after the next... the effort doesn't outweigh the benefits of looking into hacking these newer cameras, so mostly nobody's even seriously trying (what seems to be left is the occassional feature unlock through a glitch (Sony/Panasonic)). Even at Magic Lantern... new gen 7D: the Mark II, new gen EOS T/EOS 7x0D... things aren't looking all too convincing. So this line of camera enhancing seems to be taking its last breaths. The only thing you can still expect that kinda stuff from is open platform projects, such as the AXIOM project by Apertus. Perhaps Samsung could be like 'well, we might as well let the camera owners be in charge of their system, since it's a dead end from our side, here you go, full access'. But I don't think something like the X-Pro2, already an unlikely candidate mind you, will get enough momentum to get people even trying to get in and change things around.

I think something like this could perhaps be nice:

Like... this?

Yeah, on the one hand Nikon brings out special D750 & D810 Filmmaker's kits... ... one the other hand... they'll leave you wondering why with those kind of statements they aren't really pushing their video all that much.

Depends. You really need to list your needs separately from your wants, so ask yourself: 'what do I absolutely need it to do? And... what would be a nice added bonus?', there's probably one that checks off most needs... then see what you are willing to compromise to get other benefits. One 'need' probably is budget, so also define that, as well as: what are you using it for, what kind of projects, how would you use it? Where do you see yourself in a year, would the camera still suffice? Ultimately it's also a matter of personal situation and taste. I bet all would serve you will, but one would fit into your flow more.

The BMPCC has great rendering, but put those lenses by mr Gale in front... now, that's an image! Congrats. Looks like it makes a great combo. Just a tad jalous of that Trump lens set. Gd luck on the short!

Exactly! I've been saying the same for the last couple of months... oh how I wish they would just put some of the RX10M2, RX100M4, A7RII and A7SII tech in the next APS-C mirrorless camera. Just a good solid performing sensor, 4K capability, high framerates, etc. But like you I'm afraid that they'll pull a Canon and restrict the lower end segment. I mean, I would be perfectly fine having E-mount APS-C mirrorless. Fullframe, sure, it's nice, but I'm not heavily invested in fullframe covering lenses, nor do I have the wish to buy some because they tend to get bulky and expensive. Sony's answer obviously would be 'well, if you want the serious functionality, you just got to cough up the serious dosh. You can use the camera in S35 mode'. But I'm just not looking to throw money at something I'm not going to use to its full potential. Then just give me that APS-C camera already. If I still wish to get a fullframe look, I'll adapt lenses with a focal reducer (Sony: 'see, if we give you that APS-C camera you want, you'll then leave us for dead after. We need you to buy into the system, not just buy a camera'). I went with Micro Four Thirds because back in the day I more or less stood for the choice: GH2 or 550D/T2i. I went with the GH2, because it's mirrorless, I love liveview and to use an EVF. Articulated touchscreen is awesome to have! And a huge plus: small formfactor, especially when used with the 14mm and 20mm pancake primes. As well as the ability to adapt all sorts of lenses, really. That philosophy kind of continued with the E-M1, BMPCC, GH4 and Z E1. I did have some Nikon glass (e.g. Tokina 11-16mm f/2.8 II, Sigma 18-35mm f/1.8, Nikon 28-70mm f/2.8D & 80-200mm f/2.8D) because of the easier adaptation than Canon mount, so when I found out the D5300 with 18-55mm II was on sale for 449 EUR, I couldn't resist. Only added the 35mm f/1.8 on top of that, to have a nice alternative electronic native mount lens as well. Image quality wise, there's hardly any better value out there. It's pretty damn solid. For stills, Micro Four Thirds just isn't a match. For video, the D5300 has that more organic rendering and superb colors. Lowlight performance is decent as well. But again, you're so right, it might be one of the least user-friendly cameras out there. For stills, if you're used to liveview on mirrorless cameras, shooting in liveview on the D5300 is a horror, it just slaps the mirror around like it's applauding itself. I just don't see the benefit of having a mirror and OVF, except for the dedicated phase detection system for reliable AF, which I think is the only reason people still buy DSLRs (and perhaps their rugged touch and bulky ergonomics). Then there's weird behavour like don't being able to change aperture on the fly. C'mon Nikon... Anyways. I do feel the 24MP APS-C sensor is a nice place to be at. Enough resolution. Good performance, decent in lowlight. Overall a better idea than Micro Four Thirds. The NX1 gave it a good shot and still is a nice camera, it showed that APS-C mirrorless is where it's at! But I still feel you would have to get the 16-50mm and 50-150mm S lenses and then it's getting pricey to the point I wonder what I'm doing spending so much money on a system without a future, when there's so many interesting alternatives out there... sure Sony has the A5100 and A6000, but they're really getting behind the curve now and don't think Sony ever expected people to be using it for shooting somewhat more serious video given the fact they only gave A6000 XAVCS with a firmware upgrade for example. But I think they've come around on that now... and they've been implementing cool video features in those 4 mentioned cameras (as well as higher end stuff). You'd just think there's almost no way around it not to implement any of those things... right? Unless again, they want to pull a Canon. Not sure. There's loads of rumors, but also, rumors have been going on for a year now and nothing happened. Personally I think 4K and in-body stabilization is quite a bit of a stretch, but if they can pull it off... power to them! Just hoping the EVF is any good and they'd give it a vari-angle touchscreen. That would make it competition for the E-M1/E-M5II and X-T1/X-Pro2 for sure. We'll just have to see how things will pan out. But the A6100 might just check off most of my wishes and might make me not buy a Micro Four Thirds camera again...

Ach so. Sounds good then. Hope it does the job!

Nice, I was curious 'bout those when I found out that: Are you sure you're having issues with sharpness though, shooting with a T2i? I mean, the MFT cameras might have that slightly harsh edge, but I'd say Canon is soft enough as it is? Wouldn't Ultra Contrast be right up your alley as well?

Yeah, as-is it's meant to be used in this kind of fashion: Oompf. Won't see me walking around with one of those anytime soon. But now... they've probably optimized the unit and upped the mobility so it can be used in a similar fashion as the Canon C-range, Sony FS, Blackmagic URSA Mini, heck even the AJA Cion and JVC GY-LS300. A proper AF100 spin-off indeed! Combining the AF100 styling and the Varicam tech turning into a significant pro-up from the GH4 and less limiting than the fixed zoom DVX200. Sounds like a sound plan to me!