Cinegain

Oh do I, now? Interesting observation, dare I say. Interesting indeed. I've got all sorts of influences going on having consumed tons of different English spoken media (yay! for not consuming media with foreign language dubbed audio, ef that shih #amirite (included a hashtag specially for you)) and talking to people from all ends of the world. The Dutch guy in Austria talking like a southerner. What is this mad world we live in, eh!?

You got the hang of it!

Except, there are two major players in on the format and quite a bit of third party offerings as well. So, it's just massive choice. Who else besides Fujifilm is here? Yeah, sure, the same multi-mount optics by Rokinon/Samyang/Walimex. Oddball multi-mount Lens Baby and Zeiss perhaps. And I know there are Fujifilm focal reducers. Just not for the Samsung I mentioned. But for both, to my knowledge, there aren't any electronic adapters, which is my main issue. All in all, I'm not sure if they have a compelling enough product to make me spend money to get a Fujifilm on the side or make the complete switch for that matter.

Same thing as with Samsung though, as nice as the video might appear to be I just don't feel much for buying into their native electronic lens line-up... although there's some true gems in there. And I'm going to want some of that glass around though, especially since its main focus is for stills anyways. Although, you know, it's Fujifilm glass, so most probably it will keep its value quite nicely. Do feel that it's a safer and more flexible bet going for Micro Four Thirds or E-mount camera bodies with affordable and plenty third party lenses as well as adaptability with electronic adapters and focal reducers. But yeah, there's something to say for a stills heavy hybrid camera with solid 1080p video and great organic, yet detailed, rendering.

Rather yet, instead of recovering, it's destroying. Apply some filter afterwards and they remove details that were there... which truly is a sin. But then again. It's just for simulating purposes, so you kinda get the general idea of what these filters would be doing. IronFilm knows that. So I guess, it's all good. Just not to give the wrong impression to newbies reading along that such a thing might just be an idea grandioso to actually implement in an editing workflow. Unless you want to pimp out some quick screengrabs for sharing on your Facebook page... then by all means.

Because that is like having a bag of M&Ms and then empty it out over a glass, with some of the M&Ms missing the glass completely and fall on the floor and say 'look, now they're in the glass'. No, they aren't, not all of them. Just effin' great. I was looking forward to eating those, but I ain't eating 'em offa this floor! Better to deal with things before they get captured, rather than the notorious 'fixing it in post'.

Varavon had those... http://varavon.com/collections/bmpcc-cage/products/armor-pocket-body-handle

There was a very good topic on those a while back: http://www.eoshd.com/comments/topic/7284-tiffen-ultra-low-contrast-filters/?page=1

Andrew did a side-by-side here . In-body stabilization is good for handheld static shots. Gimbal stabilizers have a greater range to stabilize over, so generally it excells VS IBIS in terms in dynamic shots with lots of motion.

This is a cool one: http://www.expoimaging.com/product-overview.php .

Sony and Panasonic seem to got what it takes. If you can, I'd say LX100 all the way. Just depends on your budget, but RX100 isn't supercheap or anything. Not sure what those recent Panasonic LX100-like cameras sell for, they might interest you. Recently I picked up a Nikon S9900 for just a little over 200 EUR as a travel cam (plenty zoom flexibility, vari-angle screen, nice bridge between LX100 and FZ1000). Video's not is definitely not as great as the Panasonics (and the zoom mechanism is very very loud). Guess if you want small and zoom 1/2.3" is it. But then you get the accompanied compact look, with low dynamic range and everything. Mainly gotten it for stills anyways as the crop helps with tele and keeping the subject in focus. For video you might want to avoid 1/2.3". 1" or bigger is pretty nice. This is a nice overview of cameras that generally would be interesting: http://geizhals.eu/?cat=dcam&asuch=&bpmax=&v=e&hloc=at&hloc=de&hloc=pl&hloc=uk&hloc=eu&plz=&dist=&mail=&bl1_id=30&sort=n&xf=86_0.55~70_3 . - kinda thinking about it... recently I saw a pretty decent GM1 kit deal. I'd rather get something like that as B cam. Might be some nice deals to be found in your area as well.

To be honest, I didn't find it much better than some of the stuff I've seen with something like a simple Pilotfly H1.

Your methods sometimes seem like taking a military obstacle course to work rather than taking the bus. You do know that taking the bus gets you there faster, right? And keeps you dry when it rains, or warm when it's cold... etc. I mean, that you want to tinker around with your 6 years old T2i is all well... but to me it seems like a lot of wasted money and energy. And although you claim it to be, it will never reach Alexa-like picture quality. Do you have any actual experience shooting other cameras? If you did, you might realize what you're missing out on. Especially rolling these cameras out in the field. Don't understand why you haven't just gotten yourself a BMPCC already. Or a G6... G7... anything, really. I think in a few years you look back and say 'I was so stubborn, haha, I guess I was just looking for a challenge but ended up limiting myself'. But hey, we all got to make our choices, see how they pan out and learn from them. Though, if I stuck to shooting stills with my 2MP Kodak, I would really be seriously missing out by now and be outclassed by any camera, smartphone and webcam. We're in a digital era. You can't really allow yourself to fall behind. And technologic advancements are not here to hurt us, they're here to make our lives that much easier. I'd embrace it, not fight it. That would for sure leave you with more time and energy for other things... people want to create, be creative... sounds like those people could spend their time and energy more wisely than trying to find cumbersome solutions to problems that could be handled with more effectively. My 2 cts.

Well, you're being optimistic. You really think we'll get to see 4K on that? With the E-M5II they wanted to make the statement: 'look guys, you can forget about video, here's something that will make you shoot cinema-quality movies. Woah! Don't say we don't cater to you filmmakers!'. It's only so-so and no 4K. And that's supposed to be their filmmaker's pick. So... the E-M1II will remain to have its focus be still images. It won't be till the E-M5III that we get to possibly have something to actually be excited about. Unless they figure: no more video-centric camera, there's only going to be E-M1 and E-M10, in which case, the E-M1II actually might just end up having the best features for hybrid shooting after all. Not sure about that though. But the PEN-F? I don't see why they would push cool video features for that. It will revolve around retro basic stills shooting. I kind of like the grippy E-Ms though (the PEN-F grip accessory looks like an abomination to me). Atleast they seemed to have noticed the wish for a vari-angle screen. Don't know. Could be nice, but I'm not expecting it to outperform the E-M5II on video, that's all.

Kinda this: I guess I could sell off two of my BMPCCs and start using it with the VA like so: ... but it kinda looks like something you wouldn't actually want to be doing.

~ http://www.sonyalpharumors.com/sr5-this-is-the-logo-of-the-new-sony-g-master-lens-line-firts-lens-is-the-24-70mm-f2-8/ , sounds interesting. It was about time Sony started to pump out f/2.8 zooms. And videofriendly lenses would be a huge plus too of course. They have the fancy Sony FE PZ 28-135mm f/4 G OSS which is kinda meant for 4K productions, but I believe that's pretty much it (and at f/4 it seems more of a ENG-shooter's choice rather than that of a filmmaker). And with cameras like the A7SII, you've got to give people the spoon to go with their soup. Combined with the launch of new mirrorless cams around CP+ (hopefully, fingers crossed), the force seems to be quite strong with Sony at the moment.

This convinced me of the SLR Magic way back when: http://3d-kraft.com/index.php?option=com_content&view=article&id=137:adorable-25s-25mm-f095-speed-lens-comparison-on-lumix-gh3&catid=40:camerasandlenses&Itemid=2 . Had no problems with it (one of the first 100 pre-order units). From what I've understood, version II of the SLR Magic was so it had better compatibility for mounting anamorphic attachments. Am surprised they come in very subpar shape to you guys (although getting only one lens (directly from the manufacturer), there isn't much to take away from that sole experience). But I'd say: follow your guts. If you were happy with the Voigtländers... it's not like they make poop. German (although originally Viennese/Austrian) meets Japanese. Although in terms of engineering I think it still shows signs of the German Sachlichkeit. They have a solid product and ditto history, that's for sure. SLR Magic are a pretty typical Chinese company. They lure you in with an impressive specsheet at a pretty impressive price. Zhongyi is another prime example of that. Doesn't neccessarily mean that what they have to offer in all actuality is crap, but here and there you do notice they haven't got any vast German or Japanese heritage of precision engineering. That said. I absolutely adore my SLR Magic HyperPrime CINE 25mm T0.95. But when getting it I was able to shave off a bit of the price by pre-ordering, so economically, for me, it became more interesting than the Voigtländer. Would I have gotten the Voigtländer instead though, I'm pretty sure I would've felt the same way I'm feeling about the SLR Magic now. - Actually, there was one thing to notice about the SLR Magic. The fit was just fine on Panasonic cameras, but I was afraid to break my Olympus E-M1 when trying to mount it on there (which I wanted desperately, because of the in-body stabilization with full manual electronicless glass), so friggin' tight. Read up on it and others were reporting the same, but that you shouldn't be afraid and just force it. First tried to get SLR Magic's response, they said they could change the mount, but that might result in the lens turning out to be a 'sloppy' fit on the Panasonic. Well, that's not what I wanted either and my priority was with Panasonic (as Olympus video still wasn't much to write home about). Long story short, I forced the lens on the Olympus and didn't really break anything, maybe roughed up the lens mount a tiny bit. It's weird though that the mount within the same format isn't equal from one camera to the next. I expected zero tolerance.

Sure you have the latest like flash/javascript plug-ins installed? Do you have some kind of adblocker or scripblocker enabled?

You mean like this: https://shotonwhat.com ? > https://shotonwhat.com/the-man-from-u-n-c-l-e-2015.html Btw, IMDB also list some tech info, e.g.: http://www.imdb.com/title/tt1638355/technical?ref_=tt_dt_spec

Probably takes the signal just fine*, it supports HDMI, 3G-SDI and 6G-SDI, but it peaks only recording ProRes 4444 XQ whereas Atomos and Convergent Design do actually offer to record Cinema DNG in addition to RAW output to ProRes recording. Have a look over here: http://www.videodevices.com/products/portable-video-recorders/pix-e5 and look for 'Best Practices for Camera Integration'. There's some reference material for use with the FS7, of which the set-up is probably quite similar. - *actually, after a 2nd look, I do notice some articles saying the PIX-E5 cannot handle RAW streams as input e.g. -

My reaction would be 'well, dúh' to most of that, I'm afraid. I guess you went in with false expectations about what this device was... but you still hit some fair points. But when you get a first of a kind device like that, unfortunately these child diseases and little frustrations usually pop-up. That's why I'm not really eager to play guinea pig and have stayed away from pistol grip gimbals to this point. It needs to mature a bit more. I'd say it's kinda getting there, just not quite yet on the level I'd like it to be.

I'd say battery life is a big one. Connectivity, interference and range another. Quality of the stream. Possible lag. It all adds up. You could do it, but you'd risk running out of juice, dropping connection, suddenly pairing with your phone or another source, hearing different levels than being recorded etc. And that's not something you want to have when you need to monitor a live recording. A cable is so simple 'n stupid that you can hardly go wrong. What you hear is what you get. If there was like a solid aptX DSP signal without issues and it could last for ages on a charge, then sure, but I wouldn't really use my Jabra REVO or Sennheiser HD 25-SP II w/ Bluedio i6 with a BT TX hooked up to the recorder for example right now. BT range isn't everything either, so for mobility I don't find it too tricky to use a corded set-up.

They're both fine, but the D750 is a really exciting camera if you ask me and surely fullframe and a higher end body comes with certain advantages. The 5300 for example doesn't drive old AF lenses as it lacks AF motor. And as Matthias showed, the D750 really does things right. Both aren't mirrorless, have fancy 4K or anything, but they're both solid choices. The D5300 would have that vari-angle display which could be nice, should you care.

If it's for the Canon 70D, then why not get the EF-S 10-18mm IS STM? You need wide with f/2.8 for shallow depth or lowlight? Otherwise, it works fine with a mechanical or electronic stabilizer. If your handheld skills are any good, you can digitally stabilize it in post quite a bit. Just cropping in on 1080p video isn't ideal.

Maybe temperature shock it into loosening up if you can? But in general: just keep trying, it will probably give in at some point. G'd luck.