Don Kotlos

Had they managed to get the global shutter to work and also offer a compact EVF, sales would be much much stronger. Just my guess

I am hoping for a cheaper more compact 4K recording solution next week at NAB.

Better color tonalities & less banding are expected theoretically with more bits as mentioned earlier in this thread. Your tests confirm that. The differences are subtle but still there. Some of Sony's gammas are also not correctly recognized in Premiere and it is indeed annoying. Even more annoying is that I don't know who to blame for this.

Yeah I agree. Many people were begging Lytro to allow these things in video. Swapping the background or even selectively color grading it looks very easy. I would imagine that after few Hollywood movies and enough buzz, they could come back with a consumer video camera that doesn't weigh a ton.

Yeah the size is as unbelievable as the features of this camera. I guess they will also be developing an ED-209 to carry that thing.

I have no experience with the post focus feature, but I thought it is more for static objects since it takes multiple photographs. Isn't that the case? With one picture of the Lytro you had controls like this: Definitely and that is probably one of the reasons that Lytro cameras did not have that much appeal.

A friend of mine had bought it and I was playing with it so unfortunately I have no pictures. The quality was not that great, but since then I believe it has improved a lot. The biggest drawback for me was their design. It appears the same design works much better for a larger studio cam...

"rental packages start at $125k", so at least for the Lytro Cinema this is not possible I have briefly used their original Lytro and it did what they said it would do. The problem was that it wasn't that useful or even inspiring. Their technology makes much more sense for Cinema and now they are taking advantage of that...

When I first saw the video and really thought it was a joke. But it looks Lytro found their segment and it will be very very hard for any other company to compete with them. In few years things may change but definitely not anytime soon. I bet that as soon as this camera becomes available it will be in every large production.

755 RAW Megapixels Up to 300 fps Up to 16 stops of Dynamic Range Integrated High Res Active Scanning Systems POST-CAPTURE REFOCUS & EXTENDED DEPTH OF FIELD With Light Field cinematography, creative camera controls transform into flexible post-production processes, liberating shots from restrictive on-set decisions. COMPUTATIONAL FRAME RATE & SHUTTER ANGLE Adjust frame rates and shutter angles in post-production, so motion blur becomes a flexible creative decision. DEPTH SCREEN With depth screen, it's as if there is a green screen for every object in the scene. But it's not limited to any one object. It's anywhere in space. LIGHT FIELD CAMERA TRACKING Combining an integrated high resolution active scanning system with the Light Field data, Lytro Cinema is providing precise camera tracking information that greatly simplifies the task of CG integration and match moving. https://www.lytro.com/cinema Media Coverage: "This camera is essentially military-grade technology, so Lytro is initially working on getting this camera in filmmakers’ hands when they need it rather than selling the entire solution to studios. Lytro says rental packages start at $125k for utilizing the Cinema hardware/software suite." techcrunch "The cold hard fact was that we were competing in an established industry where the product requirements had been firmly cemented in the minds of consumers by much larger more established companies," wrote Rosenthal. "This issue was compounded by the fact that the consumer camera market was declining by almost 35% per year driven by the surge in smartphone photography and changing consumer tastes." theverge "" That means there's also nothing stopping one from simulating short dolly motion or perspective shifts in post, with nothing but a static camera at the time of capture. "You can shift the camera to the left... [or] to the right, as if you had made that exact decision on set. It can even move your camera in and out" says Head of Light Field Video, Jon Karafin." dpreview

Yes there are differences between RAW data as well. For example, the RGB filters differ depending on the manufacturer, the RGB structure (X-trans), noise reduction (yes there is noise reduction in RAW files ) etc. But indeed a big part of the final colors depends on the processing of these pre-processed RGB data. You can think of it as another LUT that can depend on WB, ISO, etc. Now even though camera does affect color in a great extent, learning how to manipulate color (lights/WB/ color profiles/color tuning in camera/color processing in post) is by far the most important factor for the final image. Going back to the OP, I believe unlimited RAW is about photographs. We should feel really lucky even if we get 10bit anytime soon in a consumer camera from Sony.

What is the camera that these are going to be used on? Also how large aperture do you want? If you only care about MF then Zeiss milvus (21,35,50,85) will best fit your criteria. These will also keep their value and probably you won't have to buy these focal lengths again.. Otherwise Sigma ART can give you very very good quality, bright & AF (but no 85mm yet). If your mount is Sony FE , then the new sigma adapter can give very nice AF.

Yep, slog should be used with caution with 8bit cameras. Alister is very knowledgeable but he comes from a high end camera point of view that usually is at least 10bit and not limited by codec (plus it seems he doesn't want to piss off Sony). Cine2/Cine1(0-255 cine2) work nice under low light for me with less highlight protection but some boost in the shadows.

I just tested it and H265 works with Vimeo.

If you want to attract more clients with larger productions I would say yes. Thats great cause ursa cameras need light! No to big ursa. No reason over the mini especially if you care about size. Other options: BM production, kinemini 4k battle tested, FS5.

If anything I add more grain as well. (but too much noise messes up youtube compression) I have used the default noise reduction in after effects after heavy noise application (>10% in premiere) but that is a procedure that is used only as way to remove color banding and it was only used back in the time that I was stupid enough to use s-gammut.

Definitely. I have no problem with the A7rii and only miss the EM1 when walking (which is now fixed a bit with the 24-70 f/4). I assume it will be even better with the smaller sensor of the GX85, and for these walking shots you can always use a lens with OIS. I am very curious on what GH5 and EM1ii will bring later this year.

I will admit I watched this movie without knowing anything about it. And I suggest if you haven't seen it to do the same. Start reading more about this movie after you watch it! I was really impressed while watching it, and I was more so after I read about it. 9 days? Family as actors? Acting/Tempo/Music/Camera movements/Script, what can I say I loved it all. Other than this guy (and many of the people that helped) being talented, this shows clearly what can be done from truly independent productions. Nofilmschool has a small interview and this is their kick-starter campaign.

After searching a lot on the internet and doing a little bit of inference I think I understand better what is different between the IBIS of Olympus and Sony. Olympus utilizes a spring to stabilize the sensor in the central position and coils/ magnets move the sensor around. Sony replaced the spring with strong permanent magnets and also uses coils on the sensor plate to move it around. Since the FF is much heavier the strong magnets required a very strong magnesium alloy case that does not bend and the inclusion of a ball bearing system. Olympus description (misses the spring). Lesnumeriques Sony engineers interview Roger Cicala A7ii teardown The Phoblographer IBIS discussion So yes, both of them use voice coils to move the sensor around but olympus is using a spring based system for the base location whereas Sony uses permanent magnets. Sony claims that only their system can support heavier sensors and offers much finer control of the movement. From my personal tests of both systems, it is true that the IBIS from Olympus is still better. What my tests above didn't show is that after using the Sony 24-70 f/4 (got it just yesterday) with OIS the Sony gets really really close the the Olympus. So I believe the main difference between these systems is that Sony's IBIS does not compensate yaw and pitch as well as Olympus IBIS. That would agree with the experiences of @natluma with non OIS lenses on GX85 (sorry @mercer ) . So in short Olympus IBIS is better and that could be because 1) Permanent magnets do not compensate Yaw & Pitch as well as a spring based system 2)FF sensor is much much harder to move around or 3)Fine-tuning of IBIS settings. A combination of those is most probably the case...

Yep EF-M mount with a speedbooster adapter and native support for AF from Canon would immediately increase the value of any camera they put it on. Be it C500 or M3.

Are you sure it is the same as the Olympus? Here it says olympus has a spring and that system was not powerful enough for a FF sensor. I cannot verify this is true but I cannot find a better source either.

I agree with Mattias. You have to provide the original footage for this to work. I gave it a try but it falls apart so quickly that it cannot be used to create unique looks. Edit: Here are some frame-grabs from the same color grading across the video: Edit2: With the Prores version I could push the colors a bit more:

Yeah plenty of these lenses have very large image circles that will work. Also I just found out from a post in dpreview that in body stabilization works with adapted lenses. I wish cause that tilting EVF and the articulate LCD are really nice... I get that. Switching between Cine/slog modes in the A7rii is getting out of hand especially when it is time to grade all of them together.

Yeah I have been having a lot of fun with my c-mount lenses with IBIS and 4K recording with the A7rii. (here) Hopefully GX80 does sensor stabilization with adapted lenses and allows some zoom-in function when c-mount lenses are used. The Little DARling does look very nice, syncing in post not so much . I rather wait for the GH5 which wouldn't be larger if you count in the extra recorder.

Lack of mic input is the real bummer. Add to that the lack of any cinelike profile and now you see why there is little excitement. At least the dual IS looks very nice: http://bcove.me/extn978a From: http://www.thevideomode.com/equipment/panasonic-lumix-gh5-2295/ I am more excited for a GH5 with dual IS...