TheRenaissanceMan

It only costs $500 to make the GH4 a 10-bit 1080p camera.

I think a used C300, Red One MX, or Battle-tested Kinemini 4K are your best options. Kinemini has the best overall IQ and flexibility; RED has brand recognition and 4K; and the Canon is super popular with clients and offers a solid image with little fuss. The Ursas are really cool and create great images, but imo aren't quite ready for prime time yet...and that's coming from one of the biggest BM apologists out there.

I mean...no need to make it the ONLY option. Just offer it alongside EF and PL. Where's the downside?

Right!? I'm genuinely stunned they haven't stuck the EF-M mount on a Cinema EOS camera yet. Here they've got a great mirrorless mount with speed boosters and adapters for EF(-S) compatibility just sitting there and they're doing precisely dick all with it.

That requires a lot more effort on BM's part (new sensor, new firmware/processing, new body design, new codecs, lens design/partnership/manufacturing) than Canon's (remove lens, add EF-M mount).

Bump. I didn't end up buying the 19mm, but Ed has been incredibly honest and easy to work with.

These are re-posted from the hack petition topic. Motion cadence looks hugely improved!

Hey Mattias, thank you so much for being a trailblazer with this incredibly underrated camera. What would you say is the highest usable ISO at the full sensor width (no crop)?

Found this on Facebook's NX1 user group. The difference is pretty amazing imo.

If it'll mount on your camera, the Minolta 35mm 1.8 is an excellent performer. If you need it to fit EF, you can get a lens tech to convert it for $150. If that sounds like too much hassle, the Contax Zeiss 35mm 1.4 is a pricey but excellent choice, as is the Leica R 35mm Summicron.

Sony CineAlta, Zeiss CP.2, Xeen, Red Pro Primes, or SLR Magic APO (once they finish filling out the range).

The other factor is that I work with a variety of different cameras: 5Ds, 6Ds, Rebels, BMs, Nikons, Sonys, Panasonics, even one kid with a Digital Bolex. Wouldn't it be faster and easier to get a new camera balanced on a 3-axis gimbal than on a traditional steadicam sled?

I understand that fear for professional work. But as a film student, I feel like one of these gimbals would be a better solution for the here and now. A real steadicam/glidecam takes a lot of time and practice to perfect, and I'm spread thin as it is. Plus, I feel like they're a lot faster to get balanced, up, and running on a disorganized (ie: student-run) set.

So with the H2 coming down the pipe, is the DS1 still the gimbal to get? I might be able to get one from eBay for $550, but might hold off if something simpler and easier is just around the corner.

Keep in mind that the C100 EVF is atrociously bad. You'll need a loupe, external EVF, or external monitor w/loupe if you need better.

The 5D is a little more robust in grading, but the C100 is so ridiculously easier to work with that I don't see much point. Like Geoff said, grab an external recorder for 4:2:2 and go to town. Great battery life, internal NDs, the option for Dual Pixel AF, S35 sensor, excellent ergonomics, and very respectable high ISO performance.

No problem! I just built a new machine myself. Feel free to hit me up with any other Windows questions. Keep in mind, if you want 4K and NR for Resolve, you can buy a dongle seperated from a Blackmagic camera kit for $200-400 on the BMC User forums. The bad news for Windows people is that H.265 is supported in every single version of Resolve except the free version for Windows. You'll need the paid version to work with it in Resolve for Windows at all, which makes Premiere your best bet at the moment.

No, it's quite clear in the video that he's amazed he can change the focus point on the tablet while recording...which I've done on my GH3 while recording many times. No, it does not have Dual Pixel, so there is a bit of hunting; however, on the G7, there's an option for something called "snap focus," where you save two different focus points and can switch instantly between them while recording. Zero hunting. And it can be activated via mobile device, just like this. I'm not denying the 80D is a good choice for bloggers and the like, but let's not pretend some of these new features haven't been around on competitors' cameras for years.

Gee, I've only had that on my GH3 for years. :P

I edit in Resolve, but I run it and my 1440p monitor (as well as a 1080p and 720p monitor, for a total of 3 screens) off a GTX 970 with no issues. My system has 32 gigs of RAM, but I didn't think that affected its ability to drive hi-res monitors.

Are there any samples from the 5K Terra sensor yet? The 6K is a known quantity since they used it in the Kinemax, but I haven't seen anything from the 5K yet besides its promising specs.

The GX80 itself isn't as exciting as the fact that this heralds the arrival of 5-axis IBIS in the higher-end Panasonic offerings to come.

Give it a mount that can use S16mm glass and this would be a pretty cool competitor to the BMPCC/BMMCC.

Actually yeah! This whole thing got me really curious, and I've been in full on research mode the past week or so. Once I have the necessary capital, I plan to pick up one of the "battle-tested" Kinimini 4Ks from their website. In fact, I've been talking to some of my film school buddies, and one of them will be putting in his pre-order for a 5K Terra as soon as his tax return comes in.

Haven't there been 2 or 3 people in this exact topic who've shared their overwhelmingly positive experiences with Kinefinity's cameras? Hasn't a Chinese resident explained that they have huge street cred and market share over there, in the second largest filmmaking industry in Earth? Haven't we seen some very impressive work shot with their last few cameras? To me, that speaks volumes. 'Nuff said.