TheRenaissanceMan

No, the GM1 has the same sensor as the GX7, which is new and improved over the G6/GH2.

It's actually the GH2 sensor, but it still has that Panasonic mojo.

Most cameras produce better colors under daylight than LED/tungsten. That said, those shots look pretty nice. I think the Zeiss glass does Sony some favors color-wise, too.

Besides the Log/DR, doesn't the NX1 have all of that? And very good image quality in S35 1080p with near-global shutter?

I'd love to see someone post some footage from the new high bitrate 2.5k hack! Let's remember, this topic is for footage and discussion of footage, not general discussion or whining about the community. Thanks!

Is the Leica 19mm still available?

Yes, and it'll only cost you an extra 2 grand. :P For that price, you could buy the new 5K Terra body.

Not really, no. Maybe you're thinking of the AJA Cion. The Kinemini doesn't have global shutter. It's usable at ISO 3200, and very good at 1600. ~13.5 stops of DR vs the Ursa's ~11.5. The color science is very, very different, as is the native tonal response. The Kinemini takes generic 2.5" SSDs vs the Ursa's CFast. Kinemini has Cineform in addition to uncompressed CDNG and 3:1 KineRAW. Kinemini has an OLPF. The Kinemini has DCI 4096x2160 over the UM4K's nonstandard 4000x2160. The Kinemini has a 1.4x crop factor vs BM's 1.7x. Kinemini has 92fps slomo, BM only 60p. KM has interchangeable mounts and the option for the short flange distance Kinemount. With the UM4K, you're stuck with either EF or PL. A big one for me: the KM has downscaled 2K Cineform in camera, whereas you can only get full-res RAW out of the BM. It's a lot lighter at 1.5kg vs 2.3kg, has support for anamorphic shooting, and even uses less power than the Ursa Mini. The only real advantages for Blackmagic are the bundled software, XLR jacks, and larger local userbase. I'd have to send the camera out for repairs/servicing either way, so that's a wash, and word on the forums is that KF's customer support is outstanding. They are both cinema cameras, with the same base needs as anything else in that class--power, storage, monitoring--but imo, the Kinemini is a much more capable tool. https://vimeo.com/100913781 https://vimeo.com/117008129 https://vimeo.com/109413357

People are getting huffy about Kinefinity not being on the approved ProRes license list and are using that fact as a club to knock anyone who praises the company and their cameras. I think. If I had the capital, I'd plunk down for one of these today. Looks like an amazing package, and the image off the 6K Kinefinity sensor is just beautiful.

The Voigtlander rocks too, but not as much as the SLR Magic--plus, twice as expensive.

I'm a Panasonic user and have worked with NX1 footage in Resolve. It's honestly not a big gulf. With the support gear you have, you could honestly go either way. Is it possible for you to get hands on a G7 and see if you like it?

Scratch my original answer: I'd get one of the "battle-tested" Kinemini 4K's off Kinefinity's website. Bare bones for $2500, fully unlocked for $3500. Another $500 or so for monitoring, power, and SSDs, and you're ready to rock...and that's assuming you don't have that stuff laying around already. http://www.kinefinity.com/shop/kinemini-battle-tested/?lang=en

Ultra wide is defined as anything wider than 24mm, so it kinda is. The SLR Magic 10mm is a FANTASTIC lens. In fact, the whole lineup gets my highest recommendation--and those of you who know me know I'm picky about my glass.

Not anymore, as long as you're cool with 1080p. Some of the best DR and color science on any 8-bit camera.

And if the client demands it, they can pay the rental fee.

Not many clients ask for either.

Yikes...that's pretty bad. Now that the Varicam LT is only $500 more, I don't see that much reason to pick the C300 II unless you're married to Canon or actually use AF for serious work.

I believe the creator posted it on the forum when it came out.

Think it would work for shallow focus close ups intercut with the normal 4K/1080p footage?

Panavision Anamorphics have only flare subtly. It's enough to show up, but not enough to draw attention. Perfect, IMO. I don't see these as rentals at all. Maybe VERY low-end rentals, but a lot of owner ops--the types with Amiras and REDs--will probably jump on these.

Thought it'd be fun to have an official topic for footage from the new Samsung hacks so it doesn't clutter up the hackers' topics and get lost in the shuffle. Anyone using the higher bitrate on the NX1 or the new 2.5K mode on the NX500? Veeeeeeeeery interested to see some samples from each.

In the ~$3000 price range? Used Ursa Major 4K. Amazing body for narrative work, great image, and interchangeable sensor turret for future-proofing. If we're talking hybrids in that price range, it'd be a tough race between the 1DC and D810, but probably 1DC.

The two that spring to mind are the Panasonic G7 and Samsung NX1. Good preamps, decent autofocus (the NX1 excels here), articulating screens, focus peaking, relatively lightweight, and excellent image quality. You might also look at the NX500, which has a big crop in 4K but all the other advantages of the NX1 and is smaller/cheaper.

Really? I got a Pocket about 5 months ago. No real grading experience. Only Panasonic, Sony, and Canon cams before this. I've found it simpler and easier to learn the pocket than any of those, and MUCH more flexible to push around in post. All it takes is contrast and saturation, and it looks as good or better than any Canon footage I've ever seen. The highlight roll off is nicer on the 5D, but overall DR is higher on the Pocket. Plus, Blackmagic has better flexibility and an easier workflow with 2:1 CDNG and 4 flavors of ProRes, along with the best lens compatibility on the market and rock solid reliability. On the other hand, the 5D has that slick crop mode, slow motion, and 2.5K, as well as the good (not amazing) 22MP stills. I wouldn't call either camera a clear winner. Both are RAW classics, but each has its pitfalls. As usual, it all depends what you need. Once the used prices dip, I'm strongly considering a 5D3 to compliment my BM and Panasonic cams. Or maybe a D750 with Voigtlander glass. Then again, this NX1 hack has me all hot and bothered... Spoiled for choice, aren't we?

C-LOG is much easier for amateurs to grade.