TheRenaissanceMan

Eh...yeah, but Panasonic can output that resolution in 10-bit and Sony cannot. And without any overheating problems. Panasonic already does a bit of oversampling in their new cameras. The G7 has more of a 2.15-2.2x crop, not 1 to 1, which leads me to believe the next GH will oversample from a higher res (20mp?) portion of the sensor. Regardless, if you look at topics like A Tale of Two 2.0 Zooms, you'll see that Panasonic is doing just fine without sampling the full sensor width.

A normal speed booster on a 2.3x sensor would give you a 1.63x crop, which isn't bad. Still, a decided advantage for the NX1, not to mention 30p UHD. I swear if that camera could be speed boosted and shot HBR H.264 we'd all own one.

I would think 8-bit, for product segmentation, but who knows? It doesn't output over HDMI while recording, so I never considered it.

Electronic viewfinder, articulating screen, zebras, peaking, LOG, focus punch in while recording, and lighter weight. I wouldn't buy either. Just balancing the comparison.

Re-read the original post. Nate didn't shoot these samples in LOG.

The Sony Zeiss 16-70 f/4 is an amazing piece of glass too. Great range, nice Zeissy rendering, OSS. Used it once on an A6000 shoot and loved the results.

Hey guys! Is anyone here knowledgeable about the Olympus OM lens lineup? I'm looking to put together a budget set, but what little information I can find is vague and, in some cases, contradictory. Thanks in advance for any help.

Maybe at some point, but focus on getting a full range of primes first. 25, 35, 50, 85 is a solid kit that'll cover basically anything.

I would also love an answer this, as I'm using Resolve on Windows, which still doesn't have H.265 support (and runs far better with ProRes/DNxHD anyway). Thanks!

Once there's a plan in place and someone commits to doing the actual hacking, I'll gladly donate. Until then, I'll be keeping a close eye on any developments.

Let us know how you like them! Fyi, Leica R can be adapted to every lens mount as well, and Olympus OM, M42, Contax/Yaschica, and a couple more I'm forgetting can be adapted to Canon EF.

I don't dial down contrast, either. -2 at the most. Natural is pretty flat already, and dialing down contrast does more to hurt tonality than help DR.

Damn, dude! I've never gotten anything like that on Panasonic. What profile settings give you magenta lips?? The crappy highlight roll off screams Canon to me, so I'd guess C300 as well.

It is inefficient. It's also 12-bit, an industry standard, and flows like butter through editing systems. Whereas Canon are the only ones still using MJPEG, an ancient file format with none of those advantages.

Those guys haven't accomplished anything since...like, 2012.

Hi! Cool to hear that someone is accomplishing so much with these humble cameras. Do you have any work with your EOS M you can share? And when shooting H.264, what picture profile settings are you using?

Stewart! Good to have you here, buddy! Did you order your SLR Magic 50mm APO yet? Definitely agree on the bitrate issues with the NX1. It's exactly like you said--GH2 all over again. The problem is that with the future of the NX system up in the air, it's hard to get people invested in a hack. I'd love to be wrong, but personally won't be donating any money until actual hackers step up with a coherent plan.

Sorry, should've clarified: What does it offer to our demographic-- video shooters? I think most of us understand that cameras like the 1DX II, D5, and D500 aren't designed with us in mind. They're for pro wildlife, sports, and event shooters, with video as a bonus feature.

True. Although...if I'm looking for a 1.5x crop camera with 4K, great color science, slightly weak DR, and excellent slo-mo, I'll probably just pick up an NX1. Hell, you could save enough money to buy a tripod, lens kit, filters, shoulder rig, external recorder, lighting kit, and a new editing computer. With so many great options available, what does the 1DX II bring to the table that isn't offered elsewhere? What niche does it fill? What need does it satisfy? Food for thought.

And transcoding to 4K ProRes like you do with the 1DC isn't an option because...? Still, MJPEG is an absolute dinosaur of a codec. How do they keep screwing this up?

I'm confused. The RX10 Mark I ticks every box on your list. Still an excellent camera. What are you looking to gain from this upgrade?

What made you lean more toward the 5D in the first place? What type of stuff do you shoot? What's your working style? Do you need the option of fast turnaround? How much are you willing to invest in SD/CF/HD space? Do you have a pre-existing lens collection, or are you starting from scratch? Is low size/weight important to you? Do you have experience with color correction? Are you interested in buying more than one for multi-cam shoots? Do you usually nail your exposure, or need more latitude to fix it in grading? Which camera's footage appeals to you more? Is a camera crash once in a while okay, or do you need 100% reliability?

Hey, a fellow Wisconsinite! Greetings from Milwaukee! My understanding is that on full range 0-255 footage, pushing up the master pedestal simply takes the data at 0 and shoves it up to 15. Theoretically, you could just push up your blacks in post and achieve the same thing. But I tend not to mess with the master pedestal, so take that with a grain of salt. ( Great frames, btw! You're really making that grey winter light work for you.)

I would love to hear more people weigh in on this, as I'm considering picking up an E-M1 for my new primary stills camera and would love to see it be good enough for run and gun video.

Did you miss Andrew's article about the X-Pro 2? New sensor, new processor, new video quality. A hack could be interesting, but I doubt it'll be able to enable 4K. The common consensus is that Fuji is saving that for the X-T2, but may add it to the XP2 later in a firmware update.