Geoff CB

I had the camera and that mode enabled, I certainly regret not testing if more for people interested in it's quality.

Full Super 35 FOV. Yes the screen works, but it's hard to see outside and does not tilt.

Its a great detailed clean image, with the best motion cadence on a more-than-1080p camera. The problems 1) No flat profile 2) difficult to rig up with viewfinder/moniter because there was no cages made for it, so the small HDMI port is hard to deal with.

Umm, again, why would you go to an outside program for proxies when you can do it natively now in most editors?

Besides a slight image quality drop on the slowmo, I don't think so.

Shoot in 10-bit, you will have more leeway in grading like zerocool22 mentions. You will need to use prooxy to edit however.

All photo programs interpret camera data differently. Especially if your shooting in any RAW format.

Get ND filters

The 35-70 3.5 is the Minolta copy. The 35-70 F4 is a Leica designed lens. But it's good to know the 3.5 matches the rest of the R line!

Probably my next lens to pick up. Leica 35-70 F4. Great look and seems to have almost no focus breathing.

I'll be fine if they just add 10-bit to the 4K. Great camera otherwise.

Or be smart about it and use the Resolve and Premiere built in Proxy creation options so that the programs use the original files when rendering.

Have to wait for updates to the programs or enable proxies, as of right now both programs struggle with the 10-bit files.

I kind of think they are going to do 3K. Spec geeks will moan, actual users will realize that's plenty for most content out in the wild. On the original topic. I would go Panasonic for a V-log camera, the sony's video AF is only good with the Batis and G Master lens lines. So if you go Sony, expect a lens investment as well. Plus, for me Video AF without a touch screen to select focus point is useless unless you want your camera making the AF decisions.

Yeah this is an unfortunate association. Even my initial gut reaction to HDR video made me immediately think of those terrible "HDR" photoshops.

I just do not understand how this is a positive, in this price bracket I want the ability to rent and use PL glass. Anything can be adapted to E mount, it's a superior mount to EF unless you use exclusively EF glass.

NX1 will forever be my favorite camera body, fit my hands perfectly and the interface was wonderful, sucks that it RS was so bad on it and it didn't take off as a platform. In terms of design it did everything right.

If you can get them for a decent price, go for it. They are excellent.

It depends on the aspect of the screen that you are projecting on! If your projecting on a screen that is Scope, format for that, if your projecting in a mainly FLAT environment go with that container. Whichever makes your image larger to the audience. I've used OpenDCP in the past and it is effective, but I actually recommend DCP-O-Matic, simple setup and you get a preview of the project. It's free just like OpenDCP, and accepts Prores and DNxHD files then does the full conversion.

Umm the 11-20 is the update to the 11-16, it's a constant 2.8 https://www.bhphotovideo.com/c/product/1084644-REG/tokina_at_x_11_20mm_f_2_8_pro.html

Why not the 11-20?

Depends on how much space that ND filter wheel takes up.

Best thing about this...shipping immediately. Means they are not making a promise they cannot deliver for once. The camera seems to tick every box. ND, SD card recording, more external controls, switchable mount. If it works with less problems than their previous cameras, EVERYONE is going to want one.

I'll go one crazier, since we are just speculating. 4.6K sensor in a photo camera body for $3000

Please give me a BMMCC with a 2.5K or 3K sensor. I don't need 4K, just more than 2K for some slight post work.