froboy88

I'm sure you can't go wrong with any of the options you've listed! I read through this thread as I am always comparing these low-cost cinema cameras. As a fs700/odessey user I sometimes long for the simplicity of the fs7: internal recording, cine EI, only one unit to worry about. The weight of the external recording setup adds up quickly. At least with the odessey a single NP battery isn't enough for more than an hour of recording, so I usually use V-mount batteries and can run all day with them. I don't know for sure but I bet if you include v-mount power with the fs5 you're pretty close to the fs7 in terms of weight. Granted the fs5 can be rigged down to work on a small gimbal. So while the fs7 is simpler, it is hard for me to consider giving up 4k 120p burst. Its just so much fun, even for 3.5 seconds. Something else to consider is that S-log (or whatever gamma you pick) from the external recorder is based 12bit linear raw. Thus it has less bits in the lowest stops then internal S-log. This means that in some situations the internal Xavc from the Fs7 is better in terms of color and noise in those stops. I end up treating the FS700+odessey as a 12-13 stop camera instead of 14 to make sure skin tones get enough bits. I haven't compared internal and external on the Fs7 but Alister Chapman has a good article about it. I wonder if the 12bit output from the Mavo suffers the same problem. Sonys own F5/55 don't have that problem because 16bit linear has so much more color info in the lowest stops. Arri uses 12bit raw, but its logrithmic so it has more bits in the lower stops then linear and doesn't suffer the same problems. I skeptical that 12bit linear can be in the same league as 16bit, or even if it offers much of an improvement over 10-bit log. This is a bit of an extream example: FS700 HFR 240FPS raw to pro-res on Odessey Pushed a lot more then it should. There's just not much in the shadows, granted 240fps is sort of worse case scenario as far as noise. I would hope that 16bit from the f5/55 would be better in terms of noise and color in the shadows. I would very interested if the Kine 12bit can hold up any better? My gut says no, there's a reason high-end cinema cameras don't throw away those bits, but I can't help hoping for a miracle in my price range :) This all has me wishing the fs7 had 4k burst. It would be a no-brainer upgrade for me, but alas it does not. The F55 with R7 recorder looks amazing (4k 120p continuos 16bit X-ocn w/ 30seconds of pre-record) but is in a totally different league/ price range. Still, the limits of 12bit are totally workable. Don't let it freeze your decision. Get a camera, make stuff! Good luck! I'll be watching how it goes.

I think its hard to judge softness and even aliasing from a youtube stream. We're talking about 8mbps. The downloadable footage will tell when its available. Still looks to be the best implementation of overcrank in a DSLM yet.

If that is true and the lack of af in video is an software limit and not a hardware one we would have expected them to add it in whatever state it was in. buggy or not. I hope its not a hardware limit. would be a weird one, but for the longest time you couldn't change aperture in video on a nikon so....

I can't see any technical reason why af is limited in manual mode and fixed to 3.5 in others. Seems like an executive decision to limit the product or possibly something left over in firmware from previous cameras. In this thread: https://***URL removed***/forums/thread/4057070?page=2#forum-post-58407157 over at DP Review a user outlines how he tested af wide open at f1.7 by fooling the camera. fixing the aperture wide open and covering the contact with tape. No big surprise it focused just fine. Some users want to start a petition for Sony to try and fix the video af problem. I would sign it. If it was fixed the a99ii would just about be my perfect camera. @Andrew Reid do you know how to pass something like a petition on to sony?

Just scanned through the whole thread to catch up. Amazing work @Bold. inspiring. I may have missed it but given m4/3 coverage of 2.66:1 with 50mm (4/3). Would s35 require 75mm to get the same ratio? Read that 85 works on ff so its surprising that s35 only gets 10mm wider.

i'm wondering if a geared follow focus could make this anamorphic more usable. I would think a high gear sort of setup could give you single turn on the FF. IDK. Considering picking one of these up. Love the flares. The modification may be a bit too much effort/cost considering the single focus adapters out there. Would it cover 75mm on S35 then? If cropped to 2.39/1 anyone have an idea how wide you could get?

Still no bitrate info. Do They really expect people to go buy it without all the info?

Sure hope sigma comes out with a mc-11 adaptor for Nikon. I don't see why not. It would basically insure I only buy there lenses at the moment.

I would be OK with this. Actually stoked. As looking at lens options for nikon mount with a mtf sized sensor is not promising. It's still interesting as an HD cam with Nikon Dr and color. Though i dont expect super sharp hd as there is a lot of binning going on with full sensor readout. With the crop on the 4k theres no way the hd is scaled from a full readout. Still waiting on bitrates. Hard choice between this and the a6300.

I looked into the whole HDMI converter for smartphone a bit and while I didn't try anything it seemed that latancy would be an issue. What I found was that most of them compress the stream to go over USB and then the CPU on the other side has to decode and that all adds up to lag. I'm not sure if all HDMI to USB converters work this way though. Uncompressed over USB must exist. My on topic part is tha as a hybrid shooter the a6300 looks great but the aps-c lens selection is a little limited compared to my Nikon's. I'm would like something beyond 300mm. Still if the evf blackout is really improved and the af-c works for tracking close to as good as my Nikon's I may be tempted to switch given how messed up the d500's croped video is.

Curious if it has focus peaking and zebras when outputting over the display port. It would be useful in AV. All of the other wireless control options out weigh that the BMPCC outputs peaking and zebras for sure.

Its my understanding that Samsung is opening software for developers to create apps (mostly directed at interface with tizen smart tv's). Necessary code for developers to write the apps is shared, but I don't think that means that the proprietary firmware (the stuff that effects what the camera records) can be changed by the apps....yet. I have no idea if the release of this SDK will help hackers. Maybe. There have been hacks for the other NX cameras but nothing that affects picture quality. I think the obscene amount of processing power would make the NX1 a great candidate for a hack and don't get me wrong I'm rooting for ML all the way. However I think the best chance for the NX1 getting even better is from Samsung directly at the moment.

I can't talk from personal experience, but I've heard the samsung lenses manual focus is by wire. Setting up repeatable focus pulls and follow focus might be tricky with them. If you're shooting primarily video, you might go with the art lenses. Plus the art line can get the mounts switched so if sigma supports NX mounts in the future they could be setup for that. If weather sealing is a priority then the two samsung pro lenses are the only options at the moment. Optically either is an excellent option.

we may see some more range in the shadows with patch 1.2 There is supposed to be a flat profile coming with the update. Personally I don't care that much. I like the detail and the colors. Though in certain situations it can be helpful to shoot flat and grade. Just don't do it much.

herd rumor that this update or one shortly after will have h.264 in at least for the 1080p settings. One shouldn't put to much stock in rumor, but its hard not to get too exited when a company seems to start pushing this level of tech out for such a price.