mercer

Once the robots take over, capitalism is dead... and cameras.

True, Nikon definitely needs a facelift and hopefully a company with such a rich photographic history will see the writing on the wall and make necessary changes.

Kodak didn't go out of business, they filed for Chaper 11 bankruptcy protection back in 2012, and exited bankruptcy protection a year or two later.

I doubt Nikon will be going out of business, if anything the company would be sold based upon their name recognition alone.

I'll give it a go... some people believe the image coming out of the GH4 has a video quality to it, whereas a camera from BlackMagic or other brand of "cinema" camera is more tuned to create a cinematic image. So if you believe this theory, and you're making narratives, a "proper" cinema camera could be a better choice.

All of this NX1 talk is kinda pointless because the OP has an a6300... and in his opinion he likes it better.

Yup, the D500 was listed, by multiple review sites, as the best camera of 2016. As a video camera, there are better choices, but every video I have seen from it looks pretty damn good... if only it had focus peaking and a smaller 4K crop.

That may be the nicest BM footage I have seen. Stellar.

So, I have '14 MacBook Air. I edit and color in FCPX. I have my display set for rec709. When I export a screengrab or video, it looks exactly as it did within FCPX, but on my phone, which I believe is srgb, a greenish tiny appears. So, what I'm wondering is, how do you guys handle the slight color changes that occur between different devices? Do you find a happy medium, or is there an export color space I am unaware of that is more neutral?

Unsure why everybody is surprised the AF seems iffy with this camera? Each company seems to have specs they excel at and it takes the other manufacturers a few years to catch up on... I doubt Panasonic is just holding back phase or dual pixel af. Just as I doubt Canon is holding back inexpensive 4K with a manageable codec size. Just as Sony is doubtfully holding back cameras that do not overheat. If you NEED great AF, get a Canon. If you NEED crazy sharp, high resolution video with adequate AF, get a Sony. If you NEED 10bit 4K up to 60p at $2000 get the GH5. Since I assume most of the people interested in the GH5 are event videographers, I would think AF would be more important than 10bit video? As said earlier... you can't get everything for $2000 or less.

Okay, this one doesn't fit your speedbooster to full frame criteria, but if I was on a budget and looking for good 60p I would just go with the Nikon D5500 or 5600. The 7200 offers zebras and metering with ai/ai-s lenses but the 60p has an added crop, so the D5500 or 5600 is probably a better fit. The Flat profile is amazing and APS-C 60p may hold you over until the A7Siii arrives. Another option would be a D500... 4K with a crop but 1080p 50/60p with APS-C and EIS. It seems to be a beast of a camera.

I appreciate your efforts with making the BMMCC a more production friendly tool. As you may know I had one last spring/summer and I loved the images I was getting, but the form factor was just a headache for me. Since you are more in the know, regarding accessories for the micro, do you know if anyone has made a hinged plate, so a tilting LCD would be an option for rigging up the Micro? I searched and searched for off the shelf components to make one but could not find anything suitable to the task. With that Ikan 3.5" monitor, and a tilting plate or hinged plate that places the LCD directly behind the micro, I would be very interested in the Micro again. As it is, I am planning on buying a Pocket cam... if BM doesn't release another option at this NAB.

Wicked! It seems like the LS300 could be one of the sleeper cameras of the past two years.

Looks great! I have that lens and the whole set of 1.9 Cosmicars... they're definitely some of my favorite lenses. Was this Raw or Prores? I shot this with it on the BMMCC wide open... And these are with the 25mm on the G7...

Shoot your exteriors on film and your interiors with your 5D... I think old episodes of Dr. Who used to do that... I think I just dated myself and dorked myself in one sentence.

A6500

You're interested in the cine cam/camcorder form factor? Have you seen this video? It was shot by Martin Walgreens with a high end Panny camcorder.

Does the Sigma have hard focus stops? I briefly had the 17-50mm and was pleasantly surprised by the hard stops. @Andrew Reid do you have an a6500, if so how does the Sigma handle the PDAF? Thanks in advance.

I thought people would be interested in sharing more stylized grades... oh well. The first two I posted were done with programs that are "looks" oriented... this last one was my original version just using curves saturation and an Impulz LUT... I heard that... the low budget creator has to wear so many hats... and for me... all of those hats don't usually fit.

Nice work. The black and white out of this camera just keeps astounding me. So clean.

Ehh... it's just fun sometimes to see how much you can push footage around and get different "looks." I will try messing around with the Luma range... always looking for pointers.

Yeah, it's definitely expensive to do it the "right" way. First... are you thinking of unloading your Mark iii to get a D16? What kind of budget are you looking at for your film... is it self financed, or do you have help? Personally, I would be very cautious with location scouting and preproduction to make sure you don't have logos, and such, ever filmed. If your story requires specific logos or street signs then make them a physical, filmable entity rather than something you "fix" in post... unless you are planning to do some green screen work and are either very proficient in After Effects or are paying someone who is. Finally, regarding noise, do people clean up the noise on the D16 or with ML Raw? I know Aaron uses the Ursa, so I assume by his comment he is cleaning up the Ursa footage, but I believe he shoots commercial projects from inception to delivery, so it would make sense for him to have a clean, final product... for an indie narrative, I would think you would want to allow some of the D16's organic noise to show through and then build your grain as a second textural element.

Good points. I will try that. This wasn't shown to fix, even though I'm sure it could use some work... I did each in about 3 minutes. It was just a way to show different types of stylized grades as opposed to the more natural style that most people on the board (myself included) prefer.

I know most people enjoy more natural grades, but I thought it could be fun to see some stylized grades from different cameras. Here are two versions of a shot I did with the RX10ii in Cine2. The first version I did with FilmConvert... And this one I used Mojo ii. There's a little too much magenta in the sky, but I am having some problems with what I am seeing on my monitor in FCPX, compared to the exported version on my phone...

I found the exact opposite with the a6500 and the a6300... it was night and day. I've found the a6500 to be as good as the GX85's IBIS... other than quick movements... but the Panasonic doesn't do them that great either... just less RS. Of course I've only used non-stabilized, vintage manual glass with both, so it may not be a fair comparison.