Phil A

I think what BMD does is amazing. There's a huge gap between the segment of 8bit 4:2:0 cams (Sony, Samsung, DSLRs, etc.) und then the high end with RED, ARRI, Sony FS7/F5, etc. There are workarounds like F3 with external recorder, C500 with external recorder, etc. but they are the only ones making affordable cameras with high end images/codecs that are actually somewhat integrated and don't need to rig them together with x different devices. I think the UM4.6k is great piece of technic but I'm wondering if BMD aren't spreading their R&D too thin with the amount of product lines. You get the BMCC with 3 mounts (EF, PL & MFT, S16), the BMPCC (MFT, S16), the BMPC4k with 2 mounts (EF & PL, APSC), the BMMCC (MFT, S16), the Ursa witht he 4k turrent (Only EF?, APSC), the Ursa Mini in 4k (EF & PL, APSC) and 4.6k (EF & PL, APSC) and the studio stuff. I can see how it gives customers choice but wonder if it would make sense from an economic point to trim it down a bit, after all there's economies of scale at work when it comes to quality vs price vs production numbers. I'd love to see an update to their middel segment in the future, i.e. the BMCC and BMPC4k. The image out of these is great and they still have the size that DSLR-shooters feel home at when upgrading (the Ursa Mini isn't that Mini in my opinion). If the BMCC would come with exchangeable batteries (Sony L?) and a 60p framerate, who would say no? I'd love that sensor, like many people I don't actually need 4k but most 1080p recording cameras fall short because of lower than 1080p resolution with moire and aliasing. I'm still on the fence if I want to buy a BMMCC or not. If it had the 2.5k sensor it would be a no brainer. But with the 1080p sensor I'm afraid of moire because I really want to shoot raw.

That's true, but how do you frame from the camera monitor with the motor directly in front of it?

I'm curious if there's any way to mount a field monitor (SmallHD 502, BMD VA, etc.) to the stabilizer. Obviously you wouldn't want it on the camera itself but is there any way to mount it somehwere on the grip (without going for magic clamp, etc.). My impression was the only possibility with the Crane is to mount it somehow via the tripod mount on the bottom? Seen a bunch of vids and it seems to currently be one of the best choices for a A6300/A7 setup.

The Dynamic Range of the Canons is usually good enough. Most of my favorite pics I've shot with the 1DsIII and 5DIII and when I had the D750 I only had a few rare occassions where I really was able to utilize more DR at the low ISO. The worse thing with the Canon is the fixed pattern noise you get when pushing the shadows. But then if you know it, you work around it.

He meant 360° shutter, e.g. shooting 24p at 1/24, hence his comment on motion blur. Got them swapped in his thoughts.

Just quickly giving feedback on this specific part of the question as I've tried the X-T1 which has the same sensor. You don't want to shoot video with the X-E1/X-E2/X-T1/X-T10. It's so full of moire and aliasing that you won't get happy.

It means exactly that. If no one makes a Smart Nikon adapter, those new lenses with electronic diaphragm won't be usable.

It's still only 8bit 4:2:2 which I think isn't worth the effort with the external recorder.

Regarding the firmware update, I didn't get any more overheating since I loaded it. Seems quite stable since then even though I kept shooting in the same conditions. I use the 16-50 kit (wish it had the same filter thread as the others), the 35 1.8 and the 50 1.8 so all my lenses have native image stabilization. Seems to do its job reasonably well but I'm super shaky.

That's great to know. I'll see if I can update from the lobby computer. Leaves the A6300 with only the rolling shutter as a real annoyance. Sony really has the means to make a kick ass camera, makes you wonder who there makes the questionable decisions that lead to the quirks.

We're currently on vacation in Thailand and I got the A6300 to overheat for the first time. 29°C and cloudy, shot maybe 10 clips with 15-30 sec each in addition to ~ 50 pictures and it went into cool down warning. Was quite surprised as it wasn't that warm outside. I would agree that the camera is a bad choice if reliability is of any importance. I didn't install the latest firmware yet but it only mentions overheating during picture shooting so who knows if it'd even help.

There are no smart adapters for Fuji X, therefore the lack of aperture control with Canon EF probably makes the market unattractive.

So a month has passed and I'm curious what you came up with. I used to work with my 2012 Windows machine with i5 CPU but upgraded my whole setup last week. i7 5930k at 4.5 Ghz (liquid cooled) AMD R9 390 8GB 32GB DDR4-2400 RAM Bunch of Samsung 850 Pro SSDs I also took the jump and got a Blackmagic Intensity Pro 4k so I can finally monitor full screen in Davinci Resolve. GUI is on a calibrated Dell u2711 and an iPad Pro 9.7" via Duet Display, grading output on a Panasonic Viera 42" FullHD Plasma. I know that BMD say you can't/shouldn't rely on the GUI for grading but even now with the external screen (I know, it's not a reference monitor) I struggle a bit with the workflow. I only create content for the web (YouTube, Instagram) but it's annoying with all the color and gamma shifts you get at the different points, especially when using Quicktime based codecs on a windows platform so I'm looking to change my export format. I've now configured my TV to look as close to the iPad screen as I could as I guess most watching is on some Apple device or a generic computer screen (which could mean anything). It's easier with pictures, you just develop on a calibrated monitor which has 100% sRGB and then pray that who ever looks at them online uses a browser that considers color profiles.

I get occassional lag running the native files from a Sony a6300 in Davinci Resolve on my system, too. i7 5930k @ 4.5 Ghz, 32GB Ram, AMD R9 390 and all files on a bunch of Samsung 850 Pro SSDs I think the best way is to either use the proxy function of your editor or first sort out the shots you want to use and then transcode them to ProRes or DNxHD.

Zach is spot on. You didn't say what kind of product it is (I pray it's not a car, then you're probably way over your head) but usually what really counts for product photos is the lighting, you'll probably want to shoot with manually set strobes (at least 1 + reflector but probably more). Focus on that, camera isn't really important, you'll manually focus anyway so all the technical bells & whistles are pretty much useless. I'd shoot with the SIGMA 50-100mm on APS-C from a tripod with whatever has a nice flippy screen or you can also tether to a tablet or computer. Shoot RAW and edit in Lightroom. Done.

Wouldn't it be easier anyway to shoot a bit wider in 4k and do the jigglies in post? At least it would give an easier to control result. So far liking the A6300 a lot. It's my favorite cookie cutter solution at the moment after what I tried out. Battery life is absymal and it jellies but besides that I think it's a lot of fun and because it's so small I take it with me a lot more (obviously no concern when using planned/professional).

I think the main problem is what a system hog the software is. If your computer isn't top notch it will slow down noticeably. Regarding the bugs, it seems everyone has different ones. I only use Resolve as a hobbyists and not for work but so far mine worked flawlessly (12.5 beta 2)... it just gives me the urge for a faster CPU. What's better for performance in the program (not for the rendering of the output), a good hexacore or a faster quadcore (e.g. i7 5820 vs i7 4790)? I guess the hexacore wins due to the way better bus in combination with a better mainboard when using multiple harddrives, a decklink card and maybe even multiple GPU?

I picked it up a short while ago with the 16-50mm kit lens, the 35mm 1.8 OSS and the 35mm 3.5 macro. So far it worked flawlessly for me (mainly pictures, one cooking recipe video) except for the humongous rolling shutter but I actually realized I nearly always shoot static from a tripod anyway.

The Resolve manual even says that the viewer in the color page of the software isn't accurate for judging grading, that combined with the VGA monitor is probably guesswork in the end. If you have the space, how about a cheap 32" / 37" LCD TV connected via DeckLink? The DeckLink MiniMonitor gives you a 10bit FullHD out via HDMI and SDI for only 145 $ (plus it's the only way to get full screen playback on a second screen in Resolve). I'm using a Dell U2711 but as soon as desk space permits I'll add a FullHD TV via DeckLink.

But aren't the "main people" from Magic Lantern involved in the Apertus Axiom project now? Wonder how much time to spare they have for a 5D IV hack.

How consistent are the Canon NewFD lenses in rendering through the portfolio? Let's say if you shoot the FD 28 f2, 50 f1.4 (or 1.8) and 85 f1.8 on a Sony. Will you get consistent rendering and colors? I'm looking for a set of 28 - 50 - 85 (for use on an APS-C system) with integrated aperture settings and an aperture of ~ f/2 so I basically ended at Canon FD vs Nikon F (mainly because many systems don't have a good 28mm f/2), but am more torn towards Canon because of the warmer rendering (most modern cameras seem to tend more towards blue or green).

Get the DP500 line, the DP3000 has more plastic parts as I've read on the Blackmagic forum.

It's probably because there's a difference between f-stop and t-stop. Just like a f/1.4 lens might actually be t/2 because of emission loss of light, just that with a zoom it will be depending on focal length setting. I think the Canon EF 24-105 f/4 L IS is the same, when you zoom in the image gets darker even though the f-stop is consistent. So kidzrevil is right, it's one of the reasons why photography lenses are cheaper than cinema lenses (plus stuff like focus breathing, etc.)

According to the tests I've seen, nothing. The A7s II has only CDAF and no PDAF so it will always focus awfully in a continuous AF situation like video with losing focus and hunting. Maybe someone who owns the A7s II will jump in, but I would suggest you check YouTube for A7s II video AF examples.

What picture style did you shoot that in?