Phil A

Funny. I showed her 16 clips on VIMEO for a blind test. 8 with the BMPCC, 8 with the Sony. Including landscapes, people, low light. She said all were nicely done but with some of the BMPCC clips she commented on soft image and after giving comments on the movies she was surprised when I told her that her three least favorite looking ones were all with the Blackmagic and her 3 most favorite looking ones all with the Sony. I was quite surprised myself. Gives me a certain drift to go for the "compromise system".

I love the 5DIII RAW video image but I've read some people have still trouble with stability, there's conflicting info about the HDMI out capabilities (and HDMI out while recording RAW leading to aborting, pink frames, etc.) as well as the humongous storage needs compared to the other options. And for photography I'm happier with everything that I've owned after I had the 5D III because of better dynamic range which helps tremendously with landscape photography and pushing low light shots (even thought he 5D III was already less hideous than the 5D II when it came to banding in shadows). I'd take the BMPCC + Speedbooster over the ML 5DIII. But it's still a really valid argument that you make. I've even written Gunther Machu on Vimeo to ask him about his feelings about his change from BMPCC to A7s II and he gave me a really interesting answer with food for thought. I think you might be on to something with the "IQ equalizer" comment. What good is amazing 14bit RAW if the movie compressed on VIMEO / YouTube will have banding in any case when it's back to 8bit glory? I have made my pro & con list but I think I really have to think about weighing them and not just counting. Slider shot is a slider shot, no matter if viewed on iPhone or 75" UHD TV but sharpness, colors, banding, etc. suffer so much. Same with aliasing, if people watch the video in a window mode, you will always get bad artifacts no matter how good your material is. Everything I watch on VIMEO looks 10 levels better on my native FullHD Panasonic Plasma than on my work screen (1680x1050) were it has to be downscaled or my home computer screens (2560x1440) where it has to be upscaled. Makes me think directly of the other thread that's ongoing about how you color calibrate your system just so people watch it on their competely random system where it might look totally different. Well, I used to travel with Canon 1DsIII or 5D III with the combination of 17-40 4L, 24-70 2.8L, 35 1.4L and 85 1.2L (later only the two primes) so that was what I considered the maximum of gear that's easily movable without taking a toll on the actual trip (that fits into my camera backpack easily plus accessories), even though I usually left 2 of the 4 lenses in the hotel, depending on what was on the plan (that then did fit into my smaller sling bag). That's the kind of weight/volume I'd like to gravitate around. With a BMPCC + Speedbooster and then 24 + 50 I would have covered every focal length I need... or respectively A7r II + 35 and 85. I totally agree on your versatility perspective. The Sonys do a lot of things (even if people say only to 80%) while other systems do les things to a better degree so it's about balancing it. If you split photography and videography into two cameras (e.g. BMPCC + Fuji X-E2) you'd need to make sure you can use the same lenses on both systems or your kit will explode out of proportions. I've sent a whole list of clips to my finance minister for her to review and judge. If she prefers one cameras results to the others, we will probably have a winner.

That makes no sense with the D750. The 18-35mm f/1.8 is an APS-C lens and you'd be limited to the APS-C crop mode of the D750 which is quite a bit worse than the fullframe mode.

I've bought the cheapest datacolor Spyder5 on the Amazon BlackFriday sales and use it with dispcalGUI because it's more powerful than the lowest tier datacolor option's software. I'm really happy with it. Typically when I edit pictures or grade movies I give it cross checks over the computer, my plasma TV and the iPad. If it's in the ballpark on all three, it's good to go.

There's a reason people try to emulate film look with their digital stills work. I loved shooting 645-format Kodak Portra.Those colors are incredible and the smooth highlights, dayum! Also it's really hard to edit a digital shot to authentically make it look like shot on b&w silver halide film, the grain works just so totally different than digital noise. A few years ago there was an impressive description of how Sebastião Salgado changed from analog medium format to a DSLR (Canon 1Ds III if I remember correctly when he shot Genesis), got the images developed in RAW, but then exposed to negative film and printed like before. Crazy (and crazy expensive).

Go away! https://www.instagram.com/drunkadventurers I also have a personal one but that's just suits and shoes

I'd rather have the Micro than the Pocket too, but then I'd like to have it before summer. The BMPCC could stay as a B-cam if the Micro comes out, except for the body and cage everything else would be fully compatible (I anyway have LP-E6 batteries for my monitor). The batteries for the BMPCC are luckily not only small but also dirt cheap. I've seen an offer for a BMPCC, 5 batteries, speedbooster and cage for 1650 €. So I could add a BMMCC and a Fuji stills camera and would hit the cost of a A7r II with cage and additional battery. Not easy, working on the pro & con list as we speak... also considering just sticking it out with the D750 until the BMMCC is available.

The A7 II is not good for video (moire & aliasing), the A7s II and A7r II are where it's at and those exceed your camera budget by 50%.

First I'd like to thank you all a lot for your input. I really value the different ideas and think it's not even surprising to see how many different perspectives there are, we have access to a lot of good tools that can work. I have read up about GoPros a whole while ago but an action camera doesn't really fit my needs. I might actually pick something up for snorkeling instead of an underwater housing, seeing as how typically want wides for that, but I wouldn't want to use it as my only system as I don't want the fisheye "all in focus" look for my complete stuff but would use quite some tele. Thank you for the idea with the LX100. I've never had that on my radar but I think then I'd directly go for the GH4. I think I might have some unreasonable grudge against that camera and I can't even really put my finger on the why. People complain about the uncinematic, videoish, digital look... which I think is totally fine for what I would do. It's the weakest system when it comes to low light though because even the BMPCC when using the dedicated MB Speedbooster seems to have more lattitude there. In photography I have 3 clear needs which I cover which is the 35-50mm and 75-100mm area with f/1.4 or f/1.8 lenses, that's why a compact won't be able to replace all my gear. I think I shouldn't have put the "fun" into the subject because I didn't want to imply that I'm looking for as small as possible, I don't mind lugging a backpack with camera, a few lenses, tripod and filters, it's just that I can't justify a Ursa Mini or Red One level system where camera + 1 lens + 1 battery is already like 5kg (with the related bigger tripod, bigger fluidhead/ballhead, etc.). I clearly do, I'd say it's 50/50. I'm also willing to work around the gear if the result is worth it but I hate when I feel like the gear actually works against me. I enjoy shooting landscape stuff with graduated NDs while on sticks, long exposure photography, etc. so I'm not always on the run. Even the editing is part of the enjoyable process for me, I have no deadlines so I can spend hours tinkering with my material until it's finalized. I mainly shoot to satisfy my own expectations, which is also why I'm surely considering higher end gear than I would necessarily need. I've seen your polar light video that you've posted in the "Shooting" section. Incredible what today's consumer gear can achieve, isn't it? I can see why you would say the BMPCC is more enjoyable than the A7s... there's just less to fiddle and configure. It's more limited but has what is necessary. What is your perception regarding the footage when you have to grade it? I had the impression that the EM5 II really struggles with blowing highlights, even more so than the GH4 and NX1. The IBIS of the Olympus' is obviously next level, even better than the one in the A7 IIs, but I don't want to sacrifice too much image quality for ease of use. I guess low light would be roughly on par with the GH4? You're right, in the end every camera has typically roughly 1 outstanding strength and 1 weakness. So it's about chosing the best compromise. I guess I'm searching the forum's blessing that my train of thought is correct and I'm not making some fundamentally flawed plan. Everyone I know here only shoot photography and not video/movies so it's hard to spar the thoughts against them. Of course I've seen his clips before, too. I really like them. What I think is interesting is that he switched to the A7s II for the newest videos and it's really obvious in the look of his movies. It's more modern and clean but I think also his BMPCC footage is really good and more "analytic" than most of it. His "Paintings of Umbria" video ( https://vimeo.com/103172085 ) is one of the main reasons why I ever considered the BMPCC. The dynamic range of that clip with the foreground and the clouds is what I love in landscape photography and I (wrongly?) attributed that to the combination of BMPCC dynamic range and the grade-ability of the high bit depth recorded material. On the other hand I could replicate that with graduated ND filtration and any camera, but yes, I'm deeply impressed by that video. Thanks for the input. I guess I'd really gravitate towards the RX100 iv over the LX100 but as I said, I don't actually want to replace my whole system with a compact. On the other hand the RX100 iv could be a good B-cam to a possible A7r II as they somewhat share the image characteristics (if you ignore the part coming from the lenses) and it could replace the NX100 for the slow motion. There's also cheap underwater housings so I guess a A7r II + 2 lenses + RX100 iv (+ UW housing) could also make sense. I'll think some more about all the valuable input you guys gave me and also make some pro & con list. I'll also do short playlists of my favorite content of each system and show it to my significant other and see how she feels about it without all the techy sentiments in head.

The Samyang has a "real" manual focus, I don't know the MFT lenses in question but they might be focus-by-wire which many find less desireable.

Dear forum, you will think this is another „which camera should I buy“ thread… and it is, but bear with me, it might get better. My personal finance minister agreed to me throwing money at my problems so here we go. To make it a bit more legible I’ll segment my extra-long wall of text. My motivation to revamp my equipment: Due to logistical reasons I’m standing in front of the task to minimize AND optimize my equipment. I’m normally travelling once every 1 to 2 months for work and/or private pleasure and used to shoot a lot of pictures in my spare time on these trips, but since a while I’m doing more and more video things. I have already shot photography with a lot of different camera systems, currently I’m using Nikon with the D750 and it fulfills every photography dream I could have BUT the video side isn’t satisfying the gearhead in me (there I said it, it’s not really a NEED but a WANT) since I tried the movie recording of the Samsung NX1. Seeing how we have at least 3 interesting trips lined up for the next 6 months I’d like to get my stuff together so I can actually finalize and if necessary “learn” the equipment before we fly to Spain in March. What do I want shoot: Directly up front: I have no ambitions to ever get anything broadcasted or cinema or whatever, it is web-delivery only and therefore the quality horizon is 1080p delivery via VIMEO / YouTube. It’s mainly travel / landscape / urban lifestyle imagery so it’s shooting the landscape while traveling a country, exotic beaches, cultural sightseeing like temples in Thailand, night market type of things, etc. Due to the nature of business trips, a lot of the things happen in the evening and obviously it’s more of a travel documentary type shooting, i.e. I won’t be able to light anything and have to rely on practical lighting. Thanks to travel limitations on luggage I will be limited to roughly one system (or two really compact systems) with ~2-4 lenses, external monitor, tripod/monopod with head and the regular accessories like NDs, Grad NDs. I wouldn’t mind spending on a small gimbal stabilizer once the compact ones like the Beholder, Nebula, etc. had their kinks ironed out, compensating for the fact that I probably will never be able to lug a slider, jib, etc around. This also makes 4k a nice to have as it lets me fake slider moves (granted, without the desirable parallax effects), punch in from medium to light tele, etc. In addition we do quite some food photography which we would like to extend towards shooting short clips for our Instagram feed (stop laughing!) and blog. Obviously nearly every camera would be ok for this as we can light and repeat to our hearts’ desire so this is only a side comment and I have the slow motion for that covered with the NX1. What cameras did I consider: I’ve tried hands-on with some cameras (D750, D5300, NX1, 5D II, 5D III, G7) and did hours over hours of VIMEO research but man is a lot of stuff badly graded, getting away from the computer you’re suddenly shocked our world isn’t actually all Osiris M31 teal-orangey or FilmConvert grainy, soft paleness. I also graded some test footage I found online but that was of varying quality and some had botched white balance, etc. I love the Samsung NX1; I clearly appreciate its image, it’s super easy to get nice colors and skin tones out of it. It’s modern, pleasing and sharp which I personally feel suits this kind of footage well. BUT there are multiple reasons why I’d rather not stick with it which are the limited low light capabilities in combination with no speedbooster availability, the fact that it doesn’t work with my field monitor (SmallHD can’t say if firmware incompatibility will ever be fixed [I have that one already], VideoDevices can’t even say if the PIX-e are compatible at all and it seems no one else makes a 5” that stacks up to those two) and to a very minor point the fact that the system can’t cover the autofocus lenses I’d like to use for photography. I might keep it as a B-cam seeing how cheap I got it, especially how it could cover 120fps easily, but I’d rather have another main system. I’ve seen clips made with the BMPCC like the ones from Jonathan Haring (https://vimeo.com/99501007 or https://vimeo.com/98293797 ) with really good sharpness and nice colors but most of clips out there are just too soft for my taste, I have the feeling so much footage of the BMPCC is over the top soft because it’s “cinematic” and intentionally looking retro in a low quality kind of way. While the BMPCC is no low light beast, the combination of f/1.4 lenses plus speedbooster and malleable files would make it easily work I think. I’d replace it or mate it with a BMMCC as soon as that would be available for the 60p and global shutter. My main concern is that the 1080p Super16 bayer sensor doesn’t actually give me better resolution and inherent sharpness than the current D750, the colors are obviously top. Obviously these aren’t hybrid systems so I would add something compact on the side like a Fuji X-T1 with a 35mm f/1.4 or perhaps even just stick with my X100s. Of course nothing leads around considering Sony A-series when looking for a hybrid system at the moment. I’m a bit surprise how the high frame rate capabilities lack so far behind the Samsung in regards to having to apply additional crop for the read out but on the other hand the low light capabilities are everything one might ever dream of. Good low light, respectable dynamic range. Quite pricey but there are enough advantages that I wouldn’t mind to spend the money. Probably the worst offender when it comes to awful grading on VIMEO, it seems most of the really pleasing (e.g. Nomads of Mongolia) and well done footage isn’t actually done in S-LOG and therefore already gives away a lot of dynamic range again (which most viewers anyway don’t seem to actually pay attention to). I’d probably give the A7r II the advantage over the A7s II because the only thing the A7s II does better is even more extreme low light above ISO 12800 while the A7r II has the two crops for 4k, PDAF and higher resolution stills. For this kind of shooting I ruled out the Canon 5D III with Magic Lantern because I can’t repeat moments, it has only the mediocre LCD screen and it’s just too expensive for what it does in my opinion (still nearly 2000€ used here) even though the colors are beautiful. I’d prefer to not have to tinker around with the system. I know that the Panasonic GH4 is theoretically a strong contender, especially with speedbooster or the Voigtländer f/0.95 lenses, but I just don’t know. I feel no magic around that system. G7 is out because of the HDMI limitations. Last but not least I’ve of course considered the Canon C100 II or Sony FS5 but I feel like they’re not ideal for my plans as they’re already a bit bigger than the other systems while needing a separate photography equipment. They’re also less stealthy as they’re easier recognized as camcorders while directly stretching the budget thin without giving. I’ve tried to separate what I want (everything!) into what I need and what I just would like to have. Need to have: - detailed and sharp 1080p (as end result) - 50p/60p - Good internal recording, I don’t want to go extern and then mix external & internal in post - small form factor (C100/FS5 would stretch it already) - clean 1080p out over HDMI for field monitor - acceptable low light quality (light level equivalent to f/1.4 with 1/50 at ISO1600 is minimum necessity, clean higher ISO is better) Nice to have: - 10bit - 4k - 100p/120p - EVF - Shoots pictures so I can stick to one system - cheapo underwater housing / EWA-marine for snorkeling available I feel like the Sony A7r II would actually be my best bet. It does 4k 8bit 4:2:0 internally, has IBIS, is acceptable until ISO6400/12800, can use a speedbooster in APS-C mode to get another stop of light, I can use the SmallHD501 with sidefinder on a cage as EVF for better stability (cradling camera against body), with the monitor straight on the tripod or go bare body for even less attention. It does amazing stills to replace even the D750 and thanks to the FF & APS-C 4k modes I could cover 4 field of view with only 2 lenses (e.g. FF 35mm & 85mm, APS-C 55mm & 125mm). I have the feeling it’s the reading too many forums that makes me think the 4k 8bit is insufficient and I need the BMPCC’s grading latitude and the Sonys are abominations when it comes to color. Tl;dr: I need a lightweight system for videos and photography on documentary style traveling clips: BMPCC, A7sII/A7rII or something completely different? Renting is out of the picture, I want to own the system.

I think what he meant wasn't the bitrate but how good is the actual quality of what comes out of the camera over HDMI. Obviously I could record any camera into ProRes at 10bit but that wouldn't turn the content that comes over the HDMI into 10bit if the camera only does 8bit. A lot of cameras have a "low quality mode" when idling in live view and only go to full quality sensor read out when recording gets started (which deactivates the HDMI out on the G7). Cool that you test these things, I think the G7 is still quite overlooked in the shadow of the GH4.

Well, seeing how it says #bmpc4k in the Vimeo link I would follow Elagabalus on Blackmagic Production Camera 4k :-P

That's the Ursa Mini 4k and not the Ursa Mini 4.6k he meant, totally different sensor. Also it was already discussed in some thread here that people would have known what they get into with the 4k sensor if they read up beforehand (e.g. Absolutely no low light latitude). The quality control complaints are a valid topic though.

It says Decode support for HEVC/H.265 QuickTime video in DaVinci Resolve Studio on Windowsso it's still not for all, but then you can get the dongle via eBay quite attractvely priced (300-400€). But surprised to see it come to Windows so quickly.

I know. I meant 240fps 1080p in a high bitrate. 4k 60p like the 1DxII would also be neat.

If it's a "me too" product at Photokina it's dead on arrival. We have IBIS, 4K, 120p, etc ... if they want to get going they'll need stuff like internal 10bit 422 4k or RAW, 240fps, quite better high ISO... I see the micro43 as a problem until the new organic sensors come in a few yeats.

Where? Here the cheapest offer I found for A7r II is like 3500$ equivalent.

It's just the general trend. If you look at the lenses that Sony, Canon and Nikon have recently announced it's to 99% either really really expensive or plain uninteresting. Luckily there's the Sigma ART series for those of us who want performing autofocus lenses and still be able to pay rent. I'm feeling you. I love the NX1 but the system is dead and not compatible with accessories I have (and that will never be fixed) so I'll have to decide between color (Blackmagic, Canon) and 4k / HighFrameRate / LowLight (Sony)... or you have to be filthy rich and get a sherpa to carry your RED Weapon for you. I was really short away from just going meh and buying a A7rII or A7sII but then both have downsides and after test-grading some footage I downloaded I'm not sure Sony give me at my skill-level colors that make me happy.

I would want that too, but not even the FS5 has it and that's quite mucho dinero in comparison. I think 10bit will be "the next big thing" with cameras, seeing as how it's in the new Premium UHD standard, but probably in 2018.

It's consistent with the A7 line offering. I think many people had unrealistic expectations, this is a 1000$ consumer camera, they won't go and use it to kill off their premium line with it. I don't think this is the camera they expect people to buy the G Master lenses for. 1000$ body, 2400$ 24-70 2.8?

You could also export to DNxHD to deliver in 1080p. You could upload it directly to VIMEO I heard or you could use whatever tool to move on and transcode it to ProRes.

If low-light is comparable, the only disadvantage against the A7r II in APS-C crop mode is the missing IBIS and the smaller EVF (1cm vs 1.3cm). That's probably something people could handle if it means saving 2000 €. Really interesting I have to say.

I never use a LUT, I'll check when I come home today if that might be the reason for the not working downscaling.

That works for me without a flaw, I use it quite a bit. Weird. Which version do you use?