Kisaha

@tupp in India(I guess) and "strange" markets (like mine) around the world, working "under budget" is the normal, you do not try to bring it under budget, you are seriously under budget and try to survive in a continuous "under-budgeting" market!

..and I have a Metz 26, a SEF42 (which I have never used, yet) and I will be getting a Metz 44 beggining of May. @bzdingo what equipment do you have? What are your needs? If you are a pro photographer, earning money from flash photography, or rich, get the expensive sef540 (five hundred something!) for around 450$. If you are a semi-pro (just a few paid gigs per year), or an advanced user (1 paid gig, or none!), I hope that the SEF42 and Metz 44 are good to go. For less, just take one of the flash cords Marco mentioned and a sef15 or sef20 (this seems nice as well, small and portable), but I am not sure if these flashes work with the latest NX, owners have to confirm that, because they are kind of old flashes. I hope the sef42 works too, maybe I have to open the box, and use it! Are the sef8 capable for anything? I mean you have the 15, right, it must be better than the 8, and can go to the cord, and it still quite portable. How are the sef15 coping? I see some very cheap on ebay from time to time, and looking really small and portable.

if you do not show the whole bottle it can be easy, making a base of some sturdy material (preferably metal if it is only the lower lower few centimeters in the bottom) and make a screw for a magic arm to put there. In the magic arm you can use NX500 with the 10mm fish eye lens (in 4K, because of the crop the 10mm becomes somehow wide-ish), or the 16mm pancake or the 20mm on the 2.5K hack/mod. 2.5K is sufficient for most things these days.

The image is very similar to the Phantom 3 I guess, which I detaste anyway. In 2017, where 4K crop cameras can be found with a few hundreds of money, the old action cam size is not enought. That is why I do not own a goPro, or any action cam, as I prefer a cheap 1080p APS-C sensored ultra compact mirrorless, and add a pancake fish eye on it. For a few hundred more euros, I am considering the 4pro. Yes it is bigger, yes it is more expensive, yes the batteries are very expsensive (while the "Mavic Fly more" version has 3 batteries) but that 1" camera is something we were waiting for a long time in consumer, semi-pro territory. Maybe the next Mavic will have the same 1" camera, but I doubt that will happen anytime soon, when the Mavic "just" started to ship and has a huge waiting list at the moment? Of,course you can have it with you at all times, but why to do that on a semi-professional level (it also diminishes its role, as producers will expect to use it all the time and at very low cost anyway), and it misses the importance of doing "drone work", it can become routine, while the size and video files of the 4pro will make it a more serious choice, as DJI planned it to be.

You are very harsh guys, this camera has WiFi AND Bluetooth.. I hope now that we are over with cameras we don't really care (in this forum at least) to see really soon the C100markIII we deserve.

I wish the old boss comes back with vengeance! NX-F, full frame with crop mode for NX lenses and super 35 videography, and with two of those and two fish eyes you get 360 2xfull frame alright! And buys Nikon, and sells everything Nikon to Canon, because he doesn't care. These are the last glimpses of this system, this time next year only a couple of us will be still here. Or not, because they would delete the sub forum.

It is definitely an interesting concept and quite orignal, I have never heard an already existed lens working as a Trojan Horse to conquer NX adaptation. Something that worrys me is, if I have understand correctly!-if the AF motors of the 30mm are enough to move bigger and heavier lenses, and the already 200€ price of the 30mm, maybe a 20mm which is slightly bigger and cheaper can be a better choice, and so on and so forth! In anyway, whatever Luca can do is a bonus, and I am of no capacity to judge someone that has, and still offers so much to this system. In the end, one can choose not to buy something that don't fit his/her needs. @lucabutera so the Aputure and active NX-L projects are canceled?

@webrunner5 I am not that weird, as sale figures indicate! I am not big on m4/3 either, I still use GH4 but I never owned one, and I use full frame cameras for video, but again, I never owned one; there are perfectly good cameras for specific jobs that I enjoy more. My sweet spot is S35 and APS-C cameras that are close to S35, and Sony APS-C offerings in both bodies and lenses are not pro material, so a GH5 with a speedbooster is closer to my style than the a7s, plus I know that Panasonic will deliver something that will work as it is advertised, and it is advertised as a video work horse, definitely not a low light freak. Whatever works really, I understand one man band people like the A7s so much, but video productions are team work, and I am trying to change this "lone-wolf" mentality, even in my lowest budget jobss I try to employ 1-2 more persons (DP and/or after effects specialist), even if that means that I am earning silly money in the end.

@Gregormannschaft There is always an issue with this recorder! But it is my favorite cheap one, a workhorse for me for a few years now. Literally hundred of TV episodes and 4 years of a music documentary series. 1) Hold dial 2) Input dial 3) Mic/Line 1 dial at the bottom 4) Mic Gain dial at the back 5) +48V dial at the back and the most annoying part? I sometimes forget to press REC for the second time to record! I wonder how good the markIII one..

So, the conclusion is that every camera NOT named A7s should be destroyed immediately? "Yeah 8 bit, but we have been shooting 8b stuff for 20 years or more and it somehow has worked." We are shooting without a A7s cameras for more than 100years and somehow has worked.. I have used the A7s on a few projects, never thought to buy one, maybe the A7Siii will be amazing, and the high ISO is a plus, but right now I enjoy more to work with other cameras.

What about SLR hut? I haven't buy from them, but I see they are cheaper than CVP. Thank you guys, I will check all of them. After a quick research I did for some specific products, Europe is unbelievably expensive. For every Denmark and Germany, there is a Greece and Italy that shouldn't have those prices!

http://nikonrumors.com/2016/09/26/more-new-lens-patents-designed-for-1-sensor.aspx/ it is somehow old news, but maybe they decided to push the 1 series, instead of such compacts. All these patents they have seems like they have spend a lot of resources for their 1 system. Seriously, I do not understand what is the big deal with all these 1" cameras, we have equally small bigger sensored ones, paired with fine pz and pancake lenses are equally small and better performers. 1" mobile phone camera? Now we are talking!

Thank you all, I have experience with these shops, as I used to live in England; and I do not find CVP especially cheap, for most products for them I have to use the "Match offer" to get a better price. What about Germany? Don't they have a huge video megastore of anything? Netherlands? Italy?

I will be start upgrading my equipment and all, and I do not have a lot of options in my country (Greece). I was wondering what are the best shops I can buy online in Europe for our field, something like the Thomann.de for video.

@elgabogomez exactly. Why go above 1600?? I have the 1.4f FD. Is the Kowa worth it? What are you filming? Seems interesting and it caused me some miscomfort (in a good artistic-way).

It isn't something you say, it's something you do; if you are not sure what you are bringing to a production, maybe you are not ready for such a prominent role, yet. To be exposed on a big set it can be the worst thing ever happen in your life! Start humble, and step by step build your arsenal (skills, knowledge, experience). Maybe you should ask to these Bollywood producers if they have a smaller part for you on a big production, or a bigger part on a smaller production. There are sets with tens, or even hundreds of people, in front and behind the camera, you have to be ready to solve swiftly and adequate any problem arise and always perform at maximum level.

@Simon Shasha we all worked with 640ISO for many many years! The truth is that until a couple of years ago and the sales of A7S cameras noone was shooting above 3200, and that number was even lower a few years ago, and if we go back to film, well..you get the point. I seriously do not understand how instantly we negate 100 years of motions pictures because couldn't shoot in pitch dark. Photography= phos(light)+graphy(writing)= you search for the light, not the luck of it Obviously I am not sad that machines will be able to see in total darkness soon, just ain't that anxious about it. When it happens it happens.We shot Kodachrome film in Super 8 cameras, never complaint that we didn't have the Cubrick lenses!

@Geoff CB so 10bit is still very expensive? What is the cheapest-decent- that option? I will try to upgrade everything the next 15 months, if I have, I will wait for some things, editing machine is one of that I guess..

What horror film is shot in 25,600 ISO?! There are specialized security cameras with infrared and other technologies, you are not going to put a A7s as a security camera, first of all, it would be the first to be stolen!

@Phil A +1 for the Ari bag! Interesting character too.

This LG ultra wide is interesting, what about 2 of those, does it make any sens or is it a waste of money (and space)? Are there any better ultra wide monitors? What other monitors are must buy for editing right now, and not more than a thousand $?

@Emanuel the most money I earned the last couple of years are coming from C100 cameras, and those haven't the best codecs in business, or maybe, they do have! I believe my greatest achievement so far was a media installation I did in film school (art department) were I had only a tiny light for orientation purposes, and all the performance was a wall of sound (achieved by a tap of water, a telephone analog signal, a Budha box and a few guitar effects and an amp). The key was that the lack of sight enhanced imagination. It is how you use your tools I guess.

@Emanuel it is ironic that you try to convince anyone that a6300/a6500 are belonging "..in the professional camp." As a professional, that I earn my family's bread with my cameras, I would take the shitty GH5 iso quality anytime, to the "Sony-only-on-the-spec-sheet champ". Actually I choose to stay with NX, a dead system, instead of the latest APS-C Sonys, because it is more reliable, have exactly the lenses I need in my line of work in APS-C, better ergonomics, lower battery consumption, no overheating etc etc, and I have worked a few times with the a6300 at 2016, and never had to go to 6400 by the way. It is good as a 3rd camera, and one of my business partners can give it to me whenever I ask, but he seriously thinking to go full m4/3, as his primary camera STILL is the GH4.

Actually I am surprised of how bad the a6500 looks at your example. Is the Olympus the best of the three? Sharper than the GH5, better NR algorithm than the a6500??

Sorry, not familiar with any of those lenses (unfortunately I own lenses from 5-7 different systems, but no Nikon at all). I am not sure if Nikon are fully closed (the aperture) when adapted, Canon are fully open (so you can do most things, as the 2.8f I use adapted are pretty fine wide open), there is also a trick with EF if you have a EF body, you can make them accept a specific f stop. Anyways, do your lenses have an aperture ring (can you choose the aperture from the lens, not the camera?)? If they do not, then someone has to tell you what is the case with the Nikon adapter lenses, so you are certain of your investment.