Anaconda_

Maybe the image stabilisation might have issues, but I assume you're on a tripod anyway. Other than that, I don't know how there would be any disadvantages.

If you're in a green screen studio, it's perfectly fine. On green screen shoots whatever isn't the person you're filming is cut out anyway, so as long as you put the footage in a 16x9 sequence not a 9x16 you're golden. Only you will know how it was filmed vertical. I'd say go for it, you'll have more flexibility in post too

That's exactly what I'm thinking. Although I won't get 4k60p with this monitor unfortunately. That's the Inferno line, this is Assassin. Still - Looking at other monitors that don't record - I'm looking at this kind of price anyway, so I'll take the ProRes and a nice little extra. I'm picking it up later today. Also, I think by tomorrow they'll release that 5inch 4k recorder/monitor I've been waiting for - on the condition I buy this one first...

Hey guys, I've got the opportunity to buy a Ninja Assassin for a crazy price (less than €400 with sunhood), and so I thought borrowing a friends VA would give me good enough files to test with and see if it's worth it. I had it set to ProRes HQ - why not test at maximum ability - and from what I can tell, the VA image looks almost exactly the same as the internal h264 recordings, but is just a little greener. Even with a bit of grading, I can't see any noticeable change. Am I missing something here? I was expecting to see a huge improvement. Annoyingly, the LS300 can't record internal 4K 422 AND output 4K through the HDMI - so in a way, I'm stepping down a level right? I understand all the numbers look to be an improvement, but is all that only handy for a heavy grade? If there's not a big difference, isn't it better to record 4K 422 internally, and then get a 1080p proxy form the VA/Ninja to edit with? One thing I can see the Assassin having over the VA is the ability to record with LUTs baked in, so you have a nice quick turn around, but also have the log footage for later if need be... Anyway, I'm temped to buy it just for that, and it'll be a nice monitor with peaking/histogram etc. etc. but I was really hoping for something a bit more. Also, I plugged it into my GX80, and again, there's nothing mind blowing about it. You can check out some raw files here, and let me know if I'm just overlooking something. https://www.dropbox.com/sh/0yd1ketyuru9jzn/AADSX49l8mwjrzmUhFZlMKj2a?dl=0 (files may still be uploading)

I think it's mostly due to the lens we have on the FS5, it's VERY slow to zoom and although it's not very wide aperture, quite hard to nail focus. Even with peaking is can often be slightly off. On the LS300, we often have the Sigma 18-35, and at 1.8 it's easier to lock on... most likely user error on my part, because logically that doesn't make sense, but that's just how I find it. Maybe the peaking is more accurate? Because of those lens limitations, the LS300 footage always looks a lot nicer with an interview, but isn't so practical with a moving subject... but that's where other lenses come in. The people who own the FS5 I use refuse to put anything other than Sony glass on it - so it's very limiting. Then there's things like the LCD. It feels very dangerous on the FS5 - there's nowhere for it to tuck in safely, so if you're pulling the camera in and out of a bag all day, I fear it's going to get damaged very quickly. JVC tucks in neatly and safely. Sure it's not the same build quality, but I'd rather have a working one that isn't great, then a fantastic but broken LCD. I'm looking at it for composition and focus peaking only. Zebras and histogram tell me the rest and the screen can be any resolution for those to work. There are a few other things, but those are my main concerns. Thinking about it though, maybe I should clarify - I prefer shooting on the LS300 setup I use compared to the FS5 setup I use. maybe if the tables were turned and I had an annoying lens on the JVC but a great one on the FS5, I'd be the other way around...

I know you didn't ask me... but I've been using this camera since December and love it. Since then I've had like 3 upgrades, which is a great sign. Obviously this 422 one is the best and you can really tell. I also regularly use an FS5, and honestly, I prefer working with the JVC.

Thanks guys, @jonpais, that looks lovely! @aldolega - It's certainly an option, but also like €1000 more. If I was spending that much I'd say hell to the size and grab an inferno for 60p haha.

Thanks John, that's exactly what I fear haha. Do you prefer the BMD file over the internal 4K of the camera? any chance you could share some comparisons, with raw files, not YouTube? I'm guessing the g85 and GX80 won't be all that different in this test

Hey all, I'm new to external recorders, but since buying a GX80 for mess-about films (holidays, family etc.) I've been looking into external audio options. Surprisingly the Atomos recorders (second hand and HD only) are one of the cheapest ways to get an audio in. BUT I'm wondering if it's worth it? Setting audio input aside, will the image benefit from recording from the GX80 HDMI over internal 4K? Would it be worth recording the internal 4K along side the 1080p on the Blade, and then using the prores files as a proxy to edit quicker, and sync it all up to the 4K later? If the Blade shot 1080p50 I'd go without blinking and have the 4K and slowmotion at the same time... shame. On that not - how would the internal 1080p50 match up to the Blade 1080p25 - I imagine they'd be totally different, but that might be one useful way of using it. I'm really attracted to the size of these and the Ninja Star. The Blade for example is more or less the same size as the GX80, so wouldn't make the camera so intimidating. If I went for a 40K recorder like the Ninja Assassin, it's so big in comparison, it defeats the point of buying a smaller camera. Kind of thinking out loud here, but what are people's thoughts? Is there a chance of a smaller 4K recorder coming out relatively soon? (asked this here before, but information changes on a daily basis with this kind of stuff)

1) There's a Tesla showroom near Schipol, so I guess there's some kind of deal with taxi companies based around there. As for private owners - there's no road tax, minimal maintenance and also the Dutch just love green energy. I think as of last year all trains are run 100% on wind power! I'm not sure if they're subsidised, but you're right, there certainly are a lot of Teslas driving around. 2) Since most of Holland is below sea level the gravity is obviously different to most other places. This I believe is why the sauce can get down to the bottom of the cone. Incidentally, I also believe that's why the Dutch are so tall. If you measure from sea level, the heads are the same height as everyone else - it's just their feet are a foot or two lower down. As for the camera stores thing. There's tonnes of fantastic shops in Amsterdam, Rotterdam and Den Haag - the 3 'big' cities - But in my town, there's only one good one left and a couple of independents, which are basically just second hand lens stores. Good for a look around, but you can't go in wanting anything specific. Media Markt are good with their selection and competitively priced too. (and open to price matching online stores)

https://www.atomos.com/sumo

"It is worth to note that the above list applies only to Netflix original programming, not acquired product" They'll build the costs of these cameras into the budget of the show. If I was going to make something for Netflix, they'd be paying all this bills, so I'll use whatever camera the want me to. If I was going to shoot a documentary independently, then sell it to Netflix, I could use any camera I wanted because it's not their production, so long as the final product is of a high standard. That's nothing new though. If you're shooting a wedding and they request 4K - shoot 4K. If you're making a corporate video and they want B&W, make it B&W. The only difference with Netflix is they're recommending specific cameras, that are tried and tested. There's also more than likely some sort of partnership/deal going on with the manufacturers, but that of course, will stay behind closed doors. In my opinion, this list is pretty useless in the public domain and only serves as publicity for the cameras on it, making people think they need the few models listed in the hopes of producing content. - furthering the theory of some kind of deal between NF and the camera makers. In short - pay no attention to this list UNLESS you're in negotiations with Netflix about making original content for them... anyone here doing that? Can I help?

When he was shouting about being under Citizens Arrest, I couldn't help thinking about Michael Palin in his Monty Python days. Which makes it even funnier, because he now makes travel docs, and there was a Python sketch on the first page of this thread!

Ah ok, thanks for the info! It that makes much less of a difference than I thought haha. Yeah all black is good, but my pasty arms will always be a problem I guess.

Hey all, I shoot a lot of interviews, and quite a few recently have needed to be outside, which is fine, it looks nice. The problem is however on a sunny day. I don't want the talent squinting, and even putting them in a shady spot doesn't always solve this, so often they like to wear sunglasses. In comes the reflections. If I put a polarising filter over the lens, will that get rid of the reflections? OR will it make the sunglasses see through, so you'll be able to see the talent's eyes through the glass, which could actually be worse.

Sure, I can upload some, but I'm not sure what you want to see. It's not a speedbooster, so there's no glass between your lens and sensor... it's just a gap. This is just an adapter to put EF lenses on MFT body. In camera I can adjust aperture and like I said, AF seems to work well, but it's not something I use, so that's just a nice bonus. Let me know what you'd like me to test with it, and I'll shoot some random clips today.

Just an update for those interested. The product in the top post recently arrived and I used it on a shoot yesterday. Works like a charm and I'd definitely recommend it. Weirdly though, the first time I put my Sigma 18-35 f1.8 on it, when I zoomed in the aperture changed to f4 on the long end, then back to 1.8 of the wide. I took the lens off, then straight back on and it fixed the problem. This also happened the first time I put this lens on my Metabones though. EDIT: The autofocus does work too, which of course comes in handy from time to time, although I'll never use it for video work.

Why on earth does everyone keep limiting their products. Lunatics.

Damn man, you're really going for it with these cams. I don't own the Tascam mic, but how can you ensure that another sound, say someone clapping, wont stop the camera from recording? Also, I know it depends on your usage, but wouldn't you say the DR10X is a better option? That way you could get a wired lav and still have the recorder on camera for the slate tone or plug in a shotgun for camera mounted audio. It just seems more versatile to me, so wondering why you'd go with the DR10SG.

I also looked at this, but would prefer to stay 4K. I did think though, you could mount the Star under the camera and use a very short HDMI (both mini plugs anyway) so the Star is almost like a base plate. Then have the mic in the hotshoe. It wouldn't be too much a spaghetti monster, or make the camera much bigger than sticking a mic on the top anyway... The problem I have with recording using that Tascam thing, or a Zoom or anything else like it. You have to press record twice. Chances are, you'll (or at least I would) just leave the audio running, which could be a hassle to sync. My temporary audio solution is to whack a GoPro on the hotshoe and have a mic going into that via USB. Then I can leave the GoPro recording, and also have a wide and a mid/close at any given time. It also means that as long as I'm holding the camera somewhat pointed in the right direction and kind of steady. That also solves the FOMAS issue I battle with haha!

I know right, they'd fly off the shelves.

Hey guys, I've been looking to get an external recorder to use with both my JVC LS300 and GX80 (not at the same time of course) and obviously BlackMagic's Video Assist and the Atomos Inferno are awesome, but for the type of shooting I do, having an extra monitor would slow me down quite a lot. The Ninja Star though (https://www.atomos.com/ninja-star) would be perfect, as I could mount it and forget it's even there. It would also give me audio in on the GX80 which is a bonus! The problem is, I'd like to record 4K. Is there something on the market that can do this for me?

Oh well, CineD is already more than expected when we all bought this camera. I don't think the score is 1-0, it's more like 0-1. So there's no V-Log, but you can't miss what you never had. Thanks again for the time and effort BTM_Pix. You rock!

I might be wrong, but it seems like the same deal as this: http://pro.jvc.com/pro/promo/ninja/index.html And it's not quite as amazing as it seems (but still fantastic) Basically, JVC gives you $1000 rebate anyway (even before this bundle), then you get $150 back as well if you buy the bundle. On top of that you get $250 worth of accessories for the Ninja. and after all the math and valuing things, I guess it works out at $1 - but it's not as simple as a camera that costs $3595 + €1 for the Inferno. In reality it's a camera that costs $2595 + $851 for the inferno + $250 for the accessories = $3596 NOTES: 1) I bought this camera before the bundle, so trying to make myself feel better about missing out. 2) My maths is terrible, please correct any errors (but be sensitive, see note 1.)

Would it be worth making a new topic called 'Looking for GH4 owner on firmware XX' since GH4 owners might not be reading through 23 pages of about modding the GX80? I mean, I don't read through the Samsung Hack topics, because I don't have that camera.