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I think that's a great target. the lower the barrier to watching, the better. when it comes to advice like this, I almost always say the same thing: look at your own viewing habits. and i know zak forsman, when he hits 'play' on youtube, and sees the run time is over 10 minutes, he's likely to stop, thinking he'll watch later, but of course never does.

Just one? For me it would be this but I could NEVER live with just one lens- I have a hard enough time limiting it to 8. Wait, 9.

Aputure Dec Canon lens control is not autofocus but this is better of Metabones Speedbooster for who use the Samsung NX1 camera to shoot video. It's nice control the lens with grip, in wifi you can control the lens with camera on the drone or on the crane. The price it's the same and if you want you can buy the Aputure Dec after new or used and assembly it yourself. The system it's made for reassembly the Aputure Dec like original. In this time it's a prototype but the work it's in the end road. I can't make more. this is the max I can make for take to live this spectacular camera. Thank's.

I have the FS700 and when using it in HD internally it is NOT sharp. I never use it. Definitely not 4k Downsampled to HD. The original c100 destroys this camera in sharpness because it downsamples the 4k sensor. I am sure you have heard it before, but I will say that the FS700 is amazing with used with Odyssey 7Q. Raw is awesome. And the 4ktoHD and 4kto2k prores modes are awesome because they are downsampled in the recorder when writing to the SSDs. Totally sharp. But this is with the recorder only.

If I had to pick one lens for life I'd get another life.

Milestones will get posted when they happen...

APS-C : Samsung NX 16-50mm S F2/2.8 M43 : Panasonic 20mm F1.7

Yeah in an ideal world I'd like to try out a full Zaxcom system, as I like how their wireless can work together with their recorders. But...... PRICEY! :-o Had a fellow local sound recordist just get a Sonosax SX-R4+, the first (and only) one in the country! It is impressively small for what it can do. But.... PRICEY! :-o :-o On his Sonosax kit he spent over NZ$10K

That would be a sad day.

Hello, What is your favorite DVD authoring software? I'm on a PC and use Cyberlink Power Director 16. Can't really say it's my favorite, as I haven't tried any others, shrug, but it seems to work okay. Just wanting know others experiences. Thanks!

We already have a form of this in my country. 16 year olds are not allowed to vote. Lots of other certain classes of people are also not allowed to vote, such as prisoners, or people in a mental ward. Does that mean I don't live in a democracy here in NZ? No, of course not! Would be silly to try and claim this isn't a country with democracy. (although yes, arguments could be made around it being more or less democractic when it comes to including or excluding a 16yo or a prisoner)

It carries on existing as the stills camera which Sony targets to videographers. If you shoot video, you want it. What planet are you living on? Most camcorders/compacts do *not* have an electronic variable ND. With the FS5 and FS7 mk2 being a couple of notable exceptions. I agree with you about the a7 and a7R series. Not going to happen! But there is a very slim chance an a7S successor might! However, it is probably a similarly slim low odds as it getting 10bits :-/

Since the algorithm is secret, and it was updated recently, it's impossible to know exactly the answer to this. However, if I was personally launching a new channel I wouldn't even consider less than two new uploads a week, each with a runtime of no less than 3.5 minutes.

The FS700 Can Output 10bit Pro Res on via devices like the Shogun or Odyssey or 12bit bit RAW via the AXS‐R5.

Dude those screengrabs look incredible. Excited to see it whatever it turns into. Glad you dug "Last Day of Summer"! I did a 60p raw test recently and it completely failed. Every frame was pink and pixelated. I have no idea what I did wrong. If you figure it out please let me know how!

As I went with my humble NX1 in the previous post, the 16-50s is my natural selection. OIS, 2f to 2.8f, very fast focusing, 24-77mm.

One lens, One love, One life... my friend ;-) Great song BTW: Apologies to Bono Vox, but as much as the Sigma 18-35mm f/1.8 nothing beats the unique when some_ONE pops up... :-P

Agreed about the close ups. Any smaller scale formats really shine in this setting. The extreme being Super 8 or Polaroid film. Portraits on polaroid look like they've already been airbrushed. On the discussion of 16mm. Stuff I have shot with the Bolex has just been the most rewarding for me. The colors, skin tone, and overall feel are very hard to replicate. I think someone saying they can easily copy the 16mm look with filters, is the same as saying the GH5 can look like an Alexa or a F35. I suppose there's different traits that people would to copy. To some people that would mean analog inconsistency; film burns, grain, jumping gate, etc. There is a huge difference in the film stocks alone. These first two frames are 1080p scans on the Shadow. This is a 10+ year old scanner. The 3rd frame is a 4k scan from a Scan Station. This is just cheap c-mount glass. I've n ever used Zeiss on a bolex, but I am sure the results would be very nice. I've never seen this but the trailer looks good. I'll be checking that out this week.

There's as much chance of an A7 full frame mirrorless camera having an internal ND as it having propellers that pop out and becoming a drone.......

Majority of what? The majority of humans (not even the majority of humans in the USA) certainly didn't vote for Hillary *or* Trump!! No, what is meant is the majority of the electoral college. That was the "rules of the game" which I referred to earlier. And following the rule of law, that is what the president won. Oh, and I just described this as well: So on both counts, yes, democracy.

There are many many many forms of democracy. There isn't only *one* type, which is your definition. USA has a form of representative democracy.

For the Tiffen, do you just use that filter and no ND? I think I'm going to experiment with no ND and motion blur in post processing... According to the Dave Dugdale test, the Shure is better in build quality and RF shielding than the original Rode VideoMicPro and better at off-axis (side) sound isolation. However, the overall sound quality was better on the Rode. Always the best to get a mic as close as possible and sync even if you have to hide it somewhere. Doesn't help with people moving around though. Yes, sync is a pain. I haven't figured out a good workflow or habit for run-and-gun that makes it easy to remember to start/stop record on the Shure or to deal with the hassle of one long audio track on the Shure and syncing with multiple little video clips. I did use the Rode VideoMicro when I had my Olympus OM-D EM-5ii (with not so great input preamps) and it worked better than the built-in mics with excellent wind muff. I'll try to bribe my son to sit in and model for me tonight to test my audio. I'm actually pretty rubbish at audio (especially post-processing) but it is something I want to improve in. Here is a BTS from a Rode Reel short I did showing my minimal audio setup from when I had the Olympus (I still can't believe how great the IBIS in that camera was!). I also plan on doing a colour swatch / skintone comparison with my lens collection and GH5 (when it arrives). Man, that really sucks. I think the only reason I got a couple of mics from the first batch is that I had a couple of projects planned and they wanted me to try them out. The original firmware was flaky (bluetooth connect), but after upgrading them they work much better. I've supported a few video/photo kickstarters myself (PeakDesign - excellent, Instamic, Breakthrough NDs - great, Rolocam - haven't used it, SteadXP - refunded, PlexiDrone - refunded, Aetho gimabl - refunded, several documentaries) but have been lucky with most having shipped and being useful to me. I try to keep my gear as minimal as possible, which is why I love micro4/3 and cameras like the GX80. The Instamic is just so good for getting better (but not the best) audio quickly and unobtrusively.

I'm not sure if anyone has mentioned this already, but I fill my Panasonic treats with whipped cream. Goes down great at election parties.

I think my Sony PMW-F3 / BMPCC combo will likely last me until at least into 2019. Hopefully longer! (and I've already had them for a couple of years) However that is very far short of "for life". As eventually I will not be able to hold out forever, and I'll get a 4K cinema camera.

A little short film I've literally just released online! Shot on a BMCC and graded with my BozBMDFilm to Rec709 LUT. Download HERE: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/. Hope you like

I thought we'd all agreed with Andrew to keep things on topic as a cinematography forum rather than a vehicle for vox pop "I've read Wikipedia" opinions about life, the universe and other trivia? C'est la vie.

It was incredibly eloquent existential trolling, a great performance, and it gave everyone watching on E! News a reason to consider suicide

There's a wide-ranging misunderstanding of Nyquist sampling theory when it comes to images, and I think you might be following that widely-publicized misunderstanding. If not, my apologizes but I think it's such an interesting topic (which I was totally wrong about for years) that I will butt in: Nyquist does not apply to image sensors how many people think it does. A 4k sensor actually CAN resolve a full 4K (well, technically anything less than 4k so 99.99%) signal, and fully. It's only Bayer interpolation and the presence of anti-aliasing filters that reduces this number in a meaningful way. What it boils down to is that a line pair represents a full signal wave. Yes, you can only fully capture less than 2048 line pairs in 4k without aliasing, as per Nyquist. But that's still 4096 lines. So... with a Foveon or monochrome sensor you can capture full 4k with no aliasing on a 4k sensor. Really! You can! (Assuming you also have a high pass filter with 100% mtf below 4k and 0% mtf above 4k. Which... doesn't exist... but still.) The other point of confusion is the idea that a line pair on a normal resolution chart represents a sine wave. It doesn't. And THAT is 99% of the reason why there's aliasing on all these test charts. It represents a sawtooth wave, which has infinitely high overtones. So mtf should be measured with a sinusoidal zone plate only, as the Nyquist theorem applies to sine waves specifically (well, it applies to anything, but sawtooth waves are effectively of infinite frequency because they contain infinite high odd order harmonics). Since most resolution charts are lines–sawtooth–waves, rather than sinusoidal gradients, even the lowest resolution lines are actually of effectively infinite frequency. Which might be another reason why you see such poorly reconstructed lines and false colors around the very high contrast areas of the window in Yedlin's test in the other thread. To that extent, the use of anti-aliasing filters is more just "whatever works" for a given camera to split the difference between sharpness and aliasing, and not correlated with Nyquist in any specific way. Bayer patterns I believe remove a little less than 30% of linear resolution, but in practice it looks a lot sharper than 70% sharpness due to advanced algorithms and due to aliasing providing the illusion of resolution... So the resolution issue requiring over-sampling is due to anti-aliasing filters and Bayer pattern sensors and balancing things out between them so you get a sharp enough image with low enough aliasing. It's not Nyquist eating half your spatial resolution. I'm no engineer by any means and I have made this mistake in the past and now feel guilty for spreading misinformation online. Also, I'm normally an 8-bit-is-fine-for-me-and-probably-for-everyone type person, but for next generation HDR wide gamut content you need 10 bit color and a wide gamut sensor. I think Netflix is going for a future proof thing and perhaps it is due to legal. That is a very astute comment. It's not an aesthetic choice, but a legal one. Otherwise, anything could be called "true 4k." (Fwiw you can include small amounts of b cam footage shot on other cameras or even stock footage.)

This thread is insane.

IMO Blackmagic 4k definitely does not have an image up to Netflix standards. Gnarly fixed pattern noise, aliasing, poor dynamic range, etc. keep it away from serious use. If you are getting great images with it, more power to you, and it has its place. But I would rate that image quite low, below the 2.5k even and nowhere near what Netflix is looking for. The 4.6k is pretty good, though! I would expect they'd include it. Anyhow if you have any tips on getting a better image out of the BM4k I would be glad to hear them because I do use one from time to time and am admittedly a frustrated novice with it. Marketing, not image quality, is definitely behind the Alexa's exclusion, imo. But yeah, technically the Alexa 4k is a little softer than the F55. The noise pattern feels a little wide, there's some hints of unsharp mask. It's great from a subjective perspective and would be my choice every time, but in the lab it would fail to meet their standards. But the thing is it doesn't matter unless Netflix is producing the show. They'll buy originals (tv shows and movies alike) that are shot at 1080p. So they would acquire a feature shot on the Alexa but not produce one. They'd acquire one shot on film but would not produce one. So feel free to shoot on film... if you're footing the bill and hoping Netflix will pick it up later, which they very well might. Does the F55 have a different RAW output than the F5? Maybe it is the wide gamut BFA. That makes a lot of sense. When I first used the F5 (a month or two after its release so the firmware was early and you could tell) I thought the image was awful, but I used it again later with the Kodak emulation LUT a few years later and it's way better than it once was. I was recently working on a Netflix show that was shot on F55 RAW and again was not impressed with the image from a technical perspective or even the color didn't blow my mind but it did seem a lot better than the F5 (which I still dislike). Now that the footage is out there and I see the graded footage online, I think the footage looks very good, so the colorist did a good job and I was wrong about the F55 I think. It's possible Netflix knows what it's talking about, but I'm still surprised by how well the F55 holds up. (I would place it way above any Black Magic camera except maybe the newest 4.6k, for instance, but worse than the Alexa or Varicam and yet it seems to look just as good in the final product. F55 RAW is surprisingly good.) Likewise, I rate the C500 poorly but above the F5 and FS700. But... at that point you're sort of picking arbitrarily. The C500 is sharper, cleaner, better color, slightly worse DR, maybe more aliasing? Not dramatically better by any means. Maybe it has the wide gamut BFA array they need and it's as simple as that.

yeah it is only if your directly working with them to produce a piece or series, It stills seems oddly political though

It only needs 3 improvement：PDAF 、10bit & no rolling shutter

I can guarantee that most of the replies will favor the GH5, but honestly I think the right answer depends on how important cost, sensor size, low light and AF is to your work? With a $600 price difference the extra money saved with the a6500 can be used to put toward lenses. With the larger sensor, you will have a built in Super 35mm aesthetic and all the bonuses that entails. Between the sensor size and cleaner high ISOs, the a6500 will be better in low light. With the touch screen and PDAF, the a6500 will have better AF. With all that being said, the GH5 will probably offer a more stable production with less chance of overheating and better rolling shutter. If 4K 60p is important to you, the GH5 will offer that. If you're interested only in 1080p, the future firmware updates will give you lots of great high bitrate, high framerate, All-I options. But if 1080p is all you need, the overheating issues of the a6500 won't be an issue... of course I haven't had an issue with overheating in 4K with my a6500, but I never shoot a clip that is longer than 2-3 minutes at a time... being a wedding videographer, YMMV.