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I don’t think you guys get it. From a TV drama point of view there is little appetite for RAW. No one wants it aside from a DP maybe. It doesn’t matter if you think it’s better or the workflow can be worked around. DP’s don’t really get to make this choice alone you realise ? And most productions want multiple cameras. Lets imagine Mavo. If I wanted to shoot Mavo on the show I’m on now I’d have to convince a rental company to get 8 bodies and kit them out. Tell me a rental company that will do that and then get a couple of spares as backup. in fact show me any rental company anywhere I can get 8 kinefinity anything cameras from... I’d have to convince a director of the creative reasons, and SHOW it was better. I’d have to convince a studio that hates varying anything from the templates of how they do things. It’s not going to happen. You don’t understand how it works and the theorising over specs without actually referencing the pragmatic reality is just playground taunting. These cameras are in fringe for many reasons. The pictures are only part of that story. (And yeah I’m talking about the C200 as much as Mavo) JB

I won't judge you for your taste in porn

Maybe they tried that last time and are why they're getting me now ?

I have the non-cine version of this lens. Unfortunately, I don't have a rodent to test it with but I have got a couple of charts so popped outside to take a couple for you at close focus and minimum focus at f1.4 to give you an example of what a typical one behaves like. At that aperture, the sharpness drops off rapidly from the centre which is to be expected and the vignetting isn't all that either but these are shot on a full frame camera so your mileage may vary with a crop. Its a lens that was of its time really (I've had mine for 5 years) and if I was buying new today then I'd be looking to spring the extra for the Sigma ART 24mm 1.4 But if you can find a cheap used one that doesn't have a built in pro mist then the Samyang is certainly viable if you need that speed on a budget.

And purchased. Very excited to put this camera through it's paces. If anyone had some specific technical questions they'd like investigated, happy to add them to my list when I get my hands on it next week. Looking to use it for my next doc, which will probably mix Raw Lite with the 8 bit codec.

And apparently the results are so bad he didn’t want to post them because he thought something was wrong. JB

Only C300mk2 and RED Raven Apologizes! My full focus isn't on the forum.... is a friday night here :-)

Now we all shoot at 800 asa. actually, I have heard some younger people get upset if they can't shoot at 1600 asa. Pretty amazing to me. Since most modern cameras can do this easily, and that gives you enough natural light in most locations, you just come in and shoot. The style these days is use what already exists, and augment the lighting, and use grip to subtract light. Subtracting light. Before ASA 800, when many of us were shooting at around 200 ASA, you would add light. Now we show up, use a window light - maybe put one light outside of it, and then 4-7 pieces of gripwear to cut it. Toppers, cutters, siders, eggcrates. But a recent job I did for a liquor commercial, we were shooting with the digital bolex as a b camera. The bolex is a beautiful organic image, with a ccd sensor for beautiful motion and the ability to use 16mm glass, which is beautiful and lightweight. We lit for this camera's low native iso, and the A camera, the alexa, we set at 200 ASA as well. At 200 ASA, I was back to where I started 10 years ago, and it was thrilling again. Light didn't spill all over the place - it faded into the darkness, had lots of falloff - and everything was deliberate. We Could liGHT up spaces deep in the bar with red color, and push light into areas we wanted, and hide the rest. It was easier to do, since there were less stands to place on the ground and less rigging to do. Grip takes up a lot of space and stands. Lights - not as much. And we ended up making the bar more interesting than what it was - we transformed it. (I'll post videos and stills once the spots are released. It was putting on a different brain from an earlier era - cause we had to move a different way. And we painted with 1k tungsten lights in a jem ball again and got that tungsten warmth again. That color of a tungsten fresnel - it has a golden warmth to it. Coming back to it, it reminded me of how unmatched by LEDs which have more green and yellow in them than that pure lovely orange glow are these chinese balls. To rediscover those old tungsten fresnel units, that was also important to me. These old lights you can now get as every grip house throws them out, as the world has moved onto led lighting like skypanels, these old lights are a thing of beauty.

A little short film I shot with the Bmpcc + Kowa 8z Anamorphic Adapter I repaired back in June. Color graded to taste - Download my BozBMDFilm to Rec709 LUT for Blackmagic Cinema Cameras Here: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

https://www.searchenginejournal.com/youtube-on-desktop-now-plays-vertical-videos-without-black-bars/263649/ @OzNimbus has the solution: "Let's change the world for the better!"

It feels as though you're more interested in attacking me, as opposed to what I'm saying. It's great that you don't need these features shooting your hobbyist videos in the cafe or bar you frequent, but they're incredibly useful for many of us. The bulk of my work is for independent wrestling organizations and wrestlers. Getting footage of the performers doing their signature moves, flying through the air, etc. in 4k 60p is a huge part of what I do. The Sony a series cannot do that. I don't need to intercut 1080 60p with 4K because I have a very capable camera that can give me the extra resolution AND frame rate I need. That's kind of the point. I do green screen work for those same organizations and wrestlers. 4k 10 bit 4:2:2 blows away anything the Sony cams can do for this kind of work. It's simply on a different level. They are, as I said, things that I simply could not do with the A7iii and a6500. I'm not sure what part of that is difficult for you to understand? These are similar things that Oliver talked about doing himself. My experience I felt was relevant, so I shared it.

I found it interesting that Geoff Boyle managed to get not one but two Kinefinity cameras for his shoot out comparison! Yeah I've been trying to explain to a friend that although the UMP is very very nice, he'd get more work if he owned the very popular FS7 or a F5, as that would make more financial sense in that you'd get hired more.

Go off and make your own forum, then you can ban or re-admit whoever you like. I wouldn't really call the entire cast signing a letter calling for his re-instatement, the court of internet opinion.

Awesome, seems to respond really well! I'm using Verde on a new food commercial - will share when it's done!

@Oliver Daniel For an idea of how current EC works with the EVA, here are a couple of tests images (from Slashcam and Best Film & Video): Raw VLog With Emotive Color EVA1 - Vlog EVA1 - Emotive Color AMIRA - LogC AMIRA - Emotive Color (Granted the cameras, unsupported light sources, WB etc, I'm pleased!)

Honestly, I have quite a lot of qualms with the whole concept of reinstating him. This has nothing to do with the rights and wrongs in this case - he shouldnt have been sacked in the first place (from what I can see.) It is more to do with whether 'everything should be judged by who can shout loudest in the internet court of public opinion' It just seems an incredibly crappy way about going about things....

To be fair if you emailed kinefinity and told them you were interested in shooting a major network TV on their cameras they would give you 8 bodies and all the support in the world.

This is why smartphone cameras should use a square sensor. Then no matter which way you hold the damn thing, it can do landscape 16:9 video with same horizontal field of view. Phones are easier to hold in portrait so you can't blame the general public for using them that way round

What I'm saying is there's a reason people shoot everything on the Alexa. It really is a better camera.

Well I've not decided 100% yet. The EVA1 plus GH cameras is a very worthy package indeed. My main issue points with the EVA1 is that it's a bit bigger than the FS5 II, more expensive, no EVF, and cropped HFR. It also has significant advantages such as better internal codecs and Dual Native ISO. I just have to weigh up, overall, what's most useful to me so the problems will get out the way and let me shoot. On the comparison that suits my business model most, the Sony lineup is edging it. Still yet to rent the EVA1 to decide. I'll be keeping my ore-order of the Pocket 4k anyway. Just too good not to have ? The 4k, non-burst 120fps of the Terra 4k is highly desirable. Yep, the examples I've seen of Venice colour with the FS5 II shocked me really. Then again, the EVA1 is very strong with it's Varicam colour, and certainly the GH5 is another camera with @Sage insane Alexa conversion. That thing is nuts! What it comes down to really is the least headaches possible when running a business which creates extremely varied content in a large variety of situations. One minute, I'm in the woods near dark chasing a monster with a gimbal and LED panel, the next day I'm in a dessert restaurant doing motion slides of food and then i'm filming a music festival with only a camera and one lens, simultaneously capturing very controlled interview setups. Given the way things are going, the setups needs to cover every imaginable situation possible and not give me too many headaches!

That Samyang 24mm 1.4 is clearly not representative of what the lens is supposed to look like wide open. For reference, just look at some pics on Flickr. Exchange it and the next one is probably a lot better. Quality for money, the Sigma 24mm 1.4 is amazing. In general I think the Sigma Art lenses are always a solid option, especially when adapting to mirrorless (no such thing as auto focus adjustment like in DSLR).

You may find this helpfull

Thanks, Man. She'll be thrilled to hear that! ?

I may be nit-picking, but there might be a difference between what the customers want at home and what will make it sell on the shop floor. There's a thing with hifi speakers about treble - manufacturers deliberately turn the treble up too high because on the shop floor it makes them sound 'detailed' and so they out-sell the other speakers in the line-up, Of course, at home, in a quiet, much more absorbing environment, the speakers sound bad and will be fatiguing. Tests show that more treble is preferable when doing a quick test, but when doing a longer test more balanced speakers win out.

I’m sure you could do wonders with a C200. Your work with the E-M5 Mark II was inspiring, so the C200 and one of your Zeiss’s would probably be pretty epic. Plus, Canon Log 2 has a very similar curve as LogC with middle grey both at around 40. Granted, I get your point and agree it’s not for every job and wouldn’t suit your needs. But without a doubt, a lot of indie, micro filmmakers could make a gorgeous calling card short with it.

C200 has "15 stops" of dynamic range but that's a manufacturer claim. Blackmagic at least in my view is a bit more realistic with their dynamic range claims and Ursa Mini has about a 1 stop advantage over the c200. Like JB mentioned. No prores, no timecode, etc. It's like canon knew exactly what to do to make this camera not useful to professional shooters and crews so that you'll buy their better cameras.. Ursa Mini Pro has minor compromises, but it clearly shows the difference between an affordable camera built with market-segmentation in mind and a camera that is built with no limitations.

Doesn’t shoot ProRes. Inconsistently can’t shoot 12 bit and has to shoot compressed RAW to do it. Doesnt as easily look like Alexa as the UMP does. Doesnt do TC. Major major problem in a multi camera TV drama series. That makes it instantly a non starter by the way for any serious regular use. Unergonomic to use the way I like to operate. The only thing it can do better for the way i shoot is AF. And I don’t really use AF. JB

Here is mine, still working on how to get ND's filters. Not easy finding a cheaper mattbox that supports a 153mm rear opening. Any suggestions from any one who has rigged up a foton-A would be appreciated.

C200 is a crippled camera. No timecode, no Prores, only a "Raw Lite" codec that varies between 12 and 10-bit depending on framerates. Canon again did their sneaky business to remove any features that would prevent higher-end clients from ever wanting to use the camera. For single shooters it's not a bad camera. Dynamic range of the C200 is less than the Blackmagic too.

The same here. I'm not sure why some people get so bent out of shape about this. The default settings are what they are because market research shows that's what your average consumer wants. If you don't like them, then change them.

Did a corporate shoot yesterday, focus peaking and magnify while works but not great, Canon one is much better implemented and magnification show much more detail than Sony which is just enlarged blurry screen. But I use AF most of the time but there are times where you want it fixed (like revealing shot and stuff). The battery life definitely improves a lot, still have 50% battery life left at end of the day, with a7sii I will need at least two batteries.

I can use pretty much any camera I choose to on a show like this. Which is why comments like yours don’t make a lot of sense. There’s always exceptions to totalitarian comments like that ? In this case, I short a short test in pre of the kinds of shots we’d be doing on the show. We blind tested DXL, Alexa Mini, Helium and UMP. The very very experienced and visually accomplished director picked the UMP as the one he liked most for look based on the graded images from the four cameras we tested. He’s also worked with me before with the operating style you see above which he also likes very much. Based on look (from a blind test) and based on operating ballistics (as above) production chose UMP. Like I said on a pilot we could have had pretty much any camera we wanted. What would a C200 give me in drama shooting that the UMP doesn’t have ? JB

We were looking for a TV for the bedroom last year and ended up getting a small (like stupidly small) LG projector. We just have an Amazon FireStick plugged in to it so we can watch Prime, Netflix and Kodi content and I have to say its worked out brilliantly. Its only 1280 x 720 native resolution so I'll get run out of town for mentioning it on here but its actually pretty decent and at €200 was by far the cheapest and painless way to get a 70" TV in there! As its so portable (and has an internal rechargeable battery too) we throw it in a bag and take it with us if we are going somewhere for a while or, like tomorrow, going to my brother's for a barbecue and a DIY movie under the stars night. I hope his grandkids are keen on WW2 films as we are planning on that particular movie being Where Eagles Dare ! Its a noisy bugger though but its a discontinued one (hence the price) that was released in 2014 so I'm sure the later generations will be better, cheaper, quieter and support bluetooth. Our one has a line out that I just connect to a £10 bluetooth transmitter. As you say, with families all spending so much time watching content on their own screens, it does seem superfluous to have the traditional big TV in a family room these days and I think the projector is a good solution because it does make it a bit more special to kill the lights and have the cinema experience when you actually are going to watch something together.

I'm sure they'll find a way though I've just been on holiday and thought "I'll take the a6500 and try and bond with it". Every time I had to change a lens I was like an octopus trying to unhook a bra.

Be nice I am left handed, crippled from birth! ?

I had Diarrhea yesterday and it cleaned me out, too many Beers I guess. But, get that butt part, that doesn't mean I like it LoL. ?

Have you been kidnapped?!? Much of that might be true, however 10 bit 4:2:2, 4k 60p (adding the ability to do 4k slow motion with his b and c cams), 6k anamorphic, etc. are all features that the Sony a series simply can't match, whereas many of the Sony benefits can be closely achieved through adapters, etc though obviously not matched. The GH5s is a very capable low light camera, and gets very close to full frame with a speedbooster / adapter, which he's going to be using anyway since he wants to use Canon lenses. I just think it makes more sense when you're going to be doing a lot of chroma keying, slow motion, and studio work to have b and c cameras that are far superior for that kind of stuff, while also being more than adequate for other jobs (I've used sets of GH5s for live multicam streaming sporting events, and they worked beautifully, especially when not hindered by recording limits when going back to do a cleaner / better final edit.) The weaknesses of the GH5 and GH5S can be dealt with pretty easily, whereas you simply cannot achieve with the a6500 and A7iii several important things you can do with the GH5 series, most of which are so incredibly useful to the type of work he has said he's doing.

Where is the footage?

Looks great and I love Tilly Finnilly... you’re niece is very talented. I could see her in Hollywood comedies or on SNL.

Yeah with that combo you can even go the Sony A7s mk III route if it is a worthy camera. Good move I think. Sony stuff is just to hard to pass up on as of now.

Its only "assumed" for trolls. For photographers, its real. And there is no photographic "loss" in high ISO. Actually, D850 noise has slightly higher quality. According to lack of knowledge about Nikon advantages even among its loyal customers. According to their almost invisibility in social media. Oh you needed a copy of circuit design to evaluate! Well, they can't give it to you ? Or possibly not.... https://petapixel.com/2017/03/22/sony-keeps-best-sensors-cameras/ Oh certainly yes. Sony semi is way larger than Sony Imaging, and they don't say No to their high-volume-ordering partner in favor of their imaging division. Bussines facts don't care about your feelings.

Camera fanboys are as bad as Trump fanatics.

I like my nikon glass, but I mostly use a phase one. Funny, isn't it? Fanboyism is nothing new,neither is forum narcissism.

Do you guys hold stock options at Sony?

You still did not read either article. So very, very annoying. Not in the flagship two models. Only in the lower-end cameras. They've also used Panasonic sensors. And so what? iPhones are designed by Apple, with custom silicon involving ARM and in-house Apple chip designers, but it ends up being made in a Chinese factory owned by Foxconn. Does that make it the Foxconn iPhone? That's your logic here Rob! It does not come down to your simplification at all. If you define a "Sony sensor" as being any sensor manufactured in a Sony fab, then that is just over-simplification and wrong. Yes they do. They also continue to develop their own next-generation organic sensor with Fujifilm. Again like Nikon they have custom designs and custom image pipeline, from readout to bespoke image processor. You think X-Trans is a Sony technology? Pentax does take off-the-shelf parts, yes. Only the CMOS models. The CCD sensors were not Sony. Yes but they have also used Fairchild, CMOSIS, all sorts. To be honest Rob I still don't see how your point applies to Nikon designing their own sensors. You've mentioned a lot of other manufacturers. So what?

Fair points, but I didn't say design was MORE important - it is critically important, not more or less. You can't have manufacturing without design and visa versa. Especially the kind of design and simulation Nikon revealed in the article. When you are designing at the level of an individual photon and atom, it makes a difference. Canon's process is less well documented. Over the past 10 years there has been less useful inside information about Canon's sensor design and manufacture capabilities as there was about Nikon in that ONE article. I know Canon recently invested billions in new chip making facilities in Taiwan, but they are not at the Samsung or Sony level, that's for sure. The machines that MAKE the machines, of course are important and Nikon make that technology to don't forget, the chip lithography side of the business is doing very well. Until this Imaging Resource article all we had were SONY logos printed on Nikon sensors, pictured on rumours sites so not exactly a world class insight. We are armed with quite a different set of facts now. And yes, although it is something of a staged PR piece, it is backed by substance - both the facts and evidence are there for all to see. BSI sensor technology is a capability of the Sony fabs that make Nikon sensors but is not exclusive to Sony, and if you are simulating chip manufacturing at the level of fine detail Nikon is (at atomic level) then you are arguably using a fab in-house, to prototype your own designs, which is almost as good as having your own manufacturing facilities in-house. Nikon's team clearly are on the cutting edge and differentiating their image quality from Sony. If Sony turn around and decide not to take on contract manufacturing for Nikon sensors any more, there are plenty of other factories... they are 10 a penny Samsung for one. Canon only just moved to a copper process from aluminum, and it is one of the reasons they have lagged in video on high resolution sensors, as the readout on an aluminum chip is slower - the chip runs hotter, due to the higher resistance of aluminum vs copper. The manufacturing is more difficult and cutting edge behind a copper CMOS circuit, and that in turn was why Samsung were able to do a 6K sensor readout on the NX1 way back in 2014, before Sony and before pretty much everyone. Next innovation to be widely used is Quad Bayer, I think. It allows 2 exposure sensitives in one pixel, so HDR on chip, essentially. That's design, not just manufacturing. Patents are key and Nikon's team have quite a few. Canon with Dual Pixel AF have more. Design is important guys.

For the company i work for we bought a gh5s and a ninja inferno. After countless tests we discovered the Inferno was very picky with HDMI's and just bought the Atomos version. Our first Atomos which turned out to be broken would work with the third party cables we bought, however, the issue was the recorder would just stop recording. The picture was perfect though. After trading in for a new inferno, the third party cables would just not work at all. We tried a total of about 9 cables that should have worked. The atomos one was the only one that would work. So my conclusion is that it may or may not work. Can't hurt to try though.