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I interpret this post as a bit harsh, but maybe that's not your intension. I just like to think of EOSHD as a safe place to explore questions.

Sony A7s... a small camera nonetheless a great potential!    

​Precisely. It amazes me how some people get worked up over one person's own opinion. ALL of these cameras produce a stunning image, and depending upon certain factors, your mileage may vary somewhat. Take what you read with a grain of salt, and enjoy the technology that we have today!

This is a short film I recently made about Doubtful Sound, which is located in Fiordland, in the South West of New Zealand. It is one of the few places where the remote coast of Fiordland has road access, although its not generally accessible for private vehicles and requires an hour boat journey to access the road, which is unsealed over a mountain pass. It is a place of extremes, with a resident human population of 2, a sandfly population of at least 2 million, and an average annual rainfall of 8750mm (344 inches). Aside from the scenery, fishing is a major activity. I'd appreciate any feedback on the film. Thanks in advance. https://vimeo.com/117767791

Thanks! I mainly shot this on an Olympus E-M1 for the IBIS. Some of the wides are with a GH3 and GoPro. Lenses were olympus 12-40 and 40-150 pro.

The best way to "fake" the oval aperture is to have an actual oval aperture, one of the options for DSO's FF58 lens. Here's an example: https://www.youtube.com/watch?v=Y_MZDAgkR_4 And that's just the 1.5x squeeze. Also available in 2x.

​There is also the nikkor 17-55 2.8 for aps-c cameras. It goes for around 450€ but at that price the sigma 18-35 1.8 starts to look more apealing to me.

​Yea, seems like the FS700/OQ7 combo gets overlooked by alot of indie filmakers, but it really is the very, very best image out there for a sub $10k price and crazy versatile. I've had ours for just under a year and the image is sublime. Sharp 4K (to 60fps, 120fps burst), 2K (to 240p), raw, prores, 4K to HD, 13 stops, built in NDs, built in XLRs, great screen, amazing exposure tools, good low light

Like 99% of full frame lenses, no??

Samyang will release a new version of these lenses soon. In Germany they're supposed to come out in February, so I imagine they might be released earlier in other countries. The only differences are more markings on the lens body and the gears for a follow focus are in the same place on every lens. Not sure if they're already out in other countries but you might want to plan on waiting just a little longer to pick up these newer versions.

Iam happy to say, THE DRIFTING IS GONE! With the firmware update 1.20 So first it had 1.0 NO exposure drift Then I installed 1.10 With exposure drift The latest firmware 1.20 No exposure drift

I can't believe you came out with this list today. I have a channel on vimeo called 50mm. And about a week ago I was convinced that a pocket cinema camera with a speedbooster was going to be my next upgrade. I currently own a hacked gh2 w/speedbooster which gives it a 1.34x crop and a sharp picture. but poor color reproduction and low dynamic range. I am yearning for RAW (coming from a VFX background). but I remembered the jump from my t2i to the gh2 which was very noticeable for lense choice. my .72x speedbooster would give a 2.3x crop in the bmpcc and I just can't do it again. The bmpcc speedbooster for canon glass is $659! fuck that's a heavy investment for a piece of glass that will only work with one camera. Then I started coming across 5d mark ii raw videos.And last night I went on a binge looking for every Raw 5dmkii video I could find. There is a certain aesthetic to FF which is not matched by many cameras. The Fact that you can get 1080p (2.35) raw with that sweet sweet Bokehlicious depth of field, a fine noise grain and excellent color science. Plus probably the most used professional stills camera in the last decade. The image coming off of 5dii and 5diii just feels super sexy to me. https://vimeo.com/114574497 5d3 RAW https://vimeo.com/groups/192251/videos/117056139 5dII RAW with VAF https://vimeo.com/108711721 5dII RAW with VAF https://vimeo.com/84603397 5dII RAW NO VAF https://vimeo.com/70954407 5dII RAW NO VAF https://vimeo.com/74610043 1DC porn I hate to say this but I have to agree with Caleb I am becoming a Canon man again too, it just took me longer to mature. And that jerk Andrew Reid forced me to buy the GH2 when I was completely happy with my T2i back in the day. Great Comparison Definitely Biased toward FF. I also wanted to mention that I hate magenta as much as Paul Giamatti's character in sideaways hates Merlot. and I have noticed the 5d mark iii has more magenta than the 5d mark ii. This is also the reason I never got a GH3 and why I'm not getting a GH4.

"The GM1 is $749 with 12-32mm lens." The GX7 kit is even cheaper, $589,99 in eBay.

FS700 + O7Q, FS7? Both cameras can provide a 1.1x crop in 4K (SpeedBooster), the 4K has more real detail than the 1DC, XLR pro audio, tons of fastmo/slomo options, built in NDs, etc. The FS700+O7Q can also do 12-bit RAW, including bursts of 120fps 4K, continuous 2K RAW (up to 240fps), and very high quality 4K and 1080p ProRes (10-bit 422). The FS7 does up to 180fps in 422 10-bit XAVC (1080p), up to 60fps 4K. It also supports ProRes and RAW with the interface unit (extra bulk, but worth it for some productions). The 1DC is only 8-bit with a 1.3x crop, no XLR audio, no 4K slomo, and very large files with an ancient codec. For faster turn-around, Canon has the best look out of camera- looks the most filmic, etc. However, once the camera is understood, it's possible to do whatever you want in post for a filmic look using 3D LUTs, Filmconvert, from-scratch in Resolve/SpeedGrade, etc. ARRI/Canon produce the best looks with the least effort so far, however Sony is catching up. Here the F55 matches the Alexa: http://www.hingsberg.com/index.php/2014/06/f55-matches-arri-alexas-color/ Sony cameras do indeed take a bit more research and work in post, but once figured out, do very well against ARRI/Canon, along with many more useful features. At which point the FS7 can closely match the Alexa in post, it will deserve the top spot on any list which includes cameras in the $8000 range. Things will get interesting when Canon releases a new camera to compete in this space. If they follow their traditional business model, they'll leave out critical features provided by Sony/Panasonic, and thus leave the door open for Sony/Panasonic (and now perhaps Samsung) to get their out-of-camera color science for skin tones closer to Canon (Nikon is also doing well here). Sony's F65 can look better than Alexa in terms of color, including skin tones (not clear how much work that takes in post). Examples: Oblivion and Lucy. If the F55 can match the Alexa for skin tones using just software (in the test above, I was surprised that the F55 looked better to me), it's clear that the A7S/FS700/FS7 can look even better than they do now with firmware+LUTs-in-post. After many hours of testing the cameras side by side, it's clear that the A7S's sensor (and even the FS700's) are superior to Canon's sensor in the 5D3 (apparent even when using RAW). If the 5D4 has 4K and a decent codec (422 10-bit), at least 60p slomo, it will be very appealing to be able to use Canon lenses without adapters (and hopefully with high-quality autofocus- extremely helpful in many situations, especially 4K shooting of dynamic scenes). If Canon drops the ball, there's now lots of other compelling options for video. For stills, the 5D3 is currently the best for the money.

Useful list, but you forget to include the Sony A5100. It's better than the A6000 in video mode: Xavc-s at 50Mb/s and almost 100€ less expensive.

ASPECT RATIO/CROP GUIDES PLEASE! That's gotta be a super easy feature to implement.

​It's useful to think of FCP X as a subclip editor. Assume we had a dialog clip: 'Poor girl, do you want to marry me?' - 'Yes, 'cause I know you have terminal cancer!' ; then you can make a selection 'do you want to marry me?' - 'Yes ...', make it a favourite with f and rename it as 'proposal' and then make a second selection 'Yes, 'cause I know you have terminal cancer!' and rename it to 'cancer'. The result are three clips (the original, if you imported from a camera archive or from original card, it can already be a subclip!), the favourites technically subclips. Synchronized clips, multicam clips, compound clips: all different flavors of subclips. FCP X has become very reliable in avoiding logic conflicts that made legacy FCP slow down and finally crash. You make, for example, an archive (save as ...) of your sequence in old FCP. Then you keep changing things, and two weeks later you remember that old sequence and how well a certain thing worked for you. So you open that sequence (= the grandparents of your current state of editing), copy a selection (technically it becomes a compounded subclip) and paste it to your new timeline. You commit incest or travel back in time and kill your grandparents. In FCP X there seem to be almost no limits for such operations, perhaps because of the way the libraries work and that clips (and subclips) need to be copied before you can use them in another library ...

Still secretly hoping V2.2 will be availlable one of these days soon and feature V-LOG ( http://www.eoshd.com/comments/topic/7466-v-log-on-gh4-is-coming/ ).

Have you thought about shooting 4K prores, but using very occasional 4K raw when you absolutely need every drop of DR? If you have time to edit raw though... I would shoot 2K/raw. I know all the hype is about 4K, but DR and color are still more important, imo and the 2K on FS700/O7Q is a joy, though you do hit some moire/aliasing at 120/240fps