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For those interested on differences between bitrates. Not only for this camera, but for pretty much every other one, thats whats hidden on your footage. Sometimes you cant see those blocks clearly, but they are there, ruining your images in the shadows, saturated areas, highly detailed shots (like shooting leaves and grass) and when you are panning. 50Mbps (200% zoom) 100Mbps (200% zoom) 200Mbps (200% zoom) More bitrates transforms those compression artifacts into detail and fine noise. 50Mbps (400% zoom) 100Mbps (400% zoom) 200Mbps (400% zoom)

Yay. I was right. I mean, not left. So... right indeed. But not like in the test right. Maybe I should've left this alone, right?

Hello! We cant carry our NX1s, GH4s and A7s with us all the time. For those who want a good 4k camera that you can carry all the time, thats the best solution that I have found. The best Android phones shoot 4k with a bitrate of aprox 48Mbps. They are not bad, but they have too much compression artifacts, contrast, saturation etc. A few days ago I found an amazing app, and I would like to share it with everyone. I have no bonds with the app developer, but im afraid he will give up his project if there is not enough support. Im pretty sure he can make things even better. What we have now with the app is: - Flat picture profile (It recovers a good amount of highlights and a little bit of shadows) - Better noise reduction (more like film grain. The stock one is very blocky) - 24 fps - 30 fps - 200Mbps!!! Thats the best part! Much better video quality. Less macro blocking, less banding etc, so you can recover more detail, grade the videos with the less problems etc. Frame grab from the Samsung Galaxy S6 stock camera - 4k at 50Mbps Frame grab from the Samsung Galaxy S6 using the app at 200 Mbps There is a lot of room for improvements, like more manual control, more control over the picture profile etc. But I do think that, at the moment, thats the best 4k camera that you can carry around all the time! Lets support the guy, so he can make it even better! The name of the app is CINEMA 4K, and its available for free at the play store! Make sure to update your phone to 5.1.1!!!

exactly. It's obvious that a mechanical shutter can't have a longer exposure than 360degrees or the full length of the frame. It may be a wrapper, I couldnt give two hoots really, I see on my camera 1/5th of a second. the electronic shutter is open for 1/5th of a second, then closes, exposing 5 frames at a time. it could be that its 5fps/360degree but for the purposes of this topic, for the final time, as far as I am aware the Sony cameras allow the slowest 'shutter speed' to be selected during video mode. the effect cannot be achieved without this setting.

F stop measures the opening of the iris in the lens. But all the different elements of glass and their quality can effect the amount of light that actually hits the sensor. So the T stop tends to be slightly higher in numerical value to the F stop. Most of the time it's about 0.2 higher

So, I've owned 2 of the 4 cameras you've mentioned: a5100 (basically the a6000) and the bmpcc. I've sold both a little while ago, and just bought an NX1 body for $920 yesterday. Here's my take. You still haven't given us much info on what your shooting style is, what kind of film/video work you'll be doing a majority of the time, and how much time is allocated or can be tolerated for post-production workflow. Because as you know, all these cameras (probably except for the Gh4 if you shoot portrait, or the a6000 if you keep your grade simple) have some kind of workflow shortcoming or nuisance. The BMPCC records RAW. Nuff said there. The NX1 needs h.265 > editable codec transcoding, unless you run it into a 4k recorder (which is $$$). The GH4 can be dodgy and trickier to grade if you're shooting CineD or V, though it's marginally better than grading Sony S-gamut1 color on the a7s/a7rii even with log conversion LUTs. Though, it seems Andrew's new GH4 LOG conversion system might help you get decent color faster and more consistently if you like his methods. Finally, the a6000 is fairly decent to grade, but it's like the NX1 where you're grading "flat-ish" rec709 colors instead of dedicated log. All of these cameras, considering their price point, needs to be cared for extensively in their setup during shooting in order to maximize results in post. There's no getting around that..unless you want a Canon rebel. So here's what I'll say. If you don't know what kind of shooting you'll be doing, go with the GH4 and pimp it out cinematic-wise in terms of settings (EOSHD guide + other user experience info) as well as gear (speedbooster, anamorphic if you're into that kinda thing). It's the most all around balance between all the cameras you listed, everything considered. The BMPCC gives you the most possibility in terms of looks at the cost of rigging cost and workflow time. I also didn't like how inconsistent RAW could be in terms of detail. The 1080p one minute was mind-blowing, and the next it was aliasing mush. What I'm guessing is that the NX1 is great with rec709 color but bad with possible compression artifacts and grade possibilities. That's fine, because I can work around both of those things. I think it actually has the same latitude as the GH4 if not a bit more, based on tests. Also, that sensor, in a well lit scene...you could mistake it for RED footage if the person didn't know. So that's why I'm giving it a try now. The recorded file sizes are small, making it great for archiving footage. It also makes the best photography camera out of the entire lot. That's a big plus if you don't care for the 5D RAW workflow. The a5100 I had...I know I can handle the NX1 rec709 colors just fine because I was doing it with SONY colors on this camera. It's a tiny little workhorse that really brings out the photographer mindset inside you because of how easy it is to handle. It feels like a toy. The a6000 isn't too far off. The XAVC-S codec holds up VERY well if you take care of your scene. Gradability is actually really good for what it's worth. A consumer camera. File sizes are small here, too. Just beware, this camera has aliasing/moire problems similar to the BMPCC. Take care of your scene. But again, all of these opinions of mine are based on the types of things that I shoot and the work that I do, which is a healthy mix of personal/short film work, music videos, fashion films, and corporate event work. BMPCC fails here for all of that. a5100/a6000 for video isn't as attractive for this work as the GH4/NX1. A7s is amazing but a headache for color if you're not experienced and don't want to fight with skintones with almost every scene. So, what do you shoot?

Good day to all, Just wanted to warn this good community that some people on eBay UK are wise on the fact that quite a few of us are looking for second hand Canon 1DC. We bought 15 days ago a 1DC advertised very convincingly by a "photographer" from Worcester (UK). The 1DC "used a handful of times, primarily for 2 weddings videos in the summer, the shutter count on the camera is 7907." Long story short, after a few emails and a payment via Paypal, we got a tracking number from parcel2go which conveniently was totally non specific (so really, the opposite of a tracking number): no starting point address, no delivery address, no mention of the nature of the parcel, nothing at all... which is exactly what we got at the end of one stressful week. We had to call eBay and Paypal then, got refunded in full TODAY. But we consider this pretty much a miracle. At the end, we have to say that we probably did not verify thoroughly the identity of our seller i.e. his digital footprint, his web site or facebook or LinkedIn nor did we check enough the reality of the transaction. Be careful. Thanks for the good work. Phil ProduThing Ltd

Just received the A7rII. Late in the night, I just mounted both cameras on the same plate with a heavy handle and did a quick & dirty IBIS test. I just moved around without trying to shake the cameras like crazy (ok maybe just a bit at some point ) . There might be some extra movement because of the stability of the rig with the cameras (but both cameras do physically move the same way). Settings are as close as possible. 1/60 f/1.4 ISO 800 WB3100. 25mm T0.95 SLRMagic + Tiffen UC3 on E-M1, 50mm f/1.4 AIS Nikon on A7RII. 1080 30p Fine on E-M1, 4K FF 24p 100Mb/s on A7RII. Simple premiere edit to make the composite. No effects applied. I wanted to also compare to the warp stabilized A7RII version but only analyzing the 1.5' 4K video would take more than 30' and I would fall asleep before it was done (I now appreciate NX1's DIS a bit more, since can't imagine how much time it would take to analyze a 30' recording). Keep in mind that the DoF is different since I wanted to compare the same ISOs under shitty light. I might do another test in daylight and then the DoF will be controlled. Also the videos might seem unsynchronized but believe me they are. This is really the IBIS in action. Hope it is useful for some of you...

http://www.dxomark.com/Reviews/Sony-Cyber-shot-DSC-RX100-IV-sensor-review-Performance-stacked-in-favor Score is up 3 points from previous RX100's to a 70- on par with the Canon 7D II and orig 5D. I love my MarkIV, glad to see it being recognized for the awesome sensor that it has.

We've spoke about it before on this forum (lenses with character) - but I'd particularly like to collate some thoughts/findings on lenses that have a weird aesthetic feature, and post visual references here. There are also times when I see a particular video that repeatedly creates an in-camera aesthetic through the lens. I'd like to make this topic an area for sharing such images and finding out which "weird" lens can perform such an aesthetic. So we are looking at: Any lens with some kind of weird feature/aesthetic/artefact. Features: bokeh, lens flares, color, tints, haze, distortion.. anything bizarre/odd/weird/strange. Recommending lenses/sharing images/finding out what "weirdness" features on what lens. I'm shooting a music video in 2 weeks, and the clients wants this particular aesthetic in their video, all over the place. I've attached an image. Anyone with some weird less love?

To be fair on the client, the inclusion of such heavy flares does fit the brief. The brief is an incrediblly high octane performance with a sci-fi neon feel - using distortion, flashing lights, flares, defocus techniques, glitches, lens whacking (we helped them out with the idea of course). We referenced the flare techniques are now they are obsessed! I could do it in post but where's the fun in that? I'm a firm believer that if you can do it in-camera/practical - then you should! (Look away George Lucas!)

Nope, and it probably wont have that. That app is aimed at camera enthusiasts. For those who want the best possible image quality, grading possibilites etc. There is no point on shooting at high bitrates for a low bitrate streaming. There are lots of good apps for streaming to youtube though. Video apps with real time HDR video should give you great results. ------------------------------------ BTW. Android users that have updated their phones to the latest 5.1.1 firmware can now shoot RAW DNG pictures. Some apps already have burst shot in RAW mode. Im sending some e-mails to see if I can encourage the devs to introduce at least 1080p RAW video or a 30fps burst shot mode for a few seconds. Those phones are very powerfull and the hardware is far more advanced than most camcorders and DSLRs.. Im pretty sure its possible, but the problem is that the average smartphone user will never use that (video camera developers are giving up due to the lack of feedback). They are more interested on those nasty camera filters for instagram

I guess even more than colours the 4-2-2 codec and the medium format look will be superb with leica glass. And good 4k. Though the price is prohibitive (except that it is a Medium Format Camera, and that it is a Leica).

Leica colors in video is a complete dream, looks so amazing.

Some quick shots with the Industar 69 28mm 2.8 on the nex 7 with flare in the end. (Purple corners is a Nex 7 thing)

10 minutes HEVC clip to ProRes in 2 minutes ? Computer specs please

Same here. In the meantime, I've reluctantly become a little smitten with my EM5II. Once I learned the muscle memory for the egos it became a competent shooter. Not perfect, by any means, (no ISO exposure adjustment while shooting?) but a great creative tool if you wield it properly. Also, I'm discovering that shooting EM5II footage with vintage lenses really takes the edge off the video and gives it a more pleasing aesthetic, so not only is the body pretty cheap, but the lenses I'm using with it and getting the best results are as well.

Right. But, no need! Go on post... ;-)

(at the risk of sounding dense....) Should I send you a single picture, or a few seconds of video?

I have not tried it. I have heard it is very well made though.

GRADING STRESS TEST IN 4K The objective here was not to get a pretty look, but to push the codec. - The highlights were brought 80% down to search for banding, specially in the blue sky. - The shadows were pushed up to 40% to seach for macro blocking. - 5% of vibrance - Contrast at negative 5% (good to show limitations of 8-bit videos. It shows lack of gradation) - Unsharp mask at 1.5 Conclusion: It holds up pretty well! For those looking for a filmic look, you will be able to intercut your phone with your main camera easily! Special points for the color reproduction. Pretty spot on!

The title says it all. Can't comment on the app so far, must read the 341 page manual. I'm looking forward ...

It didn't even cross my mind to label the video. I said that it was late in the night... But yeah left is E-M1 right is A7rII.

I think if you're doing mostly handheld work to stick with the 12-35. If you use a tripod most of the time and/or a shoulder rig then the Sigma will be a good choice, although you won't be able to go as wide on the GH4 with 18mm, even with a speedbooster.

Came 7500 is a newer version of 7000 so I'm sure it's great. Not sure about Came Mini, but the Single looks pretty wobbly from tests I've seen.

Pretty sure the Olympus stabilization is still unbeaten, so... that answers that for me. Also, Gordon Laing actually confirmed my suspicion in a recent interview. But yeah, without a definit answer, it's all just guesstimating.

Might be so with a mechanical shutter, but we don't know what exactly is going on with an electronic shutter, do we? There's software involved and it's hard to know what's being done in camera, there might be some magical readout mojo going on which you might not be able to emulate in post.

He wasn't joking, he was just confused by your improper/non-existent labeling of which is which.

if youre going for this look id pick up a sony that shoots slog2+sgamut

Jonesy I think you might have a bad copy if yours is like T2.8. Mine is about T2 and slightly brighter than that at 28mm. Dearborn, if you want to be able to use that stabiliser then I would recommend lighting. In fact i would recommend lighting anyway. I use Aputure Amaran AL-H160. I have four of these little mothers. I use them on lighting tripods and sometimes with reflective umbrellas.

Xavc-s is essentially the same h264 codec that's used in most other cameras. It's really not even close to the 10 bit prores of the bmpcc Btw one thing I didn't mention earlier is that the bmpcc's dynamic range is only significantly better in RAW. ProRes is much more prone to blown highlights. I believe with the right picture profile you might get the same dynamic range on the a6000 as you would with the bmpcc in prores. But even so, there is something special about the blackmagic image. So if you have the time to work with it then I say go with it!

It's shooting at 5 fps and interpreting as 25 fps to deliver at 25 fps as a convenience. If it delivered at 5 fps you'd have had to interpret it as 25 ftps manually in the editor, but the result would be the same. The point is that it's capturing at 5 fps, not 25 fps: it's impossible to capture any faster than 5 fps because by the time it's time to capture the next frame it'd still be capturing the first one.

the fact remains that Sony allow the slowest shutter speed in video mode. 1/4 of a second. the setting is there, in plain view. if it was shooting at 5fps it wouldnt say 25p, it would say 5p. what ever it's doing, its doing what i imagine the thread starter is trying to find out. the rolling shutter is open longer than the frame duration. I keep expecting Sony to prevent users going slower than the frame rate, but it keeps being left in to our benefit.

Agreed! Alan is a great guy and really knows his character lenses! He even gives some away to his following, really awesome. Tons of stuff on that website mercer mentioned already as well as the YouTube channel that goes along with it that shows of the lenses he talks about: https://www.youtube.com/user/alanbesedin . Great source, really. In agreement with the others as well. Basically anything Russian will have tons of character. Zenit HELIOS, JUPITER, INDUSTAR, MIR, TAIR, Zenitar, Vega... crazy bokeh, flares, great built and optics, really fun stuff. I myself have the HELIOS 44M-4 58mm f/2, MIR-1B 37mm f/2.8, INDUSTAR-61 L/Z 50mm f/2.8, INDUSTAR-50-2 50mm f/3.5, JUPITER-9 85mm f/2 & TAIR-11A 135mm f/2.8. If you want a new lens with similar oddball character, try the newly released Zenit MC HELIOS 40-2 85mm f/1.5 (availlable in different mounts) as well as Zhongyi's Mitakons perhaps. If you're really up for a challenge, I dare you to get these and report to us how you like 'em: http://shop.zenit-foto.ru/kinoob-ektivy . Not sure about adaptability though, I suppose you could use 'em on the BMPCC? Hey, I'm calling it a challenge for a reason. Oh... and of course, maybe you can get Rich (@richg101 hey, see you're not going by 'Dogschidt' anymore!) to come up with something unique for you. The FF stands for Flare Factory, so that should give you some indication of where that's going. Check it out over at http://www.richardgaleoptics.uk/ , https://www.facebook.com/DogSchidtOptiks & https://vimeo.com/meltingbloke . Still thinking about asking him to put me together one similar to the one used on the next piece, as it just looks dropdead gorgeous:

You're mistaken. sony cameras are shooting 25p (25 individual frames per second), it just so happens that the sensor is gathering light for 1/5th of a second then closing, then gathering light for another 5th of a second, five times a second. each 5 consecutive frames are the same. if it was shooting just 5 frames per second, when I open the file in premiere i'd see 5p, but I instead see 25p meaning there are 25frames there. there might not be 25 different frames, but I have 25 frames none the less. Tell me one mirrored camera that can shoot continuously for 25mins at 5 frames a second with each frame exposed continuously without a gap. it isnt physically possible to open and close a mirror that quickly, continuously for 25mins regularly. even a 1dx or d4 will eat up its shutter count and mirror will be dead in 2 months. with the a7s you can shoot these clips at 4k, speed up by 500% and you have a timelapse with a rather interesting motion blur created practically, and in small file sizes.

To add to the suggestion by Hans, the Helios 40-2 85mm f1.5 - the most swirly bokeh that you'll ever see from a lens (just google it & you'll see). I'll second the Mir-1b 37mm for lens flare. As far as the picture is concerned, that's an anamorphic lens & you can get that effect really easily. The Kowa for Bell&Howell is very good at this sort of thing with the right taking lens - most Russian lenses flare really well. Here's a good start for 35mm flares: https://vimeo.com/album/1570850/page:1/sort:preset/format:thumbnail

I have yet to see any of the small one hand gimbals look good. For some reason it seems the smaller they are the more they wobble. I have the CAME 7000 which is really stable. The Ronin M seems very solid too.

Well, who is it ?

Helios 44 & 44-2 are pretty unbeatable for all round character/sharpness/bokeh/flare. It's 58mm is also a nice focal length to 'restrict' yourself with, allows creative 'zoom with your feet' approach ...has very good close focus too.

Yep, and one thing to keep in mind with BMPCC is that battery life is awful, and the screen is awful. You'll need either a bag full of batteries and/or external power, plus an external monitor.

I love my $1400 nx1 but it would Def feel naked without the 16-50 S lens which adds 1200 to the price.

To modify a saying a bit, "If you don't already know what a BMPCC costs (in equipment and time) you can't afford it." Seriously, BMPCC is only for people who have stretched the limits of compressed video and are willing to make VERY significant trade-offs. I would cross the NX1 off the list because the platform is new. Therefore, I think you should choose between GH4 and A6000/A5100.

for this technique you want less frames per second. Shooting at 120fps means you will degrade image quality for no reason since each frame will be sharp, and low light benefits no longer apply. for instance, 25p at 1/5th of a second confirms perfectly when sped up to 500% since the 1/5th shutter equates to 5 frames being exposed with one image. hyperspeed by 500% smooths as if it were 25fps. shooting 24p and 1/4 sec means you need to speed up by 600% to keep the perfect conformation. 1/4 x 600% = 1/24th sec or 360degree shutter. this was shot on the humble NEX5n, more than 3 years ago at around 400iso i think. imagine how clean the a7s would be when in this mode.

NX1 seems to be limited to 1/30, no matter what. It does have slow shooting modes that go down to 1.25 fps, though, so I'm pretty sure that you're not too limited creatively.

its kaylee one word lol ok i checked: on my rx10m2 shutter goes down to 1/4sec for 24fps like rich said, BUT it only goes down to 1/120 in 120fps mode

Sony allow as slow as 1/4sec at any frame rate. shooting at 25p and 1/5th sec then speeding it up by 500% gives beautiful low light results for timelapse type stuff. with the motion blur which is very pleasing for thing slike cars in the dark. https://vimeo.com/52579247

1/25 is the lowest on the gh4

Publishing mine today, merely to make people stop cracking the whip.

There is no denying that this looks like an impressive camera, but I'm going nowhere near the pre-order button until I've actually tried it on a professional shoot. I do that with all new cameras, throw them into the deep end straight away and start shooting a paid project. The 4k, 5-axis, Slog2 etc means nothing until it's been put through it's paces.