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Franz Kraus addressed at Conference of the International Association of Film and Television Schools (CILECT) in Munich on Nov 27th, that a s16 Amira prototype has been tested. They are apparently in progress to a feasibility study with an aim to supply film schools/educational market, as many schools still having lenses left over from the SR/ST days. Simplified s16 Amira (true S16 Sensor not a crop) sounds very much in the feasibility stage for now, but could end up being an interesting little camera if produced and made available outside the educational market. http://if.com.au/2015/11/26/article/Arri-reveals-prototype-educational-camera/IQUTSYTINV.html

This is a false generalization most likely based on weaknesses inherent to teleconverters, which magnify aberrations. A well-designed focal reducer, on the other hand, will *shrink* the aberrations as mentioned above by Araucaria. And with a little know-how you can even do better than that to actually design a focal reducer that compensates some of the aberrations in the master lens. Here's a recent whitepaper that I wrote proving that a Metabones Speed Booster significantly increases the MTF of various lenses, including the extremely challenging case of a Zeiss Otus: http://www.metabones.com/assets/a/stories/The Perfect Focal Reducer (Metabones Speed Booster ULTRA for M43) - Whitepaper.pdf Disclaimer: I develop the optics used in Metabones Speed Boosters

Every shot in this video except the rooftop was shot with V-Log L 10 bit on the GH4/Assassin. Thanks to Sandro and Nicolas Maillet for helping me with a couple of Twixtor shots.

Hello everybody, I just build an online web app to test all the LUTs from my pack on JPG/PNG images. You can test the beta version here : http://luts.iwltbap.com/previewer The use is pretty simple, you have just to drop/load a JPG/PNG frame on the main container and click a LUT reference in the left sidebar. In top bar you have a ON/OFF button to enable or disable the LUT effect instantly, and a slider to change the LUT intensity. Also, you can export the current frame as a PNG by clicking SAVE button. The LUTs will be applied at low resolution to increase speed (the size of this web app is around 10MB, when my pack of LUTs is around 1.20GB). So, pixelation and banding will appear in the previewer. More details in the infos box on the previewer home page. It's still in beta so all feedback and bug reports are welcome Benjamin

It's an embarrassment of riches. And it's great. Even now I contend that even average consumer IQ is so advanced that it'll allow a filmmaker to create great looking cinema. 5-10 years from now? Whoa. Its fun to watch it get better and cheaper If you can't manage to effectively create with this stuff, then you're not doing it right and/or paying attention to the wrong details.

I think the camera you choose (from this list and similar models) is fairly meaningless. I could wake up tomorrow and find someone wanted me to shoot this exact gig. I wouldn't go out and buy a camera specifically for it. If this one project is all you'll ever do in your career, focus on the exterior setting and how you'll get good, clear shots of industrial work on a location. Do you need close-up gear? Overhead shots? Do you need audio? Do they want it to look sort of cool and stylized (jib, slider) or strictly informative/training style? How about scrims, reflectors, negative fill so your outdoor shots can be clear and not confusing? If you want to shoot all kinds of commercial gigs over the next couple years, get something that can handle a variety of work. There are only two really major differences in the tools for these gigs - a "video" camera (fixed power zoom, XLR jacks, viewfinder, built-in ND) which is good for more event and news-style shooting but (until you really spend some $$) has a more "video" look (which can be improved by a good operator)… or a more "pretty" camera - interchangeable lenses, control of DOF, larger sensor for a more "filmic" look than most "video" cams. DSLR, BMC, etc. And you need stills, so DSLR is likely the way to go for you. And you'll need a good tripod at the least, and possible good audio gear - field recorder, mic and blimp. Your list is all over the place in sensor size - do you care about the look from the sensor? And a bigger question is do you (or will you soon) need 4K for reframing, keying, stabilizing. Either way, look into something you can build on and make money with for at least a couple years. Heck, a Nikon D7100 or 7200 would handle this gig fine.

i agree! i find this to be a fascinating example for several reasons; not the least of which is that the recoloring of this comic, The Killing Joke (1988), was done in 2008 by Brian Bolland, the extremely talented man who did the pencils in the first place – the guy who drew it~! hes no amateur, but he missed the boat here didnt he? to approach this as a black and white page, like a coloring book, i feel that its a natural first instinct to start coloring things the colors that they are, as seen on the right above and below. but our job is to do more with color... like....... an artist lol here, commissioner jim gordon is being driven to insanity by the joker. on the left we see what he feels. the page on the right is clearly unemotional and anemic in comparison now, again, this is a metaphor in more ways than one when it comes to filmmaking, but its a literal point in terms of two dimensional representational imagery

first prize winner at the CAMERAIMAGE Festival was a film shot on super 16mm... (a real cost saver verse the recent 70mm Tarantino film!!!) the art of cinematography (in the tool bag)

Some temple scenes shot in 4K on a Samsung NX1. Handheld using the Samsung 16-50/2-28. Gamma DR, Contrast -5, Master Black Level +10. Film Convert (Red / Epic X / Redgamma 3 - Fuji Astia 100). FCPX. Music is "Shanghai Dream" by Christopher Ashmore. Some of it turned out OK, but some spots I think I missed focus and other parts came out over exposed. 4K version .... https://www.youtube.com/watch?v=qTV2EnP0YM0

This is one of 27 films I shot over four days using my new Canon C100 Mark II. It's my first time directing, shooting and editing short films. And to do 27 of them in a short space of time with not much prep was very challenging! Shot CLOG handheld with the 17-55mm f2.8 IS. Two softboxed lights at different positions depending on the camera angle. Wish I had done more continuous shots to make the editing easier.

I wasn't saying that any 4k cam can beat out any HD cam. I was saying that as a company expands into higher-resolution territory, the lower resolutions get upgrades. That's true for Blackmagic as well.

Franz Kraus addressed at Conference of the International Association of Film and Television Schools (CILECT) in Munich on the Nov 27th, that a s16 Amira prototype has been tested. They are apparently in progress to a feasibility study with an aim to supply film schools/educational market, as many schools still having lenses left over from the SR/ST days. Simplified s16 Amira sounds very much in the feasibility stage for now, but could end up being an interesting little camera if produced. Maybe not a time yet to get rid of s16 glass quite yet....glad to see s16 film acquisition is still around too, it really can look beautiful these days when contrasted to some digitally-shot projects.

It seems Blackmagic is moving away from MFT, I doubt Panasonic will. I'm with you, I'd rather have Blackmagic RAW 1080, then 1080 Panasonic. However, Panasonic 4K against Blackmagic 1080 RAW is a difficult decision. I wish Andrew would cover this more than the rumor stuff I'm not making a dig here, I'm serious. The consumer film-making world is going down two paths (leaving Sony out). I have a BMPCC and a LX100 at the moment. They are both the same size. With the BMPCC, I get really nice color nuance, dynamic range, skin tones, etc. With the LX100 I get moire-less, chroma sharp 1080p (downscaled from 4K). Crudely put, the LX100 image is much sharper than the BMPCC. And it's much easier to use and has lots of cool features, like wireless remote, 4K photo mode etc. So what I really want now, is 4K RAW, so I can get the same chroma sharpness as Panasonic 4K. Yet those file sizes are no joke. Budget wise, still outside the afforability of most young filmmakers. And again, missing all the useful features. Okay, so why would I want 8K? Because again, 8K will provide chroma perfect (moire-less) 4K--which means you can do NLE panning, zooming, etc., without image degradation. And photos will be much better! Again, Panasonic 4K Photo mode video is very useful, but still a tad too low in resolution. 8K would compete harder against large DSLRs in stills in many situations.

First off, it looked very nice. Natural. Second, the actress was great! I'd expect to see more of her in the future. He was very good too. Amazing work for having to do so many in such a short span of time. As far as your statement about you wishing you had done more continuous shots to make the editing easier... I'm not sure I agree. Since this is for actor's reels, I assume the goal is to see the actors shine... They need their close ups for that and you need the ability to edit out the bad and put in the good. Also, shot selection is vital to telling the story. In this story you have two people that aren't together any longer, but both, in some way, wish they were. If you had too many two shots, or movement, the disjointed disconnect would be gone. So, I think it worked. Good job. OT, a while back I had posted a video where I used a Miranda m42 lens, were you the one interested in it? If so, I noticed there is one or two up for sale in the UK on eBay. If that wasn't you... Then never mind, I liked your short.

I agree with the FPS issue. 4K is enough for the next 4 years. Let's have full focus on low light performance, robust codecs, and 240+ FPS!

The future is black ... for me anyway. Blackmagic! The phrase "quality not quantity" springs to mind. I want colour depth, robust codec, fast readout speed (or global shutter), low light performance. This news makes me pretty much certain I'll be phasing Panasonic out of my life over the next year or so. In 18 months I may be exclusively Blackmagic - editing in Resolve and shooting on a Micro CC and/or URSA 4K. The big question for me is will the MFT mount remain relevant to me. Will Blackmagic continue to use it in the next generation of cameras? Will Panasonic's 8K sensor be MFT? Sorry but I see this 8K stuff as really bad news for anyone who cares about quality of information over quantity of pixels ...

Not with H.265 PS - if Panasonic froze sensor R&D since 2011 that would explain why Sony made the GH3 sensor, but who made the GH4 sensor and what about the new Varicam S35?!

Axel with LOG footage the grade has much more impact on colour than the camera does. Most grades are weird looking and prioritise dynamic range. It takes real artistic skill to do a good one. So judge the grade not the camera. The skin bug is interesting... does it only affect HDMI?

By 2018 computing power will be so fast and cheap that NLEs will cut through 8K H.265 like butter and the file sizes will be as small as 4K is now, thanks to H.265 but storage space will have probably tripped for the same price. Indeed it is about what's creatively useful though, not just outright image quality. I would prefer 240fps 4K and better low light performance than noisier 30fps 8K, although downscaling to 1080p or 4K would reduce noise, as we see with the current 8K camera, the A7R II's 42MP stills!! Also I believe the gains coming from organic CMOS sensors in dynamic range will probably eclipse the excitement for resolution in the coming years. So I hope Panasonic's R&D money can focus on more than just 8K.

Trust us when we say Redstan. It may be tempting to cheap out, but seriously. Proper alignment is of utmost importance with anamorphics, and when it comes to alignment, Redstan is just the best. Accept no substitute.

I'd also agree that the manual focus on the 16-50 S lens is really smooth. Doesn't feel cheap or jerky. And the auto focus is great too in single auto focus mode. I have not had much luck using it in continuous. But I love tapping the screen and having it focus exactly where I want. The sigma 18-35 works nicely on the NX1. Really sharp, great lens. Fotasy G adapter with aperture control ring is decent and inexpensive.

Oh, please. The only thing that's kept me from buying a BMC (original cinema camera) is sensor size, and I'll eventually find a used one with a speedbooster, they show up every week. That's a camera that excels at pretty-much one thing: really pretty footage that can be graded like mad, for projects that don't need extensive keying but beautiful IQ on a "let's try to avoid a bunch of rentals" budget. So you're saying a "professional" would, what, go hunting for wide primes with no distortion vs. adapting lenses they already own? I've seen speed boosted Zeiss and Nikkor AIS 28's on that sensor and it's lovely. I'm a "professional" - I make my living from pitching concepts, writing scripts, and shooting or animating commercial (IE, promotional vs. entertainment) projects for businesses, including some good sized brands. Sad to discover that owning a speedbooster for a specific purpose would make me an amateur.

brilliant link and example. You don't need to hit people over the head with color theory. Less is more. HOWEVER I think too many things are really desaturated. I miss the rich colors of kodak film. The whole Red look with a muted palette drives me bonkers.

Turns out the rumor was fake. Samsung UK denied any Nikon acquisition of NX system. Also, Samsung US has said they won't be pulling out of camera business. What happened to the claim that EOSHD doesn't post rumors? That's two rumors in a month, both false

Redstan. http://www.redstan.com/index.php?route=product/product&product_id=68 (this includes front clamp too, but maybe you can message to find one with just the back, if that's what you want) PS - 16s has a 39mm back thread, not 52mm

They'll stick their crappy F mount on there and kill any chance of the camera being popular with lens heads. I love to think they'd make a mount with an ffd of 20mm or less and then sell f-mount adaptors to those who want to use nikon glass with electronic contacts. the short mount would allow metabones to manufacture a suitable speed booster as well as adaptors for almost every lens ever made. M4/3 and e-mount are where it's at. Sony even do a e-mount to a-mount adaptor. copy that and you;re onto a winner.

fascinating i did this, and i gotta say, i found the look of the show – including all aspects of art direction which appear on screen – to be completely forgettable and boring i watched several different clips from season one and two and my general critique is that color and lighting are not being used dramatically in terms of storytelling in a lot of the shots dont get me wrong, its clearly technically sound, but its boring but boring in a very pretty, attractive way, which forces you to look at it more than through it – like a window. and this is a disconnect in terms of immersion and suspension of disbelief – storytelling in general it also looks too much like crappy-poo reality, which we all know too well so my assessment is that you would like this show more if color was used in a more meaningful way let me blow your mind with an analogy: which is better? why? more here

A fair number of lens adapters will be a millimeter or two short of the proper flange distance to ensure every lens can hit infinity focus. That's generally fine, but it means you can focus a little past infinity, which will make your wide shots look blurry if you're relying on your distance scale. The solution is just to focus a little short of infinity.

Metabones stated they can do nothing for the NX-mount. Therefor E-mount wins. Nikon should do something more or less exactly like Sony's E-mount. It will fit legacy too, it will fit APS-C, it will fit their new mirrorless line-up, because that's to me a big win, keeping lens sizes down as they influence compactness more than the body. Forget about NX already!

I think Nikon and Canon have nailed the raw color science in their stills. I don't know why a video image is different, but it is. I looked at some stuff I shot on the sony ex1 with a lens adapter and a backed-in look and the skin colors were perfect. I still think it's the early days of log-shooting by everyone. RAW has been going around since maybe 2003 or so and tons of people have used it. Color correction for the masses in video is a relatively new thing I think - ushered by Resolve being made free. Will take some time to figure out.

If I were Nikon, I'd make something like the versatile E-mount and forget about ever having heard of the term 'NX'. The thing interesting about Samsung is their hardware and processing structure capturing stuff from the sensor, not the mount I'd say.

UPDATE: Excuse me while I remove my foot from my mouth. I just tested this again with an A7S that ships with a different firmware than the one I originally saw the problem on. And it doesn't do it anymore. It appears that firmware v.1.10 no longer has the waxy skin bug. This is incredible news and something I really wish Sony would have just said something about instead of denying that they even knew about a problem. If all I had to do was update the firmware, I wouldn't be here. Going to see if there's an update to the A5100 as well and report back soon. Just wanted to share this info as soon as I became aware of it.

Yes, Premiere Pro