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Ummm... no macro-blocking, nope. That is the way shallow DOF looks on a S16 sensor. In comparison, a S35 sensor has a much larger area, while S16 of XC10 is closer to the "traditional" 2/3" PDW sensor. Very nice for TV news or mini-docs.

Leonardo Dalessandri's work is just a good example of craft. I know it wouldn't matter what camera you put in my hand, he'd still be able to make a better travel video with a GH3 than I would with an Alexa. So, I use that sort of stuff as my personal benchmark. If I can increase my skill level to exceed the IQ of what he can do, then I'll consider getting a better piece of gear. 'Til then, I'll roll with simple consumer gear too for my own projects. Hey, if it's good enough for him, right? I've been lucky enough to travel around the world on assignment over the past decade. I can watch that video and reflect that my own library has about 80% of the same type of footage. Is it shot as well? No. Is it edited as well? Oh, god no. That's my perspective. Gotta learn technique and craft; get solid there, I'm still lacking. I ask myself, "You got a paint brush?" "Yes. Well, then paint." Worry about the bristles only when your skill demands it. I'm not gonna gripe about refinements that I can't even begin to take real advantage of. ...So hard to do when all I want is to acquire and play with a A7s! More on point to Andrews charting of cameras, ergonomics, etc, I gotta say, the EM5II, after some getting used to, now really agrees with me for some reason. I just like shooting with it, taking it out of the bag and getting footage. Like many machines, some just jibe, others don't. Don't know how to explain it. It's like a car or a motorcycle...

I made a mistake and bought the RX10 II because I was impressed by the "specs". I had the camera for 2 months and hated it. Only recently I played with the C300 again. Specs are "bad", but the image and usability is fantastic. Love the C300.

Project I shot on the Pocket Camera *Disregard content (NSFW)

An old favourite, also GH3:

Proof in the pudding that "specs" don't mean much. We've probably all seen it.. but this was shot on a GH3.

Found myself in NYC over the holiday and decided to pop into B&H Photo Video to get some new sticks. Great store, nothing else like it really. I saw pretty much everything that I have read about online. Must have tried a million lenses. Really good time. Finally settled for a Manfrotto 504HD/536 CF set and a Sirui monopod.

The first of several short films I shot on the NX1. Let me know what you think

As an owner of both the XC10 and the Sony FS5, the only thing that I can tell you is that the XC10 is way less disappointing than the Sony. Not that the FS5 is a bad camera, but the expectations were much higher...

Agreed. Moire is so aggressive in RAW mode its even visible in grass and tree branches. It's a very ugly kind of artefacting too. Pro res HQ is such a huge jump from 8bit codecs anyway and Personally I enjoy grading from the Log more. I love my BMPCC. This is the first thing I ever shot with it. Love at first grade: https://vimeo.com/106840010

Thanks, project was shot in ProRes Film Mode and colored from scratch in Resolve (No Luts used). From my experience with the camera RAW introduces more Aliasing and Moire, which is why I shoot ProRes unless I NEED the RAW workflow for color temperature or maximum dynamic range. Truth is though ProRes imo is my preferred method of using the camera as I feel the compression eliminates Moire and Aliasing by a lot compared to Raw. Dynamic Range, Richness and Color of this camera imo is amazing and no other camera in its class is even close.......

Functions are identical in both modes, just cropped, everything including eye AF and so on is fully functional. Stills are 18mp in crop mode. I have crop and FF lenses for the A7rII, mainly the 10-18 and the 16-50pz to use on a gimbal that I'll be buying soon. I've been debating getting a speedbooster to use smaller lenses in APS-c mode with less crop.

As Ebrahim said the C100 MkII is a great camera too. Superior to the C300 really. It's significantly better in low light, offers 50p and the colour science is improved noticibly. Of course the C300 has a slightly stronger codec but paired with a Video Assist or Ninja Star the C100II is smaller, cheaper and outguns it. It's often sold with a free ninja Star too. Expensive for what it is on paper but it is a canon so that's a given really.

Hi everyone, Merry Christmas! I wanna share my last short film, "Best-Seller". I shot it entirely with Nikon D7100 and D5300 on September 2014. I´m releasing it online now because it was circulating some festival during this last year. Hope you all can enjoy it. IT HAVE ENGLISH SUBTITLES just activate them.

Make sure "Framing Mode" (entry in menu) is off, it holds the brightness steady.

Very athmospheric and creepy. Right up my alley. As a sound-man I appreciate your sound design and attention to stereo. very effective. Thanks!

I have been using this and it works great. I have started using your rec709 LUTs for photos too! Now its a bit pain since I have to export a jpg with lightroom upload to the site then edit the image in photoshop to add the LUT then back to lightroom for some extra work and the final export. It would be great if there was an LUT plugin for lightroom...

Hi, Thank you a lot! I am really proud of it. The final shot was made with a combination of Stills, 3d mapping and in last place a macro shot of the recorder, then al composed in a after effects, that was the only way, its kind of a imposible shot without a lot of expensive gear.

Kevin's in the house!!! That little 16-50 is a wicked lens on the NX1. Not for everything, but for the $$, very handy. I can see a lot of scenarios where a tiny AF wide will be great. Got my firmware updated, and yes, I'll do some testing with DIS, hopefully another handy tool.

Smaller file size, especially for 4k, or better quality at the same size, playable by any - decent - pc. For me h.265 is the new standard.

At first I thought (as Pavel said), that only H265 decode hardware (not encode) is on new high-end video cards from AMD and nVidia. E.g, the AMD Fury. However this thread indicates nVidia at least has both encode and decode support for H265, but the only software I've seen is the experimental command-line tool mentioned here: http://forum.videohelp.com/threads/370223-NVEncC-by-rigaya-NVIDIA-GPU-encoding Note this "GPU" acceleration of H265 is not really the GPU but a logically separate ASIC that is integrated into the same assembly. A traditional GPU cannot effectively accelerate either encode or decode of long-GOP formats like H264, MPEG-4 or H265. See discussion here: http://www.eoshd.com/comments/topic/18574-a-story-about-4k-xavc-s-premiere-and-transcoding/?do=findComment&comment=123689 Use of these features is not automatic -- the software must use specific APIs which are unique to either the AMD or nVidia video card. AMD's is called VCE and nVidia's is called NVENC. Skylake CPUs have enhanced Quick Sync which does support both encode and decode of H265. However I don't think any software takes advantage of this yet. FCP X uses Quick Sync for both encode and decode of H264, and it makes a huge performance difference. It also avoids the requirement to have a specific video card. I hope they add similar Quick Sync support for H265 soon. Some versions of Handbrake on some platforms can use Quick Sync for H264 but not yet H265.

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

Big news for us nx1 users indeed! Dare I say the native h.265 files look better/more detailed than the transcoded ones? I'll have to do a side by side comparison. But wow yeah these files play super smooth and edit perfectly on my system.

The latest tech from Canon: "We know you want 4K, but at least we started giving you 1080p 60FPS. But then we realized that was too much. All you really need is a battery."

. Yes and in my opinion that's horrible. the a7rii have more options for recording, less rolling shutter in FF mode, who cares if the ful lreadout is crop? you can use more lenses and use the speedbooster, are they even aware of the speedboosters ? it is dissapointing that a7s is not better in video. At this point, after seeing all the test shots, I am disappointed and have to absolutely agree that a7s ii was rushed, and not needed. It is simply a rip of for the guys who bought atomos. Moreover this camera doesn't offer anything more from the a7rii but a bit better lowlight (really in all the tests i ve seen, unless you want to shoot in moonlight, which you still can with the a7s mark i) and the 120fps in 1080p which is still not that stellar. i am dissapointed, rebranded sensor for 2899USD with a major sunspot issue ? WTF SONY ?! they should have waited, bring out a mature product , and separate it from a7rii with video completely like 10bit, (i dont care if the current processors do not support it, change them) so that we dont need to hesitate between those two. oh god sony why ?!

my understanding is both settings record the exact same information. what you are changing is the flag that tells your NLE how to display the image data -- across the full range (0-255) or across the broadcast legal range (16-235). but I don't think it inherently changes the data captured by your camera, only how that data is mapped out when you're looking at it. and as andrew noted, when you have a file flagged to mapped the data across the full range and an NLE that overrides that flag to adhere to broadcast values of 16 to 235, it's going to clip 0-15 and 236-255. I shoot 16-235 because everything I produce has to adhere to broadcast standards. if I didn't things would look pretty effed up on blu-ray to television. one of the reasons I love media composer is the full control you have over the luminance range (data/full vs video/broadcast) when importing clips.