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Just had a brief time with the boxed up retail model. I say brief. I sent it back almost straight away. I might upload the clips to the original footage thread, but there's hardly any point. You know the score with these cameras. Soft, aliasing ridden, huge moire problems, not even 1080p resolution. Very sad - they have a brand new sensor in this thing and had the chance to step at least the 1080p up to 7D Mark II levels, or even in line with the rest of the market, or the Nikon D5500, much cheaper. This is a 1300 euro camera!

I'd rather deal with soft footage and aliasing then have leaves, plants and limes look like they have been grown in a radioactive wasteland!

People are getting huffy about Kinefinity not being on the approved ProRes license list and are using that fact as a club to knock anyone who praises the company and their cameras. I think. If I had the capital, I'd plunk down for one of these today. Looks like an amazing package, and the image off the 6K Kinefinity sensor is just beautiful.

As you have Nikon lenses I'd recommend the NX1 If you'd have Canon lenses you'd be stuck... as then you couldn't use the NX1 And Panasonic would make more sense then.

Take a trip down to your local shops, you'll find ripoffs from every country in the world. Including yours. Lego ripped off Kiddicraft, Oreos ripped off Hydrox (and then launched an ad campaign claiming they were the ripoffs), Sketchers ripped off Toms, Disney Pixar ripped off Pierrot Le Poisson Clown, Angry Birds ripped off Crush the Castle, Farmville ripped off Farm Town, Pong Ripped off Table Tennis (the 1972 computer game), Guitar Hero ripped off Guitar Freaks, A fist full of Dollars - Yojimbo, Lincoln Continental - Bently Continental, Chrysler 300 - Bently Continental, Focus/Mondeo - Astin Martin, Astin Martin - Everything Fisker does, Marvel Wasp - DC Bumblebee, Psych - The Mentalist, Benson - Squidward, Secret of the Incas - Raiders of the Lost Ark, Monsters Inc - Little Monsters, Facebook - Friendster, Twitter - TechRadium, Paypal - Billpoint, Burberry - Vivienne Westwood. Need I go on, or shall we keep nationality out of it?

Next order of business I know I said I would shoot more vintage. But the Metabones Smart Adapter side tracked me. Received it today and the first thing I did was to make sure the stabilization in my EF lenses worked. I also, even though I rarely use it, tested the auto focus. And I was quite surprised. It was pretty decent on both lenses. Better however on the 24-105, much more quite as well. Even in the lowlight its not hunting very much.

That's a REALLY wierd species of Canna if the Canon has the best colour here - it look's like it was the one grown in the radioactive wasteland!

A reported 1 million pre-orders for Oculus, a reported 3 million pre-orders for Playstation VR. Once they are in stores and getting rave reviews (which they will)... the landscape will change fast. Obviously dictated by games, for the most part, but 360 video is going places too. I've used prototypes at trade fairs and it is pretty special now they have tightened up the latency.

Here are two low light videos from the Samsung Galaxy S7:

That's a cookie for whoever needs it

If you need great colors I would rather go for the NX1... (you also get great AF at the same time if you use NX S lenses)

I find this guy entertaining so when the video popped in the feed I watched. Really clever idea imo to use these types of bags. They are meant as add ons, are supposed to be rugged but fast to access and they are kinda stylish. The Indiana Jones one is cool. But being of Finish decent I bought the one he had, paid $6. (Also I know from experience that the Swedish modern one has the opening on the side which feels a bit of.)

I never ever understood that. Who cares if its dying, you only have it for a year or so and if its great today its all good. The Lumia cameras have always been better than iPhone and Android for video. I mean how many years before we got manual exposure and focus on Android.... not to mention iPhone. Lumias where also first with OIS and decent lowlight. I will edit together my well over due Lumia 950 Camera review soon. But I can tell you its reall nice. Awesome macro. Never had any bugs on any Lumia or iPhone, that's exclusively an Android experience for me. Meanwhile I shot this with the L950 (speaking of soft ), don't watch in full screen, its SD def.

Not really, no. Maybe you're thinking of the AJA Cion. The Kinemini doesn't have global shutter. It's usable at ISO 3200, and very good at 1600. ~13.5 stops of DR vs the Ursa's ~11.5. The color science is very, very different, as is the native tonal response. The Kinemini takes generic 2.5" SSDs vs the Ursa's CFast. Kinemini has Cineform in addition to uncompressed CDNG and 3:1 KineRAW. Kinemini has an OLPF. The Kinemini has DCI 4096x2160 over the UM4K's nonstandard 4000x2160. The Kinemini has a 1.4x crop factor vs BM's 1.7x. Kinemini has 92fps slomo, BM only 60p. KM has interchangeable mounts and the option for the short flange distance Kinemount. With the UM4K, you're stuck with either EF or PL. A big one for me: the KM has downscaled 2K Cineform in camera, whereas you can only get full-res RAW out of the BM. It's a lot lighter at 1.5kg vs 2.3kg, has support for anamorphic shooting, and even uses less power than the Ursa Mini. The only real advantages for Blackmagic are the bundled software, XLR jacks, and larger local userbase. I'd have to send the camera out for repairs/servicing either way, so that's a wash, and word on the forums is that KF's customer support is outstanding. They are both cinema cameras, with the same base needs as anything else in that class--power, storage, monitoring--but imo, the Kinemini is a much more capable tool. https://vimeo.com/100913781 https://vimeo.com/117008129 https://vimeo.com/109413357

Look at my avatar. It doesn't get much smaller than that. GM1 with a set of a110 pentax prime lenses.

These Canon 'hate rants' have to be for traffic right? Meanwhile the 6300 overheats and is useless for production work. there is no perfect camera. I got my 80D on Tuesday and just finished my first shoot with. It looks great. No, it's not an FS7 (we have one of those in the office). But for the price and reliability it's fine. I've produced about 150+ videos with my 70D since its launch and will no doubt go on to do the same with this 80D.

It's a great camera for the next 2009 summer!!

Well, seems like the Panasonic LX100 is your way to go!

Nicely done!

Tommix, no way. That's why I say there is something wrong in the bench. Going from a samsung pro to a lexar 2000x is a huge jump on my camera. You go from about 1fps when buffer full to 5/6fps. And the clearing time is about 3-4x better.

fair.. a comparison video with the 80D and t2i might make the better point

What bothers me is that every camera system has big limitations. Canon DSLRs gives us: good color science, good reliability, good user interface, touch screens, and stunning Dual Pixel AF. The drawback is the soft details in the image. Sony is the exact opposite. As much as we chastise Canon (and rightfully so), I do miss the reliability and ease of use of my mushy 70D and 5DII.

Sorry, this is not about contrast, it is about exposure. The example you give above has a gigantic hot spot - the big square sign. That is ugly video. All that is going on in that video is that the exposure is too high, hence the blown signage and blotchy detail in the road. In the videos I posted, there are no blown highlights or swatches of noise. It was exposed to reproduce what the eye sees at night or in a dark room. Black is black, dark is dark, lights have colors. A real person cannot see details on unlit streets at night. That person, however does not see white signs when there are full colors. The purpose of night videos in what I shoot is not to turn night into day, it is to convey what one would see at night.

None of us know the in's and outs of the negotiations between Apple and Kinefinity. The facts we know are: Kinefinity has been reported to have been negotiating with Apple for two years, Kinefinity put out a press statement that they have official backing from Apple for Prores, Apple haven't updated their website. Apple haven't started any court action against Kinefinity in the 7 months the announcement has been made, or ever, nor made any official statement debunking the press release. This isn't the pattern of a copyright infringer, for starters, the bogus implementation of Prores has been in the wild for many years, they could have slotted it into their cameras in a very short amount of time, the fact they have taken this long seems to infer that they are following Apple's process. Secondly, Apple have had 7 months to put a stop to this, and yet have chosen not to. This is not the pattern Apple follows with it's legal action, they make public statements very quickly after media coverage, and always aggressively protect their IP. Occams Razor suggests that Kinefinity are in the process of getting official approval, have not yet got it but have reached the stage where they feel confident in putting it in their marketing material. Apple not disagreeing with their press release suggests that at a minimum, there is a bridge in place that Apple do not wish to burn. (Actually, if this were any company but Apple, OR would suggest that the update to the webpage is sat in some developers TODO list, but I daren't invite the Macocalypse on myself by suggesting that there is nothing special about the company) Either way, thank-you for keeping nationality out of it after I asked.

What's that? Are you mooning us?

I'll be keeping an eye out for quality 360 cameras too.... With VR about to hit the mainstream, it could take off.

yep. it's a 24mm/4 isco lens for exakta, with a exakta-ef adaptor. Then the ef-bmmcc is handled by a modified bmcc to leica R speed booster 0.64x. The reason was that since I never use electronic EF lenses I couldn;t justify investing in the proper ef unit - its almost £200 more for the ef version due to the electronics. The dumb leica version has the same glass but was cheap on ebay so I grabbed it, stuck it on the lathe, taking the thickness to the correct length, and fitted an ef mount to the front. - the result is a dumb ef adaptor with the 0.64x speed booster glass in there. the 24mm lens is the first ever 80degree fov lens for slr cameras. a dog really - terrible resolution, focus direction wrong, the auto aperture knob is not very suitable for video use since it easily gets knocked and you don;t realise! However I bloody love the body design and way the lens interacts with light. seems a better match for the smaller sensor too. at around a 3.5m focus point I have hyperfocal meaning everything is adequately in focus from 2m to infinity. close shots just need me to set focus using the scale. TBH I have never used one of those light meter lenses. however i expect it has a little dial on the back, so wouldnt need integration to the camera itself. great idea man! I have to say though, that I like the idea of sticking the camera at 8ooiso, 180deg shutter, getting a light reading of the sky, and setting the exposure so at one stop closed aperture the sky peaks. I then know I can be closed one stop to maintain highlights and open up when shots don't include the sky. the latitude on this sensor is so good as long as it's showing peaking for the sky at 100% in the mid day sun I think the latitude allows for more than adequate exposure for at least a few hours before and after when the base exposure is set.

When you can shoot Cineform Raw, you don't care about Prores.

the camera's technical limitations aside, the shot is well done. Nicely framed, nicely edited, nicely lit and graded. good job all around.

That could actually make the AX100 interesting. Its a nice little package that only really fails in the DR department.

Just returned my sony a6300 because over overheating issues, yesterday was the final straw, shooting in the sun in Aust summer is a no go for this camera, if you don't want to miss a shot (which means the camera must be on when you want it on) I missed two great candid shots which cannot be repeated, projecting this forward shows me with simple maths that this situation will continue and will be so frustrating and stressful and embarrassing as a professional. I tried the open battery door while filming this morning in case it miraculously fixed things, but still overheated, but definitely to a lesser degree. Still to unreliable for me.

Finally, a progress update. A combination of polyurethane casting and 3D printing to mate the B&H anamorphic with the helicoid. A couple 3D printed brackets to hold the front glass element in the M58 Helicoid. Plus some invaluable help from a friend (with a workshop) for marrying the finderscope bracket with the 15mm rail system. The helicoid pictured is 25mm-55mm, in hopes the longer travel distance will allow closer focus. I have a 17-31mm helicoid as a backup in case vignetting on the longer helicoid is too much. This has been an agonizing process full of mis-steps. Fortunately, no anamorphics were harmed in the making of this prototype. Although two helicoids did not make it (RIP). But I'm only a few days away from testing. Everything fits snugly so I'm crossing my fingers that the test footage will be worth the absurd amount of time I've put into this. I hope to have good news soon.

Nice vid, but that banding and macro blocking at 0:41-0:42 was horrible.

The NX1 has a 14-bit sensor, so the hardware has the bit-depth capability. It would probably have to be set up to be output through the HDMI stream (along with the 4:2:2 sampling).

Thanks for that! I was in the area on a business occassion. Wasn't able to make a lot of time for pleasure, so to say, that's why it got a little tight with closing time too. Already back home. But I'm sure I'll be there somewhere in the next few months or so again, so I'll keep that in mind. Again: thanks!

Today i made some tests with dual ISO mode which lets to record with two ISOs, there is possible to gain additional 3-4 stops of dynamic range for the price of aliasing in highlights and shadows (where resolution drops by half) but midtones retains full resolution. So, about the test - I exposted ETTR on the sky to avoid clipping, processed the files with cr2hdr and than did some grading in resolve 12. I lowered the highlights -100, shadows +100 and than raised the overall exposure + 3EV. I had to make some tweaking in nodes to avoid clipping in the bright sky after that.There was some noise in the shadows but i get rid of it with the neat video resolve plugin. I get a quite flat image so added some contrast and little bit of arri lut to the taste. And a film grain on top of that. The sky was quite bright despite the clouds, with ETTR the car interior was very underexposed, without dual iso recovering of such amount of shadow information would be impossible. I didnt use dualiso feature so often before but now i am more and more confident using it in some situations. In this test i used 100/800 isos, there is aliasing and moire especially visible in power lines and car interior elements but it is not very distracting and i am very satisfied with quality and especially dynamic range.

He lost me there. The video looks great.

Ultra wide is defined as anything wider than 24mm, so it kinda is. The SLR Magic 10mm is a FANTASTIC lens. In fact, the whole lineup gets my highest recommendation--and those of you who know me know I'm picky about my glass.

I hope the following image will convince anyone that pleasing skintones has much more to do with lighting, camera settings & color editing than the ability of any camera to capture them.

I think a lot of the reason why the D5 and D500 caught so much flack was because at the time they were announced, people were still expecting the A6300 to be a game-changing camera for 4K. And while you could probably make a case that the A6300 still represents the better option for video users, I think now we're seeing that there's still a lot of engineering issues regarding 4K on APS-C and above that manufacturers (except, ironically, the one who's now pulled out of the market) are having trouble dealing with.

Are those people martians? Seems like they have green blood.

I've never seen a file manager report a file size in bits. It's always bytes. Computer hardware typically cannot even store or operate on a unit smaller than a byte independently. Megabits are almost exclusively used for data rates, not storage sizes. Just to be sure I downloaded the files and checked them myself (on linux). Sure enough they are all at least 1 million bytes. Therefore the correct calculation for the 2048x1152x15fps stream is 1.5*10^6 bytes/frame * 8 bits/byte * 15 frames/s = 180*10^6 bit/s, which is approximately 180Mbit/s. Which is exactly what one would expect from typical JPEG compression ratios.

You are mistaking bits and bytes. One byte = 8 bits 1 megabit = 0.125 megabytes 180 megabytes = 1440 megabits So in order to find out either you simply multiply bytes with 8 to find out the bits, in order to find out the opposite simply divide by 8, and remember to follow the metric prefixes for most accurate results https://en.wikipedia.org/wiki/Metric_prefix 17 000 000 bytes * 8 bits = 136 000 000 bits 17 000 000 bits / 8 bits = 2 125 000 bytes 17 000 000 bits * 0,125 bytes = 2 125 000 bytes You can also use Google for quick conversions, just type into Google 4326 megabytes to megabits and you get the answer 4326 megabytes = 34 608 megabits etc

Hoping for a 4k ninja star or similar. Maybe GoPro will respond to the DJI X5R ... Time to finally put cineform raw to use. BMCC with the 15 stop sensor would be amazing

just for reference. i logged all values. maybe someone is interested. prefman values on NX1: if this is too much text for this thread let me know, i couldn't find any spoiler option

I recently had to travel around Europe on a job documenting Study Abroad classes. The XC10 made it easy and pleasurable. This was shot in all 1080 c-log, not 4k if you'd like to check it out.