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So my original plan here was to use the sunlight from the window as a key, and the 120t as a fill. Unfortunately it started raining so I had to use the 120t as the key, and use a white board as the fill bounce. It's really bright and definitely needs some diffusion with faces b/c of the hard shadows. My favorite 2 things are the dimmer and the running temperature. It runs cool the whole time and you can pick it up to store as soon as you shut it off. Hopefully the daylight version will be out soon!

Perhaps. But then again, I say as a documentarian, so what? From the POV of my reality I think I disagree with your assertion. I guess, by certain perception, I'm in the "I can barely make it" camp. As it happens, I've never been beholden to the idea that certain gear is inherently not-good-enough simply because of the market it's being sold to. I rent when I need to and I shoot with many of these contemptible "toys" when I need to. My opinion is that a tool is a tool. I'm not going to bring a "knife to a gun fight" nor am I going to do the opposite. It's curious, I think, how some people perceive themselves as superior in an (supposedly) artistic medium simply because they have more expensive pro tools to do the craft. Does anyone else find that odd? Especially these days? That sort of elitism was curious even a decade ago. Now, it really doesn't make sense. Anyone with $3K can access more than good enough IQ/audio/post for a production that, with skill, will look around 90%+ as good as anything. That's NOT rhetoric. I'm convinced it's just the truth. What am I to believe? The defensive opinions of industry professionals threatened by the gear democratization, or my lying eyes when I see the work of Kendy Ty or a Ruslan Pelykh? You tell me, because there are a lot of people out there kicking ass with cameras that wouldn't even cover the cost of a friggin' camera battery from a few decades ago. What get delivered is what counts.* But, as far as I'm concerned, if I artistically need to use an iPhone or an Alexa to cross a finish line, that's what's gonna happen. And for what I'm doing, it's been leaning toward the former rather than the later for years now. Finally, I'd even argue "amateurs" is exactly a pejorative. If anything, by the original etymology of that word, it probably has more merit and artistic integrity these days than "professional." * ( For reasons only they can justify, a lot of corporate work I do actually wants the allure of "real" gear around during the process. )

Have only had my new D16 for a few hours and shot just to make sure it works. But damn.. The iso 800 looks pretty darn OK to my eye... Need more testing though. Feels nice to have CCD on both stills and video.

From @NXKS2 Removing crop-factor and custom resolutions on NX500. ... it appears that we can control the crop factor (remove it) and even have custom resolutions, by controlling the EP_Resize registers. As you can see for NX500 all non-crop simply have the same value for the scanning and output (ex VGA), where the crop modes have one scanning resolution and another for the output (ex DC). For removing the crop, we don't even need to recalculate values, just repeat the input to output value. However setting those is a bit trickier than expected.... 4K DC [20826000] 0140000E 10000000 0438000C 08700000 VGA [20826000] 05000000 05000000 03C00000 03C00000 Source: https://www.facebook.com/NXKS2/

I really like to shoot anamorphic and i spend a lot of time doing little researches, which leads me to invention that i want to introduce. I've learn a lot of information from this subforum, so i want to share my idea here. I believe it gonna be a second breath to independent anamorphic solutions. So I came up with what anamorphic lenses was originally created for: using whole image sensor area with benefits. Back then there was a film and now we have a 16:9 standart for video and to use it properly id suggest a simple technology: stack together two anamorphic lenses and rotate a camera 90 degree. And then applied 4x coefficient to 9:16 sensor area that results in 2,25:1 ratio: Of course if u shoot 4K RAW loosing some data is'nt a problem: u're still end up with proper resolution, color and details and even have nice possibility to recompose frame horizontally. But for 1080p recording cameras or 8-bit codecs loosing some data from sensor not the case, is'nt it?) So what do we have: - 4320x1920 (for 1080p) and 8640x3840 (for 4K) de-squeezed interpolated image that can be downscaled to 1920x850(840) with some color and sharpness benefits - stack of two anamorphic lenses required longer focal (about 150mm for sankor16f/rectimascope48 stack for FF) but with 4x it comes to pretty the same FOV as 85mm/2x on FF. It also requires smaller aperture to get same DOF. So it results in sharper image with same DOF (multiplied by lack of loss resolution in the camera). Of course increased number of glasses results in some lights losses, about 1 stop i think, maybe less. - one of the nicest feature of my scheme: it kills rolling shutter effect. I develope idea of that anamorphic solution with a7s model in mind, it's a great camera which suffer from well knowed issue: terrible RS. But when you rotate sensor and applied 4x stack of anamorhic you decreased RS effect in the final image by 4 times (since RS effect appears on horizontal which is became vertical). From now on forget about RS) - and one issue: its getting even harder to look at monitor: now its 4 times squeezed image. Honestly i always like to shoot anamorphic without desqueezing function that gives me some abstraction and somehow another vision of composition and im not suffering much from 4x squeezing to. Its hard to use monitor to nail a focus but easier with viewfinder. Actually i send a letter to atomos with asking for some cooperation here but got no respond (maybe a reason is my broken english, who know : ) Of course stack of two anamorphots is loosing any ability to focus, but it working well with diopters like usual combo of taking lens and ana - just set them all to infinity. And im asking here for some help. Im already tested my prototype (later im gonna do post about it) with usual diopters and it worked. But to use it properly i need some variable diopters and for now i can afford only SLR Rangefinder, which have not very high perfomance. But since aperture at my taking lens starts with 3,5 it may work. I know here's a guy, Tito, with a lot of anamorphic stuff, i will ask him for test, but maybe anyone have opportunity to try it to? PS I know my English is bad so i provided some pic for u guys)

I hope that, in the same way, the crop can be optionally implemented into nx1!

Yes Edit: Whoops, huh I swear it used to only be 1080..

It is fascinating. I remember his earlier stuff from years ago. I don't see what is the big deal. Just walking down the length of my local main street will get myself filmed by HUNDREDS of cameras! Permanent installed cameras. Who ever complains about them? Nobody. Ever.

Sure 'nuff. Based on how I shoot, and the fact I'll be using the same glass as always, I expect footage will feel and "look" exactly like what I get out of my 5-axis EM5II --with just a heck of a lot better resolution! However, from all accounts the color is better than the GX7 and now, of course, there's the 4K. So, you know, sharper images all around, but I'm thinking my experience with the camera will be what I'm used to with the GX7. Breezy. Effective. A little bland to use, but not difficult. As it happens, I grown incredibly fond of the ergonomics of the EM5II. Man, I like shooting with that camera. Nice EVF, wonderful battery grip, direct audio input and monitoring!!! (I mean, that's really one of it's great underappreciated features. So damn practical. I love being able to record subjects with a wireless mic straight to the card and monitor it while it's happening. So nice for documentary film making.) *Sigh* I'll miss THAT for sure. While I'm shooting AND in post. Ugh, syncing b-roll audio... But the IQ of the GX85 can't be ignored, so I'll use it for now. I suspect a year or so down the road Oly should be in the 4K game. ( curse you Olympus for not being there yet as I head into a big project! ) At that point, if they're even close to IQ of the Panys, I'll definitely head back to Olympus; simply for the ergos and the tidy audio set-up. Seriously, for me, it just feels great to use.

You may as well shoot 4K and do the Ex-Tele in post by cropping a 1920 x 1080 box out of your 4K frame. This way you can activate it at any time and in any part of the frame. Also your normal shots will be oversampled from 4K to 1080p, rather than pixel binned 1080p straight off the card, which looks far worse.

Isn't film and music so very middle-class these days? Read the full article

It's like an exaggerated response to what I often get at weddings

Excited to hear you went back to the D16. After using the BMMCC for the past couple weeks, I have a new appreciation for cameras that shoot Raw, and ProRes, and I'm unsure if I can ever go back to an 8 bit camera again. But then again I am probably over stating because I love my new toy/tool. Anyway, I look forward to some D16 footage.

When I'm following one person, I put a ew100 wireless lav mic on them and forget it. In my shoulder bag I carry around the receiver/Zoom recorder. And I monitor the audio with headphones as it records. If it's a bigger group, then an audio op with a boom pole and shot gun is required. Shotgun on the camera? No. Not a fan of that. You're right that one can't get the best audio recording to the cheesy preamps of these hybrid cameras. But, for b-roll, I've found that the audio is quite adequate when using my EW100's, and it certainly is a lot easier to handle as a one-man-band.

@RieGo, @tugela - I never said that NX1 can shoot UHD@120. What I sad is that camera can produce a file which is 3840x2160p and 120 fps And I said that file is x4 speed timelapse with dublicated frames. Do you read? And here you send me link on my own thread on DPR Well, okay than. Do your thing. It's already hacked like 4 month ago, just not implemented in hack with any key-combo. In telnet you can set up MF mode just like this: st cap capdtm setusr AFMODE 0x70003 That's all, camera now in MF mode, but there is no indication of that, but if you know - you can use it. Tried this just now with NX1 and 16-50S in AF mode, works like a charm, MF ring is focusing, which doesn't happens with this lense in hardware-switch AF mode. MF assist also works okay. If anyone need this in hack - you just can use keyscan and bind one of the camera buttons with EV+ combo for that.

Whilst the eco system around Adobe products is far larger than for Resolve, there has been an explosion in the number of high quality tutorials since Resolve 11 started to become a viable alternative. I think you would be surprised by how large the Resolve community has become.

I used and really liked FCPX but had to switch to Windows and therefore used Premiere, which I didn't like as much as FCPX. I switched to Resolve 12 (now 12.5) which rocks. Black Magic are improving Resolve dramatically and I intend to stick with this now.

The free version allows export up to and including UHD. I took this quote from their website :

Perfect for photogrammetry!

dbp, you don't need to defend yourself from anyone -- they'd have nothing to criticize without inventing a fictional motive for posting this video. it is out of line to attack your character. i see that. i'm sure others do too.

I never tried the the original CYL anti-aliasing filters, but it appears that a single, variable CYL anti-aliasing filter was recently developed that can replace a whole set of the original CYL filters. Here is a demo of the new variable CYL filter:

Turns out that people hate being filmed - by arseholes.

heard some people say pro mist or softar filters or the like for this, but I haven't seen side by sides. also a tool in after effects and neat video i believe? but haven't seen results from those either. i'd also be interested to find a cheap solution

@Zach Goodwin If I'm not mistaken, Dan was just asking if there was an alternative filter to the VAF, not if he should get a camera to replace it :p

First 4 minutes are hilarious, then I stopped it - does it get a bit repetitive after that? If not then I'll watch the full 50 minutes I think in the 90's there wasn't the urge to control our own images quite so much or the suspicion over how the material would be used. The internet changed all that and it does make it more difficult to capture a slice of life, documentary style, undetected. People behaving naturally. If you ask them permission, it changes the nature of the footage, it feels stiff and staged.

Do you like to be filmed? I accept that people feel uneasy when someone holds a camera (or smartphone) to their faces, because I know how impertinent and ignorant that can be. I feign respect for their privacy and kindly ask for permission. I smile and reassure them nonverbally that they can feel safe. Works in 90% of all cases. The remaining 10%? Well, it's their right to forbid it. Simple as that. People like to be respected, but they also, in my experience, like to be asked and then directed. It's more about psychology than about personal rights. You've got to have (and show) empathy and then exploit that. Polite words aren't enough, it's your body language and your whole manner. That's why I still shoot weddings. The lens is their 'magic mirror'.

Don't have footage right at the moment (my HDD just died on me ), but I'll tell you this. THe a7sII (and original) do give a great image. For 4k, they're your only option with the F3 tapping out at HD. But man, that F3 footage... 10-bit 4:4:4, and even 4:2:2... The a7sII doesn't match it IMO, especially in the grade. The a7sII has a lot of other things going for it, and still gives you a great image.

It appears that it's only the action sports/skater guys who still use canon dslr's for movie making.. they're so busy enjoying their full throttle lives they don;t have the time to sit browsing the web for the latest and greatest gear. The only other camera the action guys seem to know about is gopro and if they're happy with the ghastly image from that, a crippled 5dmk4 will be a dream. If canon didn't reach out to this crowd then they'd not sell any dslr's for video stuff

Have a Terra 5k on order - pending a trip to bejing to test it out - end of July they informed me - pushed back a month...so far....will let you know how it goes.

Hi Guys - I have worked with Levi (back when HD was AMAZING) and he is one of the great Athletes in windsurfing. I know action sports are a little bit generic these days but his latest clip is pretty special - I do see the need to head in different directions for fresh promo material - having said that shooting windsurfing is one of the hardest gigs I have done to stay on top of focus and exposure. A really good showcase for testing the dynamics of a camera. And you do get exposed to some sensational colors. Bit of a leak for sure - but the fact that people are interested is a great sign for Canon. I love the full frame look (which I can nearly get anyway on my voigt 25 / GH4 combo) As a GH4 lover / addict / user I really wish it was a Panasonic GH5 leak... Panny - time to start leaking!!

Actually the Terra has ignored me. I'd love to try one out in Berlin at some point, I can't buy absolutely everything just to review it.

The 5k seems like the better model. Current Kinefinity users have little to complain about and recommend the cameras. The Chinese thing puts people off, however the parent company making these cameras are absolutely massive. Andrew has reviewed and featured previous Kinefinity cameras but has so far ignored the Terra. It is intriguing - because if Kinefinity pulls this off, they wil have by far the most complete cinematic camera package considering its price point. I really do hope they pull it off. I really do. As for any Odyssey fuelled camera setup like the C500, it's just a little bulk too much. Worked hard to go very portable with my gear this year.

Finally got a shoot in with BMMCC for a new passion project and coupled with it old Angenieux super 16 glass. I absolutely love the image and all this 12bit raw colour business. It's going to be go to for all arty projects. A few grabs...

I picked it up a short while ago with the 16-50mm kit lens, the 35mm 1.8 OSS and the 35mm 3.5 macro. So far it worked flawlessly for me (mainly pictures, one cooking recipe video) except for the humongous rolling shutter but I actually realized I nearly always shoot static from a tripod anyway.

Hey Andrew, I have a suggestion for future reviews in regards to comparing color. The real-life scenes are great and give us an idea of what the cameras deliver in actual shooting scenarios; however, if you're going to make definitive statements about color accuracy and precision, it would behoove you to buy/rent a DSC OneShot/Chroma Du Monde chart, shoot it with both cameras in both daylight and tungsten lighting, then put them up on the vectorscope and do some analysis. Otherwise, the whole thing gets very subjective very fast, and there's no way for other people to adequetely chime in without having the original files and having been there at the exact time you shot it (to know the exact color of the objects and how they appeared in that lighting). A Macbeth chart would be a step in the right direction. It's not as useful as the OneShot/Chroma Du Monde but a hell of a lot less expensive. Displaying one on an iPad proves nothing and provides no useful information whatsoever. At the very least, you should enlist a friend or two to sit in the middle of your test scenes instead of using that book, which may or may not be color accurate and doesn't reflect the skin colors most of us regularly shoot. It's easy. Offer them $10 or a home cooked meal or something, then tell them a funny story while they sit in a chair for 15 minutes. Boom. You're done. If you're having trouble finding people, I'm sure there's an EOSHDer in/close to Berlin who'd love to help. If you have any questions about the gear/methodology I'm talking about, feel free to PM me or, better yet, check out Art Adams' articles on the DSC OneShot chart (which he helped design) and his analyses of camera color (on which he's something of an expert). Cheers.

Stacking adapters works just fine as long as you keep to the prescribed flange distance for that lens. If you have a Canon EF speedbooster on your micro four thirds mount, it is for all intents and purposes an EF mount and will work fine with any adapter that promises infinity focus on a Canon camera. As for the Roxsen Speedbooster, you're in luck! I actually own that exact Speedbooster for my FD glass. It's definitely not useless on an APS-C camera; in fact, I like using Speedboosters to get double the focal length choices from the same number of lenses. For example, if I have a 24mm and a 50mm, that gives me a 24mm (24 on the SB), a 35mm (24 with straight adapter), 50mm (50 on the SB), and 75mm (50 with straight adapter). More flexibility, less weight. It also just gives you another aesthetic choice with your lenses--do you want the S35 look, or the VistaVision/FF look? The Roxsen has performed fine in every situation I've used it in thus far. No issues with weird flare, strange bokeh, or softness on the edges. Just brighter, sharper, wider images. Then again, mine is for M4/3. You may get different results on the Sony.