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Wow... two thousand grand is... TWO MILLION BUCKS!!! That is a lot of scratch for a camera and grip - I'd at least want a lens, and 5 Ferraris...

after running around with the GX80 and the voigtländer 25, i have collected so much material i will be busy with editing it for weeks In my opinion, the GX80 is not too small for it, at least for me. The more I shoot with this combo, the less I get why I ever abandoned it... Std -5/-5/-5/-5 with WB cloudy preset (A3G3) & Tiffen Ultra Contrast. ooc.

Hopefully they have enough success with this 4K camera to convince them to include 4K on the rumored medium format mirrorless camera too. I'd rock a 4K MF camera with Fuji color science till the cows come home!

I was one second from buying a 5D again today. They are now way bellow $1.5k and closing in on $1k. Before I thought they where a good option to the bmpcc/bmmcc. But at these prices I think its even a better option. Full frame Raw with slowmo, long battery, lots of on screen tools, rugged, takes stills, shoots compressed as well, decent audio..... And no Moire! Its a very affordable and powerful Raw cinema camera. The only thing that made me finally pass is that I think it will be even cheaper after the 5Div hits the market. And when it does, me and my $10 m42 prime lenses are waiting

Well I've just done it. Got hold of a DJI Inspire 1 RAW with the Osmo. Madness.

The voigtlanders really do transform M43 to deliver a dreamy look - especially the 25 / .095 here are my shots with a GH4. The GX80 would be a mean low light low profile combo with this lens - I tried the combo in store (i didnt purchase a gX80 as I am waiting on the GH5) and THE IBIS was awesome with the NON IS VOIGT 25

Yeah, I just saw this over at BMCuser. Definitely the best design I have come across for the micro. I've been using a half cage designed for the pocket cam since both cams share the same height. It's been working nicely for me, but that preorder price is almost too good to pass up. Of course I am really surprised no company has come out with a hinged design so you can mount your monitor directly behind the Micro and have it tilt up and down like a regular LCD would on mirrorless cameras... Or even better yet, a battery/monitor in one that slides directly into the battery slot of the micro. The cam is so small, it's a shame to have to rig it up into some monstrosity.

Hello I would like to present you our new movie. We had just four days for filming in swiss on 9 different locations. It was pretty amazing going up to 3000 meters and start filming with a drone. Everything was shot with an DJI Inspire 1 RAW with the X5R camera. Filming with this system is pretty nice but backup all the footage after made us go crazy. DJI is using their own data partition on the SSD and you are unable to just copy&paste via Mac or Windows. You have to use "Cinelight" which needs up to 4 hours to backup 350gb of footage. No way to do backups on the way. Well, making this movie was fun and a great experience. We hope you like it. Best Lucas Dominicus

Yes Marco, it's a speed booster prototype selfmade. It's possible. In the nex time I post my full work on it, and begginning the test on NX1 camera.

Ive been doing alot of tests with the G7s on my custom made shoulder rigs and Im not having issues with the rolling shutter . with regard to Pandora movie I did alot of tests to show the Director Arri Alexa v Red Epic v Panasonic G7 internal recording v Panasonic G7 and Atomos recorded . and he liked the look of the internal recording on the G7 with Metabones XL speedboosters and Nikon lenses , its very very sharp clean image and he decided to do the whole movie with it , the image is superb and grades very well , using 6 x G7s was the best option for us time wise as I wanted to shoot multicam.

I use the A3G3 setting as well.

Yeah. Page 116 of the manual. https://www.mu-43.com/threads/gx80-85-user-manual.84812/

BMCC EF is a no no due to the hefty crop. Skip the BMCC MFT in favor of the BMMCC which is a lighter form factor and gives you 60fps slow motion

Its a sub modification within the white balance setting. There's a color graph/grid with numeric values. A3G3 references these color settings.

I have one client that has me shoot events - I still have a 1080p Panasonic AC-130. It's got all the grab & go stuff, ND, EVF, XLRs, good OIS, power zoom, easy WB controls, not bad on the jello. I don't think of it as a "beauty camera", but to this day, when I have to use it, I get the footage home and think "damn, that's pretty stuff". Other than not-so-hot AF, it's a hell of a value if you have decent light levels. And it has great peaking, so I never bother with the AF. I stick the most-excellent manfrotto focus-iris controller at the front of the rails and shoot mainly shoulder mount, focus with my finger, all manual. Available used for around $2k. This looks like it has the bells and whistles, $329: http://supamods.com/product/matte-box/mb-20-pro-carbon-fiber-dslr-matte-box/ I bought an "Indian" matte box years ago when DSLRs were the new thing - $300, basically the same as the one above. Never needed to upgrade it, still going strong. I did add some tabs of self-stick velcro where the flags meet each other, they could rattle a bit when moved.

Good to hear it doesn't feel big. It probably helps with IS too. From the video I posted earlier, it looks like you have a sweet setup. Good luck with all the editing, hopefully not as tiring as in the photo!

every set up is different as you have to go by what the script requires , sometimes its complex moves and focus pulls, some times its just needs 2 camera and is easy !!

The Voigt 17.5 and 42.5 are incredible. Want to try the 10.5 despite bad reviews...

Awesome. It will be interesting hearing how you like it.

If you are lucky. That makes as single focus system.

I have the GX80 and an EM5 MK II. I think just about everything is superior in the Panasonic file wise but he Olympus is a much nicer camera to use and the EVF is much, much better than the Panasonic (which I would describe as being usable but not much more).

Being familiar with all the cameras discussed above I do agree with Ebrahim's assessment about them. That being said I still think which one you prefer or is right for you is totally subjective so not sure I agree with the conclusion. It is clear Ebrahim is passionate about filmic camera properties (not just from reading the above but the 1DX2 vs 1DC thread etc) and that's fine. But outside of these specialised forum niches, people might reach different conclusions. I'm sure to many (including Canon) the C100 mk2 has better video quality then mk1. And same goes for recent Sony cams. The filmic vs cinematic / 4k video debate kinda reminds me of other digital vs analog or X vs Z debates I've seen in other specialised forums. In the end nobody is really right or wrong, just like you often hear there is no perfect camera generally speaking.. and with log profiles & grading become so accessible, the difference becomes kinda marginal aside from purists points of view. Sure Black Magic's & ARRI's etc are cinema oriented cams and hence more filmic.. and the Sony's are better suited to dazzle with super-slo mo action or 4K cinematic commercials & music videos but that doesn't mean they're oriented towards non film educated or non passionate business persons. That's a bit too black & white a statement in 2016 imo. A lot of people have multiple needs these days. They might have commercial work and do narrative/docu on the side, or the opposite. All kinds of combinations but not necessarily budget for multiple specialised cameras. This is where the FS5 imo is a good all rounder with 10-bit S-log3, 12-bit 4K RAW option, 14 stops of DR and LUTs, EVF, modular, compact, S35 E-mount...etc. Getting back to the C100 though.. imo it's biggest advantage today is price, ergonomics, c-log & DPAF. it's biggest con imo is 8-bit output and poor AVCHD codec. Grading limits aside, this could be a problem in areas that require higher output (like BBC 10-bit 422 standard).

something like that (also u can make some covering to avoid reflections and atached it to front glass)

Worth quoting the comment from that latest Vimeo video shared:

I have some prores files that i ll post in a couple of days !

It's definitely effective in the right hands. I did extensive testing with a 50mm L-series at f1.2, and it followed focus quite organically, maybe not as fast as a human focus puller, but it manages to work without that harsh stepping effect that autofocus motors are known for. As far as alternatives, there are a few systems that seem to provide auto focus from manufacturers like Red Rock Micro, CMotion and Andra, but as far as I know, they're mostly prototypes, probably very expensive, and requires lots of rigging and bolting motors and sonar transmitters to your camera.

For those who use dual pixel autofocus in video, are there any companies that have something almost as good or is it just head and shoulders above what everyone else is doing?

28mm 2.8, would like to get the f2..

Cutting is cutting. If the handle of the knife feels a bit better than some other, that's cool. I mean, there was someone on here a year or so ago claiming he edited with After Effects. Not sure how that's the most productive thing, but if he made it work for him, why not? Theres a legacy notion among technical/artistic careers that one needs professional gear to make professional product. It's up to the individual to determine if that particular notion makes sense for them or not, based on what current consumer tech offers. FWIW, I moved off FCP7 to Resolve and Premiere (mostly Premiere at the moment)

The natural history museum video was shot using shutter priority mode with the shutter fixed at 1/60th. I used AWB - within a scene the light was never changing, and AWB did a good job in dealing with the different lighting across rooms, with enough time to adjust. As a consequence of shooting in S, no ISO or aperture settings were reported by the camera (a "feature" common to all Panasonic G cameras in Creative Movie mode when using any mode but full Manual). So I do not know what the ISO's were. I rode ev to obtain the exposure in camera that made what I was seeing in the viewfinder look like what I was seeing with my eyes (if not that of the reptile). I shot using Standard, with NR at -2. I have plenty of experience with grading RAW (BMPCC) and Slog2 (RX100 IV), and my choice of this setting was based on getting realistic colors without the need to twist around 8-bit, highly compressed video, as I had no intention of creating a film-look or a stylized report in this case. In post I tweaked some clips - lifting shadows here and there, altering luminance here and there, and in one clip color corrected based, again, on matching what I had seen in terms of color and light. I shot with the *intent* of not needing to change anything in post. What I saw in the viewfinder was what the clips looked like when reviewed. So mostly what is seen in the video was what the camera produced, given my selection of camera settings.

100% agree on the reflector. Bringing down highlight levels in post after they're blown doesn't quite give you the image you're looking for. If only we all had arri alexas! I find also sometimes it helps to back off the LUTs / film emulation a touch, they tend to saturate and blotch up the image a bit I find. And if you combine that with adding sharpness and contrast, it creates this strange posterizing effect on the out of focus elements. Maybe the bitrate hack would help with this too, with more information there, the less the image falls apart when manipulating it.

We gained from a narative point of view as the actors perfered this way of working doing longer takes and complex moves with marks all over the set floor became the norm, we did this alot and the movie gained from that freedom , I always opperated the A camera on every take so that handled all the complex moves and focus pulls , yeah Panasonic bullet time here we come !! the Director wanted David Fincher/Nicolas Winding Refn style of shooting so alot shot on legs careful framing , using symmetery where we could find it , and slow dolly moves , the camera only moves when it needs to ,no sudden movemets or randon pans, there are only about 6 or 7 hand held shot in the whole movie , the Director is not a fan of hand held Paul Greengass wobblecam , I do like the hand held look alot and my next film is a Bourne /Bond syle classic British spy film and Im shooting this movie mainly all hand held as it add a dynamic realismto that style of movie.....I'm just starting pre production and tests shoots for this film now. here are 2 test shots from last week I did for the Spy film with one of the actresses Joanna Bright, Panasonic G7 and Nikon 28-70mm with Metabones XL Speedbooster. Arri 300s and 150s gelled and diffused.

The 20mm is a super high resolving lens, maybe 3rd place or better of the Panasonic Leica lenses, after the 25mm 1.4 and 42.5mm 1.2. Some curiosity, it seems to be 1/3 EV brighter than it´s 1.7 Fstop. So it´s a super compact, high quality bright lens with slow autofocus for photo and not useable AF for video. I myself think about the 15mm 1.7 Panny Leica. On the 4K crop it would give me a classic moderate/normal wideangle FOV for video with very fast AF.

Actually, if the X1D lacks a digital shutter function, it would probably preclude using/adapting many other medium format lenses for still shooting. So, you might be on to something.

I read that you're pretty much gonna have to use the grip if you wanna do video and with three batteries it'll give you as much time as a GH4 with one battery. Anyway, with the power booster grip you're looking at about $2,000 grand. Seems like a very tough sell in this market, especially for a company that has not been known for their video up till now.

Did we already know the shutter was inside the lens..?? That's kind of a buzzkill. Sorry if i just missed that discussion point somewhere... first I'm hearing /:

FF mode on the a7R II is very underrated. Under 3200 ISO I prefer it over S35 mode because it has far better rolling shutter performance. FF A7s 2 RS = 30 ms FF A7R 2 RS = 20 ms http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue! It's just a bit soft, more like 3K than 4K. Video AF on the A7R 2 is vastly superior to the a7s 2. I honestly think people should go for the a7r 2 unless you need the S-LOG monitoring features of the A7s 2. Also for people that want to film in the dark, use a speed booster and use the S35 mode. I would grab it at that price.

I had the camera for half a year and used the hell out of it. I had no problems exposing etc. You can gargle numbers at me all you want but I test the shit out of all my cameras and really found no discernible difference in DR. And ergonomics are subjective of course but the LCD/viewfinder were inferior to even my lx100 ( and I was using the mark ii not I)

This might be my favorite of your "looks" with the NX1. It has the perfect mix of contrast and milky blacks. The subdued color looks nice.

I agree, I bet there are more professionals using digital medium format for largely marketing/appearances reasons than for real, noticeable, concrete differences in image results. Because at the high end of a being a photographer, marketing your brand matters even more than quality of result. As by that point everyone is already very good! Good job at breaking down the pro MF arguments one by one. And MF sure is not winning on a cost basis! (no matter how cheap a Pentax digital MF gets!)

Shot with vasile's 140 mbps. Still from 4k on 1080 timeline. Andrew's gamma DR settings but no LOG LUT. Just used visioncolor impulz rec.709 tetrachrome FC + Curves, saturation boost and vignette. Used 16-50S lens. Sick footage everyone! I'm surely having fun with the NX1!!

Samsung NX1 16-50S Hack: Vasile 5.01 150mps Normal Gamma, Costum profil, Premiere CC with R709 LUT, Filmconvert Grain 50%