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Man, I suffer in silence when I read some stuff here (I guess I'm masochist to keep reading it). But this one is too much for me... On what ground do you think it should cost 2,500$ ? Please tell me. Do you know a video camera costing that price and doing this ? And don't tell me blackmagic please (fan of the brand, but their cameras aren't in the same price range and they are way less reliable and easy to use, and no autofocus, no support) Do you know a pro 1/3 sensor camcorder costs more than 2500$ (Sony, Canon) ?. It might not be the camera for you, that I totally understand but with all due respect, I think your comment is from a spoiled naive non pro shooter who doesn't know the requirements of pro work and on being on the field with reliable equipment. People always complain, at some point it's just ridiculous. They want new technology right away, but when Sony releases a new camera too soon, they think theirs just became obsolete and hate Sony for it. In the mean time they blame Canon for holding off. And now they unleash something very unexpected from them, still complaints. Same goes for bitrates. Canon files take too much space, now they want that kind of bitrates in their gh5, and they're suddenly ok with the file size. And all that to end up posting videos on Youtube (which is not a bad thing but just all those concerns are irrelevant for that type of delivery). Anyway, this camera seems to be freaking great. Canon used to deliver not on specs but on the field and with the image quality/mojo. Now this one also has the specs ! Granted an intermediate codec is more than necessary for a camera at this price point, but it will come down the line anyway. Pffiou, sorry I had to get it out of my chest Now I can burn in hell !

The DSLR filmmaker community is funny. It's like "Gimme 8bit proxy, 10bit, RAW, Canon colour science, Log, 4K, IBIS, DPAF and HFR in one package, in A7S form factor, max 2500 bux. I need a silver bullet that covers all cinematography and videography scenarios but make it cheap because I'm not a pro and want to shoot flowers/cat in my garden with it. Also has to shoot on SD cards because Cfast is too expensive". There's no silver bullet for everything in cinematography. Every camera body and ecosystem has its compromises. You can hold out for the perfect dreamworld unicorn camera, or you can pick up one that fits your shooting style and then actually shoot something. Also, the C200 looks awesome and exciting - and daaaymn, official 4K RAW on an affordable Canon frame, without the unreliability of hacking stuff. Had I not sprung for an UM4,6K recently I'd be throwing my money at the Canon.

Why no in between? I would disagree that CLog doesn't need 10 bit. That was my biggest complaint with the C100mkII is the weak codec.

I need a 10-bit 8k 120fps ProRes HQ $2500 camera to film my litterbox cleaning technique vlogs

I think there needs to be a demand for 1080p first. On a global scale pretty much no one watches anything above 720p. 1080p is for a selected few and 4K is almost not used.

If I were still shooting, I would probably buy what my clients wanted me to buy. If I started getting asked for 4k, I'd buy a 4k camera. Otherwise, I wouldn't. And I'd shoot in whatever the lowest spec'd format they'd accept is. As a hobbyist, I would just buy whatever I wanted and not care about what other people are doing with their money one way or the other. To this extent, I think debates about 4k are a bit absurd because our needs all vary so much. We should just be doing our own research at this point and not question what others are doing unless they specifically ask for advice. I think the low end and high end will adopt 4k before anyone else. What separates Netflix and Youtube (and Amazon) is that their distribution is all digital, whereas many networks are still getting content delivered in HDCAMSR tape. There's so much 1080p infrastructure in television. And the cost of shifting vfx (in particular, but editorial in general) to 4k is massive, potentially millions of dollars for tentpoles. But they can afford that. So I see Netflix, the ultra low end (where you don't need to buy and maintain a large gigabit ethernet network for post because it's all done locally), and the very high end leading the way for 4k. I think bread and butter stuff, shooting for tv and ads and whatnot, that's gonna be 1080p for the near future. What is funny is seeing content shot at 4k or 6k that goes through the whole post process like that only to deliver in 2k. Your resolution is only as high as the weakest link, usually a vfx house that doesn't have the horsepower to render CG at 4k.

Man...every time I think I've landed on a lucrative niche market for my productions I find I've already been beaten to the punch.

The complete setup with hardcoreDNA (HCDNA + C35 + Ultron 40mm + NX1). For the mic I am using Audio Technica mixed with other parts of VideoMicro. Needed only a minimalistic rig. ..... Time to make films

I dont know what other samsung gear you have currently but I would maybe try and push back to get a refund for your other lenses as they are now useless to you than consider this as your chance to get out of the system at a really good price. Disclaimer to all the fan boys. I plan on keeping my NX1 until it dies then putting it up on the shelf as an important camera history relic. I think the NX1 will be a great part of camera history with a great story that I witnessed first hand.

Ive been shooting ETTR since day one and have no plans on stopping. From time to time there are waves of recomendations not to but I stick with it. If it aint broke, why fix it.

Ahem, where exactly did I use highlight clipping and highlight rolloff interchangeably? I just went back and reread my comments and cannot find it. And wait, I'm confused... In Panasonic's White Paper from 2016, they reference the Leeming LUT and invite people to learn how to ETTR from it?

Thank you for the 2012 camera manual link. As you can see in the manual, cine-d is the most linear of the gamma types. A problem in this thread is Mercer using "highlight clipping" interchangeably with "highlight rolloff." Which is unfortunate. All this is clarified below. Summarised here for your reading pleasure. This is from a 2016 white paper discussing exposure. Panasonic White Paper on Exposure Levels Most video camera gamma curves are designed to replicate what-you-see-is-what-you-get when the footage is displayed on a video monitor. That’s convenient, but there are sacrifices made in the amount of dynamic range that can be preserved when using a conventional video gamma. Furthermore, video gammas are more linear in design [than vlog], and that means that more “bits” are allocated to storing the brightest stops, than are allocated to store the darkest stops. This can result in mushy shadows, and noise and banding in the shadows if you try to brighten them in post. Exposure is normally 70 IRE for skin tones, and 100 IRE for highlights. When shooting in REC 709 gamma, I’m used to setting my zebras at 70 and 100; I would expose for there to be just a little bit of 70-IRE zebras on the brightest highlights on Caucasian skin tones; then I would swap over to Zebra 2 (set to 100 IRE) to check for highlight clipping. Exposure for VlogL is 55 IRE for Caucasian skin tones, and 80 IRE for highlights. An individual channel might clip earlier than the zebras indicate so in some situations one might set the vlog-L highlight clipping to a little lower (75 IRE) to minimize possible individual chroma channel clipping. Exposure is a game between three things: · Noise in the shadows – all digital sensors show the most noise in the darkest areas. Under exposing and lifting in post will maximise noise. Raising ISO will also increase noise levels. · Retaining the highlights – decide between main subject vs highlights. Deciding which highlights might have to be sacrificed for exposing the main subject is difficult. In an ideal world no highlights will need to go past 100 – welcome to studio set lighting. · Maintaining consistent midtones between shots For a good read on basic ETTR principles and the balance http://www.leeminglutone.com/#howtoettr Hope you find this helpful.

Our A7S II just overheated and shut down when filming a live event (tripod and AC power), after recording continuously for ~1.5 hrs (sub 30 min segments). Ambient temp was around 74F. A C100/C200/C300 or FS5/FS7 (even a GH4/GH5) would have worked better in this situation. From our available cameras, it was the best size, file size, low light and look. Now that I know it overheats it won't get used this way again.

Love my cat Just saying'

thought 1: those people just don't understand budgetting at all. it was minimal enough of a setup, that when factoring in the volunteers, they could have made a feature film on half of that. this part isn't evil probably, just weirdly ignorant thought 2: it must not actually have been a passion project. which it seems like you agree with? again, not evil, other than it being a lie. "I even chipped in a couple thousand dollars of my own money," was not spoken. their careers can survive my poo poo but yeah, let's all use our resources.

I got you. She & others have money, so why not use that? I read somewhere, that Kristen Stewart said she was amazed at how much money she was given to make a short film - she's a multi-millionaire FFS, why didn't she use her own money rather than taking the resources out of the hands of others that really need it?

Yesterday, I filmed part of a project with the Sony A7SII in Cine4.cine, which we use every day. I also produced many of the same shots using a new Sony A9 (standard color) that Sony sent us to evaluate (yay for Sony Pro Services). This was done in about 77º weather (f) and both cameras were in direct sun the whole time. No indications of overheating by either camera. You'll note a slight crop in the A9 image as its sensor is slightly smaller than the A7SIIs. Also, out of the box, the A9s skin tones are quite nice though highlight roll-off is pretty harsh given the lack of cinegammas.

I am leaning towards the Tamron SP 24-70mm f/2.8 VC right now, however many people have complained about receiving "bad copies" which is scaring me away from it. I understand that there will always be the occasional bad copy from any manufacturer, however this seems to be a lot more prominent with Tamron's 24-70mm. Many have stated that you need to be lucky or send the lens back multiple times before obtaining a good copy of Tamron's 24-70mm. It has been a few years since this lens has been released so I was just wondering if this issue has been fixed? Or if there is another 24-70mm lens that could be better for videography? I am planning on shooting with the GH5 if that makes a difference.

The 4K looks like a photo to me, it's superb. Sharpness at -10 doesn't entirely give you an image as unsharpened or as natural as it could be, but you can always scale the 4K down to 1080p and then upscale that to 2.5K if you want less digital sharpness. It's true the D750 is nice and 'creamy' in terms of dynamic range, but the NX1 files clean up if you avoid the harsh clipping of highlights & shadows caused by NLEs and players misreading the 0-255 files. Set it to 16-235 in the NX1 menus.

That is so generous. Snatch their hand off. The X-T2 is the only thing that comes close to the NX1 even after 2-3 years... I prefer the NX1 over that (have both) in all respects apart from low light and 4K rolling shutter. I am quite comfortable using the NX1 at ISO 3200 as long as I have a good exposure, fast lens, master pedestal +15 and RGB range 16-235, to prevent the blacks from crushing and losing all the shadow detail. Noise at ISO 6400 makes it a bit less usable, so my limit is usually 1600 or 3200. But let's get real One has to balance practicality, usability, cost, all sorts of stuff. To get better low light without sacrificing too many features, your only choice (for 4K) is the A7S II, A7R II and 1D C. So triple the cost of a used NX1. TRIPLE! The X-T2 is more fiddly and crops the sensor in 4K. You'd need to invest in new lenses maybe too? A6500 could be an option but I don't enjoy using mine... ergonomics are shit and rolling shutter the worst I've ever seen. I believe even though reliability has let you down and the freshness of new models entices you, that the trusty NX1 is truly special and should be perceived with unless you can jump to a $3000 Sony and put up with the worse ergonomics.

Believe me, I know. I'm working on a few Netflix series now and YouTube and Hulu series, too. (Well, not at this very moment but this year.) Netflix is pickiest about cameras. YouTube will accept 4k Alexa footage and most of their content is shot on 4k-upscaling Alexas. Netflix won't accept Alexa footage so I'm mostly seeing Red and F55 and I think there's some C300 Mk II mixed in, too. My preference would be Alexa but it's their choice to make. But yes, they'll buy rights to anything even if it's in 1080p, even if they later release it as an original. I'm only saying that at the low end of the industry where I work, only Netflix really cares about 4k, and even they will accept 1080p content for their originals (if used sparingly or if a show or movie is produced before they acquire it). I don't think that changes too much until you're working on tentpoles. The features I work on are all 2k DCP deliverables even if they're shot on 4k. I guess my only point is, if you need 4k, you will know, because your clients will tell you before you roll a frame of footage. So speculating about it is a bit foolish. Whoever needs it knows they need it from the get go.

I propose to change the thread title to "The Canon C200 is here but we don't care about any camera that costs more than 2999", but be aware, then we have to exclude the next A7 mark III cameras too! @tugela Canon C200 costs 8000$ (or whatever) but there are C100 I and II and PDAF under that, and the C300mkII, and the C700, and in between you have Sony cameras such as FS5, FS7 I and II and the high end Sonys, Ursa Mini Pro, Red, Alexas etc. Why do these cameras exist? Canon value this camera as such, if there is a market we will see really soon. I commented on that ABC pic above, I do not like to repeat myself, it is pretty obvious that that crew isn't a professional one. It is pretty obvious that you can NOT shoot video and stills in the same time, you shoot either video, or stills. So, you either do the interview, or taking stills, but be aware if you have a dSLR and I do the sound, because ain't worst than the shutter sound on an typical interview. You say you are a scientist, you should know that "a sensor in a box" can be more expensive than whatever your family owns right now, and in the next 2 generations, don't simplify so much extraordinary things such as modern digital video cameras. The amount of processing and digital data that come and go and become something else is just amazing. What camera you owned 10 years ago? Was it more than a sensor in a box? @Damphousse Do you think that I still use Hi-8 cameras?

The only serious issue of NX (and that goes to most modern cameras) is the aggressive noise reduction in higher ISO. Where in your tests are those artefacts you are talking about? Obviously is not Alexa, but "full of artefacts" is a stretch for sure..

This is for sure an overstatement...I don't have a GX85 or GH5 yet but i do have several Canon lenses (including 24-105 f4 IS) and IS on these is just for micro jitters and maybe some slow pans with the camera's strap forced against your neck. Better than GH5's IBIS? No, no this can't be true. In the shots above the guy used warp stabilizer, you must totally hate coffee to achieve shots like these with IS only, & beyond 70 mm it's impossible while Pana's IBIS have been proven effective at extreme focal lengths.

The front of the HCDNA does not rotate, the Kowa to the Ultron with the RedStan clamp (with small srews).

Don't forget to show us some footage !

Yes, less is more. The lenght is not so much, the weight is more. That makes the combo also more stable. The Ultrom works fine with the Ultron. But be carefull, there only 3 little screws on the back of the lens that holds your camera. You cannot walk aroud, you need a small rig. I don't have helios lenses and at this moment no ND filter. Step by step ... Soon I will sell another lens and then I can spend a little for something news.

What capture mode was it in when you sent the command? On one single occasion I got it into that condition and it did a runaway recording that wrote no file data after I had to stop of with a battery pull. I've found you can switch it to mov and it will record corrupted files. All other attempts switch it to 4k24p and the files are recorded with that metadata. Though as I reported earlier with ISO50000 it doesn't register the right value in the metadata I think there might be something in it reacting differently to the recording format command depending on what format it is currently in. I'd tried both doing it from 1080 and 4k but there might be a combination of the variants that allows it. I can't do much on it right now but it needs a matrix of the settngs with different buttons to quickly but exhaustively test the combinations. A EDIT!!! FFS I've just spotted you are trying this on a G80 and NOT a GX80 No wonder I didn't get the same behaviour! OK, same thing applies with the matrix to test the permutations Closest relative I've got of it is the G7 I'll check it when I have some time

What @gt3rs said. Because something is "enough", doesn't mean you have to do it the absolute minimum way. Cave and palm paintings were enough for humanoids, why do we need iMAX cinemas? I mean.. come on.. Where I disagree with @gt3rs is that, C200 IS the camera to do everything. For me the perfect combo right now is the C200+18-80 Cine lens, and you got everything, you can take this combo and do a short film, a corporate, ENG, wedding, school play, whatever you want. In 5 school plays you can get as much as a short film's work, and you got less stress! You can add up these 2 different incomes, and pay your newly bought C200! This combo is 12-13.000$ or 15.000euros. The US price is really great. It is a combo that you can use easily for the next 5-6 years (if it doesn't broke) and upgrade for workflow and production. And I am pretty sure that everyone will support whatever codec/format Canon will adapt in their latest cameras. You can take a JVC LS300 and stick an ENG lens over there and you got it all, and the JVC is around 2650$. There are options and people can act accordingly. Because at some point, some people used a dSLR to shoot something, doesn't make them industry standard, or most convenient for pro people - of course it doesn't make them worthless either, I just do not get your point. There are a few films shot on a mobile phone, I assure you that most people CAN'T have a great film shot on a mobile phone, some do, well done, but the exceptions are there to confirm the general rules . The pics from the ABC interview shown some people that doesn't look at all as videographers, not even amateur ones. There is a girl nicely dressed, a guy that is holding a camera 3rd time in his life, and another one that seems like he was passing by to his way to the opera and they stopped him and give him a camera to hold. They ain't even dress as working professionals (comfortable clothes, good shoes). If you are working for an ENG day you want to feel comfortably, not sweat, not getting cold, you are about to stand most of the day, you have to hold your own equipment, etc etc. The Sound bag probably costs more than the total of their setup there (especially if he has an advanced Sound Devices and Lectrosonics!). That Sony lens isn't that great, it is just cheap. I would rather have the 18-135, and it has a servo motor too..

The sony 24-70 GM knocked my socks off when I used it. Great lens.

None of my clients ( corporate, wedding, docu ) have specifically requested 4K, however they certainly noticed whenever I shoot with it (wether A7S2, FS5 or XT2) Furthermore, it's getting kind of hard for me to go back to shooting 1080p, once you get used to 4K resolution and it's benefits. Most everything still gets rendered out 1080p but yeah 4k shooting is where it's at in 2017 as far as I'm concerned. That being said broadcast standard 10-bit 422 may be more important to some and it is a shame C200 doesn't offer that at it's price, but Raw even if "light" and 12-bit is still huge. Again it looks like I'll be selling most of my equipment to get hold of this camera..

I have yet to deliver any 4K content. Our TV stations just last year started to send HD signal, and not all of them, and people (and clients) still ask for DVDs. This is our market. I just started recently to work with -very limited- 4K, and the only reason is re-framing. BUT, I wouldn't buy a no 4K camera in 2017. This Canon is at the top of my list right now, I feel there will be a FS5ii really soon, and the new Panasonic, but I am valuing dual pixel AF greatly, and the 18-80mm lens will be a perfect workhorse combo for some years to come (maybe with a better middle 10bit codec later on, maybe when C300mark III has 4K/120f and what not). C100markII still is pretty much relevant in our job (in a few days I am going for a corporate shoot with it and a case of L lenses), I expect the C200 to be the standard workhorse for at least half a dozen years, even 8K in the future will be optimized for VR and 360, for 2D presentations 4K will be fine for a lot of years to come! We have to admit, Canon really tried with this one, it is a major upgrade, still missing a robust middle codec (which is a HUGE omission) but in general is ticking a lot of boxes, and for a 9000$ camera, you spend another 6000$ for the 18-80mm, and you shoot all day, and all night. I saw somewhere that Canon said it is the C700 sensor, but the specs show that it is the older one. Does any one know for sure what sensor do they use?

I love the Tamron 24-70 on my 5D3 for these reasons: 1. Light transmission is good 2. IS 3. Good colour, contrast and sharpness I haven't used it yet on my GH5 but I imagine it's going to be slightly front heavy compared to a native lens.

Yeah I completely agree when it comes to the small sensor BMD cameras. It was especially apparent when I was shooting BMCC and ML Raw side by side. The BMCC took a painful amount of grading in Resolve, something like 9-15 nodes, for the images to start looking good to me, whereas ML Raw it was just some small adjustments, something like 1-3 nodes. Same with ML Raw vs. any Sony I've used. There's something about the tonality and color separation that's leaps and bounds better on the Canons. The Ursa Mini 4,6K is the first Blackmagic I feel is approaching Canon when it comes to the ease of grading. It still requires some color separation in post, especially when it comes to isolating the skin tones, but it's way better than the old ones. I can get away with 4-6 nodes when using the Ursa.

In the past Tamron would fix / recalibrate their lenses for free. I had a 28-75 done which improved it quite a bit. They also would optimise it for full frame or APS if you specified this. The only drawback on the Tamron that has put me off is the large front filter size. Any reason you are not interested in 'native' glass for your GH5?

Whoa !!! That's enough gobbledygook for the whole week. Maybe the whole month. Whenever you refer to a source, please quote the url. Otherwise it becomes difficult to believe what one reads.

Some House of Cards crew, and star Robin Wright, made a six minute short film, set in one location, shot in two days. I guess the crew volunteered their time and resources. And they still ended up crowdfunding $50,000 to make it happen. So just a bunch of millionaires not willing to put a cent of their own into a film they call a "passion project". From the stills I've seen, I have no idea where $50,000 would have gone. And it sounded like they got accepted to CANNES before they were even finished. For Wright's directorial debut. Just because it looked pretty and had a big name. (My source was an interview on Colbert, if you want to look it up, sorry for not posting it here) How is that okay? And how far back in time to you have to go to see Sundance and Cannes as the home of brilliant films that don't fit Hollywood's bill? (Sundance appeared to be a mess this year too. Apparently Nick Offerman and Kristen Stewart are the great talents of our generation) Let me know if I'm just being a dick, but wow

There are of course billions who have to penny-pinch to make their living. Everyone on EOSHD already lives in relative luxury, because one could as well get a basic equipment for free. I gave away an old HDV camera and an old computer to a young enthusiast, and I actually envied him, because he used both so creatively. I could as well have sold the items on Ebay (and buy a third set of headphones in return), but at that time it seemed the right thing to do. People actually are like that. They want to do the right thing. Poor people, you know how generous and unselfish many of them are. Rich people too. They usually have a very good instinct to sense if someone just tries to steal their money or help them spend it to passionately create something. Film always had these two aspects. It was costly, and production companies wanted it to be lucrative. On a big scale, cinema always was expensive in the making and cheap and silly in the outcome. Producers were cynics. Short films, on the other hand, are difficult to sell but easier to finance. A lot of people will do the right thing and invest their precious time in them, with no realistic prospect of getting payed, they'll allow you to use their home as set, equipment rentals will make special prices and offer free assistance, local businesses will make reasonable contributions for being mentioned as sponsors and, if shown all the effort put into it, wealthy art lovers (so not DJT) will be happy to help with money. They know it'll be gone for good, literally. And corruption too. See The Godfather. The Corleones are more honest, faithful and often even more unselfish than the other characters. They want to do the right thing. It's a film about power, corruption and violence. And love and hate and passion. Not about money. Strange as this may sound, money is overrated.

Yeah, but what's the autofocus like?

The Enable element is purely to tell the smartphone app from the camera which options to show the user so, yes, in virtually all cases it means the camera will only action return commands that match its enabled list. Its use for this purpose is to be able to collect the (usually) type and value parameters for the setsetting function. As I said earlier in the thread, you should see that that particular command you sent did actually have an effect of sorts in that it will have put the camera into 4k24p mode as unless it is a rate based on a different region (i.e. you'd sent mp4ed_30p_200mbps) then it will accept them but revert to its uppermost setting. Vlog is unlikely but, again, if you got hold of a rev 2.2 or 2.3 GH4 and found that particular Android version of the ImageApp that enabled Vlog to be activated for 'free' then you could packet capture a session between the two to see exactly what the command was. I don't know anyone with that rev of GH4 but if you do then the version of the ImageApp you'd need is floating around on some dropbox links if you google hard enough for it. But my suspicion is that because the GX80 etc post date Panasonic closing that loophole in both the camera and the ImageApp then it wouldn't work anyway. The long shot would be it possibly working on an LX100 but considering what that does when it receives the Cinelike D command its far from certain it would work properly.

I suspect that seeing artefacts from NX1 4k UHD files are due to displays, browsers or pc:s not beeing up to date.

@Kisaha Yep. That's the most important for a pro: making a living out of it. As long as ANY camera - even 10 years old - satisfies you and your clients and makes money for you, why sell it and buy a new one? Buying every year a new camera is for a vast majority of people no necessity, it's simply an expensive obsession driven by bored YT fanboyism and manufacturer speach. There are some people on internet, maundering about the "upcoming 8K" as the absolute new standard beeing the only "future proof" fornat...If you are done with the NX1, use it ill it breaks. The value of this camera for you as pro is NOT it's resale value. It's the money (and personal satisfaction) you can make with it, while other lunatics spend every cent in the pocket for new gear. At the end of the day, it's you wanting to make a living out of it and not manufacturers and resellers...

Just been asked to leave John Lewis midway through hacking their LX15. Was able to handshake it and fake the connection but they pounced as I was about to hit Deploy! I'd already set the alarm off doing their GX800. Status on that was that it took the Deploy command without error but called up the Standard profile.However, the lighting in their was so poor and I had to be so quick that I wasn't able to do full compares to the real Standard profile to see if it was actually Cinelike D. So file that one under potentially possibly maybe until I have another opportunity. I'm intrigued by getting it on to their small cameras, particularly the travel zoom ones.

Yes, but if people are stupid enough to donate their money to rich people then that's their problem - they're idiots, but its their money. What also annoys me is when a film crowd sources & instead of saying they'll get a return on their investment, they get offered free tickets to the premiere or a walk on part - that's worse. However, the real thing that gets my goat is when you hear all these stars saying that there aren't enough female directors. Yes it is true for film & it is a problem, but the solution isn't to give money to movie stars who haven't spent years learning their craft (no, acting in a film is not the same thing) & the end result is an average film - just compare the films of Andrea Arnold, Lynne Ramsey or Kelly Reichardt to say Angelina Jolie or Elizabeth banks. I know which ones i'll be watching! Now the flip side, is that there are a lot of female directors working in TV dramas (not shit ones, but really good shows), so why don't they get a chance at films? The most recent example is Reed Morano, who directed the first few episodes of The Handmaid's Tale & consequently set the visual & narrative tone for the whole series - it's well worth a watch. But, you just got to suck it up & realise that this industry isn't about what's fair....it's about who you know & how much money can be made.

The phrase "whatever works for you", especially in the repeated usage, really comes across as condescending towards the mod. With it removed your post is much more readable! I do appreciate that you've added a video in support of your workflow. I suggest your discussion of ire clipping levels move to another thread, new if you like, as this is distracting from the good work of BTM_Pix.

Worked for a german short film one day, directed by the then-unexperienced daughter of a famous TV producer. A friend of mine was the production designer/set dresser/prop maker (the first being her profession), and I helped her. Everbody got paid after profits, which means nobody. Regular medium sized crew, credits ran long, including a long list of sponsors (???). The regular TV cameraman had a RED, he also worked three 12-14 hour days without payment. Well-known TV and stage actors (in part "borrowed" from the father's TV shows). Everything looked promising, but at the premiere (free buffet with champagne for the crew) I found the result rather mediocre. Couldn't tell a moral from this. My friend also worked for Cronenbergs A Dangerous Method, and out of curiosity I volunteered to help demount the studio sets. I liked this film very much, but the actual sets were really amazing, I expected the visuals to turn out much more spectacular than they eventually were. To be more precise, I expected a much higher production value. Again, I don't know what to think of that. Both experiences were inspiring.

Fincher doesn't come to set anymore. From what I heard, literally Spacey didn't want to direct, and she said "hey, I'll do it" *cough, two paychecks*. They said sure, because there are so many people it can't really go wrong.

Haha, I learned that the hard way

I actually was expecting to buy a gh5 (been using a7ii,gx80,bmmcc) but a em1 mark ii was available at £1200 open box so i thought id give it a go, i was expecting to sell it on after a couple of weeks and get the gh5. However I am really happy with the image for stills and video, the colour is really nice for me and thats the main reason im going to keep it over a gh5. Ill miss the slo-mo (which i hardly use) In fact im so happy with this camera that not only am i not getting a gh5, I have sold my a7ii, gx80 and bmmcc !! ... Ill have some spare cash for a couple of nice lenses too. I havnt got footage to show just yet as im editing a short shot on the bmmcc. For the record i love the image from the bmmcc but rigged up on a shoulder rig with screen i got stopped a couple of times by kazakh (yes was filming in -25c Kazakhstan) police, and had to convince them i was just a crazy tourist. So the dslr form factor with stabalisation would be a big advantage to me too. Thats also the reason i am not too interested in Panasonics or canons new cinema cameras

@mercer I didn't offend anyone and I didn't tell you to "shut up", like you do. sorry for the language mistake, I am sure your Greeks are worst than my English. It is kind of childish that I have to prove that I have a bigger show reel than yours (which I do, by the way). Take a chill pill first, and if you have any facts to add to the conversation please do, I replied with 5 facts, and you with a personal attack and bullying. Also, no one needs to know you dislike certain people, you can PM for that. It is a cameras shoot out with the NX1 which I am using for a lot of years now, I have the right to express my experiences.