Andrew Reid

optical viewfinder is a brilliant idea Check out the Sigma ones. They did a few for different focal lengths on their DP and Quattro cameras. 14mm (21mm equiv.) and 30mm (50mm equiv.) are two I am aware of. And the utterly superb Zeiss finder from the RX1 (35mm equiv.) http://www.amazon.co.uk/Sony-V1K-Optical-Viewfinder-Camera/dp/B009O06XAS/ref=sr_1_2?ie=UTF8&qid=1455806726&sr=8-2&keywords=sony+rx1+viewfinder

Well the Dual Pixel AF isn't just useful for youtube, it's a great tech. Problem is the entire rest of the camera. Nikon will give you better for $500!

Unfortunately not quite D5300 / GH3 good. Canon's new APS-C sensor doesn't have the moire & aliasing control of the former or the resolution / sharpness of the latter. D5500 even better as it has the lovely flat profile and newer sensor, very very clean in the shadows. Canon continue to disappoint - the 80D is basically a non-event, when it could have been a game changer.

Don't get a high end Macbook for that price unless it has dedicated graphics. Iris Pro... no thanks! Has to be Nvidia or AMD for future proof Premiere / Resolve / video editing performance and at least 2GB video RAM. At least. The CPU and all the rest is nowhere near as important as the GPU for video editing.

Yeah the specs are once again very disappointing for video. But we'll see how it does off paper when it comes out. The power zoom on the new 18-135mm is interesting, if a little bulky and likely expensive for something which Sony and Panasonic lenses have had built in for quite a while now at no extra cost.

I have the GTX 970 4GB. It's a bargain. Works brilliantly in Premiere with my NX1 H.265 files. AMD lag behind I believe although I've no direct experience of an AMD card in Premiere.

Does it also remove the viewer's ability to select 1080p manually from the HD button, only giving one option "Auto"? Or just the 'default to HD' on our settings page? Which by the way, was one of the reasons many people upgraded to Plus back in the day.

Something that needs to be explained by Vimeo is why they give us less playback quality than YouTube yet we pay for the privilege of an account. Also their streaming speeds at least from my perspective in Europe have always been atrocious for anything above 720p.

Here's me thinking they were Danish or maybe German all this time... Founded in NYC. Blimey. The ice cream analogy with JVC is spot on. They never quite make the cream of the crop.

They are so desperate to start selling LS300s at CVP that they are giving you a free Olympus 12-40mm F2.8 PRO and £500 off any accessory of your choice. All for £2977 inc VAT (£2481 + VAT) http://cvp.com/index.php?t=product/jvc_gy-ls300e At B&H it is $1000 off at $3k One thing is for sure, doesn't look like sales have been too hot and people aren't hot for the JVC brand. In fact I'd tape it up to avoid being laughed at. I agree on paper the spec is great and the image in that YouTube review looks very very clean in 2K 4:2:2. Nice to have LOG but the prime zoom I'd rather do in post after shooting in 4K. How's the codec in 4K on this thing? What's the bitrate? The main concern I'd have over this camera are the ergonomics, speed of use, snappiness and logic of the menus and quality of the sensor. Will be surprised if it looks nicer than an A7R II in Super 35mm mode at high ISOs or a NX1 at low ISOs. But yeah, definitely a curious beast to try out. Just get it from somewhere with a good return policy. Why? Because it's a JVC

Exactly. This thread has been an interesting marketing lesson for Panasonic! It shows that if they put an over-sized sensor in there then the perception will be that they are dumping Micro Four Thirds standard, even if per my article (which nobody read) they are actually keeping it. Panasonic are in a perfect place to introduce two lens line-ups to one camera system. A dual 2x crop and 1.5x crop system. Small portable M43 lenses and larger coverage S35 glass. If not then we can just sit here and watch Micro Four Thirds die in a market place where you can buy a full frame camera for under $900 with lenses as small as the FE 55mm. Also the RX1R II's optics matched with sensor proves that full frame does not automatically mean massive lenses. The lens on that camera is smaller than most Micro Four Thirds primes. The fact is it is the 2x crop which hurts the GH4 most on the market where it competes with full frame and APS-C Sony cameras, also it is sold into a filmmaking would where 2x crop is a compete NON-STANDARD and Super 35mm is a match for APS-C. Sorry but that makes no sense, Panasonic.

That's a battery drain, a pain to pair every time you turn on the camera and also unreliable, occasionally jerky and mostly pixilated. No thanks However since the Inogeni acts as a capture device, you don't know how much of the workload this takes over from the Android phone or tablet. The Android device might need to do very little with the signal once it has been converted to USB 3 by the capture device, which I am sure has dedicated hardware in it for the job. The general purpose CPU on the tablet probably doesn't need to do much. Just my opinion. If you have any hard evidence why the opposite is true I'd like to hear it and broaden my understanding. I am surprised there's so much chatter about this and so few people willing to just TRY it. No harm in that is there? I am tempted to find one on Amazon and return it if it doesn't work, no harm in trying.

Why is it underrated? The noise? Only so far as what Sony and Metabones are already doing for Canon lens sales I know. Try reading the post. It has to beat the A6300 though, remember. Not to mention differentiate itself with a unique selling point in a crowded market.

Fine for monitoring. Remember idea here is not to compete with an Odyssey 7Q+... It's simply to make use of those lovely thin and portable AMOLED displays on our smartphones and tablets.

A crop sensor lens without a focal reducer is really missing a trick. I never use my Lumix Micro Four Thirds glass now, with a few exceptions (SLR Magic 10mm) for the look. Another few ways the GH5 could distinguish itself: Global shutter 2K raw with compressed codec 10:1 (like RED) - long shot as RED have most of the patents! 2K Cinema DNG raw compressed 4:1 (doable) Foveon sensor tech (long shot but Panasonic are working with Fujifilm on something similar) Big step up improved colour and dynamic range 2.8K instead of 4K or 6K - smaller files, easier to edit But that 2x crop sensor still lets it down, even with all that... Super 35mm is run of the mill easy to do... so just do it! Well this is exactly what the Sony A6300 and Samsung NX1 are doing my friend... 6K = 20MP at 24fps+ NX1 has no heat issues A6300 remains to be seen

Anyone up for testing this? http://inogeni.com/4k-usb3-0/ Along with USB capture app on Android smartphone or tablet (i.e. CameraFi)? Here's my article on it.

There are Android apps that take a USB video input https://play.google.com/store/apps/details?id=com.vaultmicro.camerafi&hl=en Could work?

Would love it if this worked with a AMOLED Samsung tablet's USB slot + app to get the picture up and add a few monitor features. I still dislike the bulk of monitors and their silly Canon or Sony NP batteries. It's 2016 already c'mon.

You didn't read the post did you! No not really. That's not a small stills camera that does great video. And it certainly isn't under $2k. Eh? Blackmagic offer 10bit in this price range, even under $1k with the Pocket. 5D Mark II raw, etc. with Magic Lantern also... that is 14bit. Anyway, let's realise one thing about 10bit - it doesn't improve colour science, colour richness, colour in general - it only increases the number of brightness steps between shades. I am pretty sure some people think of 8bit vs 10bit almost in a similar way computer gamers used to think of 8bit colour palette (255) versus 16bit! It's really not that big a difference. Raw is. Not a chance in hell they will put the 20MP GX8 sensor in it... that does 4K only from a very heavy crop. We'll see. I have high hopes for it as you can see. Anything less and people won't buy it.

Without doubt my favourite camera series of the last 5 years has been the Panasonic GH range. But with the Sony A6300 on the horizon sporting a Super 35mm sensor with full 6K readout, is the future looking a bit shaky for Panasonic's video wunderkind? Read the main article

USB 3 unreliable? I very much doubt that. Samsung NX1 has no issues with it and WiFi. Meanwhile it has been on Macbooks for years. No issues with WiFi or reliability issues there.

Fantastically shot video with great sound, but tackily edited. Picture quality looks great. Not head and shoulders above the 1D C though - it looks like the 1D C does when you turn off Canon LOG. Digitally sharpened in-camera and baked in colour. What do you think is Canon's reasoning regarding the lack of 4K HDMI, something even a £600 Panasonic G7 has? I really don't understand it. With Sony very keen to work with Atomos and Convergent Design, Canon seem to want to shun them.

Is the 70mm print plain old stereo? As that hack JJ is prone to saying... a story is a mystery box. I avoided reading anything at all about The Hateful 8 before I saw it. Worked a treat. The sense of 'what is going to happen next' keeps you on the edge of your seat and stops it from becoming boring. Really important that... I think the best way to read up about a film is after you've seen it.

Nice idea but typically Samsung style they have fucked it up. The cameras should be higher up, they're too low down. I wouldn't trust it in a million years.

Saw it a few days ago (no 70mm just digital). Grain in 2K digital is crap. Would like to see the 70mm version just for the nicer film grain. Also the digital version is terribly soft on the wide angle shots. The film - loved every second of it. Yes it's much slower than Django especially first half, very slow build up but the atmosphere is intoxicating. Can't you feel the tension in the build up? Pay attention. Great acting, fantastic dialogue, no good guys vs bad guys - just really bad guys all the way through. So it's not the same kind of movie as Django, they're pretty much all rascals with only some very minor characters who'd I'd say were angels. Utterly loved the cinematography... it is subtle but there's so much going on - glowing tables lit majestically, stunning backlit coffee smoke and breath in the cold hut, snow flakes hovering like dust in the carriage with sun streaming through the windows, lovely soft rendering of the Panavision anamorphic lenses. Exploding sweet jar, exploding heads, slow-mo chaos the cherry on top. Fair enough if one couldn't get into the characters or story then all this is isn't going to be the thrill it was to those immersed in the content. It's not to all tastes. My sister for instance loved Django but didn't like this one. Oh and it's full of humour... didn't feel nearly 3 hours long... it flew by for me. The running joke over the broken door of the cabin was handled superbly... repeated in a different way each time so it stays fresh, and the shout off screen the first time hints to later plot development in a very funny way, it's just you don't realise it until after the film has finished.