Andrew Reid

I would get shot of the 12-40mm actually, put the 28mm f2 and 85mm f1.4 on a speed booster instead. Forget the 18,35 and 50, the 28 and 85 are the unique ones. 750 is a 'just ok' price, try and get him down to 700 at most. By the way... I have the modern ZE 28 and 85, plus the old Contax Zeiss equivalents (well... my vintage Zeiss 28 F2 is actually in Pentax housing!!) Although the images are pretty much identical between them, I do find having a native Canon mount handy and build quality is superb on the new ones. My Contax Zeiss 85mm F1.4 is a bit wonky now after a lot of use and ageing! The 28mm is fine wide open... the 85mm is quite soft at F1.4, best at F2.0. Neither are 'perfect', they still look very vintage.

Nice spot Enny I wish the Micro Cinema Camera had a form factor similar, with screen... having to add a big one defies the point really doesn't it?

Very interesting, thanks Volker. I'm downloading

I don't care if they notice. I notice!!

His last album is brilliant. Check out the other video too, nicely shot - Very sad he's gone. Every artist on earth today has lost a part of themselves somehow.

That shows off the 10bit XAVC Intra pretty well. Nice and smooth!

Compared to the 700D, the D5200 is hands-down the better image. Big difference all round. But you may want to get a used D5500 if it's not too much more expensive, because of the flat profile. It grades the best.

Maybe that's why they thought crop 4K was where it was at.

This is probably to do with S Gamut and it's probably why the FS5 has 3 versions of each S Gamut for different colour temperatures (i.e. 3200k for indoors) With the A7 series in SLOG with S Gamut the purple reds (too cool) in sunlight might hint towards that being the issue. Doesn't that fix the manual white balance issues? I prefer SLOG 2 to the Cine profiles. Yes steep learning curve in post for colour but you can get it to match the C300 or 1D C for sure.

The D5 doesn't do anything better than the 1D C at all and it isn't even cheaper if you consider the used prices of the 1D C. Also there are a few unknowns about the D5 such as how well the codec holds up. H.264 4:2:0 at lower bit rates will have to go some to beat 500Mbit/s 4:2:2 MJPEG. The 3 minute limit is a pretty serious restriction and will be a deal breaker for many. Anyway since we can get very good low light 4K full frame for $3k with the A7S II with a much more adaptable lens mount, the D5 is a pretty pointless endeavour altogether for video... Even if it had been full frame, it would still be poor value for money compared to the Sony's image.

Eno, 4K is 4096px wide on the 1D C.

If you want to shoot stills and video with one camera then a hybrid sounds like the best tool for the job to me!!

No way the S lenses are coming down so that you can get an NX1 and 16-50 F2 for under 1000. That lens is seriously good quality. They have it reduced to 899, a good deal. Same as I paid for my ex-demo in berlin http://www.hifinesse.be/foto-en-video/lenzen/samsung-s1650asb.html This is the best lens for the system.

It completely solves the colour correct hassle of normal SLOG 2. S Gamut is really tricksy. Has anyone else tried shooting this way? Downsides? Results? I am trying this on the FS5 and A7S II and suddenly I can grade SLOG 2 like Canon LOG with just a simple master luma curve adjustment in Premiere and nothing else!

Yes absolutely, they should have stuck it out. Good post. They had NX on the market for about half a decade, trying to do what it took the rest the best part of half a century to achieve.

What do you like best out of the F35 and Red One ed? Well that turned out nicely. To say the least!! You better start hiding your RED ONE otherwise it will be $10k by February What lens was used on the R1... the Nikon 17-35?

It depends on the 4K though doesn't it... On mirrorless cameras it certainly beats all the 1080p internal stuff, even if you don't need the resolution there's more in the file because of the lack of pixel binning. 4:4:4 sampling and 10bit luma in theory when you squash it down from 4K to 1080p, although compression muddies that picture, quite literally XAVC SLOG does fulfil a purpose... file sizes, longer recording, cheaper media. But we need to start having more choice in our codec from the major manufacturers. No reason every mirrorless camera can't have ProRes like a BM Pocket Cinema Camera is there?

Firmware not final he said. Hardware probably is though!

By then even RED will have an affordable cinema camera!!!

What I can't understand is that a whole big feedback chain exists here, it is not just some engineer at Nikon deciding to cripple things! What I think is really wrong is the quality of the feedback. Take for example, a wedding shooter, who has a relationship with Nikon. Is he going to put that relationship on the line by being negative about their cameras and saying with some urgency in a rather blunt manner how they MUST be improved? It's more likely they will put this kind of criticism in the small print at the end of their glowing endorsement of the camera. More likely they will soft-punt it through the door after the gushing praise has entered. More likely they will sweetly soften the criticism and say things like "GREAT camera but hey it's not perfect, MAAAAYBE you could improve the video mode, but no rush!" This is the REAL problem. Take for example the fact the live-view display in video mode has audio meters on the picture and not outside the frame. This is a basic problem, so basic it probably takes two X / Y coordinates in C++ code to change, since Nikon already has room top and bottom of the 16:9 image on the 3:2 LCD display for these audio meters! Yet NOBODY has FORCEFULLY pointed out to Nikon in MEANINGFUL NUMBERS that this is completely SHIT AND WRONG. And for as long as this situation continues, Nikon will continue to lose sales.

In real world shooting situations obviously you would avoid the problem by shooting at the base ISO of whatever image profile you have selected. The whole point of a 'test' is that it shows where the weakness of a camera is most acute and therefore tells us how to avoid it! If you do happen to be shooting at ISO 12,800 in SLOG on the FS5 then the problem will show up on a real world subject just as it would do in the test - the more of a hard edge to the subject and the bigger the contrast difference between the subject and background there is, the more it will be noticeable.

What do you mean by "no lens adapters", that isn't right. Full aperture control on A mount and Nikon lenses too! Widely available premium quality Novoflex and even a great PL mount adapter from Ciecio7. Do you actually mean "no adapters with electronic comms for EF mount lenses"? If so then say so as otherwise people get confused and this is supposed to be a knowledge-base not just a chat board.

Nice. Thought shipping was set for March?

More closer to the D500 really. For 4K video the D5 is closer in spec to the NX1 but without the H.265 codec, DCI 4K and long recording times, or mirrorless mount, or EVF, or... I can go on!

I don't know what margin Samsung made on their cameras and neither do you! Margin certainly factors into a retailer's decision to stock the product that's for sure. The brand loyalty issue is correct though in the sense that most customers are used to trusting certain brands for certain things. Canon would have a hard time selling a smart fridge or smartphone. It's an awareness issue as well. Most people were simply not aware that the NX1 was so good. But what really killed sales was that it was marketed at the wrong people. Of all the mirrorless cameras the NX1 was the one aimed most squarely at Canon and Nikon DSLR users. Had they tried to take mirrorless market share away from Sony, Olympus and Panasonic instead and aimed it squarely at enthusiasts who like lens adapters, peaking and 4K video they would have succeeded admirably. Come on. Do you really think the D5 is aimed at the average person? It's aimed at pros and a small number of cash-rich enthusiasts which demand the absolute best performance.