Andrew Reid

  I noticed this too. When I bought my LX100 last Thursday from Saturn, price was 899. Today at the same shop it's 799. Did Panasonic make a last minute adjustment?

This is the kind of camera Jim Jannard would have criticised in 2008. Now 6 years later it's 2014 and it will look like standard definition playing in a high definition world. There is no reason this cannot do 4K. The sensor in the C100 Mk II does a 4K readout. I have a very good 4K video processor / LSI in my $899 pocket camera (LX100). I have a 4K HDMI tap (4:2:2 8bit) on my $2299 one (A7S) and a 10bit 4K HDMI at $1699 with the GH4. 4K raw from Blackmagic at not much more.   If you're busting a gut making art, and you want it to be timeless, appreciated by future audiences, then 1080p 8bit is not the format to shoot it on.   If on the other hand you just want to do a job efficiently with a minimum of fuss and get paid, the C100 Mk II is a bargain. I am sure it will sell very well to the large (but shrinking) crowd of workers who don't need anything more than 1080p and 8bit AVCHD.

Guys you need to state more details, like your vertical screen res as a minimum fact before I can do anything about it.

Let's see how far Nikon have taken video since the D90 shall we!     In contrast to Canon who have only fixed moire on one model, and taken high quality video off DSLRs altogether, to put it on Cinema EOS cameras.

What's the advantage of getting a NEX 5N to learn on? You want to become an expert in moire patterns!?   Just get the best you can afford. The difference in price between a GH1 and GH2 used isn't very significant. The difference in codec, workflow, grading, image quality and low light performance certainly is.

  Were you using a pinhole lens on the GH4 or something?

  Switch to NTSC mode.

Internal card does 5K but there's no target display mode, you won't be plugging anything into it and using it as a 5K display.   And the 5K cinema display is curiously missing for probably similar reasons. Hope they do a 4K version!

Read my thoughts at DPReview in the Panasonic GH4 review (page 7), here As was the case with the GH3, the GH4's video capabilities were enough to achieve a gold award at DPReview. Read the full article here

Yes it has an XLR add on. And don't let a rumour made up by a 16 year old teen in a bedroom add a cloud of doubt over your filmmaking work.

If you're fed up of workarounds and add-ons in the case of your BMPCC and 7D, the GH4 and A7S are actually a very practical step up.   Good focus assists on both. Very good EVFs and articulated screen.   Superb battery life and long run times on the GH4. The A7S run times are good if you add the battery grip.   No built in ND filters so that might be a consideration, however with a decent vari-ND you get more control than with a switch.   Low light on the A7S is better than C100 and it's full frame so full use of your EF lenses, whereas the C100 is APS-C.   GH4 low light not as good as C100 but it's 4K and 10bit capable externally whereas C100 is limited to 8bit. The GH4 files grade very well but the A7S with S-LOG 2 grades even better. Does the C100 have C-LOG or is that just the C300, I can't remember.   Anyway I'd say get the A7S and save some money for more important things like lenses and filters.

  That's utter crap talk and you know it.

  The low light and full frame of the A7S will come in more useful for weddings. When you have limited space full frame is really useful. When you have dimmer interior light the high ISO performance is a huge advantage. I can go to 12,800 in S-LOG and not even notice I'm doing such a crazy ISO when it comes to grading the footage.

Same way you can go to 1/8 or something like it at 24p on an A7S. It just puts the same exposure on multiple frames.

It'd be good to have some examples of the difference it makes.   For sample take Nikon D750 footage at 60p and convert it in post to 24p, then compare it to 24p straight from the camera.

    No that's not right.   Not every sensor does it. Some read at 24fps. Some read at 60fps.   The C300 isn't doing true 24p.   The sensor does 4K at 60fps, and Canon's image processor use this to deliver HD at 30fps/24fps.   It was designed to do as clean 1080p as possible. 444 in fact. Although it's stored as 4:2:2.

  Key points Top spec option - Super 35mm sensor, 4K raw output, global shutter Alternative options - Micro 4/3 and 16mm sensors for 2K but other benefits like 13 stop dynamic range External recording via 3x HDMI External control via portable device (like smartphone or remote control) €1600-2300 euros for early adopters Price of retail 4K S35 model rises to €5990 euros after crowd funding campaign so get yours in the next few hours to benefit from the low price Linux based OS The crowd funding campaign for the AXIOM camera ends in just hours and has been a massive success, surpassing the funding target early. The open source cinema camera is backed by Magic Lantern, Philip Bloom and other leading lights of the DSLR community. It's the people's camera, taking control back into our own hands. What's interesting is that it also unleashes Magic Lantern's extraordinary ability for the first time outside the closed platform of a Canon DSLR. They now have hardware they can work directly with the manufacturer with, without any need to reverse engineer a DSLR. This for me is the future of Magic Lantern. To be their own open source camera designer and manufacturer along with AXIOM. Go to the Indigogo campaign today to get your camera! Don't wait much longer, as early units are significantly discounted. After the end of the funding campaign, retail prices will be offered instead. Read the full article here

If this was all shot on C300 / C500 then how did they do the slow-mo sequences? It's not done in post.   Did they sneak a FS700 into the mix?   I still haven't seen Under The Skin. Been dying to watch Glazer's latest for months now. One of my all time favourite directors.   Canon had shots from this shoot at Photokina on big bill boards.   You can fault Canon on a lot of things but not their marketing, it's pretty slick. I'm surprised to the extent actually they have been able to utilise big names to sell their cinema cameras. Scorsese at the launch of Cinema EOS, Ron Howard and now Glazer. Why aren't Panasonic and Sony doing the same?   I suppose it helps when you have a Canon guy on the Emmy's awarding their own camera technology though and all sorts of lobbying going on in the film industry.

Well done Jonathan Glazer.

Right tool for the job my friend! If it is digital zoom you want, shoot 4K and crop in post. Sorted.

A7S and D5300 are far better for APS-C mode shooting than the 7D2 in my view.   The A7S is the one to get if you need to swap between full frame and APS-C.   The GH4 with Speed Booster is a nice option too.   The D750 I am enjoying in full frame with Leica R lenses adapted to Nikon.

The S35 mode (DX) isn't as good. It's by no means bad but I am noticing more softness and moire in DX than in FX mode.   This is with the Sigma 18-35mm F1.8 which is a very sharp lens.   You're better off with a Nikon 24-70mm F2.8 in FX mode.

I don't know the answer for sure but my guess is that although the data rate would be manageable I don't think the scanning rate of the sensor would be fast enough to do every pixel in 1080p crop mode.   96fps is not 'really' 1080p, they skip a lot of pixels to do the faster scan.

  Is it the full 4:3 area they use for anamorphic? That would give 2.66:1 when the cinema standard is 2.4:1.   Time for me to visit the Arri website for specs I think :)

Is it the 1.75x version like Seb has?   '?do=embed' frameborder='0' data-embedContent>>   Cheers!