Jaime Valles

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Honestly I think I might be on the wrong forum....... DVX100 is a workhorse of a camera and a tool I was able to do A LOT of jobs on, from documentaries. weddings to commercial events for hotels and businesses of the like. I see this as an EXCELLENT option and feel it will do great. Sure having a changeable lens camera is cool for "artistic" work, but for the bread and butter of video productions you really don't use any of that kind of stuff. As noted in my above quoted post, several people I know using Sony Ex3 cameras still for reality shows, cooking, racing , etc. I see this camera doing great in that market and being an amazing tool.
Sure I love my Sony A7s, but lets be serious here and know that is a very very specialized tool and requires a lot of add ons for a shoot, let alone filming and documenting an actual project. This camera has XLR Inputs which is priceless as well + built in ND's etc. Now the ONLY thing I might think is the Canon C100 Mark II could be a better buy, but then again it doesn't shoot 4k like this camera does.....
 
 
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Have you shot a film? I would like to see some of your work done on interchangeable lens cameras if so....... For the record I worked on many productions where we used a DVX100, HVX, HPX, etc all fixed lenses. Film Maker is NOT about a camera, it's about telling a story through moving pictures.........

Why not make two versions? Fine, sell this to ENG - then make a slightly different version with a mft mount for filmmakers that want to swap out lenses..

Unfortunately, this will be big in the ENG world. I say unfortunately, because I'll have to shoot with it one day. I'm fine with the all in one design, built in ND's, etc. all the the things that make run / gun, doc, ENG style work easier. But I have one major beef  with this design - the EVF should be where the monitor is and side mounted. What Panasonic, Canon and Sony forget with their EX3's, C100/300 and HVX's is that in ENG, Reality, Event and doc world you're often doing takes up to half an hour or more. Holding the camera with two hands out front and your eye on a rear mounted EVF is OK for five minutes or so, but once it goes longer you'll be begging for a 20b proper news camera balanced on your shoulder. I'm sure every ENG cameraman will agree, it's better to be heavy and balanced then light and all on your arms. 

If they'd just put the EVF where it should be, then it wouldn't take much to rest it on my shoulder with nothing more than minimal rigging (shoulder pad and handles). As it is, to get it on my shoulder will now require mounting a 3rd party EVF or monitor out front on some frankenrigging or slinging it on an easy rig. This obsession Sony, Canon and Panasonic have with the rear mounted EVF is beyond comprehension and shows they beta test with soccer moms and tourists.

Why would you want an ENG camera with interchangeable lenses? The idea is to get out there and shoot, not say "oh, this fire would look better with my wide lens instead of my normal - please don't do anything cool for a couple minutes, firemen..."
I get the very strong feeling that people ragging on this camera have never done a real run/gun shoot of a fast moving & unscripted event, where they have to run between indoors and outdoors, get all the shots from sunrise to dusk, be grabbed for quick interviews in the middle of it all, etc. Like I said earlier, some quarters that's 70-80% of my income. Yeah, I wish I could pay 100% of my mortgage with awesome music videos, but it beats sitting in a cubicle.
The Ursa Mini for ENG/run & gun? Sure, if it has ND, focus, iris and zoom that can be controlled from shoulder mount handle (or crane back), very good stabilization, multiple gain levels via switch, 1-press manual white balance, a great EVF with useable peaking, affordable media, long-lasting battery, and a very wide zoom range, light enough to live on the shoulder all day if needed. That's what (at least) I need for event shooting (hell, I don't even need AF or any auto functions).
Realistically, you're talking two different cameras for two very different uses.

Agree with the guys above.... If EOSHD wants to become a better editorial, Andrew really needs to step out of the mindset of "It doesn't suit me, so it is a bad camera/bad decision".
This camera will sell well. Very well.

JazzBox,  current MFT lenses really aren't suitable for eng style shooting reliably. The decent ones have no servo and are limited in their range.  
Original eng cameras had the B4 mount and interchangeable lenses (and most still do)  but usually only one lens is bought or carried with each camera.  You rarely see eng crews changing lenses in the field.  The lens on this camera has a great range and due to its design,  they have been able to include 5axis stabilisation which you don't get in traditional b4 lenses.  
This is obviously not the camera for you but believe me it will find plenty of customers.  Eng crews just want something that works,  reliably,  ergonomically and with minimal fuss.  Being able to attach a 25 1.4 prime is really not a priority for them.  For you,  it might be,  so choose the camera that allows it. 

This will be a great ENG cam. Filmmakers may hate it, but they'll sell a ton of them. 
Hopefully a GH5 is in the pipeline with a better YAGH. 

I'm very, very interested in this 2x anamorphic adapter for use with my GH4. Now, if only the GH4 could record in 24p when in 4:3 4K Photo mode...
Would the SLR Magic 25mm f/0.95 be a good match for the Anamorphot?

I'm very, very interested in this 2x anamorphic adapter for use with my GH4. Now, if only the GH4 could record in 24p when in 4:3 4K Photo mode...
Would the SLR Magic 25mm f/0.95 be a good match for the Anamorphot?

I'd love it if the next GH camera had internal 4K 10 bit recording!  The GH4K... I like the sound of that.

[img]http://www.eoshd.com/wp-content/uploads/2012/08/Rewo-gh2-cage-on-set.jpg[/img]

Photokina is less than a month away now and it is going to be a busy time. I will be there to get my hands on the new cameras, and I don't think I can remember a month like this with such exciting products being released.

Sony's full frame camcorder the VG-900 will have a mirrorless mount, all in a video camera form factor for £2.5k and now we have a Blackmagic Cinema Camera that shoots amazing 12bit raw for the same price. These were mythical cameras only 6 months ago. Raw video for $3000? Full frame video camera with E-mount?

Then we come to the GH3.

It would be amazing if the GH3 has an 80Mbit Intra-frame codec. If not, then at least I hope it has clean, recordable 4:2:2 24p out the HDMI port to use with an external recorder. If it can do either of those things, then I'm ditching my GH2 in a heartbeat. Hopefully it has 1080p at 60p as well.