terozzz

Here's what blew me away, scars and wrinkles in the skin just became extremely visible. 

​Its an instagram pseudo film grade with milk blacks, but apart from that the image looks ok.  Just a few nondescript test shots edited to an indi soundtrack.
This cameras main problem is the lack of lens options.  No wide aperture options, no wide angle option, no telephoto option.  But for the people for whom the money is nothing, it will be a convenient tool.
If this came with a selection of stabilised lenses designed for the format it would be fantastic.
 

Holy fucking shit. 42MP, 5 Axis IS, Internal 4K.
I'm going to sell all my gear and buy this MONSTER.
 

Yup i did put up Cineslider, lights, steadycam and shoot it in 20min. But cos im amateur i didnt want use them.. alone... Also the Sun didnt want to put pause on the rising.. Idk why, i did dance to it but hey i tryed

Shoot in 20 min : https://www.youtube.com/watch?v=GRD160_z0RY

Is this true? Nikon D5500 at iso 25.600 that clean?  https://vimeo.com/123315281

​Call her D810.
:-)

You need severe learning difficulties to struggle with the ergonomics of the a7s.  I mean so severe you've got close to zero motor functions and need a full time carer.  It's nearly impossible to struggle with the a7s.  I love stupid trolls since they donlt even have the ability to upset people vie the internet.

No, it's just that they found a way (they gained access to it) to tell the HDMI chip to output 4:4:4, but the processing engine (expeed) that feeds the hdmi chip is still doing whatever it was doing before.

Not so sure the 7D MKII is a stills camera either, unless you have a Canon fetish or can't stand using an adapter with betters cameras like Sony's E-mount APS-C and EF-mount full frame line-up.
 
Check out this link to DXO where the 70D is compared to the D7100 and the a77 II.
 
 
http://www.dxomark.com/Cameras/Compare/Side-by-side/Sony-SLT-Alpha-77-II-versus-Canon-EOS-70D-versus-Nikon-D7100___953_895_865
 
 
The sensor in the 7D MK II might use a new processor, but it is the same terrible sensor that is in the 70D.  Canon gave up DR, ISO ability, etc., to implement the dual-pixel CMOS AF (which might have it's fans-- but at what a cost).
 
The Nikon D7100 and the Sony a77 II both absolutely crush the the 70D in image quality (for stills and video).  DXO isn't the end-all-be-all, but it's an arguablly fair place to start when assessing sensor performance.
 
I think there are a number of other cameras that would easily best the 7D MK II as well, like the Sony a5100, a6000, new Fuji APS models, and so on.
 
FWIW, the 7D is ranked number 127 rightn now on DXO's sensor raatings, and the 70D is ranked at number 108.  The $300 Sony a3000 (something you'd give a child interested in photography) is ranked at number 58.
 
 
http://www.dxomark.com/Cameras/Ratings
 
 
Like other posters have said, I'm not a Canon basher either.  I'm a... "WTF are you DOING Canon" commenter.  I own EF glass, a DSLR, 2 of their video cameras, a few point and shoot cameras, and surely some other Canon gear.  I haven't touched any of it in almost a year (except the EF glass- mounted to another camera).  I don't want to see Canon to fall asleep at the wheel and run into the fast approaching brick wall that is Sony, Panasonic, Samsung(?!) and many others.  Nikon, I'm legitimated concerned with you too, but you seem to still have a pulse (and that's another post).
 
Deeply entrenched brand loyalty breeds apathy in the short term because Canon will still sees sales from prodcuts like the 7D MK II.  These sales are really a result of decades and decades of goodwill-- that's not really on their books-- and not taken into enough consoderation by stockholders, IMHO.  Apathy breeds (or goes hand in hand with) arrogance, ignorance and greed.  In the last year alone I am willing to bet Canon's demographic has aged 5-8 years.  That is not where you want to be in 2014, going forward.
 
To any young person in the know who is looking for a new video/digital film camera with a semi-pro/enthusiast budget, the Sony FS7 seems to be it.  I think that the FS7 (a VERY ballsy move on Sony's part), alone, has killed off most of Canon's ciinema line: C100/C300/C500/1DC.  There are counter-arguments, but still.
 
I want to be excited about the next release from Canon, not dreading another 2 year wait for a crippled half-a** effort.  Where does Canon think their going to get their future video buyers?  The stills-only crowd is only aging.  From putting out what they claim to be hybrid (admit it) photo/DSLR cameras like the 7D MK II?  No.  Definitely not.
 
I only took the time to write this long-a** post because I care about Canon based on all of their gear that has served me well in the past.  IDK what to say though.
 
 
 
Tyson Preyer

lol, not even focus-peaking after all these years. Something the Nex-5n had in 2010. They simply don't f***ing care about video in their DSLRs. 

There u go....

This is the best new camera of 2010!

There is never going to be focus peaking through the hacks, right now they have no way to program things for themselfs, they just modify the existing code.

I don't miss focus peaking on the D5200, though it would be good if it was available.
 
I have developed a workflow when shooting with the 5200 that is starting to get really good results.  This is a summary of high I take static shots using AiS lenses which are great because you can monitor aperture changes real time in live view. 
 
1) Check live view to get approximate iris value, moving aperture ring accordingly
 
2) Get approximate focus in live view and then magnify image for accurate focussing
 
3) Take photo and view it with highlighting enabled to rapidly check for blown out highlights
 
4) Change aperture, if required to protect highlights. If not start video recording
 
I always use 24 fps, 1/50th shutter speed and Tiffen ND's with the camera set to Natural profile. I set ISO manually to the lowest possible (100, if I can).

The 1080p looks so much better, but the 720p is usable I guess. I see 720p shots from the 5d Mark II and III that looks a lot better to my eyes. 

Nikon D5200 40Mbit/s hack  1280 x 720p Vs. 1920 x 1080p With and without sharpening. Slight color and contrast adjustment. Shoot with Flaat 11. Look in youtube cos here its only 720p. :/
 

Hello members. Sorry, who already saw our post. Here is our second music video. Filmed with Nikon D5300 and D5200.
 

No. Works like a dream... And the Fixed horizontal pattern is still there but i can see it only above iso 8000 or if i push contrast like mad man.

Now the Annoying Fixed horizontal pattern noise is GONE!!! The "Video HQ 40mbps Bit-rate" fot Nikon D5200 hack did it.. The noise is now like in D5300.

Andrew I'm surprised you're suggesting the RX10 as a D5300 alternative. I refute it thus:
 
 
The D5300 is not simply a D5200 with 60p. It looks like it has improved on the low-light performance of the 5200, which makes it a beast in this price bracket. Plus without the banding and with a higher bit rate, the footage looks quite gradeable (certainly lending itself to a flat picture style more than the D5200). I am not going to buy the D5300 because it shoots 60p - I don't need slow-mo that badly. If I do buy it, it will be because it is a genuine improvement on the D5200.
 
Remember the dismissive reception the 5D3 got when it first came out? The D5200 is a great camera, but it has some issues. The 5300 looks like it has ironed out those issues. I understand that talking about the gradeability of H264 has been eclipsed into near darkness by much more exciting codecs, and that the Nikon mount is restrictive. But combined with the wide availability of cheap, fast second-hand AIS glass, this camera could be a very solid budget option - particularly for people wanting a low light camera. 60p is just a bonus.  :)

While I personally love this camera, I like all the analog dials etc......at $3000 I won't be buying one....just too pricey for me. I don't mind them omitting video but I think more would "consider" it if it had!
Nikon has (had) the perfect opportunity to include killer video in their DSLR's as they don't make video camcorders or pro video equipment and could have taken Panasonic's approach to killer video specs in their DSLR's, they've chosen not to......sad really as their name would have drawn many to them. Nikon has no "pro" market segment in their lineup to canabalize or jeopardize it's higher-end offerings, perfect opportunity to offer the best they could have and create a new user base of video enthusiasts.
I'm surprised they don't see it like this.....I thought the bottom line was profits and I just don't see why they've chosen not to offer their best video specs on their DSLR cameras......lens sales would have spiked etc.
The D5200 has really good video, they are capable of producing awesome video DSLR's.

Sounds like more opinions, man.
 
I remember the first time I saw the team from BBC America covering the Dr. Who premiere in NY a couple of years ago... they wanted to get footage of the event for a promo spot, it was a 2-man team. One guy had a wind-screened boom mic and hip recorder, the other had what appeared to be a 5D on a light shoulder rig. Grabbed some footage and answers to questions, in and out with the crowd, and left. Since then, I've noticed less and less full-sized cameras at similar events, even weddings. I think it safe to say that perhaps YOU DO'T KNOW WHAT SOMEONE ELSE'S DREAM CAMERA IS, so your opinions are just that- opinions. 
 
 
You keep saying that, but it doesn't make it true. Are there some limitations? Sure. Are they drastic? Heck no, or else we wouldn't be using them, and looking for new ones to use as well! The workflow is different from my ENG days, that's for sure. But its not harder, just different. And I've been much happier with the picture quality, and have no intention of going back anytime soon.
 
 
Ok, we agree! That's why I'm not looking at RAW cameras! Fact of the matter is, not everyone shooting with these hybrids are strictly using them for film making. Remember the DVX100? That camera was a smash hit for both film makers and documentarians. There's often more than one camp of users for a particular product, but here one side of this group is looking down on the other and saying this equipment isn't for us. Which, quite frankly, is weird. 
 
Good thing I don't really find myself flipping through menus, then! I don't own a GH3, but on the GH2 I have shortcuts assigned to the function buttons, and manual aperture control on the lens. Only buttons I need to press is to change ISO, which really doesn't change much once the session begins. But sure, continue to tell me what works and what doesn't for me.   :)
 
The GH2's preamp shared the same specs and noise floor as the HMC-150. There have been some pretty interesting tests on that. They likely just used the same chip for mass-production, which means- yes, the GH2's audio is actually quite good. But you wouldn't know that, because most people just assume it isn't and don't bother trying it.
The problem is that there wasn't a way to monitor it, so even if the preamp quality and noise range is good, I wouldn't trust it for a production. That's why I generally have dual system audio. But if the GH3's is even close to the same specs, and offers a way to monitor on the body- yes, why not? 
 
Guilty admission: One of my first DSLR gigs was recording an interview for a talkshow on network television. There was a problem with my recorder, but Magic Lantern had just come out with audio monitoring for Canon DSLRs. In a pinch, I hooked it up and went with it. I turned the camera's preamps down to zero, and fed as hot of a pre-amplified audio into the camera as I could (using sennheiser wireless lav system and adjusting the AF out level) so it was just under red-lining and peaking, that way I could avoid the camera's weak amp as much as possible. I just hoped for the best. In-camera audio from a Canon DSLR (which has admittedly the lowest quality preamps of any video-enabled camera I've ever seen). I was really nervous it would come out like garbage. But you know what? It didn't. They accepted and aired the clip. 
Since that moment, I've been very skeptical about those who say what you can and can't do- what's good enough and what isn't. A lot of people like to be snobs about things they haven't actually tried doing. You just assume the audio can't be good enough because logically any small camera without XLR inputs MUST be subpar, right??
::rolls eyes::
 
 
What I don't miss, is running the tape through a firewire deck and waiting for it to transfer in real time. Perhaps I shouldn't have referred to that as logging. My mistake. Either way, a DSLR workflow in post is FAR simpler than those days, but we didn't complain about the tedious steps back then- why start now? How spoiled are we?
 
 
 
Sorry- I didn't mean to start an NLE debate. Its just that I've never needed to transcode anything to anything on this job, and I've been doing it since before DV tapes were standard. That's something I regularly hear my colleagues working with FCP 7 complaining about, and it was an unfair assumption that everyone needs to transcode as part of their workflow. If people like FCPX and don't find that they need to perform extra steps, power to them! I'm a big fan of being platform agnostic- whatever works for you, go with it! 
If you find that you prefer to use a different camera because the footage out of your camera doesn't play nicely with your NLE, than I might consider switching to a more friendly NLE without such limitations. Otherwise, the more the merrier!
 
I hear you. I don't see many people saying the 8 bit 4:2:0 is BETTER- rather, I see people saying the RAW workflow isn't worth the extra effort. I think everyone agrees that if everything else was the same, 12 bit RAW has more color information and lattitude, I mean its just simple mathematics. But like that guy on the previous page who is the producer of a Discovery TV show, sometimes it isn't worth all that effort and work in post to get something that arguably may not look any different to the audience at the end of the day.

Agreed. Now, can we move on and get a shootout for the non-RAW workflow folks?? Pretty please?? :D