gethin

I didn't mean to imply that the d5300 had similar highlight rolloff. I was trying to say that I was hoping for a bit more from the BM4K, (especially as that lovely organic feel and nice rolloff is a feature of the original BMPCC). *With the usual caveat that you shouldn't judge too much from one film.

I have the manual 50 1.2. I love it. Lots of character. Longitudinal chromatic aberation galore makes it not great for vid. That big mount opens up possibilities down the track, I think its a very smart move. Tilt shift lenses, focal reducer from medium format lenses, medium format sized sensors...

The ursa shoot is almost all on an overcast day: much more flattering light in a forest. Whilst we're sharing forest shoots, here's how the d5300 coped on a sunny day, like the BM4k. Its 4 years old, a camera half the price, 8bit 24Mbps, 1/4 of the res and all, so I guess I was hoping to see better highlight rolloff in the new BM cam. And I agree those last shots are not flattering. The footage seems a bit thin.

Thanks, this is for a friend actually that has the a7iii. I've still got a simple e mount nikon adaptor so I can let I'm play with the 35mm. What's the rokinon/samyang af 35MM like?

Sigma 35mm art. My favourite lens. Love the rendering and warmth. Any suggestions for full frame e-mount equivalent? Also feel 16-35 or similar. Are there any 3rd party.lenses. Sony lenses are.sooooo expensive

thanks! bit heavier than gh5 then (what I currently use). Have a crane 2, which can take the weight. saw someone adapting it using a quick release mounted at 90 degrees. Not really a run and gun camera, but so might get one anyway

I've never pre-ordered a camera before but this is $1,585AUD in australia. Thats $1190 USD. THe gh5s is $3350. Its insane. BTW does anyone know weight (trying to figure out if it will fit on my gimbal).

I just read Thom Hogans best guesses and he thinks nikon is being coy saying the camera will be released next spring. He actually thinks they'll have something to show at photokina. I can just about hang on for that Re the mount/adaptor thing: I have a speedbooster glued to the front of my gh5. I hardly remember it's there any more. As long as the build quality is there I don't see the issue. New mount = short flange distance = adaptable. Also the rumor is that each new z-mount lens will have 2 motors ie autofocus will move 2 groups of elements = smaller lenses with much better controlled aberrations. I can imagine nikon saying "if we have to create a new lens mount, what extra value can we bring to the lenses". If true this will mollify all the people banging on about their F-mount collections

For what I do it would speed me up immensely to have a single camera to shoot stills and vid. THe a7 is a possibility, but I've yet to see what the usable dynamic range is like (both in stills and vid), and have been slightly put off by the reports on it's viewfinder. My d800 is nearing the end of its life, I dont know if I can wait a year. I understand theres a lot of engineering to do, but they shouldn't have started last year, they should've started 3 or 4 years ago. It was bloody obvious this would be where they'd need to end up.

WTF? A year away? https://petapixel.com/2018/04/30/nikon-confirms-new-mirrorless-system-to-arrive-by-spring-2019/ Helloooo nikonnnn! You need to do a blackmagic and give us a peak by september, or it'll be all over red rover.

Sorry cant help with premiere, but I know that when I looked into it, it did my head in and this: https://www.rev.com seemed like a total no-brainer. If you send them a transcript, you should get 100% accuracy.

I saw proresraw announced as an open standard, so I went looking for the windows workflow. Totally naive after reading this thread.

most of the panels are 10 but already aren't they? I'm not sure its such a big deal as my graphics card it gtx1080 - 8 bit anyway. But yes proper hdr would be nice to future proof it a bit. I wonder if I got one decent screen that I can calibrate for photography, and a 40 inch TV or monitor I could mount to the wall as my playback monitor for editing. THe ultrawide screens look cool for editing but tend to not be aimed at photographers - more at gamers. ALthough I see LG are bringing out a big ol 5K ultrawide but its Over $2K ouch.

the camera store TV video guy (I quite like him, he always seems a bit uncomfortable in front of the camera), was bitching about the quality of the viewfinder. anyone else heared anything?

Dying dell 27" = new monitor time. I currently have 2 monitors - 4480 pixels wide in total. I'm thinking about moving to a single 4k display. Thing is to get the same dot pitch, thats a 40+ inch display, then you get issues of viewing corners. A 32 inch display means scaling the UI, something windows is still a bit crap at apparently. Anyone using a big arse display out there? Or has also made the move to a finer dot pitch display that can tell me any pros and cons? my shortlist: LG 31MU97 ($1100 in aus at the mo) BenQ SW320 (about $1750 on sale) or that 43" philips monster

real estate video shooting is my day job. They have got crap loads of direct sunlight coming into that room. No lights needed! I did a stills shoot the other day for a property the total opposite of this: no windows other than the one the view was through, no direct sun coming into the room from anywhere. Total nightmare to shoot, ended up bouncing some light in with big reflectors. No way on earth a video camera of any flavour could handle it. To combat the sun you'd need a huge light. Even in stills a big room will swallow a 300W strobe. You'd need HMIs, but totally impractical for a real estate shoot. When faced with videoing places like this it's really OK to say to the client "there's no way to get the view and interior". You can shoot the view with something in the foreground to get a sense that it is a view from the house. This can work well with longer lenses on a track or gimbal. you can set the camera to auto and move from the dark room to the view. Or you can shoot a raw timelapse if the dyanamic range is within the range of your gear. one ritzy place I shot I set up 2.4x1.2 metre poly silver boards, but even with an assistant and sandbags they kept blowing over lol. I've never bothered again. Would be quicker to go back at dawn or dusk and get the light streaming into the room. Sometimes you can just chuck a silver reflector on the floor if there is sunlight coming into the room, that will bounce a fair amount of light back up, off a white ceiling.

hurrah! have sony claimed 15 stops dynamic range before? If they really can beat nikon, that'll be something

25p crop or no crop for us PAL folk?

I'd be fine with something a bit thinner than a DSLR, any size between the d5500 and the d800. I dont think they need to do much to make a winner if the d850 is anything to go by. A mirrorless D850 with a cracking EVF and 10 bit video. If the first gen has IBIS I'll eat my shorts

not sure - nikon could differentiate by the mirrorless not having quite as good af, not being quite as fast, not having quite the same usability. To be honest though if they dont make the absolute best camera they are capable of (as I feel they did with the d850), they are F#!*ed. This is my day job. If I had one camera for stills and video I could shoot both at the same time, certain properties this would save me hours. A7riii is the closes to fitting the bill at the moment, but it still doesn't quite have the dynamic range (or the look) of the nikon. My experience with sony cams so far is that the usability isn't a patch on nikons, but I hear that is improving.

I'm a nikon user. Ever since I ditched my canon 7d system and moved to nikon i've loved being a nikon user. But for the last 4 or 5 years i've been looking for and failing to find a good stills/video balance in my kit. The d800 is too heavy and patchy for vid, the heaviness dissuaded me from bothering with the d810; the d5300/d5500 image was nice but the usability is poor. I tried the sony a6000, but it was no improvement over the d5300. I got a gh2 and loved the hacked image. I mean loved. But for my bread and butter the shadow noise and lack of dynamic range made me move on. I kept my speedbooster though to use on my... gx85 and finally gh5, but found that rather than simplifying my workflow it was complicating it.: Better image in the right circumstance but more work -and back to the gh2 condundrum - nice image but not for my day to day. And gx85 rolling shutter made me realise a6500 was out too. All this time, I've been thinking - should I just get an a7r2 and compromise my stills a little bit to get usable video - but then I still have the issue of changing lenses to get nice 4k using the apsc crop, and could I really bare to part with my 14-24 nikkor? And the little forays I made into sony (a6000, rx100mkiv), made me want to tell them about dials and usability. But I find myself thinking the same about the gh5. Menus for changing the exposure mode in video mode? Blurgh? No shutter readout in aperture priority? Oy vey! And now finally nikon have a great stills/video camera, but its back to that BIG conundrum. Yes I can shoot great stills and easily gradable footage, but I'm getting a bit old for a workout with every shoot. D850+14-24+crane2? I mean my arms are getting tired just typing this tirade. So this is not a complaint, or a wishlist. I'm just externalising my frustration in a forum of people who are vaguely likely to understand. I cant bring myself to compromise my still image for the sake of video, but I ultimately need to be profitable, and that means being able to do a shoot quickly. Having a camera I can shoot stills and video with would be a HUGE! boon. A photographer mate of mine said I'm a consummate waiter. I guess it's true: I'm hoping that nikon's mirrorless will be a d850 in a smaller form factor. And I feel like I have to wait to find out. If its not then I'll move on. But whatever to it will be hard to leave the nikon image behind for the sake of speed. All of which makes me realise, it comes down to which compromises you are willing to make. THere's never prefect kit. It's a matrix of your needs an priorities vs economic imperatives and pressures. ho hum ps. if this is true nikons mirrorless will be the most adaptable mount available:https://nikonrumors.com/2018/01/11/nikons-upcoming-mirrorless-camera-rumored-to-have-a-new-z-mount-with-16mm-flange-focal-distance.aspx/#more-118686

Noticed yesterday my d5500 had exposure smoothing, thought I'd give it a go with a day/night transistion. It did the transition OK, but the shutter speed only went to 1.6 seconds. (It was full moon, so at f2.8 and iso 1600 I could just about rescue the TL yay nikon). I cant find any words on nikon's TL. Does it top out at 1.6 sec in TL mode, or does it have a max range that it will go to when smoothing exposure (bearing in mind it started at 1/4000).

just set up the crane2. God the zy play app is terrible. Didn't even know what way was up on my tablet. And the motor controls are a bit hopeless. With my pilotfly I could control the rate and which is started moving (panning, say), and the rate at which it slowed. With the crane it starts suddenly, and although there is a setting to allow a smooth slow down its rubbish. If you're panning quickly and stop quite quickly instead of the speed tailing off gradually (and therefore naturally) it drops to it's crawl speed, and then crawls for however many degrees you've specified. can anyone tell me if there's anyway to get finer control than what's in the zy app?

I'm a huge fan of the sigma art 35mm f1.4, but its longitudinal chromatic aberration make focus pulls nasty. Any recommendations for 35mm FF or S35 lenses with similar rendering that dont suffer from that or fringing?

yep I've been "checking" for several years now. I had the sigma 400 (not the apo macro, but I'm aware that's the one to get), but it got furry. I have a 300mm, 400 is not enough of a gain to go in my bag, and I'll get a 1.4x to go with any lens I get taking it to 800ish. Anyhoo, thanks all for the suggestions, I've done my legwork, I know what I want to get I was just checking in to see if anyone had experience of em.