jhnkng

I love when companies make bare bones cameras. Most of us already own monitors, external batteries, etc. It's nice just to plug-n-play a new sensor in a box.

delete your account.

Wonderful insight. Thanks!

Finally got mine through. I've done a few blind test shots with some old Angeniuex glass and the picture quality is superb.
It's going to be a shitter to rig properly though...

So, I had my first full day with the micro and... Wow it really is a fun camera. It is a little cumbersome using a small rig and the buttons are hard to push but the image is just amazing. It seems like you can underexpose, overexpose or nail the exposure and you have a lot to work with in post. And the colors... Nice. 



Obviously not the most amazing images in the world, but for a first time out with it... I am pleased. 

i goggled "music video" and this came up. director is some guy named paul thomas anderson. doesnt seem to match your formula. first time director maybe? clearly not a "pro"
 

Dear people.
 
Shot this musicvideo for a friend when is was in US. 
Enjoy

This monitor looks interesting. It doesn't get great reviews, but the form factor is exactly what I'm looking for. If they made one in a 3.5" model I'd be sold.
 
Crafty. The rubber washer was a great idea. 

I picked mine up last week, and I've not had the chance to shoot anything worth showing, but I'm loving the form factor. I frankensteined a rig together out of bits I had thinking I would get a cage or something, but it turned out so well that I'm keeping it the way it is. 

It's basically built on a long Manfrotto plate, with a bunch of rod clamps and 1/4in screws, with a single 15mm rod that runs over the top where I mount my DP4. The DP4 has side 1/4in sockets so I've put a hot shoe screw on one side with a rubber washer which holds it in place via friction, so I can change the angle of the screen with one hand. I also broke out the soldering iron and made an expansion box with an on/off button for stop/start, and two push buttons to control other stuff (I've mapped mine to white balance and shutter angle). I've put a handle on the right hand side and it's really comfortable to use at chest level. I can also mount my Atomos Power Station to the back, which makes for a nicer balance if I'm using a heavier lens. With the Power Station you can even pop it on the shoulder... for a short time (the Power Station sits on the shoulder, there's no padding or anything but it's totally doable for a few minutes at a time).

Hopefully I can get out there this weekend and use this thing!

I have a Zoom H1 which I stick into a Rode shockmount, and that does a pretty good job to isolate handling noise. I also have a couple of VideoMic Micros which are great for getting very good reference audio, or ambiance, and possibly a viable backup if everything goes to hell. 

But really, you need to get a wireless lav system (I have the Rode wireless kit, it works great) if you're going to have people speaking in non-controlled situations. The H1 might be ok if you can put it on a stand and place it close to the subject, but unless you can stick close to the speaker every time they say something you're not going to get consistent sound. One thing I like to do is to run the wireless receiver into the H1, then the H1 into the camera, and just leave the H1 recording all the time. It's an awful lot of audio to comb through later, but you never know when they'll say something interesting when they're off camera. Tell them what you're doing though!

Or get a sound person. They're worth their weight in gold.

I have a Zoom H1 which I stick into a Rode shockmount, and that does a pretty good job to isolate handling noise. I also have a couple of VideoMic Micros which are great for getting very good reference audio, or ambiance, and possibly a viable backup if everything goes to hell. 

But really, you need to get a wireless lav system (I have the Rode wireless kit, it works great) if you're going to have people speaking in non-controlled situations. The H1 might be ok if you can put it on a stand and place it close to the subject, but unless you can stick close to the speaker every time they say something you're not going to get consistent sound. One thing I like to do is to run the wireless receiver into the H1, then the H1 into the camera, and just leave the H1 recording all the time. It's an awful lot of audio to comb through later, but you never know when they'll say something interesting when they're off camera. Tell them what you're doing though!

Or get a sound person. They're worth their weight in gold.

I have a Zoom H1 which I stick into a Rode shockmount, and that does a pretty good job to isolate handling noise. I also have a couple of VideoMic Micros which are great for getting very good reference audio, or ambiance, and possibly a viable backup if everything goes to hell. 

But really, you need to get a wireless lav system (I have the Rode wireless kit, it works great) if you're going to have people speaking in non-controlled situations. The H1 might be ok if you can put it on a stand and place it close to the subject, but unless you can stick close to the speaker every time they say something you're not going to get consistent sound. One thing I like to do is to run the wireless receiver into the H1, then the H1 into the camera, and just leave the H1 recording all the time. It's an awful lot of audio to comb through later, but you never know when they'll say something interesting when they're off camera. Tell them what you're doing though!

Or get a sound person. They're worth their weight in gold.

I have a Zoom H1 which I stick into a Rode shockmount, and that does a pretty good job to isolate handling noise. I also have a couple of VideoMic Micros which are great for getting very good reference audio, or ambiance, and possibly a viable backup if everything goes to hell. 

But really, you need to get a wireless lav system (I have the Rode wireless kit, it works great) if you're going to have people speaking in non-controlled situations. The H1 might be ok if you can put it on a stand and place it close to the subject, but unless you can stick close to the speaker every time they say something you're not going to get consistent sound. One thing I like to do is to run the wireless receiver into the H1, then the H1 into the camera, and just leave the H1 recording all the time. It's an awful lot of audio to comb through later, but you never know when they'll say something interesting when they're off camera. Tell them what you're doing though!

Or get a sound person. They're worth their weight in gold.

I say no, not really.
Even Michael Bay is making his jingoistic movie.  If one is not creating something with perspective and passion, then it's just craft.  Which is fine for some things, not so much for others.  And if you want to do something artistic, you need that.  Even unsophisticated passion interesting.  Isn't the opposite rather boring?  It's like looking at a Norman Rockwell painting or a Thomas Kinkade.
I think the reason that so many movies have a progressive political slant is simply because storytelling artist tend to be a more empathetic lot.  One has to be to willing and able to create characters with "truth" to them.  It's easier to get there if you project your feelings and emotions, rightly or wrongly.  
But whatever.  
I don't mind navigating the ideological minefield.  It's part of what makes life interesting.  If you want political parroting, there's plenty on on-line cacoons to wrap oneself in.

jhnkng, that did it! Thank you very much!!
Thanks Andrew. I appreciate your feedback. jhnkng suggestion worked. Fortunately was able to fix the problem. 

CIPA numbers aren't broken down by manufacturer, but looking at these numbers for April, mirrorless manufacturers don't sell as many cameras as DSLR manufacturers. I'd hazard a guess and say that Nikon sells more DSLRs than at least Blackmagic, Panasonic and JVC combined.
http://nikonrumors.com/2015/06/08/spike-in-dslr-camera-shipments-in-april.aspx/
As for mounts and camera size, I have two observations. My D750 is only marginally bigger than my GH4, and the difference in weight pretty much disappears when I mount a Speedbooster and a Nikon lens to the GH4 vs putting that lens on the D750. There's a reason that most of Sony's e-mount are f4 lenses -- f2.8 lenses would be huge compared to the body.
http://cameradecision.com/sizecomparison/Panasonic-Lumix-DMC-GH4-vs-Nikon-D750-size-comparison.jpg 

But with mirrorless I have access to an EVF that lets me see exactly what I'm shooting. I can have a true silent mode like I have on my GH4 so I can shoot BTS stills on motion sets without a bag. I can have better video, both in quality and in ergonomics. These are also features that make mirrorless the future, size isn't the only thing that's great about mirrorless.
 
For ultimate reliability you want the least number of places where something can fail. Adaptors means one extra link in the chain, and each link is a potential point of failure -- no matter how expensive or well engineered it is. And let's be perfectly honest, my Speedbooster rattles, and I've used other Speedboosters that also rattle. They tolerances are good, but not mindblowing. I've never had a problem with my GH4 + Speedbooster combo, but that doesn't mean I don't take the 12-35 with me as a backup.

I like using a range of lenses as well, which is one reason I chose a GH4. But if my job was to pump out corporate video after corporate video, or one event after another, or if most of my work has a reasonable budget, I'd probably get a C300 with a set of Cinema Primes and be done with it. Which isn't to say that you're wrong, but its just that you're willing to go the extra mile to find the look you want for a project, whereas lots and lots of people just need a reliable piece of equipment that works exactly the same way, and pumps out the same quality, time after time, with no surprises. I lean towards the no surprises camp, I'm willing to trade versatility for not having to have an uncomfortable conversation with my client.

All I'm really saying is that there is a huge market for people who are conservative with equipment, who are risk averse to any equipment changes that has the potential to hurt their business. And those are the people who I think would prefer an F-mount Nikon mirrorless over a brand new/different lens mount.

Well I suppose if you only ever work on jobs with six figure budgets then I can see how you can come to that conclusion. But if you've ever spent any time working on sub-10k jobs, or events, weddings, some online content, even reality/bts for TV, you'll find all sorts of pros shooting all sorts of cameras, using all sorts of adapters. And that's a lot of working professionals doing good work. 

They'll build something with Samsung tech that can make use of the Nikon F- mount. Anything different from that would be a surprise.

Well I suppose if you only ever work on jobs with six figure budgets then I can see how you can come to that conclusion. But if you've ever spent any time working on sub-10k jobs, or events, weddings, some online content, even reality/bts for TV, you'll find all sorts of pros shooting all sorts of cameras, using all sorts of adapters. And that's a lot of working professionals doing good work. 

As a guy who shoots stills on Nikon for a living, I can unequivocally say that if Nikon releases an NX1 with no other changes than to fit it with an F mount, I will be down to the store that day. As much as I like my speedbooster on my GH4, it's still nothing more than a stopgap to let me use my Nikon glass with my GH4. If Panasonic made lenses with a look that I like as much as Nikon's, I'd sell all my adaptors and go native. The difference in weight is completely immaterial, knowing that I can mount any of my lenses and it being 100% reliable is by far more important.

Maybe Nikon can keep the NX mount for consumer versions of that camera. But if Nikon is releasing a professional line of mirrorless cameras, F-mount or bust!

I've bought the original Surface Pro and the Surface Pro 3, and I have sold both of them. I've love the idea of working with images on a tablet via a stylus, but as of right now, the software isn't there yet. Neither Lightroom nor Photoshop worked very well with a stylus, because the UI wasn't anywhere near usable. Lightroom was getting there with the touch UI for Windows machines with a touch screen, but it wasn't very intuitive, and the Surface Pro 3 wasn't quite fast enough to handle 24 and 36 megapixel files -- the machine would stutter and lag, and that just exacerbated the problems.
I was really, really interested in the Surface Book, until I found out the price. I'm super super keen to try the iPad Pro with the Astropad app -- I think that might be the best bet yet for what we both seem to want to do. Ultimately what I really want -- and reading all the reviews, what all the reviewers want too -- is pro apps on the iPad Pro. I also want to be able to plug in a hard drive into the damn thing to copy files into the iPad as quickly as possible!

I've bought the original Surface Pro and the Surface Pro 3, and I have sold both of them. I've love the idea of working with images on a tablet via a stylus, but as of right now, the software isn't there yet. Neither Lightroom nor Photoshop worked very well with a stylus, because the UI wasn't anywhere near usable. Lightroom was getting there with the touch UI for Windows machines with a touch screen, but it wasn't very intuitive, and the Surface Pro 3 wasn't quite fast enough to handle 24 and 36 megapixel files -- the machine would stutter and lag, and that just exacerbated the problems.
I was really, really interested in the Surface Book, until I found out the price. I'm super super keen to try the iPad Pro with the Astropad app -- I think that might be the best bet yet for what we both seem to want to do. Ultimately what I really want -- and reading all the reviews, what all the reviewers want too -- is pro apps on the iPad Pro. I also want to be able to plug in a hard drive into the damn thing to copy files into the iPad as quickly as possible!

I've bought the original Surface Pro and the Surface Pro 3, and I have sold both of them. I've love the idea of working with images on a tablet via a stylus, but as of right now, the software isn't there yet. Neither Lightroom nor Photoshop worked very well with a stylus, because the UI wasn't anywhere near usable. Lightroom was getting there with the touch UI for Windows machines with a touch screen, but it wasn't very intuitive, and the Surface Pro 3 wasn't quite fast enough to handle 24 and 36 megapixel files -- the machine would stutter and lag, and that just exacerbated the problems.
I was really, really interested in the Surface Book, until I found out the price. I'm super super keen to try the iPad Pro with the Astropad app -- I think that might be the best bet yet for what we both seem to want to do. Ultimately what I really want -- and reading all the reviews, what all the reviewers want too -- is pro apps on the iPad Pro. I also want to be able to plug in a hard drive into the damn thing to copy files into the iPad as quickly as possible!

I bought a Ninja Assassin specifically for V-Log, and despite my initial reservations it's been absolutely worthwhile. Small and light is great, but having that 7in screen means I just got it right more often, and that alone was worth it. And V-log looks AMAZING in 10bit -- skin tones in particular just looks so good. I did go back and forth over whether spending double what I paid for the camera (once you factor in SSDs and batteries) is a worthwhile investment, but while I could have sold all the m43 gear and bought a Sony, I'd then have to spend a ton of time learning a new camera system, find the pitfalls and ways to get around it, develop new workflows... and that just isn't worth it to me. I know the GH4 well enough now that it won't surprise me when I'm under pressure, having a big screen means I can see what I'm doing, and importantly when we're working fast my client can see as well, so there's no surprises at the end of the day.
Did I mention how good V-Log looks in 10 bit? Because it's GLORIOUS!

I bought a Ninja Assassin specifically for V-Log, and despite my initial reservations it's been absolutely worthwhile. Small and light is great, but having that 7in screen means I just got it right more often, and that alone was worth it. And V-log looks AMAZING in 10bit -- skin tones in particular just looks so good. I did go back and forth over whether spending double what I paid for the camera (once you factor in SSDs and batteries) is a worthwhile investment, but while I could have sold all the m43 gear and bought a Sony, I'd then have to spend a ton of time learning a new camera system, find the pitfalls and ways to get around it, develop new workflows... and that just isn't worth it to me. I know the GH4 well enough now that it won't surprise me when I'm under pressure, having a big screen means I can see what I'm doing, and importantly when we're working fast my client can see as well, so there's no surprises at the end of the day.
Did I mention how good V-Log looks in 10 bit? Because it's GLORIOUS!