dahlfors

Looks like a Qualcom SoC (Snapdragon 810) with h265 encode and decode should drop before the end of the year and be avaible in devices by early 2015!
 
http://www.dailytech.com/Leaked+Qualcomm+Roadmap+20+nm+64bit+Octacore+Smartphone+SoCs+Cometh/article36417.htm
 
 
Not even Intel's upcoming Broadwell chips will be able to do that.

If a5100 it has S-LOG I guess I'll have to ditch my old trusty NEX-5 :)

According to Sony Alpha Rumours.

If true, this means that XAVCS isn't just for cameras at the top of the lineup. I wonder whether it's a full sensor readout as well.
 
I wish they'd hurry up and do an A6100..... or better yet a meaty firmware update for the A6000

http://www.sonyalpharumors.com/sr5-this-is-the-first-image-of-the-new-sony-a5100/

My method for keeping noise at a quiet enough level:
 
Fractal Design Define case http://www.fractal-design.com/home/product/cases/define-series/define-xl-r2-black-pearl
- The cases have bitumen on sidewalls to suppress fan noise: "High density noise-reducing material for an optimal silent case - To achieve a high level of noise reduction, material with mass should be incorporated which is what we strive to achieve with the dense bitumen used on the side panels"
- Very happy with these cases. I have one for my file server, one for my workstation. Unordinarily well-built cases for the price level.
 
Anandtech GPU Bench 2014: http://anandtech.com/bench/GPU14/815
- I check noise levels, power usage and performance, and try to pick the best option for my needs.
- Current GPU that I decided was enough for my needs: GTX 760 with 2GB mem. (You might want more power for 4k)
 
In the computer case I add large 120mm fans that run at low speed to suck in air at front and blow out air in back. Hence the temperature in the whole case is usually lower and the GPU doesn't need to run fans at full power too often.

Nice project guys.
 
As a 'rama user I might just be interested in this modification.  Though unfortunately my 'rama tends to only see use when setting up FF58io's of late :( - i think it needs to come out to play more!
 
Please consider these requests:-
 
1. incorporate a rear section that is made in two parts (the rear most part removable so user has option to allow the optic to protrude out the back slightly for use on lenses where seating the iscorama deeper into the front of the taking lens.  In effect the rear most part would be a threaded tube of 15mm length or so that can be taken off if required.   Additionally, the rear most portion could be interchanged with a donut type cup with the same mating thread for use when rigged and positioned in front of regularly changed primes.  - if the iscorama could be slid back and fourth on the mattebox rail support, and butted against compact primes etc, the rehousing will be great for hire outs.
1b.. definitely provide a removable lens support leg allowing coupling to rails(to allow sliding back and fourth for prime changes).  hiring something like this to a bunch of muppets on set who have never handled a iscorama would be a worrying prospect imagining them doing taking lens swaps over and over again all day. 
 
3.  maybe machine primary rehousing from ABS to shave off some weight?  As nice as the metalwork is, It would be nice to avoid adding any more weight onto the filter thread of taking lenses if possible.  No amount of body strength is going to save the 'rama if it is dropped due to a failure of a filter thread.
 
4. a lovely addition would be to have the focus mech non rotating.  The 150degree turn for 3.5ft-inf would be a dream.  if the diopter no longer rotated during focus, even better!!!  
 
xxx 

A website featuring stills from films and their corresponding color palettes. 
A tool to promote learning and inspiration. Updated daily.
 
 
http://moviesincolor.com/
 

here here.  I rarely see anything uploaded to vimeo which really commands the need for perfection in the acquisition dept.  I suppose a lack of moire is great for a moire test.    
 
What seems to be drastically forgotten in this thread is that the d810 is a 36megapixel stills beast that also shoots video.  Just like the d800 and a7r.   Until there is the capability to read the full 36mpx sensor and downscale the 8k? feed, the video will always have flaws.  The fact is, if it's an improvement over the d800 and a7r (which both deliver great video considering the 36mpx sensor is making things very hard for the cameras).  Both d800 and a7r pretty much match the 5dmk3 in terms of internal (to card) h264.
 
Ultimately I find it mad that anyone is seriously attempting to pull this camera apart in video terms, particularly when comparing it to vastly inferior cameras in the stills dept.  It's a flagship full frame photographic camera which needs a 20k£ medium format back (and costly medium format lenses) to better it.  Nothing that shoots really good video also shoots stills half as good as the d800, a7r and the d810.

Yes I asked for 10bit :) A nice big firmware update would make a very good camera a great one and truly take sales of Canon I think.
 
Would the last one still shooting H.264 on a 5D Mark III please stand up? ;)

Ran across this clip using a a GX-7 and a $7.00 lens...pretty nice results from both.  The GX-7 seems more than capable.
 

Only a few years ago S-LOG was a $3800 upgrade for the Sony CineAlta F3, itself a $15,000 camera. S-LOG made its debut on the Sony F35, a workhorse of Hollywood.

Now Sony have put this on a $2500 consumer camera along with the best full frame sensor I have ever used for video. How good is it? Very!!

I am sharing a pack of LUTs for the A7S which can be applied in Premiere, Resolve, etc. for an instant cinematic look to your A7S S-LOG 2 footage.

Download

Three LUTs are provided in the zip. Dynamic - for best dynamic range, will suit a low contrast shot requiring high dynamic range and plenty of shadow detail. Also good for low light. Vivid will give a punchier look to those shots that benefit from it like a sunset and where some dynamic range can be scarified for higher contrast and saturation. S-GAMUT is for when shooting S-LOG with the Color Mode of S-GAMUT and compensates for the purple tint to reds I find I am getting in this mode. For the Dynamic and Vivid LUTs you must set the camera colour mode in PP7 to ITU709 Matrix.

Read the full article here

I don't think I understand why you think they made mistakes for the a7S, or somehow the tests are wrong only for the a7S.  If you don't do the same tests for all cameras, then you don't have anything.
 
Michael

Great work by Kendy!
 
I see that many of his shots have bokeh, so the equipment does matter to some extent.  It would be interesting to see what he could do creatively with a small sensor camcorder.
 
I read that he does not use lighting, only ambient.  If the scene is dark, he says it adds to the mood, and that lighting would only make it look "fake".
 
He uses no tripod or Steadycam.
 
He doesn't use external audio gear, just "in camera" with a Rode mic.
 
He uses After Effects to edit and grade, and he does it himself.
 
He created his own camera picture style, which he sells on his website for 9 Euros.
 
He has no crew.
 
He has no budget.
 
He is self taught, and only starting filming a few years ago.
 
If this doesn't prove that you can create great things with minimal gear, and no budget, I don't know what will.  It's very inspirational.
 
Michael

In this video
 

That answer is not as easy as "it's what the market and buyers think".
 
Canon has a lot more varied business: scanners, printers, professional range of video cameras = many sectors to make income on, which Nikon and a few other camera makers don't have. Nikon's business has been point & shoot cameras, aps-c & full format dslrs, in addition to lenses and accessories.
 
For Nikon point & shoot cameras were a major part of their total revenue and earning - and we all know what happened to that after cameras in phones became decent enough... 
 
If Nikon can lure APS-C users to upgrade to full frame, they can sell D800 and D610 bodies at lower prices while earning more in total since people buy lenses as well. This is the most likely reason to why D600 was introduced in the first place and why they've been dropping the price of D800 so quickly. 
 
Nikon and a few other manufacturers without a broad product range is in a bit of a tight spot due to changes in the market during the last few years: http://www.dslrbodies.com/newsviews/cipa-numbers-still-trending.html
 
...
 
To those who don't know how well D800/D810 performs for stills, I just say: try them. When you learn how to push that camera & sensor, you'll be amazed at what you can shoot that just isn't possible with most other cameras.
 
I recently shot without a fill flash in really harsh sunlight because I've used the D800 for 2 years now and I've learnt how the sensor performs. With 12-stop DR cameras that shoot had never been possible without losing info in highlights or shadows - fill flash had been a must, and therefore the look would not have been as natural.
 
Whatever camera you use - push it and learn the limits of its performance, to know the boundaries and how to use it as a tool.
 
If you've done that, and compare any of those bodies where you've learnt to take the most out of the dynamic range, how to push the sensor for low-light etc - and compare it to when you push the sensor of the D800 - you're surely doing something wrong if you can't comprehend the usefulness of its performance.
 
And no, I don't think you understand it by having an internet connection. By knowing the light at the capture and when you push the images in Lightroom - that's when the major surprise occurs, when you know how other sensors would have performed in the same light (or if you you compare it to another camera on the shoot). Seeing an exported image on the internet doesn't tell the full story.

Here is our second music video. Filmed with Nikon D5300 and D5200.
 

+1
 
I had a Lightcraft Fader ND MK II which has gotten positive reviews. I still prefer standard ND's a lot more than that one. 

Nikon really intends to make a 4k dslr in a while, for now they are simply following their usual shedule of updating their already released cameras as they did since D100, D1 until now. 
Usually for nikon you have the new camera and its "s"  or .100 or .300 or .10 etc, and then you get the real new deal after.
 
Working with a D800 and a Hacked gh2 has been really fun for me and it produces absolut mint images when you know how to use them in shooting and in post production. 

I don't feel the urge, with such a good camera to switch to the newer or the last 4k.  My clients are always blown away by everything produced on this camera. And for stills, I can say that it has been a real breakthrough that allowed me not to deal anymore with hasselblad for fashion shoots and its been a real relief in terms of investments.
 
Furthermore, the 24mb/s codec provided on the d800 amazed me as I could produce as good images as my hacked gh2 in 90mb/s //100mb/s and they allow me to go far more deep in color corrections than gh2 and 5DmkII allowed me (Hacked and magic lanterned - not talking about raw).

Needless to say that the last nikon hack of 60mb/s for the D800 really does the trick and allows to avoid all ninja external recorders and is a really light solution for heavy shooting, I have been processing some tests and edit that really makes a good 1080P camera.
 
My advice is, after you've done your edit cut, encode your video files on DNXHD 350 and then post prod them as you want you'll really have something quite heavy looking to deal with that will compare easilly to more "professionnal" video solutions.
 
For example, a trailer for a photo shoot I did for ELLE:

 
Vimeo compression makes it a bit blocky, but it does the same with every good quality pictures lately (gh4, 5dMIII raw, BMP), like if there were too much quality to handle for the compression.
 
For moire, the video filter to put inside that corrects it really works like magic, it is expensive (around 300€), but brings you an image so beautifull and a flawless free - of - moire picture that I find it essential to deal with, while preserving the mind blowing quality of this 24mb/s h264 video files.
Putting it to shoot video really allows me to separate the video from photo situations for my clients as they understand that while shooting video the camera has been changed so they can't ask for one little photo while making videos.
And yet, I never felt the need to psuh forward details in post prod on this camera. Not so many can say that.
;-)
 
So, yes, if you are a professional and have no d800, d600, no 5DMkIII yet, this D810 can really be a great deal for you on both stills and video.

Then extra DR in the shadows becomes useful no? At 14+ stops it's right up there with the Alexa (for stills) and its awesome to work with in post. Also its not bad for video either i get pretty good results with it.

Ehm no, I guess you haven't really tried.

Did you just quote YOURSELF!?

First Outdoors Test - MiniCyclops - 14x14 inches "sensor" size camera.  

It evokes emotions!

A lot of people are viewing the GH4 4K material on 2.5K or 1080p displays and there's crude downscaling going on which results in an over-sharp image and even some heavy aliasing. A lot of the YouTube stuff looks thin and sharp because of compression and bad downscaling.
  First time I graded the GH4 files I was pretty happy and yet we've only realised half the camera's potential so far. Once we get the Atomos Shogun we will be getting uncompressed 10bit 4:2:2 4K out of the HDMI port. DXOMark tested the raw output GX7's sensor (similar to the one in the GH4) and it rates for about 11.8 stops dynamic range, pretty much identical to the 5D Mark III.
 
The GH2 and 5D2 have been around for ages and the GH4 is a far bigger step up from the GH2 than the 5D3 is from the Mk II.
 
Michael - ignorance of the reason other people choose to shoot with the GH4 does not make a good debate. Also remember that the filmmaking world is small and you are using your real name on the forum, if you piss someone off, eventually it will come back round. There's no career advantage to behaving like a complete prat in front of half the digital filmmaking community.