dahlfors

This is the weirdest sentence. It's like a loopable logical fallacy. 
 
Change the word 'despite' to 'because of' and it'll make sense.  :lol:

Loosely related to this topic, Dave Etchells of Imaging Resource had an interview with Yamamoto-san of Nikon. 
 
http://www.imaging-resource.com/news/2014/02/14/nikon-qa-head-of-development-sees-interchangeable-lens-slowdown-as-an-aberr
 
Partially rather usual and predictable, but there were a couple of interesting little tidbits in there, too. It's a long-ish interview, and the video talks are in the middle part. They talk about the 5300, the 1 series and a little bit of 4K, too.

"In addition Nikon have all the technology to build a high end cinema line for pros like Cinema EOS, something which is turning out to be massively profitable for Canon. The sensor, the image processor, the codec, the lenses, everything."
 
The last few years Nikon has been on recovery after their most important factories got destroyed (Thailand and Japan). That makes a huge impact on a company which have cameras as their main business and no photocopiers to fall back on. I believe Nikon's reaction to this is to be cautious about investing too much into new product lines and try to recover with what they know they're good at.
 
Considering that situation, I think they're on a good track in improving the video modes on their cameras although they can't keep up with Panasonic in terms of features or handling. They've at least made incremental improvements with sensors, moire, aliasing and added 1080p60 modes in their low-end range - none of which Canon has done.
 
What I just can't understand with Nikon, is why that bloody Live view aperture situation exists with their lower-end cameras since that issue is not there on cameras like D800. If that is planned segmentation of products - it is very retarded. If it's something that requires some reengineering to fix it, it's really about time that they fix it.
 
I hope that Nikon is seriously watching what Panasonic is doing, and I hope they'll figure out how to do 4k and how to implement 10-bit 4:2:2 in at least 1080p. This is what Nikon EU product manager has to say about Nikon and 4k:
 
- “We are aware of the need for, and request for, 4K video recording. It is a bit tricky, it’s not something that we are purposefully excluding from our cameras; however we need to approach it carefully. There are high-end cameras that produce this but it just puts such a load on the equipment. For us, because consumers are demanding it we are aware of this and will be looking into it for the future."

--- Source: http://nikonrumors.com/2014/01/25/nikon-sees-future-in-4k-video-and-advanced-compact-cameras.aspx/
 
Sony, Canon and Panasonic all had a headstart thanks to producing video cameras for a long time. In my opinion Nikon hasn't been doing all that bad coming from a still photography camera background only. I certainly hope they will realize what handling issues and features that still are missing and provide that - either in mirrorless, DSLR, hybrid or specifically video-tailored cameras.
 
And my own review of the D5300 and D3300 would be:
- Great cameras for the newbies who want to start learning about video while also shooting stills. Far better choice than any other DSLR considering sensor, stills & video performance together. Panasonic G6 and Nikon D5300/D5200/D3300 are my first choice of recommendations for video+photo first-timers on tight budgets. There's handling issues and features missing that are available in more expensive cameras - but that's to be expected in entry-level/budget range.

Scaling down to 1080 in Premiere will be very high quality (Lanczos+bicubic) and will easily run in real-time with CUDA/OpenCL: http://blogs.adobe.com/premierepro/2010/10/scaling-in-premiere-pro-cs5.html (Max Quality is always on for scaling with GPU accel).
 
420 QuadHD and higher will indeed scale down to 444 1080p (with additional vertical averaging acting as a low pass filter to help reduce aliasing). Depending on the compression quality, shooting in 420 QuadHD can produce higher quality vs. 1080p. If for example AVCHD 1080p ultimately does a better job due to bitrate relative to frame size, it might look better in some scenes (> HD resolutions appear to be limited by card write speeds).

Almost everything that could go wrong on a shoot DID go wrong on this one. Without going into details, I feel like the video is 60% of what it could have been. I had a MoVI that went down on the very first day of shooting, which forced me to rely on our backup brushless "FauxVI"  Alexmos based gimbal. Also had a lot of MoVI handheld shots planned, but those had to be cut obviously.  The prototype GH4's had some quirks that were challenging to deal with but I'm sure they are solved by now with firmware update. All in all I was really impressed by the image coming out of the GH4. We posted this in front of a 60-some inch 4k monitor and the shots looked stunning to me. 
And responding to someone previously, yes all 8 lenses and two bodies absolutely did fit handily in my carryon backpack, minus the ocotcopter of course! ;0)
 
BryanHarveyFilms.com

Check EOSHD 5am GMT Friday 7th

More updated rumours from 43rumors.com
 
 
- G4K has focus peaking
- There is an attachable XLR adapter
- H264 codec all intra that give 422 color all intra in 100 mbps. To record this you will need to buy the new P2 Micro card in SD shape made by Panasonic (see image on top)
- it will be switch-able from 4K and 1080P with various frame rates (can shoot 120fps at 1080P for example)

Hans Punk shoots my kind of camera porn ;)
 
Awesome stuff! 
 

 
Like Andrew meets Wim Wenders
 

Hey Guys,
 
Just wanted to share a little anamorphic western I did a couple years ago. Finally finished put it online.
 

 
Camera used was an unhacked GH1 (yea, I shot it a while ago)
LA7200, used mostly a 24mm nikon
 
Graded in davinchi
Ran it through Dark Energy and cleaned it up most of the GH1 compression noise.
 
It was a while ago, but I watch it on the big screen at a festival and I think it looked great.

I think that must be one of the most clueless articles I've ever read.

This is a quick introduction into the SLR Magic 1.33x Anamorphic adapter. I go over how to set it up, the basics of focusing and how to use the lens. 

 
Also: For those who have a knowledge of anamorphic lenses already, the new SLR Magic Diopters are the best I've ever used. 

Yes. Again, why do you think they chose lineskipping for the iPhone 5s video? You yourself said the iPhone 5s video was flawless. It is not. If they'd do a proper resampling from 1440p or higher down to 720p without line skipping and proper high quality video encoding, I can assure you - they would not be able to do it in realtime at 120 fps.
(I don't know about the sensor in iPhone, but there are sensors that very well can output higher resolutions at up to 120 fps - but it's still very resource intensive if you want to process the full sensor data and resample it down to 720p or 1080p from a full readout. Line skipping might or might not be necessary from sensor standpoint in an iPhone.)
 
Does 5dmk3 have the power to take 4k-10 bit raw and downsample that to 1080 in realtime 24fps or so? Nope. Outputting RAW is wholly another thing. That means reading data fast and outputting data fast. It's more about I/O than it is about a processor actually doing heavy processing. Downsampling high resolution at high quality at realtime framerates for video is much more difficult processing.
 
So, why doesn't the Nikon V1 output 4k Prores, 4k h.264 or downsample 4k to 1080p to Prores / higher rate H.264? (No, it doesn't have the processing capabilities to do the proper DOWNSAMPLING and ENCODING in realtime).
 
And, the downsampling is key if you really want the best possible resolution and accurate color for 1080p with RGGB grid array sensors. My whole argument in the original post was: from a manufacturer stand point it makes much more sense to go 4k and let the user downsample in post to achieve excellent 1080p, it is much more expensive to do if you want all the processing done in realtime in-camera.

Yes, I usually find f/2 plenty enough myself!
 
A few notes:
 
The Pre-AI/non-AI lenses works as-is with adapters on m4/3 cameras. For Nikon DSLR's you need to modify them, otherwise a piece of protruding metal can destroy the lenst mount on camera.
 
The AI/AI-S lenses work as-is on any F-mount camera or adapter (no metering on lower-end Nikons, but that really doesn't matter when filming).
 
I've been considering quite a few of these old Nikkors as well, but so far I've been happy enough with the 16-35mm f/4G VR lens. The 28mm f/2.8 in particular is interesting, since it is one of the sharpest wide-angle Nikkors ever.

Yes. I think this is where Andrew is going as well with the article:
 
If you want to manufacture a camera with a lot better performance in 1080p, you are already designing a camera that can output a decent 4k video mode, since you want at least four (RGGB) sensor pixels for every 1080p pixel output.
 
If the new Panasonic will output 4k at 10-bit 422, that video downsampled (in-camera perhaps or in post on a computer) will be some awesome 1080p 10-bit 4:4:4 material.
 
So, from a manufacturer's standpoint:
- They can already get sensors that could do 4k at 24fps or more (which can be used for really nice downsampling to 1080p).
- With the right codecs you could encode 4k in fairly nice bitrate even to SDXC if the camera doesn't have CF / SSD.
- Another option would be providing HDMI/SDI output to recorders.
 
What's the remaining component then?
- Processing the data fast enough in realtime with high enough quality. Doing that is a challenge when you want the highest quality of the downsampling. Here in fact, it might be easier to output a faster 8-bit/10-bit 4k and let people downsample it in post, rather than to attempt to do the high quality processing & downsampling to 1080p in-camera.
 
And to think about the processing restraints: What's the major issue on BM pocket camera? ...and how long does the battery last in movie mode on a Panasonic G6/GH3/xxx or a Nikon D800/D5200/xxx?
- The main difference in power draw is not the display nor the sensor, and there's probably not too big of a difference in writing to the card either - it's the processing. And that's still on a camera without 4 pixels (RGGB) per one 1080p pixel output. So, imagine the power constraints for designing a camera like the BM pocket camera and multiply that datastream by 4...
 
The power & processing issues can be solved of course. But it will require more processing, more cooling, more power = bigger, more expensive camera. Want it done on a budget - get a decent 4k 10-bit and do the processing on a computer.

Take that preset as a start but up it to at least 25Mbits.   Professionals upload 50-70 or even 100Mbit files (and they are officially encouraged to do so, no matter what their BS upload guidelines are for average users) and that's a big reason why when you look at an official trailer, music video, etc., even if you're looking at a 5Mbit stream, it will look lightyears better than any 5Mbit stream Joe Sixpack uploads (if they're using 5Mbit presets intended for and included for novices whom Adobe knows likely can't tell the difference and aren't creating content where it matters anyway).  
 
Here's a good read on the subject, and a quote right from a YouTube infrastructure insider:
 
 
 
...the exact principle applies to VIMEO.

downscale shite 4k to 1080p and you have great 1080p.  hence the popularity of the 1DC

I'd be checking the other boxes for Hawk's. :)

Couldn't believe it at first! Was back at home for the holidays looking through a box of old photo equipment in the basement when I stumbled upon a Iscorama! My grandfather gave me this box of lenses about 6-7 years ago... when I was just getting into filmmaking and didn't realize what anything was. Good thing I decided to rummage through it again over break!
 
 
 
I'm new to anamorphics, but this is the pre 36 Isco right? The picture is kind of crappy, but the glass is perfect on the lens. Any tips for re-greazing these things? The focus is a bit slow... from old lubericants I'm guessing?
 

just the battery for the Sony F35 costs more than a Panasonic G6 - the thread was for a sub £1000 camera not a Hollywood beast
it weighs over 5kgs without any lens or lens support rig!! its massive not really a run and gun skateboard camera

protection one skylight or uv all be good.
 
the 2 best in germany was b&w and heliopan b&w got taken over by schneider and are not now as good now.
heliopan one of the few still using proper schott optical glass.
 
you are not gonna get oil into an iscorama as the 2 parts are sealed the biggest issue is impact seperation from knocks and stress on the bent glass.
 
if anyone ever rents these lens out even to friends make sure it is insured
as quick hit says that dessicant sachet moisture absorber stuff is great.
as i mentioned before for lens cleaning calotherm cloth and caloclear spray is the best product around used by many optical houses and rebranded with a different logo.

For storage, I keep all valuable lenses in sealed zip-lock bags with desiccant. No fungus so far!

How about the manfrotto MVM500A fluid head monopod? Still a bit heavy, but more portable and versatile than a tripod with the same head.

Dudes, let's keep this on topic. It's not a Windows versus Mac thread.

Yes, yes, yes.
That is the best piece of advice in this thread so far, but unfortunately so often ignored. 
 
We could geek out forever about megapixels, crop factors and all the bits and pieces of half a dozen or more different cameras, we could engage in endless fanboy wars, and keep bickering about matters of taste but, all that is irrelevant as long as you have no shooting mileage under your own belt.
 
I would even use the term "the fact is" instead of "chances are." You won't really know what's actually important to you until you've got some shooting mileage. Furthermore, instead of "in a few years time" I'd say it'll likely happen within the first year, maybe six months, but the cycle will then slow down as one's experience grows. In that light, I'd recommend to go for the model that feels nicest in your own hand, and then go with it. 
 
When it comes to shooting both stills and video with the same gear, there really are no models that do both well. It's always a compromise, a bigger compromise for either one or the other. If you wish to have best of the both worlds, buy two different cameras, one for each task. No matter what the latest hype is out there. That's all the more reason not to go too pricey with the first choice, until you know what (which) is it that you really want to do.
 
So, with the obvious compromise in mind, I'd say one of the best compromises for both stills and video under $800 category, with the "emphasis slightly on the video side," would be either the G6 or one of the Sony SLT models, like the a58, a65 and sometimes even a77, in some regions.
 
The more the scale was to tip on the video side, the more obvious the G6 would be, mostly because of the better looking video in general. Although the Sonys aren't too bad when compared to some other dSLR models, they do have slightly more colour artifacts and a little bit of moire, too. But thanks to their hybrid design, they are much nicer compromises for stills&video (with the same camera) than typical dSLR's. Same with the G6, obviously. 
 
But since the two pre-selected choices were Nikon 5x00 and G6, rather than two different models with an EVF, the choice between those two should be pretty simple, IMO.
 
From those two options I'd go for the Nikon, if my goal was to shoot mostly stills, and only dabble in video occasionally. Personally I wouldn't want to bother with the hassle of shooting video with a typical dSLR in the same price range. Canon or Nikon, doesn't matter. Awkward, clumsy and uncomfortable, with no real quality benefits, either. But for stills and action stills shooting they're pretty ok.
 
On the other hand, if the emphasis was clearly more on the video side of things as suggested in the opening comment, from those two I'd go for the G6. If you can't get the Nikon idea off your head, buy a Metabones N->mFT Speed Booster, too. 
 
But all in all, you shouldn't really listen to any of us too much. You should just go for either/any camera, because as mentioned on the top of this comment, as a beginner you don't really know what you need or want yet, and that will most likely change along the way, as your experience grows.
 
But as long as you don't have any camera, you won't get any shooting mileage and thus personal knowledge, and you'll be stuck in an endless loop of GAS and futile online debates forever. Doing research online will only help you to a certain point. After that, you just have to pick a tool, and then get up off your derrier and start shooting. Just go and pick one that fancies you the most. It doesn't matter if it's Panasonic, Nikon or some other brand, as long as you like it. Then just shoot, shoot shoot.

SAMPLES !
Sony A7 + Novoflex adapter ring + Nikon 50mm E Serie f1.8 + Redstan clamp + Bolex System Moler 16/32/1.5X anamorphic lens
 
More samples and larger on my Flick'r :
http://www.flickr.com/photos/43243778@N04/sets/72157638698522816/