dahlfors

Welcome to my rolling review of the Sony A6300. Like the rolling shutter of the A6300 this review takes a long time to get from the top to the bottom so grab a hot drink (be careful not to overheat) and enjoy the ride...
Read the full review on EOSHD here

I wouldn't care at all about rolling shutter in 4k, if the 1080p mode didn't seem to be so soft in the tests that are circulating online. Also, according to Brandon Li it seems like the camera has moire/aliasing in 1080p:
"A6300 has really bad rolling shutter and worse lowlight than a7rii and a7sii. A6300 autofocus is better; 1080p has moire and aliasing but good rolling shutter."
Also, on the softness:
"If you're shooting shallow DOF on a gimbal (as I intend to) and outputting to 1080p, then recording in 1080p works because it looks sharp as long as you don't focus to infinity."
— found in comments at https://vimeo.com/158972895.
Still interested in seeing what Andrew finds. Maybe the 1080p isn't that soft compared to other 1080p cameras?

Geez. It's so badly shot. If you're going to judge the camera, judge it from something decent for heaven's sake.
I hardly think the rolling shutter will be any worse than the 1D C, A7S II, NX1, GH4 or many other 4K cameras, many of them much more expensive than $999

Precisely.
I have a D800 with 24 Mbps bitrate as well as the hacked 54 Mbps bitrate. In majority of scenes there isn't any difference. Close-ups of really fast moving water or certain types of night scenes is where I've found the differences. I haven't seen any other camera reaching anywhere as high quality output as Nikon does at 24 Mbps H.264.
With good tweaking of x264 encoding on a desktop computer you can reach same quality levels, but other camera manufacturers 1) haven't either tweaked their encoders as much, or 2) aren't throwing as much encoding power / using dedicated chips for the encoding - hence they aren't anywhere near the same quality levels when you compare bitrate for bitrate.
How you implement an encoder matters, even though you use the same codec. It was the same story with MP3 encoding in the early days. XING, Fraunhofer and the others weren't anywhere near the quality that the open source LAME encoder could output, bitrate for bitrate.

Nope, it differs from camera to camera. Depends on how efficient it uses its bitrate. A 50mbit Sony will in my experience break apart before Nikon 25mbit.

The camera is ANNOUNCED, not released. Bitrate is just a value they switch in software, which is pretty easy to do just before release. I'm guessing the firmware for these cameras is far from final with 1 month still until release - and that the fact they haven't announced the bitrates means they are still tweaking image/video quality related features. I'd assume it's a similar story with the DL cameras and their missing video features: perhaps they will still add 24p even though it isn't in specs.

Got confirmation from an A6300 tester " DVFire",
4K 24P/25P crop factor 1.5x (24MP full sensor readout)
4K 30P crop factor 1.9x (13MP crop area full readout)
HD 120P crop factor 1.9x (13MP crop area pixel binning readout)
 

I've been waiting a long time for some good quality portable camera with 1080p at 120 fps. In 2016 it seems like it's going to be tough to decide which one to get...

http://froknowsphoto.com/nikon-dl-series-camera-preview/
http://www.engadget.com/2016/02/22/nikon-dl-compact-series/
4k...1080p 120fps... Seems like it might do 60fps raw burst too

I've seen people here (Andrew perhaps?) in the forum recommend using the "autumn leaves" picture profile. Might be what you're thinking of.

Here is from last summer a little test between FM Lens and Rectilux adapters. Kowa 8z inside on both.
 

Up here in the Nordic we've always had strong laws protecting consumers - even before the 2 year warranty on all electronics that applies to EU. People often ask why cameras are more expensive in EU. Besides VAT, manufacturers tend to put higher prices on electronics in Europe since there's a longer warranty.
I wouldn't either buy my cameras from Amazon instead of getting them from the local shops. I rather wait a few months for price to drop and get my nice warranty.
For wide shots with speedbooster I'd recommend trying to get a 16-35 f/4 (If you're on a tight budget, have a look for used ones, I've seen used ones for about 500-600 euro in Sweden). Very sharp full-frame lens for 4k. That lens will be pretty wide even at the crop modes.
I love the AI-S 50mm f/1.8 with speed booster on my NEX - a good allround pancake 50mm, makes for a really compact setup. Same goes for the AI-S 28mm f/2.8 and the AI-S 85mm f/2, still fairly compact setups with speedbooster, although they aren't pancake lenses. 

I use Natural (contrast -5 and saturation -5) and I store it as CUSTOM profile 1 .....leave the NR and Sharpening at 0
yes you dial the colour back in in post ,Im shooting alot of night interior scenes in this movie on sets and I want to record a much shaddow detail as possible , I dont want crushed blacks in camera . so contrast and saturation are -5 , it works great this way . I shot a whole moive that way last year and we got superb results with it.
 
this was shot Natural (contrast -5 and saturation -5) with the colour dialed back in in post /grade. all that detail in the actors uniform would not be there with crushed blacks in camera .

Don't post his videos and give him views, that's what he's looking for.

Up here in the Nordic we've always had strong laws protecting consumers - even before the 2 year warranty on all electronics that applies to EU. People often ask why cameras are more expensive in EU. Besides VAT, manufacturers tend to put higher prices on electronics in Europe since there's a longer warranty.
I wouldn't either buy my cameras from Amazon instead of getting them from the local shops. I rather wait a few months for price to drop and get my nice warranty.
For wide shots with speedbooster I'd recommend trying to get a 16-35 f/4 (If you're on a tight budget, have a look for used ones, I've seen used ones for about 500-600 euro in Sweden). Very sharp full-frame lens for 4k. That lens will be pretty wide even at the crop modes.
I love the AI-S 50mm f/1.8 with speed booster on my NEX - a good allround pancake 50mm, makes for a really compact setup. Same goes for the AI-S 28mm f/2.8 and the AI-S 85mm f/2, still fairly compact setups with speedbooster, although they aren't pancake lenses. 

hahahaha @Tito Ferradans  my thoughts exactly!  Looks like diopters specifically for the iscorama!  In my 7 year love affair with the iscorama I have never once seen these -  a +0.5, +1 and +2 matched set of what look like they may be doublets!

Would you consider selling the diopters separately?

Have a look at the Ikan VK7I, it's quite affordable and seems to have great colors: http://www.learningvideo.com/field-monitor-shootout/

You can adjust the tension (2:45 ).

Cool. I have the Benro monopod that is shown in your youtube video. I'm pretty happy about it.
The only flaw is that the backplate is quite tricky to fasten properly together with a Nikon D800. The tightening screw jams into the camera body and it doesn't get properly tightened. But it's still great for traveling around light while getting nice stable footage.

Hello all,
Tito has kindly allowed me to do some streamlining of the Lens-yclopedia database:
I have templatized all the entries so key information is in the same location when you cycle through the pages. The template improves overall readability of the information. I've broken up Mounting Solutions into To Filter, To Taking Lens, and Lens Support I’ve changed the Index to a spreadsheet that provides key stats for easy ‘comparison shopping’ I’ve removed a couple lens entries that had no (or next to no) information. I've added a few bits of info on various lenses as I went through, particularly links to example footage. I’ve made significant updates to the B&H and B&L entries based on the info I gathered from EOSHD, as well as other locations. I'll keep adding to them as I embark on modding/using my lenses. Check out the updated Lens-yclopedia here. A great big huge thanks to Tito for allowing me to build on his great work.  And to all the folks who have responded to my info-seeking posts.  The information people have provided here has been invaluable for a newcomer like me.
I was surprised at how much info I was able to find on the B&L, I cited sources in the Lens-yclopedia entry where I could - I would love to see all entries given source/reference links. I know people’s time is limited, but even just a morsel of info here & there would really help re-invigorate the database and make it more robust.  A little crowd-sourcing can go a long way!
I am considering periodically starting ‘Seeking Info About X Lens” threads to build up the other lens entries in the Lens-cyclopedia.  If this is something you would like to see (or help me with), please chime in.  
If you want to send info my way (corrections, answers to red question marks, Lens-yclopedia functionality, etc), I will find time to update the database appropriately.
Cheers,
|. . | .|

I am not sure about that... 

Leica SL is clearly aimed at people that already have a LEICA S and were looking into something smaller . 
But really, this is a capable camera aimed at LEICA buyers. 
 

I really hope the A6000 successor gets as good HFR modes as this. Very tempted on this camera, but I'd really want interchangeable lenses and all these features in an APS-C sensor...

The Sony RX100 IV review is done and it is a camera I’ve found myself using a lot… but not for the 4K.
Read the full review

Streaming live video from mobile phones has already been working fine since a long time. I'm working for a company, Bambuser, that does just that - and has provided live streaming from phones since the company launched in 2007. It works plenty fine on 3G/4G.
We have a specific platform for media & news companies, http://bambuser.com/iris - that is built on the same platform as the free-for-personal-use Bambuser app & service that you find at http://bambuser.com.
Personally I don't see this as something that will fully replace camera men (if you want good images - you want someone with a good eye for composition). I see it as something that will make it possible to bring in footage that wasn't possible to bring in before due to resources / equipment in a particular location - or because no camera crew were actually at the spot when something occurred.