silvertonesx24

It's funny as I was thinking this just the order day. Even as a producer of the medium itself, I have come to hate how video is used as a learning/tutorial/review tool.
I can buzz through a text tutorial and get right to the problem I am trying to solve. How do I know what sound the Phantom makes after the firmware has been updated? With a text article, I can Google/control-f right to my answer. 2 seconds and done, it's there or it's not. With video, I find nothing but 20 minute firmware update video that spend the first 5 minutes explaining how to unzip a freaking zip file and have to guess click around until I find what I want, if it is even there in the first place.
Or with a lens review, I might just want to see how bokeh renders in high contrast areas, not sit through a stupid 2 minute intro for your channel personality or a total of 3 minutes of footage cut in between 17 minutes of your ugly mug. With a longform text article, I can breeze by everything and get right to what I'm looking for. I can consume the content at the pace I desire.
That's why I've always gone to EOSHD at least, in the way reviews were well outlined and presented, and also how it seems to stay away from the Buzzfeed/clickbait style headlines that fill up almost every other site out there.
 
 
 

Wow, looks like these lenses will help me make great deals. The best deals. Such good deals you wouldn't believe.

Wow, looks like these lenses will help me make great deals. The best deals. Such good deals you wouldn't believe.

At first it was good, they were prompt to answer questions (considering a the 11-14hr time zone delay for me)
But over the last 6 weeks I have had an ongoing case- KineMini in for mount swap, and purchased a KineMax which came with a non-functioning HDMI port. To be fair, this is the very first hardware issue that I have had with my cameras which have been rock solid. I do not find 48+ hour response times acceptable, especially when the camera is over there for service or I have a pressing need on an issue. This also includes a response time of 8 whole days during this inquiry- despite repeated requests for updates as we had a shoot approaching.
I understand that there will be additional time to respond with the time difference (and this is part of what I'm not paying for), but to qualify for amazing support, response times should be no longer than 24 hours.

At first it was good, they were prompt to answer questions (considering a the 11-14hr time zone delay for me)
But over the last 6 weeks I have had an ongoing case- KineMini in for mount swap, and purchased a KineMax which came with a non-functioning HDMI port. To be fair, this is the very first hardware issue that I have had with my cameras which have been rock solid. I do not find 48+ hour response times acceptable, especially when the camera is over there for service or I have a pressing need on an issue. This also includes a response time of 8 whole days during this inquiry- despite repeated requests for updates as we had a shoot approaching.
I understand that there will be additional time to respond with the time difference (and this is part of what I'm not paying for), but to qualify for amazing support, response times should be no longer than 24 hours.

This must really be a taste thing, because I've seen lots of comments both ways on various forums saying the Kinefinity or the BM had better color. It's not a very definitive comparison; we don't know enough about the settings and conditions to draw any hard and fast conclusions. Also, keep in mind that the 6K sensor only captures the full 16 stops of DR when downsampled. The full 6K has slightly less at 14 stops. 

Personally, I think the Kine color looks a bit richer while the BM is more neutral. Kine has nicer motion, BM has cleaner shadows. Kine has higher resolution, BM has less rolling shutter. 

There's some amazing footage out there from the Kinemax, whereas the 4.6K...it looks good, but has yet to really wow me from an aesthetic standpoint. I'm excited to see what we get from the 5K, as that seems to be the more comparable sensor to the Ursa Mini.

On low budget paid shoots, leads should probably not get less than crew department heads, and day players should probably get around the same as third tier crew.

This. I would say if you love working with great raw images than either 5D3/2 with magic lantern or a used Kinemini 4k is the clear choice. More so the 5d as with the Kinemini you will need a D-tap power source and a monitor.
A7s makes no sense to me unless you need 4k. Currently cutting a project shot on both 5d2 raw and A7s mark II and it isn't even comparable.
Never used the Micro but the cinemadng workflow is exactly what you will get with Magic Lantern and MLVFS.
 
 
 

You can shoot 2k Cineform on the Kinemini.
Cineform raw >>>>> Prores anyway.
If you're looking for out-of-the-box-and-off-the-card editing, Canon is your choice.

Just received one of these. A few first impressions:
Did not work with Komputerbay Cards at first. A firmware update fixed that and added new features (zebra, peaking). 64gb Komputerbay will record ProRes HQ in short takes at 1080p24, will drop frames at 1080p60. Feels well-built. It emits a high-pitched whine that is a bit annoying when powered on. Not sure if it is the fan, or a defective unit. I have sent a recording over to Blackmagic for review. I also requested anamorphic de-squeeze for a firmware update. GH4 carries audio signal over HDMI. This thing really sucks up the batteries. This is the cable you need if you want to connect it to a power supply, which I will definitely be doing http://www.ebay.com/itm/New-5-5mm-2-5mm-Male-DC-Coiled-Extendable-Spring-Power-Cable-for-Photography-/281661609835 The biggest downside of this is the lack of OLED screen. Blacks are pretty washy, and the viewing angle isn't that great. If a major OEM (Samsung, Apple) would ever add some cable that takes HDMI in, these $200-300 tablets we all have would blow every monitor/evf out of the water when it comes to screen size, quality, and battery life. Imagine being able to pull up your shot list, screen tests, location scout pics on your tablet/monitor and then swipe over for live view or even recording. But until then, it's a pretty nice monitor to have at the price point.
 

This was shot all on Kinemini 4k (except the drone shots).
 
Some pretty weighty grading especially where we had to coax magic hour out of scenes shot at high noon. I would say I pushed the camera pretty well but still had more latitude to give.
Lowlight is an area where the camera suffers- shadows can be quite noisy. I am currently upgrading to the KineMOUNT which will allow me to attach a speedbooser (Kinehancer), getting the crop factor down to about 1.15x and adding another stop of light.
I am considering grabbing a KineMAX as well, but feel as though while it is a great value camera, my money would be better invested in glass right now. But I would highly recommend it to anyone looking to upgrade to a cinema-style camera.

I've been shooting on their system for about year and had no issues with reliability whatsoever. The system is just rock solid. No issues at all. Cineform Raw is just so great to work with. Raw 4k at smaller file sizes than Prores. Support is quick to respond to any questions.
I was disappointed when the URSA Mini was announced just weeks after I purchased mine. I've been shooting for a year now while the URSA Mini is where?

When you can shoot Cineform Raw, you don't care about Prores.

My Kinefinity is currently in China receiving a mount upgrade.
This system has a lot of potential. They're like the inverse of Black Magic. No buzz/hype about them, but they actually deliver.

This was shot all on Kinemini 4k (except the drone shots).
 
Some pretty weighty grading especially where we had to coax magic hour out of scenes shot at high noon. I would say I pushed the camera pretty well but still had more latitude to give.
Lowlight is an area where the camera suffers- shadows can be quite noisy. I am currently upgrading to the KineMOUNT which will allow me to attach a speedbooser (Kinehancer), getting the crop factor down to about 1.15x and adding another stop of light.
I am considering grabbing a KineMAX as well, but feel as though while it is a great value camera, my money would be better invested in glass right now. But I would highly recommend it to anyone looking to upgrade to a cinema-style camera.

My Kinefinity is currently in China receiving a mount upgrade.
This system has a lot of potential. They're like the inverse of Black Magic. No buzz/hype about them, but they actually deliver.

More Kinefinity work- all shots on this are with the KineMini (except for sports footage, which was archive stuff)
 

More Kinefinity work- all shots on this are with the KineMini (except for sports footage, which was archive stuff)
 

This was shot all on Kinemini 4k (except the drone shots).
 
Some pretty weighty grading especially where we had to coax magic hour out of scenes shot at high noon. I would say I pushed the camera pretty well but still had more latitude to give.
Lowlight is an area where the camera suffers- shadows can be quite noisy. I am currently upgrading to the KineMOUNT which will allow me to attach a speedbooser (Kinehancer), getting the crop factor down to about 1.15x and adding another stop of light.
I am considering grabbing a KineMAX as well, but feel as though while it is a great value camera, my money would be better invested in glass right now. But I would highly recommend it to anyone looking to upgrade to a cinema-style camera.

I've been shooting on their system for about year and had no issues with reliability whatsoever. The system is just rock solid. No issues at all. Cineform Raw is just so great to work with. Raw 4k at smaller file sizes than Prores. Support is quick to respond to any questions.
I was disappointed when the URSA Mini was announced just weeks after I purchased mine. I've been shooting for a year now while the URSA Mini is where?

This was shot all on Kinemini 4k (except the drone shots).
 
Some pretty weighty grading especially where we had to coax magic hour out of scenes shot at high noon. I would say I pushed the camera pretty well but still had more latitude to give.
Lowlight is an area where the camera suffers- shadows can be quite noisy. I am currently upgrading to the KineMOUNT which will allow me to attach a speedbooser (Kinehancer), getting the crop factor down to about 1.15x and adding another stop of light.
I am considering grabbing a KineMAX as well, but feel as though while it is a great value camera, my money would be better invested in glass right now. But I would highly recommend it to anyone looking to upgrade to a cinema-style camera.

I've been shooting on their system for about year and had no issues with reliability whatsoever. The system is just rock solid. No issues at all. Cineform Raw is just so great to work with. Raw 4k at smaller file sizes than Prores. Support is quick to respond to any questions.
I was disappointed when the URSA Mini was announced just weeks after I purchased mine. I've been shooting for a year now while the URSA Mini is where?

This was shot all on Kinemini 4k (except the drone shots).
 
Some pretty weighty grading especially where we had to coax magic hour out of scenes shot at high noon. I would say I pushed the camera pretty well but still had more latitude to give.
Lowlight is an area where the camera suffers- shadows can be quite noisy. I am currently upgrading to the KineMOUNT which will allow me to attach a speedbooser (Kinehancer), getting the crop factor down to about 1.15x and adding another stop of light.
I am considering grabbing a KineMAX as well, but feel as though while it is a great value camera, my money would be better invested in glass right now. But I would highly recommend it to anyone looking to upgrade to a cinema-style camera.

This was shot all on Kinemini 4k (except the drone shots).
 
Some pretty weighty grading especially where we had to coax magic hour out of scenes shot at high noon. I would say I pushed the camera pretty well but still had more latitude to give.
Lowlight is an area where the camera suffers- shadows can be quite noisy. I am currently upgrading to the KineMOUNT which will allow me to attach a speedbooser (Kinehancer), getting the crop factor down to about 1.15x and adding another stop of light.
I am considering grabbing a KineMAX as well, but feel as though while it is a great value camera, my money would be better invested in glass right now. But I would highly recommend it to anyone looking to upgrade to a cinema-style camera.

I've been shooting on their system for about year and had no issues with reliability whatsoever. The system is just rock solid. No issues at all. Cineform Raw is just so great to work with. Raw 4k at smaller file sizes than Prores. Support is quick to respond to any questions.
I was disappointed when the URSA Mini was announced just weeks after I purchased mine. I've been shooting for a year now while the URSA Mini is where?