Escapist

This site might help for tagging your gear. https://www.lenstag.com
Also maybe the authorities can track the use of your credit card with the person who stole everything else?
 
 

Lens ---> Collapsible rubber lens hood ---> ND filter.
Fold the hood back when you need to adjust the filter.

The ir & uv cut makes magic you should see the tests. I'll probably use it with the a6300. It can always be fixed in post but better to do it on camera. But for sure on a6300 it's not as bad as on bmpcc

At least I now have an excuse as to why my videos all of a sudden look bad...

I really want Canon to succeed, it's for our own benefit. If Sony gets a monopoly on sensor design we will suffer eventually.
Imagine if Sony decided to stop working with Nikon. Where would that leave them?
Canon are dangerously close to becoming a Sony customer. Already are for some models. Canon have an innovative CMOS division and even make the machines to make the sensors. They have 4K on a full frame sensor (1D C) it just needs to go into a more innovative camera and at a price we can afford. Currently on dynamic range and sensor capabilities (both manufacturing and end product) they are behind Sony. Not good.
The joke about Taylor Swift fixing stuff at Apple is an internet meme. If you didn't get it, no need to say "EOSHD is off his meds again". But maybe join this generation.
I bet Canon found it funny... all 11 employees under the age of 85 that is.

Panasonic disrupted everyone last year and this year they got disrupted. I don't think they deserve the criticism yet.
I do think you have a great point that firmware is the way forward as hardware is really solid now.

Panasonic disrupted everyone last year and this year they got disrupted. I don't think they deserve the criticism yet.
I do think you have a great point that firmware is the way forward as hardware is really solid now.

Panasonic disrupted everyone last year and this year they got disrupted. I don't think they deserve the criticism yet.
I do think you have a great point that firmware is the way forward as hardware is really solid now.

The Samsung NX1 colors look great.

The Samsung NX1 colors look great.

The Samsung NX1 colors look great.

​I bought the tokina because it was cheap a while back and thought I was the only one who even used this lens. It worked perfect on a C100. I only sold it because I want to switch to nikon mount for aperture control. What an amazing lens...photographers don't care for it but we love it.

One thing I forgot to add is FCP X for all its greatness does not have curve for exposure. It only handles shadows, mids and highlights with 3 fixed points (I assume which means linearly). This looks really weird to me and I need to find some plugin because it's not enough. Anyone have any tips?

I like Premiere because it was obvious where everything was, even if it wasn't particularly efficient at anything. FCPX at first seems unintuitive because it's so different, but they save you a lot of time once you learn them. In terms of design FCPX looks like its going towards the future, whereas Premiere just wants to stay the same.
This philosophy trickles into the code base as well. Adobe refuses to rebuild Premiere, they just keep stacking code on code which creates tons of bugs.I found so many bugs with Premiere and corrupted projects that I just bought FCPX and never touched premiere again. Premiere ranks with some of the worst product experiences I've had, and the other two are Microsoft (Windows OS and Bing Ads).
 

If your already decided, certainly act on it, but I actually migrated the other way. I started in FCP5 and loved it through 7. A fanboy for sure. When FCPX dropped, I was really excited. It looked slick and I was excited to try something different, but in end it didn't seem to work for me (granted, it has gotten better since). Since I already used and owned Adobe software (AfterEffects, Photoshop, Illustrator), I figured I'd give it a go and I haven't looked back.
I ended up really liking the way all the different programs effortlessly synced together, which made a profoundly positive difference in the speed and efficiency of my workflow. Additionally, Motion doesn't even hold a candle to AfterEffects. Even when I used FCP, I used AfterEffects, awful round-tripping and all.
All that said, they both are great tools and there's nothing that says you have to stick to just one. Aside from having a favorite, and we all do, any editor worth his salt should be able to work in the big three: AVID, FCP/X, Premiere Pro. (With a +1 for Davinci, who's really had some growth in the editor features department.) Good news is, they all have free versions/trials, so go play, my friend!
I'd be interested to see which you one/ones you end with, so keep us posted.  =]
 
*Oh, and welcome to the community!

​Ok I just tried the 14-140mm f4.0-f5.6 panny lens out. The 14mm side translates to a 40mm view from FF, so it's slightly wider that the "normal" 50mm on a FF. It's pretty wide I'd say but you could probably go wider with a wide lens + speed booster and something else if you wanted to.
Due to the lens being slower, I found that it's hard to get any background blur but that was probably obvious. Shooting in dark doesn't seem to be a major issue at the native 800 ISO, as long as the scene is normally lit. The Mega OIS is amazing though, even zoomed in all the way it eliminated a lot of jitter. 
I think I'm going to keep this lens around, it's very versatile and could help get some difficult shots. 

​The 14-140mm is a great flexible lens. It's sharp, has pretty nice rendering and contrast and everything. But... personally I think it's a little too modern and tends to give off a slight clinical but also video look. Kinda lacks 'soul' so to say. The pancakes are pretty sweet, the 20mm f/1.7 and the 14mm f/2.5. Olympus has very sweet offerings too, and I like the character Olympus lenses give off quite a bit better, more organic with very nice rendering. Yes, they are e-native lenses, even the Olympus ones, they share the same e-mount, so in-camera settings and autofocus. With none of the Olympus lenses stabilization though, as Olympus doesn't build that into the lens, but into their camera bodies. But then again, the 14 and 20mm lenses also do not feature built-in stabilization. The closest thing to the 15mm f/1.7 Summilux might be the 17mm f/1.8 from Olympus. They're pretty similar in price. No experience with either here, so not sure which is the better performer. If you want it for tight spaces... there are the Tokina 11-16 or 11-20mm f/2.8 zoomlenses. Not as tack sharp as a prime, especially wide open, but very usable and flexible lenses I'd like to think. Could get one with a Nikon mount and cheap dummy adapter. Or a focal reducer/lens turbo. Or if you can accept the price and range the Sigma ART 18-35mm f/1.8 of course. But again, adapter needed, so no AF, full manual everything. Could be the holy grail amongst the choices though... In the end it's a tough call I guess. But you really have to be dedicated and sure of the choice for the 15mm f/1.7, because you're putting quite the constraint on your range. The 14-140mm again is just so great because it's so flexible. But if its character bothers you, then that's not really gonna work either.

​Sorry for the late reply! It's coming in tomorrow I think. When I get it I can tell you the answer. I think 14mm x 2.88 crop factor will be around 40mm which is wide but not ultra wide. 

​> use only ProRes-flavors
> use only Menu >Recording >Dynamic Range >Film
> use only Menu >Display >Dynamic Range >Video
> use exclusively ISO 800, no matter what
> use 180° degree shutter in standard situations (for 24p with 60 Hz power frequency, for PAL countries then 172,5°)
> use bigger shutter angles in lowlight for slow moving motifs, up to 360° (doubles exposure w/o more noise or worse DR through ISO 1600)
> use smaller shutter angles for slomos (down to 11,25°). Twixtor and the like don't handle motion blur well
> roughly guess the right color temperature, i.e. 3200 for Tungsten, 5600 for daylight. You have to grade anyway
> buy the Zacuto loupe if you want to see anything
> buy a camera grip with remote, like this, not a big cage, rods, mattebox and these gadgets
> if you need s.th. like an external monitor, beware! Not all will show an image. Lilliput has a compatibility table (1080p through HDMI)
> during recording, leave focus peaking on always (since latest FW update, it stays on after power off-on)
> rely on 95% zebra ("ETTR"). It gives better results than trying to get a wide range in the histogram, in my experience
> if there is no zebra, it means you don't 'fill the well' because the location is lit too poorly. This ain't the A7s!
> therefore: search the sun! or light the scene! High contrasts, backlight: that's where the Pocket's DR shines
> use an IR-cut filter
> use externally recorded audio (built-in audio only to sychronize it). Or this (resp. it's successor)
> use an app that allows to load LUTs (i.e. the free Resolve lite). Try Captain Hooks LUTs, here (download), from this site (starting point for your grade)
> don't grade too flat. One gets used to flat looking images very quickly. But others don't.
> To quote Stu Maschwitz: plan your shoot, then shoot your plan! Follow the suggestions above, then make a small doc, no cats, no flowers, no landscapes
 

The body cap lenses from Olympus and Panasonic Pancake primes are a fantastic combo with the Pocket.
 
​I agree. I still love using this camera, especially when I see how flexible the image is to grade. Feels akin to what a 2.0 darkroom would be like.

​I just picked up this deal. It's actually $995 but still not bad. Although I rather they have a prime bundled, this lens should be interesting especially with OIS. I feel like everyone on EOSHD has a pocket camera except me or something.

​I just picked up this deal. It's actually $995 but still not bad. Although I rather they have a prime bundled, this lens should be interesting especially with OIS. I feel like everyone on EOSHD has a pocket camera except me or something.

​I just picked up this deal. It's actually $995 but still not bad. Although I rather they have a prime bundled, this lens should be interesting especially with OIS. I feel like everyone on EOSHD has a pocket camera except me or something.

I've used both a c100 and an nx1. I'll just say that to me personally the dynamic rand is definitely close! I honestly didn't see that much of a difference at all in Dr on the nx1. I'll also add that the nx1 is a great camera that'd I'd personally choose to shoot on over a c100 or c300 at this point.

I've been using the camera for a bit and as a B-roll on a C100 shoot. Seems like there is about a stop less on the NX1. Perfectly usable. 
Name of the game really is protect the highlights on the camera, but thankfully it does have very clean highlight rolloff even if you do blow them out.
Great thread on DVXuser:
http://www.dvxuser.com/V6/showthread.php?334819-Samsung-NX1-Log-Gamma-Dynamic-Range
I don't use wondershare, I use Rocky Mountain or Photon. Hopefully we will see what the camera is truly capable of when an editor like Premiere supports it natively.