IronFilm

Found something decent shot on the Kinemini 4k - nice and organic looking.
Also love the use of lenses in this short. 
https://vimeo.com/159982174
 
 

GH2 was 2010 (October)
6 years later and Canon haven't matched its video quality, overall.
Like I say time and time again, only Canon seem to be able to get away with this year after year. If it were any other company, people would be astounded.
At the same time, since 2009 their APS-C stills quality has inched forward only a bit from 18MP to 20MP and now 24MP with a tiny bit cleaner shadows.

I bought the NX1 pretty shortly after the relese. That was not "years ago" and definetelly not when the GH3 was released. And the NX1 has its own problems. Or is being discontinued a new and fresh feature?
This constant bashing of cameras by people that have never ever used them is getting so old. 
I dont find the 80D all that exciting, but Ive never used it. So I dont bash it until I have.
I absolutely hate my rx100iv, but I still dont constantly post bs in the rx100iv thread. The G7 is one of the worst cameras Ive used, but I let those who are interested discuss it in peace without unfunny jokes and bogus links. I would rather jam a fork in my eye than get a a6300, but I dont feel the need to tell every one that have bought it how wrong they are...
Im out until someone actually has the camera.

IMO auto focus and 'cinematic' shouldn't really be uttered in the same sentence.  However for things like an impromptu talking head in a run and gun environment with a large sensor, a good af system capable of tracking focus of a face will always be welcome.  I highly doubt I'd ever use such a thing since I actually like the aesthetic of a human being pulling focus by eye.  
If people like to think a Canon will make their colours nicer without having to learn how to set up wb, profiles and learn how to use curves that's up to them.
The fact here isn't about af or colour.  It's about the fact that the image from the 80D doesn't even deliver true 720p.  it's mush.  and is noisy.    The lack of video ergonomics of a mirrored camera can be worked around when the image is worth working around for - the 1dc, 5dmk3 in raw, etc.  But entertaining any positive discussion about Canon cameras not of the Cinema EOS range or ML hacked for film making is madness.  Those still buying such devices for cinematic type film making are either ignorant to what else is available, blind or buying out of sympathy for Canon.  I see no difference between the 80D and the 550D/T2i in terms of video performance.  Canon hasn't made any worthwhile video improvements on their non cinema eos cameras since the 5Dmk2!    

Yeah, because Canon cameras work really well attempting to autofocus Nikon lenses....
Again, not all that long ago it was blasphemy to even suggest one would use autofocus when shooting video. Now, Canon having better AF is a major plus point for Canon...
I just don't get it...

The simple fact that this shot has been graded introduces a factor that is totally independent of the camera itself. I think the problem is people were so damn keen for Slog and never learned how to properly grade things.
I recently saw a commercial shot on an FS7 and was surprised it wasn't shot on an Alexa. The F3 was, for a time, considered a 'mini-Alexa' and has very similar colours to that which you can get out of an A7s.
If you've been a Canon shooter for a number of years, you may find it more difficult to get the colours where you want, but the same goes for anyone switching manufacturer. Every manufacturer has different colours and different colour science. I can't think of one manufacturer that has objectively bad colours, it's just that some people are used to one or another, and when the Sony footage they've spent 2 months working with takes a bit longer to get where they want it to than the Canon footage that they'd been working with for 5+ years, it's the camera's fault.
You may find the Sony a bit more difficult to get where you want it to be, but that doesn't mean that it's the camera that's bad, or faulty.
Also, how can you possibly take at face value the grading attempts of an amateur colourist? I wouldn't expect an amateur colourist to get amazing looking results out of anything, let alone base a purchase decision based on their results. The 'ungraded' versions of those images look significantly better.
 

An interesting point with this announcement.....
Canon and Nikon might respond to this and finally bring raw vidro shooting to DSLR 
 
They don't give a shit about Sony, lumix etc... But when other big hitting still cameras make a move, they might follow

This. x100 x1000 x10000
 
However it is easy to see that NOW with hindsight. But when the first NX camera  came out the MFT system was still very young, & it probably seemed easy to catch up with at the time.

This. x100 x1000 x10000
 
However it is easy to see that NOW with hindsight. But when the first NX camera  came out the MFT system was still very young, & it probably seemed easy to catch up with at the time.

I had a tough day out filming with it today ;-)


(totally stock camera however)

Depends a lot on your location and what you want to do.

But I'd suggest buy two cameras: 
A bigger one for those benefits such as XLR inputs and ND filters, and just looking bad ass to the client. Sony PMW-F3 gives maximum bang for your buck here! (US$1.5K ish secondhand, plus US$495 BMD Video Assist gives you 10bit 422 1080 60fps). A Sony FS700 is also reaching very low prices these days, so maybe consider that. Or a JVC LS300.

Plus a smaller camera for when that is more appropriate (such as on a gimbal, or when you simply need to go multi cam), for this I recommend a Blackmagic Design Micro Cinema Camera. But a Sony A6300 / A7s mk1 or Samsung NX1 would also all be solid choices. 

Then get a set of lenses, either Sigma ART (Nikon F mount), or Nikon AF-D, or Rokinon Cine DS. 
http://ironfilm.co.nz/rokinon-cine-lenses/
Buy a Tascam DR-70D + MKE600 + RodeLink + Zoom H1 + Aspen Lav + Boom + Rode Blimp v2 + Senal SMH-1000 headphones + Samson C02 mic + Rode WS6 windshield.
For lights get a basic kit of:
http://www.came-tv.com/3-x-800w-pro-red-head-redhead-continuous-light-lighting-stands-p-158.html
http://www.came-tv.com/1%C3%83%C2%97650w2%C3%83%C2%97300w1%C3%83%C2%97150w-fresnel-tungsten-light-video-spotlight-p-318.html (plus dimmers)
http://www.came-tv.com/index.php?main_page=product_info&cPath=19_23&products_id=503

I had a tough day out filming with it today ;-)


(totally stock camera however)

I had a tough day out filming with it today ;-)


(totally stock camera however)

I feel you're brave to order that before we've even seen any footage from it!

After all they're attempting what nobody has done before (global/rolling sensor), BMD tried and failed at it. 

Well, if this means the true *END* of the NX1 then I look forward to later on this year buying a secondhand Samsung NX1 for US$500? ;-) Hope so. As I'll use my Nikons on it, so I don't care what happens with the lenses. 

Even the greatly lauded 1D C used a crop mode as well for its 4K

Haven't there been 2 or 3 people in this exact topic who've shared their overwhelmingly positive experiences with Kinefinity's cameras? Hasn't a Chinese resident explained that they have huge street cred and market share over there, in the second largest filmmaking industry in Earth? Haven't we seen some very impressive work shot with their last few cameras? 
To me, that speaks volumes. 'Nuff said.

I think people are being tongue in cheek about the map thing - I certainly am, and it was only one guy who seems to have a bit of a chip on his shoulder taking the prores thing seriously!

Maps are the fundamental part to a working camera. I hope RED got their map right or we're all doomed!
Not sure why there is a lot of animosity against Kinefinity. They are offering excellent cameras to the market and people are in a huff puff about it. 
 

This. Best bang-for-buck on the market right now. 
Alternately, spend a bit more and get a used RED One, but it will be much more frustrating than an F3.
Plenty of movies and television have been shot on F3. Plenty more feature films and television have used the F3 as an A-cam versus the BMCC. 
Unless you desperately want 4k or something..

Single best 1080p image? Easy to edit? Small file sizes? Cheap?   
Sony PMW-F3 (unlocked for RGB and S-Log) shooting internal.   under $1300
Slightly more grading resilient footage? - as above plus a bm video assist. Under $1800
Greenscreen work? - as above but with the Pix-E5 recorder. Under $2200 
 

I saw this a few hours ago and I dismissed it as part of the 1st April charade. 
But, Wow. This looks Damn promising. If this is as effective as advertised, then small budget indie filmmakers can throw away their stabilizers, and go even more compact for guerilla shooting.
I wish Panny would have a Paid VLog for All Interchangeable Cameras. Also, they should Atleast try and fit a ProRes flavor into it, somehow. The lowest 2 ProRes flavors aren't really that large in terms of file sizes. Maybe users can pay something similar to the VLog to get ProRes. Panny should atleast offer that option, like $99 each Extra. 

Yes and most of all I like it to happen to Panasonic! And I do have a lot of all manual glass, so it would be nice you didn't have to resort to other cameras or gizmos to get stable handheld shooting (mostly on static shots, but if it works nicely on dynamic shots, that's a huge bonus).
-- btw, found something interesting when I was looking for the press release on their official site earlier... the DVX200 getting a firmware upgrade that 'changes the default color palette of the camera to a look designed to be more natural without the need for an adjustment'. If that finds its way in the Lumix line-up it might mean better colors right off the bat!

Make Germany Great AGAIN!!!!

Moot.  Kinefinity wouldn't be broadcasting about prores support if they didn't have the licence in the bag in some way or another.  The person who responded to your email probably just went on their own website, saw the brand isn't listed and responded accordingly.  I seriously doubt the person handling random unsolicited emails is taking the time, let alone even able to access the list of pending licencing deals going on in one of the biggest technology companies in the world!