IronFilm

Since the full sensor is much bigger than say 4K... Couldn't they crop the sensor to get those last few FPS? Not saying they would be interested in that. Probably would need an ML type hack.

Ever since I gave up my Nikon D5200 a few years ago for the Panasonic GX7, I've been dearly missing one lens. The 17-50mm f2.8. I tried the 12-35mm f2.8 on the Panasonic but didn't like it. Then the Samsung NX1 came out along with the 16-50mm f2-2.8. At the time, it was way above my budget. So I've since considered other systems such as the Sony but for one reason or another, they didn't fit my needs. But now, over 2 years later, I've finally been able and willing to pick one up. Luckily as well, the camera body is entirely unused. The manufacturer sealing was still in place. 
One of the first things I do when I get a new camera is to compare it to my other camera(s) for things like colour, dynamic range and noise. I've made many such tests before but never usually post them. This time I've taken the time to do it properly and edit it together for all to see. 
First up is the X-T2 vs NX1 shootout. The main point of this was to see the differences in colour and tonality. See the video description for all the fine details on settings.
And next is this high iso comparison with two other cameras I currently have. Again, you can see the video description for all the setting details.
Some thoughts on the differences between the X-T2 and NX1:
AF-C and focus pulling with AF works much better on the older NX1 than the X-T2; in video anyway.  The 16-50mm f2-2.8 is a ridiculously good lens, image wise. And the focus rings works just like a classic lens. The grip and button layout of the NX1 is far better. I've always felt the retro styling of Fujifilm were a detriment to their functionality. The downside to the NX1 is that it is far inferior to the XT2 in low light. The last shot in the shootout was shot at ISO 800 on the NX1 and 1600 on the XT2, yet the NX1 shows less detail and more muddiness due to the noise reduction.  Also the NX1 is far sharper in 4k and HD but has more aliasing and moiré in the latter.  
Anyway, I'd really like to hear your thoughts on the difference between the images I'm yet undecided of which system to keep, even though the NX1 would finally fulfil my want.. or need of a 16-50mm f2.8. 

Oh sh*t, that Kangaroo must be annoying! Try a different cable perhaps? You might just be unlucky with that. (had a similar issue with my F3+Samurai, until I swapped it out)

Also if you need to 'mix' bass frequencies you may be better off using a good pair of headphones as these will have a more accurate base response than a cheap subwoofer setup in an untreated room. By 'good'  I don't mean mega expansive either - Sony DMR 7506 or equivalents are 'industry standard' for monitoring recordings and should be part of anyone's sound production kit.You will still be better off mixing the mid an upper frequencies with monitors as they will give a better stereo presentation but bass is not very directional so use headphones. 

Hey guys,
 
I´m a great fan of classic Andrew Reid stuff like this one telling about Richard Gales Nex5 mod.
Are there any other cool mods going on by Richard or others? I just think this looks so pretty:)
Here is this super cool article by Andrew:
http://www.eoshd.com/2012/07/mystery-camera-revealed-sony-nex-5n-in-cine-housing-with-cooling-mod/

@mercer
I am with you! Give me raw for 200euros! why not?! I am not against the workflow (even though it doesn't fit my profile at all), high end features are always welcomed, in whatever price range, my point is that in this entry level category, not a lot of people care about raw, most just need dependable, reliable machines to work well day in - day out, and even cheap media and less backup space play their role in this category (NX's H265 rule! as I keep 2 backup and 1 working project). That's is why the most used camera in my country is still C100 (even the older versions), and FS5 sell as well, mostly because of the e-ND function.
Ursa mini Pro with the EVF, SSDs and battery options are almost 10.000
FS5 needed a 600$ update for that (I am not sure what's the policy now) and you needed a top of the range external video recorder, while the 4300euros Canon C100markII does 35Mbps 1080p.
I am not trying to bring you down, I just like to be realistic with my expectations and the market we are in. If you don't understand why someone would choose a Canon C100mark II, a FS5, or the new Panasonic instead of the GH5 (even in this market) then these cameras are not for you, GH5 or an older Black Magic are just fine for your workflow I guess. To be honest, I would prefer a price closer to 5000euros, and let Canon/Sony to worry about their pricing, with or without raw.

I'm speaking under correction here, but I don't believe the Varicam LT shoots RAW  without an external recorder....if I'm correct about this, and can't see how there would be any business incentive for them to put it in their next down the line Cine cam.

If you are a one man crew then I think it is an even stronger argument not to shoot raw. You don't want to be fluffing around with AC or DIT duties.

I'm really curious to hear about how to monetize on streaming, particularly with bit torrent, etc. getting in the way. Can you PM me?

Not sure where you're going with that? Are you leaving EOSHD because you feel like you've outgrown it or something? Or was it just the point of saying 'thanks' for allowing the guidance of your journey to your present day situation?
So, I take it everyone is welcome here whether you own a cellphone or a RED. But... there's a lot of people that could use some help figuring all this shit out when starting out. And there's just too many places that are too pro, too serious and couldn't care less about n3wbz. I feel like here, there's no judgement, whether you're using a Sony F35, URSA Mini, GH5 or T2i/550D... it's all good, it's about getting the basics right and being able to deliver convincing content and there's more to that than an expensive camera. Think the crowd here is mix of professionals and enthusiasts that aren't quick to judge and are supportive of eachother. Positive vibes. There's too few places like that around on the good ol' interw3bz. Anyways. There's continuously going to be people starting out and not that quick to drop $3k+ on a camera and of course the core that gets more experience and higher end equipment as time goes on. That just allows for more interesting insights and knowledge to be spread around here, so personally I don't see the DSLR community going anywhere... if by that you mean the users of consumer & prosumer DSLR and mirrorless cameras that want to practice their art and be executing their talent as cinematographer or filmmaker. And isn't an URSA Mini a mirrorless camera at the end of the day either? And one more accessible than an ARRI?
Seems there are a lot of 'coffee and <insert interest>' events popping up everywhere. I feel like maybe this is a 'coffee and filmmaking' hangout, where you can just talk about whatever is on your mind filmmaking related (or occassionally even otherwise) amongst people with similar interests.

Almost for certain I'd go for ProRes or some other similar but high quality compressed codec (such as AVC Intra). 
Had exactly this discussion too with a director that I was going to shoot a feature with (although that sadly hasn't happened yet, as his life went through a few upheavals out of the blue that he had to focus on first), he is a diehard raw fan! 

But when you are so very constrained with resources when it comes to time/money/people, then that little extra 1% gain from raw is just not worth it. 

So ProRes HQ it is! (was going to be shot with a mix of Sony PMW-F3 / BMPCC / BMCC, although we did for a little while have access to an F5 too)
Although we did kinda come to a compromise that on very very very rare occasions then we might shoot specific shots in raw instead, where we/he thought it would really benefit from raw for that shot.
 
 

I'll never understand why when a discussion of zooms comes up, the question of 'how much reach do you need', never comes up. 

Holy crap! So old! Haha. It's ridiculous how long Canon takes to move. 

..or maybe this one http://www.eoshd.com/2014/03/canon-4k-refresh-c200-c400-coming-nab/        !!!
a 3 years full circle!

3 isn't a great range scale for a rumour is it?
That only gets you from almost certainly true to could be true to no way is that true.
Or from Elvis is dead to Elvis is alive to Elvis is alive and spearheading an alien invasion of 9 foot cyborgs in rhinestone clad jumpsuits.
I might start a rumours site with a Spinal Tap scale where the rumours go up to 11.
 

SxS and P2 are both used still often enough on many many sets. I used SxS very recently, & I think next weekend's shoot will use P2. 
Wait and see what the specs are of the Panasonic. 
For all we know, it too might have: adaptable mount, high FPS modes, variable ND, 10bit internal, raw output, etc 

But even if it doesn't.... wouldn't you rather have the dual ISO and colors of the Varicam over the FS5's limitations?
Because only the small oddball outsiders like Blackmagic Design and Kinefinity are letting you use off the shelf consumer SSDs. 
All the big established players are insisting you use typical media formats like in the rest of their cameras. 
Which is why I'd be very surprised to see a Varicam that let you record straight to an off the shelf consumer SSD.
Going from GH5 to a7S mk3 would be a strange sideways "upgrade". Anyone doing that is probably suffering from gear addiction syndrome.....   and needs to slow down!

I suspect the price gap between an FS5 and this new Varicam will probably be small enough that it won't be the biggest factor when people are choosing which camera to go with. 
No thanks, 80D would be a massive downgrade from a G85

And it is just a momentary blip in time that there is a large price and feature gap between the G85 and GH5, because the GH5 just came out. 

Very soon enough if we are just patient and wait, the G90 will come out which will close down the gap with the GH5.  And we'll probably see a successor of the G90 to come out as well before a GH6 arrives, further reducing the gap between the GH and G line ups (even catching up and exceeding the GH5! Like happened with the GH4 and GH3 before it). 

I know!...lots of talk about the new mystery camera....but the LT is what I really want....IMO simply nothing to touch this exept the F35.... which was over a $200,000 more than in 2008 and shoots in 1080P only....but this dual ISO feature is saving producers a lot of money as the Varicams are being used more and DP's love it....but the color and the image!...it's all there!...even the LTis a brute in size though....you hit the 20lb mark with it pretty quickly!

4K in a Canon Cinema camera you say. How does $ 8 000 sound? I'll bet they will continue to sell c100 mkii and c300 mkii at the same price as now and place this new model right in the middle. 

When even multimillion dollar productions are not shooting in raw, I don't believe it to be a big deal breaker at all if it is missing out on raw from the new lower priced Varicam. 

So long as there is from the Varicam sensor an internal 4K 422 10bit and 2K 444 internal as well, then we should all be very happy indeed! :-) 

SxS and P2 are both used still often enough on many many sets. I used SxS very recently, & I think next weekend's shoot will use P2. 
Wait and see what the specs are of the Panasonic. 
For all we know, it too might have: adaptable mount, high FPS modes, variable ND, 10bit internal, raw output, etc 

But even if it doesn't.... wouldn't you rather have the dual ISO and colors of the Varicam over the FS5's limitations?
Because only the small oddball outsiders like Blackmagic Design and Kinefinity are letting you use off the shelf consumer SSDs. 
All the big established players are insisting you use typical media formats like in the rest of their cameras. 
Which is why I'd be very surprised to see a Varicam that let you record straight to an off the shelf consumer SSD.
Going from GH5 to a7S mk3 would be a strange sideways "upgrade". Anyone doing that is probably suffering from gear addiction syndrome.....   and needs to slow down!

I suspect the price gap between an FS5 and this new Varicam will probably be small enough that it won't be the biggest factor when people are choosing which camera to go with. 
No thanks, 80D would be a massive downgrade from a G85

And it is just a momentary blip in time that there is a large price and feature gap between the G85 and GH5, because the GH5 just came out. 

Very soon enough if we are just patient and wait, the G90 will come out which will close down the gap with the GH5.  And we'll probably see a successor of the G90 to come out as well before a GH6 arrives, further reducing the gap between the GH and G line ups (even catching up and exceeding the GH5! Like happened with the GH4 and GH3 before it). 

@mercer Read 80D, replied with the only words worth of this camera.
As you know C100markII is my favorite camera for most uses, but if there is a C100markIII with 4K capabilities (and it should be, really soon) then it won't cost 4500 euros, so the new Panasonic will compete with the III, and not the II. The C100markIII it can be north of 6500euros, to close the gap between the 13.000 euros Canon C300 mark II (and look at those specs for 13.000euros).
When they are both out we will compare and decide (I am definitely in the market for such a camera), I favor Canon in general, so many years they have treat me good, but as you know I am brand agnostic, whatever works; but in 2017 I can't buy a 4500 camera with only 35Mbps 8 bit bitrate, even though it is a magically robust codec.
Raw isn't something they will give for cheap, even the new Ursa reaches 5 number price territory if you include all things necessary. I can accept such a camera for 6500euros, if it has everything else I need in that price range, and get raw out of a Atomos or Video Devices recorder.
Seriously, for more expensive products we just rent a camera, but of course it is good to have raw with some way. Now, if Pana gives as raw in that price range, then thank you very much!
In my next buy I would like to use more dual pixel technology, so ideally I would like a C100markIII (or C200, whatever it's called) and a CN-E lens.
P.S what's wrong with G85?! I consider it to be a more advanced camera than the 80D, and native lenses are just fine. GH5 is extremely cheap for what it offers. Unbelievably cheap, and there is the GH4 for less than 999$ as a worthy option. 

@mercer 80D is a joke of a video camera, I do not understand why it is mentioned here.
I guess you have misunderstood the whole industry, the productions that need raw are so few in the general video creating scheme of our times that it ain't even make a dent to sales. Even for documentary TV series C100markII or 8 bit 4:2:2 is mostly adequate.
If you do a few projects per year and have all the time in the world or a big budget, then ok, most of the time we are rushing to keep into deadlines, and raw workflow isn't the fastest or most convenient one (both pre/pro and production wise).
Every company protect their product lines, and that make sense for customers as well. What is the point to have a lot of similar options from one company, it doesn't make sense. Just check car companies and their models (take Citroen par example, where their product line is very clear) and you will understand how things work.
Also, to keep with the car terminology, a racing car (raw) has the absolute power, but a professional needs a small van 7 times out of 10, and the rest 3 ain't a sports car either!

Ahhhh....... heaps better!

Its a garbage patent.  The fact that it expired several years ago - and hence is now in the public domain - and yet nobody has used the "technology" to produce anything should tell you something.  The Kodak patent example is huge, slower than f/5, and basically doesn't work.  The clue that something is seriously wrong is that the entrance pupil of the attachment - which must lie at the exit pupil of the attached lens - is tiny and located right next to the first surface of the adapter.  This will result in severe vignetting with just about all lenses.  I can't imagine that any prototype was ever made.
If you restricted yourself to telephoto lenses having an extremely long back focal length you *might* be able to design one that works, although US5499069 is non-enabling and you would have to invent something from scratch.  The Kodak patent is completely useless if you want to make a general purpose focal reducer that will work with any SLR lens.

Sure, any other laws of physics you'd like me also break for you? Faster than light travel? Apples to fall upwards? Kiwis to fly?