IronFilm

My experience: "Pro" means in fact 70% very good marketing and sales skills,,,Only 30% is about filmmaking skills. And marketing skills means, try to impress customers with technical assets, specifications and "spectacular" or expensive looking gear. Professional and successful work (from the point of view of the customer) has nothing to do with stellar expensive gear - but this is something, most customers don't know... ;-)
At the end of the day, the story is quite simple for filmmakers doing paid jobs: the result should be the most important criterion: acceptance, views, sales, reactions and impact of targeted audience...But after failing, many film providers try to perform lame excuses by pointing to technical criteria as excellent resolution, contrast, color and image quality...I never saw a RED shooter admitting, his work was worthless for the client... :-))
The gear doesn't tell any story - even an 8K RED is useless as storyteller. And it's all about a story and emotion...

Thanks Andrew, this is a good article. 
I think consumers will be perfectly happy with their smartphones. They will get better, and consumers will have no need for another camera - it's not perfect, gorgeous, well composed shots they are bothered about. 
This reflects through platforms Instagram and what content is popular.  Long gone are the days when Instagram was a creative photo sharing network..... you get FAR more likes on Instagram for a noisy, badly lit selfie of yourself eating a takeaway pizza, rather than a magnificent, beautifully lit, well composed shot you'll never match again. 
Again, because of the consumer onslaught of constant videos and photos being uploaded and shared online, there's some great stuff out there which isn't getting a look in. Actually getting anyone to give a crap about your latest masterpiece is much harder. A video of a drunk fat man dancing is widely far more interesting. 
Coming to cameras - we are that the point where they actually matter less. Models are getting replaced within months, users are on and endless buy-sell cycle to have the latest, and many people are not really learning their craft properly because they can't keep hold a camera for long enough. Lenses, lighting and camera movement have a FAR FAR greater impact then your camera. There's really no point in constantly changing, swapping , upgrading. It's a waste of time. 
Recently, I got an FS5 and soon an external recorder. I can grade the Slog footage well. I have everything I need - LOG, HFR, ergonomics, audio, blah blah. Man I can now do 200fps RAW!! But since having the camera, my videos haven't improved at all. I have more bells and whistles.. but it all comes back to what the hell I am actually filming with it. 
Sometimes, something does arrive which will dramatically improve your work, or will heighten creativity or make your life easier. However this camera race is far too distracting for many of us, and for a large bunch I think some people have took the eye off the ball as to why they are using cameras in the first place. 
I'm sticking to what I've got, and will be spending time on throughly improving my skill set, rather than my camera arsenal. 

Northrup's point is the tortoise-like advance of dedicated cameras have been bypassed by smartphones, leaving cameras that feel clunky and archaic, esp from a consumer UI and ease-of-use standpoint.
However he did NOT address that this was likely an unavoidable development, rather he implied it was poor decision making by the camera manufacturers. 
Apple is on track to spend $10 billion per year on R&D -- Nikon spends $550 million. Apple spends more on R&D than every camera company on earth combined (unless if you consider Samsung a camera company, who spends even more than Apple -- $14 billion). For many people the cost of their smart phone is subsidized by the cellular carrier. This produces a mobile device that is unusually powerful, very refined and artificially cheap relative to a consumer camera.
It is not just limited to cameras. I have the highest-end automotive Garmin GPS. It is OK but the UI is nowhere near as responsive as a 2016-model smartphone. Garmin's annual revenue is 1/100th that of Apple or Samsung -- they can't spend the R&D of those companies, and there's no cellular carrier to subsidize their product.
Of all the companies making cameras, Samsung might have the highest annual revenues. It's further interesting that the NX1 was probably closer to Northrup's ideal camera than most others.
My point is there is a lot more to implementing Northrup's vision than the *idea*. Implementing that at a polished level and a consumer-affordable price requires an *immense* and ongoing R&D investment. Admittedly there are also the corporate cultural issues of a camera/instrument hardware manufacturer in a software, UI-centric world, but I question whether Canon and Nikon could have delivered Northrup's ideal consumer camera in a timeframe to make any difference -- even *IF* they had the vision.
Like you, I am not sure if it would have made much difference anyway. This is a tidal wave of change sweeping across the photographic landscape. The idea that consumer cameras could somehow "carve out" a protected little enclave by adopting a  few more consumer-friendly features is questionable.

Now we are talking.
inspire 2 announced with 5.2K raw and 4K60fps raw. H265 is here too. And they will have a new kind of Osmo for it. 
In 1" or 4/3 format. You pick.
Isnt it funny that the best specced cameras on the market are released by a drone company without video experience? VS jokers like canon who will release 4K60fps raw and H265 in a camera of the size of a GoPro in maybe ..... we'll never. 
http://www.dji.com/mobile/inspire-2

Great value indeed, would buy in a heartbeat if I could get a PAL version at that price. But thanks for posting it.

Solid topics here and confirmed what I was thinking about keeping it simple. Thanks for the advice!
Okay, still working on my notes but so far here are the topics I am going to cover... tonight I am gathering reference material and diagrams. Any suggestions would be grand, I will share the finished document with you all in case it may help some of you do something similar in future. I will also give my thoughts on what worked and what didn't later in the week. The kids will have access to my company equipment for the exercises - GH4, Micro Cinema Camera, Shark slider, iFootage Mini Jib, Zhiyun Crane and other stuff.
Camera
What do you know about cameras?
Resolution HD and 4K
What makes a camera a good camera? - dynamic range, moire, resolution, noise colour, control, Different cameras for different jobs
Links to cheap and good cameras
i.F.A.S.T. (iso, focus, aperture, shutter speed and temperature) Doll Exercises, Private Ryan opener viewing, relationships - aperture, iso and shutter diagrams
 
Light
Importance of light
Colour temperatures (daylight and tungsten and compensation)
3 point lighting (screenshots of build up - excersice on doll)
Controlling light (working with natural light i.e. the sun, reflector and diffusion excersise)
 
Composition
LS, MS, CU, XCU illustrations
Law of 3rds illustration
Headroom illustration
Zero Horizon illustration
Depth of Field illustration
Breaking the rules (dutch angle, low angle power shot) illustrations, google interesting shot compositions
Exercises in above
 
Movement and support
Tripod
Rig
Slider
Steadicam/ Gimbal
Jib
Exercises and shot examples from youtube i.e. screenrant, andyax, etc
Never shoot handheld (show rolling shutter jello, jitters)
Cheap phone solutions (links to selfy stick jib, cage, mini slider)
 
 

Yeah, the ergos are nice. A lot of profile option for that 35mbps codec though:) It´s not my camera. Friends and me got it from school to shoot with. It sure doesnt
like purple gels though:) Lumix G6 was more forgiving. Maybe saturation was too high.
By the way, another digital oddity would be the Canon Powerhot Elph 300 (Ixus 220 HS). It even has stabilization and is hackable with chdk hack.
no info about manual video though.
 

I hope he uses it to make Canon release C-log on their DSLRs and Samsung to resume the NX line.

Look I'm not saying its a good or bad idea, but your assumption about border walls is wrong. Israel made a huge one, and its unbelievably effective. Even Palestinians admitted its very effective, and they are master of tunnel making. 

I'd rather concentrate on the movie industry. Perhaps new rambo movies getting along? I really liked those movies from the Reagan presidentship ;-)

IMHO, your Killary wasn't better. At least now her bloody hands are out of Libia, Irak, Siria, etc.
 
Mine is another useless post, nothing to do with the camera world (sorry)

A successor to D750 will most certainly have 4k, since D750 has been positioned to be a good allrounder for photos & videos.
Sooner or later they will add 4k to the APS-C models below D500, but according to Nikonrumors.com it doesn't seem like there's any 4k in D5600 (and his sources are usually correct).
I wouldn't expect 4k in Nikon's APS-C cameras until early spring 2017 at least. I'd expect the next Nikon camera to be released with 4k would be a D750 successor.

The reason why it is not included could just be as simple as a) it is an old OS & b) BMD is a very small company and doing testing for every possible software/hardware combo takes time and is expensive

I'm very tempted by these:
http://www.newsshooter.com/2016/05/10/nab-2016-spot-lights-on-a-budget-aputure-launch-ls-c20-led-mini-fresnel-for-199-us/

I think these are what I'll order next for my lighting kit, once my next few audio purchases are sorted out.

I just struggled a bit with this very issue, and here's what I ended up doing.

I started with a couple used Mole Richardson 1K fresnels. I got each for about $150 off eBay, used in good condition. Beautiful lights, very robust, and easy to control. They're my bread and butter--I use them on everything.

Next, I hopped over to Home Depot and picked up some dirt cheap clamp lights. Fitted with some high-wattage incandecent bulbs, they're great for accents, hairlights, background splashes, etc.

Next thing on the list (should be coming this week) are a few ETC Source Four Pars. $70 each shipped, again used. These are 575W tungsten fixtures, but the design of the bulb makes them about the same output as a 1000W open face. These are great for bouncing or pushing through diffusion if you just need raw output, but they also come with 4 lenses: wide flood, medium flood, narrow spot, and very narrow spot. These attachments don't produce the same quality as a fresnel, but they're usable as direct light and easier to control than a redhead. I've used them on a few sets for background punch, kickers, and even as an effect spot for a dream sequence, and they're surprisingly versatile. You can even pick up 3rd party barn doors for $15 or so. Dollars per lumen, S4 Pars are unbeatable.

As soon as I sell off a few more things, I'm picking up a couple Aputure Amaran 672S LED panels. Excellent CRI, dimmable, run on batteries or AC, remote operable, and easy to diffuse (if necessary) with the built-in umbrella mount or Aputure's softbox attachment. I'm debating going with the Ws instead, as I already have enough hard lights, and maybe a variable color temp version, but we'll see how things pan out once I'm actually ready to buy.

Last item on my wishlist is a Lowel Rifa. I admit, this one is a luxury item; it's essentially a big tungsten softbox, but what makes it cool is that you can have it out of the bag and set up in maybe 20 seconds because of the slick way it collapses and expands. Great for motivating interior lights, as a dramatic toplight, beauty light, or anything else you'd use a big soft source for. Some of the newer Rifas even have a system where you can replace the tungsten fixture with three florescents, lowering your power consumption and giving you the option of daylight balance. Very nice. You can find used ones missing the front diffusion sheet for reasonable prices, then just replace the front for $20 or so.

Just remember, don't skimp on light modifiers, stands, and flags.

Go back to Home Depot and find those big 4x8 ft. pieces of styrofoam insulation--white on one side, silver on the other, 1" thick--cut them in quarters (halves if you have the space), and wrap the edges with gaff tape. Bingo bango, you've got some pretty dope bounce boards! If you're using fresnels, grab some used scrims off the 'Bay. They're a little pricier than dimmers, but they won't mess with your color temp when you need to knock down your output. Buy some basic Lee Gels (get these new) in all the essential flavors: CTB, CTO, Straw, Diffusion, ND. They sell a combo pack of 1'x1' gels that include all these, as well as more exotic stuff and some fun colors (primary red is a personal favorite). Grab a bag of clothespins to hold them on your barndoors, and 1" pony clamps for anything else that needs securing. Grab some blackout fabric (duvetyne) for negative fill and controlling spill. Extension cords seem like a "duh" item, but you'd be amazed how many beginners forget about them. You can't be loading 4000 watts of light onto one circuit, so keep enough of these around to run power everywhere you need it. Lastly, some black wrap (I use Rosco Cinefoil) is great for any time you need to shape a light on the fly. I like to cut mine into big, useful-size pieces so they can be reused from project to project.

When it comes to stands, it's hard to cheap out. You simply don't want to trust heavy, expensive, hot lights to a subpar stand. Most brands are great, although my friends speak pretty harshly about Impact. I haven't used enough to confirm or deny. A lot of people like to use C-Stands for their lights, especially the Matthews ones. Personally, I think they're best-used to hold your bounce cards and flag, as the leg design and articulating arm on the top make gripping and positioning modifiers quick and easy. A good one will run you $180-200 retail, although areas with more local filmmaking may have some on the used market for less. In terms of actual light stands, my favorite for the dollar is the Kupo Master Combo HD Stand. It folds up nicely, has both a baby pin and a junior receiver, gives you a leveling leg for uneven surfaces, a solid steel construction, and can hold up to 88 pounds. What a beast! Best of all, they only cost $150 retail. Use these for your fresnels, Rifas, or anything you need to fly high. Don't forget to pick up some sandbags to keep all this from tipping. I have a set by Impact filled with fine gravel from Home Depot (I feel like they should be paying me for this). Lastly, for your C-stands, some Matthews flags are a staple in any grip's kit. It's essentially just a sheet of black fabric on a metal frame with a post on the end for clamping into a c-stand knuckle, but they're invaluable for shaping your light the way you need it.

This may seem daunting at first, but the best way to learn is to pick up the basics and start using them. Practice makes perfect, and lighting is no exception.

Cheers!

I got the Dedos last night. A lady got them for a theater production and had them laying around for quite a while untill she decided to put them online for sale. I had a good fiddle with the set and the way they work beam/flood and light fall or lack thereof made me getting them. Thanks again!

My impression of Roland equipment is of the highest order. Great price, once again, wish I was living in the States!

Dedolights are normally way way more expensive than redheads, so if they're the same price and you can't make up your mind....    then it actually is a no brainer, get the dedolights every single fvcking time!!! :-D

For those looking at an alternative to the Zoom F8, I noticed that B&H has a "New Arrival", refurbished Rolland R-88 units selling at nearly half their launch price (I guess Zoom is providing some serious pricing pressure! They might even be new units, and only "refurbished" in name only?!):https://www.bhphotovideo.com/c/product/1286630-REG/roland_r_88b_r_88_8_channel_recorder_and.html

Dedolights are normally way way more expensive than redheads, so if they're the same price and you can't make up your mind....    then it actually is a no brainer, get the dedolights every single fvcking time!!! :-D

Hello:
         Again the boys lantern MGIC surprise us. A1ex, just determined as record the raw video in 12 bit or 10 bit, although it is a finding emerging, it is only a matter of time to debug the application and develop a specific module raw 10 or 12 bit.
As you know, the problem of actaul RAW 14 bit, is what is fantastic, but you need very fast and stable cards (1066x) to record on average 4gb x minute and sometimes, depending on the quality of the card becomes unstable recording . With the current discovery means we can record RAW, but with greater stability and less space or at a higher frame rate.
Today is a great day for the Magic Lantern filmakers community.
regards
Katrikura
Sorry for the bad English
 
http://www.magiclantern.fm/forum/index.php?topic=5601.300

Exactly. I think these companies were on the verge of making perfectly organic HD and then they decided to go for thin and brittle 4K instead. 

Pleaded:
https://www.youtube.com/watch?v=vK5DigCpzeI&lc=z13qxtqyrvuus1g5a04cjnlrysrgvz4gvlc0k.1478039068043991
 

Well...it kind of was to be expected that the Karma wouldn't be as stable in the air or have all the flying features DJI has developed over the years.
But the point where GoPro totally dropped the ball imo is by not having improved the codec and overall IQ over the 2 year old GoPro 4...

That was the one thing they had going for themselves and they chose to leave it completely untouched..shame.
 

I just got a D500 to complement my other FF Nikons and it's a sweet little camera. I don't really notice that it's not full frame, and it matches my D750 so well that I have to check to see which files came from which camera. I'm mostly a stills guy, but I have shot video jobs with the D750 and I like the video I get from it, it's got a really efficient codec but there's still a little bit of room to grade, and once I get the loupe on the screen I don't miss peaking at all.