IronFilm

What if there were no 4K available in cameras today? Would you still recommend an A7something, GH4, NX-1, based on their other features? I like some of the high FPS slow motion coming out on new cameras, but not enough to be the sole buying point.
I need to record video for work - A few talking heads, how-to steps, finished product, QA testing, etc. It will never be at a theatre near you. I do not need 4K, just clear quality and pleasant colors. Used models are also fine.
Staying at 1080, what camera system would you recommend based on quality, features, workflow, codecs, etc. ?

If you're used to Nikon then get the D750, and don't forget the lenses are as important as the camera. What do you use with the D200?
If D750 is out of your price range get the D5300 or D5500.

I've been using RJ Lens Turbo and Nikon G adapters from the start. They're great, nothing "quick fix" about them!
You'd have to be an absolute bonkers idiot of the first degree to damage your lenses with one of these. And as you're smart enough to read EOSHD and post on this forum I'd say you're not that :-)

I've been using RJ Lens Turbo and Nikon G adapters from the start. They're great, nothing "quick fix" about them!
You'd have to be an absolute bonkers idiot of the first degree to damage your lenses with one of these. And as you're smart enough to read EOSHD and post on this forum I'd say you're not that :-)

you are right, I'm done with their conflict of interest.  
The connection between the president of Red owning BMCuser.com and DVXUSER.com is not healthy for this industry.  I ask all of you to take those sites with a grain of salt.  
Anything bad they say about Andrew Reid can be said a million times against Jim Jinnard and his Reduser reign of terror.  And he's a billionare.  Andrew Reid is just like you and me - just a guy who is trying to improve his cinematography skills. 
I will not be bullied by a billionaire and his army of "Yes Men" and "Board of Bros."
I hope all of you guys can see this too.  It feels good to not be the only one disgusted by how they run their camera forums.
UPDATE - now I feel sorry for the mod who deleted my post.  He is moderating with 27,000 posts a website owned by the president of a multibillion dollar corporation and has to pay for his little ads for his books on sound etc - 
 
So you spend countless hours on this forum and have to pay for your ads? On a forum that is owned by the president of Red camera which is a multimillion dollar corporation owned by a multi-billionare?
Wow okay I'm sorry for calling you a liar. 
But now I feel sorry for you.

 
  Originally Posted by David JimersonYou did call me a liar. Which is an insult. It's also untrue. I haven't lied about a thing.

I do pay for my ads, not that it's any of your business. Have from the start.

Do you pay for the link to your own website in your own signature? (No.) Why is that link there? By your own reasoning, doesn't that make you a "paid employee" as well? If not, why not?

RED is not our parent company; Jim Jannard sets absolutely no rules about how we moderate DVXuser, and Jarred has no involvement here anymore. (He could if he wanted to, but he doesn't.) These are all facts. Your refusal to believe them don't make them any less factual.

I don't have anything to say about Andrew. Like I said, he can say whatever he likes.


   Originally Posted by eddavid  Originally Posted by David JimersonI am no more a "paid employee" of this site than anyone else who runs ads on it. Lowel runs ads for lighting systems -- are they paid employees?

I will admit to a chuckle when I read that. 

   Originally Posted by eddavidNo actually it does. You are generating income from the site. Therefore you are a paid employee - you get paid in advertising. As a paid employee, you are consciously or subconsciously following a code. Because you have a vested interest in these forums.
   Originally Posted by David Jimerson'Coz I don't wanna. Has nothing to do with anything.
   Originally Posted by eddavid  Originally Posted by David Jimerson  Originally Posted by eddavidAnd you like to sell books.I was a mod here for years before I had anything to sell. My participation here isn't necessary to sell anything, anyway.Then why don't you get rid of your banner ads?

I don't have thick skin. I did call you a liar. But that's not an insult, it's the truth. 
Lowel pays for their ads. Do you pay for your ads?

Jim Jinnard runs Red camera which Jared Land, CEO of Landmine Media which owns reduser dvxuser etc is the president of.
Don't you see the conflict of interest?

Anyway I am glad you chuckled. That takes the air out of it. For you thinking that I was threatening you. When I wasn't threatening you.

I am very, very, very curious to hear your take on Andrew Reid. He already told me his take. Please do tell. 

yup, you can find them all day long at about two thousand dollars secondhand, and if you hunt hard it isn't impossible to get it even cheaper. 
 
That would be me you're referring to :-) And yes mine does come with 444!!
But even so, I think you're over stating this point. As I think most people like myself who are buying it up now in 2015 on the ultra cheap, are not going to pair it with an ultra expensive 444 recorder but will instead use it with an affordable 10 bit 422 recorder. (Although, this is changing and improving too! As now the PIX-E5 offers a very affordable option for 444 recording)
So keep an eye out for if a camera comes with 444 or not, but in the end I think what matters more is getting a good bargain on its price. I'd still buy one again even if it didn't have 444 as the price is great. 
 
Don't think you can reasonably compare an FS100 over an F3 (unless you *really want* that lighter weight, or the E mount).
No NDs, no s-log, no SDI, no 10 bit, and the list goes on. These are serious commissions vs an F3.
However, if you can pick one up cheap enough..... I wouldn't say now. Would have to be somewhere well south of a thousand dollars however before I'd consider a Sony FS100, otherwise it simply doesn't offer enough value vs an F3.
Quite pleased in how it is in low light, I shot a music video a couple of weeks ago with the F3 and 2x Sony A7s alongside it, in a cave lit by nothing but the flaming torch in the ogre's hand. When I can, I'll post it here and see if people can identify which shots are A7s vs F3 ;-)

yup, you can find them all day long at about two thousand dollars secondhand, and if you hunt hard it isn't impossible to get it even cheaper. 
 
That would be me you're referring to :-) And yes mine does come with 444!!
But even so, I think you're over stating this point. As I think most people like myself who are buying it up now in 2015 on the ultra cheap, are not going to pair it with an ultra expensive 444 recorder but will instead use it with an affordable 10 bit 422 recorder. (Although, this is changing and improving too! As now the PIX-E5 offers a very affordable option for 444 recording)
So keep an eye out for if a camera comes with 444 or not, but in the end I think what matters more is getting a good bargain on its price. I'd still buy one again even if it didn't have 444 as the price is great. 
 
Don't think you can reasonably compare an FS100 over an F3 (unless you *really want* that lighter weight, or the E mount).
No NDs, no s-log, no SDI, no 10 bit, and the list goes on. These are serious commissions vs an F3.
However, if you can pick one up cheap enough..... I wouldn't say now. Would have to be somewhere well south of a thousand dollars however before I'd consider a Sony FS100, otherwise it simply doesn't offer enough value vs an F3.
Quite pleased in how it is in low light, I shot a music video a couple of weeks ago with the F3 and 2x Sony A7s alongside it, in a cave lit by nothing but the flaming torch in the ogre's hand. When I can, I'll post it here and see if people can identify which shots are A7s vs F3 ;-)

And now the cheapest from ebay is $1525. 

I'm hoping for a precipitous fall for f5 prices soon.

So much choices it's crazy f3 for peanuts, bmcc 2.5k is sub $1000, C100 sub $2000 and still everything is dropping. 
In Sweden a c100 is cheaper than a 5dmkiii. A few years ago it was what, 4 5Diii on one C100?... Crazy I say  

There is one for $1500 (current bid, ends tomorrow) over at ebay: 
http://www.ebay.com/itm/Sony-PMW-F3L-Super-35mm-XDCAM-EX-Full-HD-Compact-Camcorder-/111737756631?hash=item1a0416dbd7
 
 

Don't be so ridiculous! I reckon absolutely nobody will ever be recording 24hrs straight with the URSA Mini in 4.6K

Either they can do lightweight ProRes flavours, or it will be stop/start for 24hrs, or they'll be offloading and cycling cards along the way.
Which thus then makes the URSA Mini waaaaaaaaaaay cheaper vs film.

I don't know if I would put Red and Arri in the same category.  The Red Dragon had quite a few issues and still does - having to pick between a optical filter that allows for highlight handing but effectively makes it a 320 ASA camera without seeing noise in the shadows or a low-light camer at 1000 ASA with very similar limited highlight control and orbing issues is something that in the states made many people turn away from using the camera on shoots.  Plus of course the awkward HD-sdi placement, fan noise, etc - and pretty much all of the world is shooting high-end digital on Arri camera.
But with that said, I own two red one mx - and I love the image I get out of them.  It's so good, in fact, I never replaced them with red epic mx cameras.  I'm very happy with them.
I think no one should preorder and BMC does release sometimes too early - I really believe in waiting a year or two to jump and then you can get a camera at 50% off, and in the meatime, first just rent it out and test it.
The Sony F3 seems to be a much better value than the a7r II based on Andrew's review and right now they are selling new for $4k - or used for $2k - less moire, rolling shutter.  And still has s log and nice color and skintones.
I really don't quite get the rush to have cameras that don't exist yet.

my advice is to never buy such a card. If it fails on you the whole day is gone.
30min is about maximum I want on any media. Spread the eggs.

I don't think price is an issue for what you get with the URSA Mini. Some people are complaining about the price and forget that you get a 4.6k sensor, high frame rates, 15 stops DR, internal raw, ProRes codecs, strong ergonomic body, large 1080p screen, 1080p OLED viewfinder and other things. (all above and beyond in features to other systems in this price range). 
Then consider the Mini doesn't use proprietary media and accessories. Invest into RED or the F55 and you are stuck with the £££$$$€€€€ spent on those items, like REDMags and SxS cards. That's a worthy benefit too. 
Also consider the full version of Resolve 12 you get for free, which does have some significant benefits over the free downloaded version. 
Blackmagic have nothing on the history and reliability of Canon, Sony, Panasonic. But to achieve what they have done in just 3 years is fantastic for this industry. 
 

I've owned a total of 8 BM cameras. Zero issues. No hiccups. Worked every time. 
And not only have they worked like advertised, they have been improved via Firmware. And I dont mean bug fixes, I mean real useful features added.
So if I wanted or needed an Ursa Mini I would have no problems pre-ordering. Also Im having a realy tough time not jumping on the brand new URSA 4k in an unbroken box that goes for $3200 on a classified here

Or maybe they just like their products? 

Seriously, why are people acting like BM cameras are so unstable? They have some quirks, but as sensors in boxes, they deliver. Not to mention that they have led the charge on providing features via firmware--features which were never promised and they had no obligation to provide. They don't crash like Magic Lantern, the more aggressive GH2 hacks, or even the newer RED cameras. And overheating? Their cameras have some of the best internal cooling of any camera out there. 

In terms of low-light, I'm not sure why people have so much trouble. I can easily push the BMPCC two stops (to 3200) without objectionable noise, and the Ursa Mini is reported to have a stop more latitude in the lows. Combine that with a downsample to 2K from 4.6K and you should be able to get a decent 6400 out of it. If you need more than ISO 6400 and an F/2 lens, your light probably sucks anyway.

Cfast are coming down. I just bought a Lexar 64gb for less than I payed for the 32GB a month or so ago.
And it's the same price as my first time buying the Sandisk Extreme 95mb/s 64gb that most of us now have a fist full of.

And it'll take a year for them to fix it. By the time they do, everyone will have built elaborate rigs for upside-down shooting.

Sad to hear BMD Video Assist is going to be the most delayed :-(
Maybe I just shouldn't wait, and get a Video Devices PIX-E5 now. 

Found this video here by Daniel Peters: https://vimeo.com/135591796
I was already rather impressed by the dynamic-range exhibited by the RX10 II. However, after bringing it into After Effects and pulling down the highlights by 2 stops, I was even more impressed. If only it were 10bit. Regardless, pretty amazing for the price and form-factor. Gives me high hopes for the (possible) BSI based "A7000".
Anyways, here's the original shot, followed by a shot with the highlights pulled-down, then a slighted graded, de-noised, and re-grained version:
ORIGINAL SHOT

 
HIGHLIGHT'S PULLED DOWN

 
GRADED, DE-NOISED, RE-GRAINED

It looks amazing, but out of my budget range - for the new sensor and a good set-up, they're asking for close to FS7 money.

And Lightworks is available for Ubuntu or Fedora/RHEL/CentOS as a $25 per month pro license option with no obligation, just quit when the job is done. I just used it for a show (using CentOS 6) where I had to go through a season of episodes, primarily to make batch lists for pulls. It allows you to create rolling cue points with name and timecode, then you can use those cues to create subclips or export a spreadsheet, which was exactly what I needed for editorial. I was also able to create custom clip overlays as templates with my reference name, source timecode in h:m:s, subclip runtime in frames, source reel name etc. Very intuitive interface.

That's why a lot of us would like companies like Samsung or Panasonic to start offering an internal 10-bit option. Then we wouldn't have to choose!  As it is, all these micro HDMI options are just a stopgap solution.

Hey Jonesy, I'm a Linux user primarily. Since the death of IRIX, most post production and vfx software that used to run on SG workstations has long since been ported over.
commercial post software includes:
Maya, Houdini, Flame, Lustre, Nuke, Shake, PF* apps, MochaPro, Mari, Mudbox, Arnold, Renderman, Lightworks
useful free software:
Gimp, inkscape, ffmpeg, mplayer, mencoder, dvdauthor (for screeners), VLC, OpenColorIO, and tons of vfx utility apps, see a list here: http://opensource.mikrosimage.eu/index.html
free communication and f-off related:
LibreOffice, Steam, Pidgin, Thunderbird, Chrome, Banshee, Rhythmbox, Spotify, Renoise, Bacula (for project/footage backups)
and of course more programming tools than you could list, I prefer to use GNU/Linux emacs. 
Still need a dual boot option though for certain things like taxes, incoming photoshop files, certain games, commercial audio like Ableton and Max.. listening to my old DRM files (thanks Apple).