jagnje

I was not comenting on the content. I understood the post as "see, gh4 in usefull for corporate as well". We know. I could go frame by frame with the awfull choice of locatios, terrible lit scenes, ungraded or very poorly graded footage, noise...I'm sorry I even comented. Forget about it.

well, this looks very bad.

I was just in bed for like 2 weeks...it happens every year, my body just shuts down. A few years back I was skateboarding for 1/3 of my time, the rest was filming and playing in a band and I was out for like 2-3day in a row max. Now it`s 2/3 filming and it`s starting to show. Filming is phisicaly demanding but not in a healthy excercise kind of way...I started cycling to work and I feel better now, I guess you just have to try and stay/live healthy as much as you can.

a camera that keeps on giving it has been on just about any production I have been on...at least for slo-mo. now that you can get one for like 3k...do you think the foloving would work: fs700 SDI out->sdi to hdmi converter->4k to 2k scaler ->atomos ninja2. For super clean 1080p image. A bit like they did on a7s before the shogun.

true enough it doesn`t have it :/

Maybe someone here can help me. I was using my tokina at-x 28-70 2.8 with manual aperture and the d5300 for the first time today and something odd happened. I would get a warning from the camera that I need to set the lens to the minimum aperture and lock it there, othervise it would not record. I had to switch the apreture on camera. If I push down on that little hook on the body mount it works normally for manual aperture. This does not happen on any of my nikor manual lenses. any thoughts? Maybe I should just tape over the electronic contacts on the lens?

well, for 4k h.264 yes...you probably ask yourself what kind of computers do pros use for 4k work. well the thing it that you never edit/color h.264 footage. I work on like a 5 years old HP workstation with 2 4 core cpus, a gtx960 card and 16gb ram. hardly cutting edge, but I work on either raw or prores/dnxhd files 4k files and it works perfect for the most of times. But I do usually work on half resolution. So in short, you either transcode your footage or deal with the lag.

well, lets just hope it translates into the XE2S as well.

hahha nice comparisonthe details that are not captured just simply aren`t there...no plugin filter can recover what isn`t there.

Nikon J1?

I have had my 550D for about 5-6 years and I still use it weekly for paid work. It was a budget camera when it came out and it`s pretty much worthless money vise these days. I would not film that show with a 2k camera, because it is likely that I will drop it to the floor, water, snow...fortunately I haven`t yet, but I know I will eventually. When I do, if it breaks I will get another one for less than 200, which is less that what I make on a single shoot. I own/have access to other cameras but I choose to work whit this one and the people I film for like what they get. What I`m saying is that use/buy the camera that suits your current needs. You never know what your future needs will be nor you know what cameras will be available in the future. I you were fine with the d5200 you will be fine with the d5300.

you are acting as if you expect the d5300 do die on you, and the d750 not to so, that was my response. From what you are telling us you don`t seem too need a FF camera, at least not for taking car photos. I gave you my advice from my experience. If you want a FF camera you should get one, it`s a good camera.

what if the d750 breaks down?

both will do the job. for photos and videos there in more that enought quality in the d5300 and you already have the lenses for it. No one can say if it will die in a year. My guess is that you just had bad luck.

That is cheap. They go for 200-300€ around here. I wanted one, but got a great deal in the tokina 28-70. I would love a review once you test it out. If it's sharp at 2.8 I still might get one.

I loved it.

how bad is the 50d in moire aliasing department?

well if the 1080p get very good I`m happy. I just wish they would go 2.5k instead of cropped 4k...or any 4k for that matter.

lets not forget that this will still be a 5k+€ pro stills camera. we need a sub 2k€ solution

hopefully they`re set out to dethrone canon for video

True. but the thing is that is us(filmers) who make ourselfs go thru this pain it the assery. the fact is that most of the shoots could be done with your basic dslr rigged up to our desires, and it would be fine for the 90% of the customers. I would love all of the above as well, but the requierments for 90% of the projects for at least a year or two will be the following(at least for me): FullHD, 25p, super 35. done. everyrhing else is a waste of money for me. The 4k s-log, c-log, etc...that would be for me, to film in my free time and to upload it to vimeo. I have a dslr, in a simple shoulder mount rig, a good tripod and head, a tokina 28-70 2.8, a nikon kit lens, variable nd filter, a few rc car batteries riged to power the camera externaly and a bunch of sd cards. I get all the lights I would ever need from a company I work for and I always have a sound guy with me. Everybody loves the image I give them, and I earn more than my rig is worth in a day, maybe two.

yup, 4k 60fps even...hard to imagine, compared to prior nikon specs. maybe h.265?

the thing is that a properly exposed image in the hands of a proper post production and proper colorist will look almost always look great. that piece of poo MK2 not even raw was used in mad max. I don`t recall seeing a one bad looking frame in that movie. Cameras such as sony F5 are amazing tools in the hands of people who know what to do with it and people who know what to do with the image afterwards. Almost never is that one and the same person. It takes skill and knowledge . We are seeing alot of crap footage from al sorts of cameras all over the web, because people don`t know what to do with it and I think that sony is making a mistake giving this kind of features on such consumer cameras, all the bad looking images cast a shadow of doubt on their equipment. This topic proves my point so some extent. On the other hand, as limited as nikon cameras are video vise you rearly see something really really bad, as long as the image is properly exposed. I think that cameras as such including the F5 should have something like a C-log, somewhat flat, but easy to get looking OK and call it a day. When I shoot a professional piece I always consult with the colorist, what his preferences are.

besides the fact that it`s not even close you were closer in the first grade...was this the same lens and aperture? yes, I know that one is 8bit and the other is raw, but damn I think that a nikon dslr has a way way more depth to the image. And about the fs700 ergonomics...it`s funny, because where we work we consider small and light cameras as a drawback. an fs700 with a rig and two v-locks was balanced great! I prefer to work with a 10kg camera with good balance that a 1.5kg camera, that you are holding in your hands.

a hard read without punctuation marks buy yes, I have noticed the same thing. When I was wisiting my parents for the holidays I noticed that they bought a new 4K tv. Everything looked like crap, mostly to some motion smoothing effect. I did some setup on the TV and got it to look ok, but my parents hated it they wanted it to look the way it dodo when the bought it who am I to argue, so I unfixed it. Anyway, when I was doing the setup I thought would look nice I used the taxi driver. Later that evening I watched on my old 720p sony LCD, which has probably never been setup and it looked great! and who say sony can`t do colors