jagnje

which nikkor 50mm, 1.8 or 1.4 should I get? I think I read somewhere that the 1.4 is quite soft until 2.0 and the 1.8 should be super sharp from 1.8... true or bull?

I`m very aware of that, because it`s the same for me. but let`s just say that many of EU residents see my work daily

but I own very little of my own gear.

nice writeup. one question...you own(have owned) alot of gear, but I haven`t seen much of your work besides reviews so, are you such an enthusiast or you make a living with your gear?

could someone please post a quick comparison clip of nx1 1080p vs 4k.

Diferent strokes for diferent folks 

I really reall wanted to like the a6000, because of the adaptable mount, features...but the image, welk I could never never get it right. I shot the same scene with the a6000 and the 550d, tried really hard to grade the a6000 footage to my liking but I just could not. These is just something very "digital" in the image I could not get rid of. The best way to describe it was as if rhe footage is wraped in plastic...has some weir glow to it. Can't really explain. I ended up selling it and doing what I never wanted to do-get a nikon. It was not that I have something against the brand but I had to get a complete new set of lenses. Once I got the hang of living without ML I am happy. 

do you have it in video mode?

I use those adapters daily. not for 4k, but I don`t see how that could be any different. works as it should.

well, I shoot comercials, tv series, I`ve done two film sets. everything is jerry rigged to some extent. Crane rigs, dolly tracks, light stands, difusor stands, camera power supply..."duct tape and sand bags are what makes the production" is a saying around here.

alot of cine lenses actually have built in speedboosters.

great work!

Ok, a speedbooster bmpcc against a 5d...what you are comparing here is rougly an almost aspc setup that will max out at asa 1600 vs. a fullframe that will max out at 6400. Ok, so you have an option to stop down a 24mm lens to a desired f stop on a full frame...you turn the little dial raise the iso and its done. On a bmpcc you NEED a speedbooster and you NEED a 14mm 2.8 lens. And it NEEDS to be wide open. Get it? 

Yes there are times when a smaller sensor is more benefitial, but very rearly there are times when being restricted to low iso values is benefitial. I'm not going to argue your math with lenses, dof and such...yes it does what you say, but your workflow is backwards. 

I just got to test the micro productio camera. Not bad for a  remote operated camera. 

yes it is...but I followed an actor walking down the street for about 100 meters at full open (1.3) with an 85mm lens. It`s not that hard if you mark it right.

Saying that nobody does it on a full frame camera is pretty bold... there a far far better focus pullers that I am out there.

Anyway, no DOP will shoot a BMD production camera at asa 800 and BMD cinema at 1600...at least not for narrative work professional job. In fact no one will touch one unless they have to. Producers love them, DOPs hate them, a fact. The amount of lightning setup you do for one of these, well you end up spending more money that you would renting an alexa. try to explain that to the producer tho...

well, I for did a whole season of a TV show as a focus puller shot on two BMD production cameras with zeiss super speed 1.3 lenses and we never shot under 2.8.

If you would like you can watch it every sunday on our national television.

Well, if you shoot a 5d at 5.6 it does not mean everybody does. It'a ridicilus comparison. I enyoi shooting it at 1.4...

sony f35...is that even 4K??? you should get a Panasonic GH4 instead...

Love it!

and now it has become a no brainer to pick up instead of the atomos ninja.

well done.

No, I don`t expect the 7Q+. I expect it to have the essentials that a 200€ monitor has. It`s not like they have to make that kind of firmware, It`s stock on every BMC camera I have used. I think it`s really ment for the the BMC micro cameras that probably have those features onboard, but this will cost them half the customers they would othervise get. If it had those feature it would be a no brainer over the atomos products, now it˙s not.

why would zebras, false color and peaking be distracting? You can turn in on or off...out of the three I would miss peaking the least, but zebras should be there, no excuses.

@ Return of the Matt

you cannot change aperture with the chinese speedbooster on the tamron or other lenses without the manual iris ring.

d3300 with a decent lens.

Has anybody tried recording to an external recorder? 

http://www.amazon.com/Blackmagic-Design-Studio-3840x2160-CINSTUDMFT/dp/B00WAHL5K0/

Jesus, what is wrong with you people? Why are you so hung up on specs??? Did you see the video on the previous page? You think that a viewer will go: oh, that was made with a shitty 2k camera?!? No, it looks fine, great even. 

If someone likes to work with a 5d and the client likes is...why the hell would you go complaining about it?  it fits the job.

There are skateboard companies that film their videos today on old sony sd camcorders, with a fisheye on it. It's in 4/3 format even. Nobody complains...it fits the asthetic. For them it is how skateboard videos are supposed to look.