jagnje

2.5k micro cinema camera is all I wish for.

So is the gx80 the same as g7 or not?

just a quick question...can you use and external monitor with the g80 and still record on card?

So all of this was for nothing??? Why wasnt I up to date about this Red trend? The seller told me that all of the filmmaking comunity will be sooooooo envy of me....what a scam.

Thanx it sure is a new addiction.

of course they are, it`s sony.

One of the lenses I love shooting the most with is a tokina 28-70 2.8, however it's sometimes hard to use it on "comercial" shoots because of the loss of contrast when pointed into the light source. I love it for the vibe but since the shots must be intercut with eng cameras it's ofter displeasing. I use a matte box when I can, but sometimes I just can't. Bh773 it the lens hood for it as far as I can tell, but I cannot find it locally nor have I had much luck with ebay etc. Is the an aftermarket hood I can use or is there maybe a filter that would help?

hahah maybe we`ll be buying back the 550d cameras

it gives very a very soft light on the face but an almost agressive looking eyelight...intended or not it`s an interesting contrast.

a simple zoom h1 solves the heaphone out problem. 100 bucks

but they are getting there http://www.43rumors.com/sandisk-releases-brand-new-fast-sd-cards/

I do a tv show, and for the first seasson I used a 600d, second seasson I used a a7s&a7s2...took me far longer to get the lights right and I had to do some pretty unussual geling on them. After 2 shows I ditched the s-log. This seasson I`m giving the panasonics a try, and by the tests so far I`ll be alot happyer that with the sonys. It`s probably preference but I just cannot get exited about anything sub 10k from sony, and I shoot with them weekly....I hate it how they overflooded the market and that they are becoming a staple on smaler production. Most of us who work in the filed agree, yet we have to shoot with them because somene said they`re great!

Maybe someone hacks it for raw

Outstanding work!

I have about 500 hours on that camera and will have over 1000 by the end of the year. I would far prefer the cinema camera with a speedbooster, but we have zeiss super speeds in PL mount so production camera was the only option at the time. DR is a bit limited...dslr range. Other than that is has been bullet proof. I was told by the guys in post that some shots had a bit of ghosting in them, and I think that those were recorder in quite extreme heat.

I have a question about stabilization...when using vintage manual lenses there you have to enter which focal lenght you are using right? So does that mean that if I use a vintage zoom lens I have to recalibrate the camera every time I change the focal lenght?

I`ve used ML 3 times a week for 6 hours studio sessions for 2 years. Not raw though, but sofware itself is very reliable.

I use both, the a7s and g7 with a speedbooster. both have their strenghts and weakneses. low light...a7s, hands down. The fact that it is a full frame and you have a world of vintage lenses to choose from is it`s biggest plus I would say. Dynamic range od cine-d on the g7 is close to non log profiles on a7s, s-log can be great when everything is spot on, but most of the time it`s not worth the 1-2 stops of DR increase. Batteries are one of the reasons I`ve found myself using the g7 more lately(summer events) where changing a pack every hour sucks big time. At this point I only take the a7s when I need lowlight, g7 will prety much max out at 2500, 3200 tops without significant noise. a7s feels way sturdier, the g7 feels a bit like a toy even compared to the t2i, bit so far so good...just don`t drop it. both are very valid tools and will stand the test of time for the next few years, 4k or not, just get a speedbooster of some sort if you get the g7. Oh, and if you are getting it from US bevare that they are mostly regionaly locked NTSC and PAL. i think that I`ve seen a workaround for the g7 somewhere tho, but I haven`t tried it yet.

a light as small as that will give you very unnatural breakup of shadows or even some undesired ones. your best bet is to bounce the light...have someone carry the bounce on the close shots or use a flood light from a distance with a difusion for wide shots.

exactly...and the big sellers are more that happy to sell you what you want/think you need. If lets say 5d mk.4 doesn`t have 4k it will be the bigest fail canon has ever made. If it does have 4k and same DR as mk.3 no one will be really dissapointed.

I was talking about the avarage reader of forums like this. I bet 90% of them/us would take 4k with decent DR over great DR, just because of the 4k badge on it. If this was not the case eveyone would shoot BMPCC instead of gh4/g7/nx1/nx500...etc.

Your avarage Joe wathing tv will notice if the camera is shakey and if he can't hear what the people are saying...thats pretty much it. Your wannabe DP Joe will notice a bad grade, missed focus, blownout/underexposed areas and aliasing/moire on striped shirts. No one will be able to tell you the resolution used. But what you are doing here is something else...you cannot compare cinema cameras to toy cameras. We do get an impressive image out of toy cameras, something and avarage DP could have only dreamed about 6-8 years ago, but comparing a 4k 8bit image to 2k raw, 1080p 444...even specs thrown asaide, just look at an f3, alexa, bmcc and then some consumer 4k. A good 1080p camera resolves far more detail that a consumer 4k. Considering DR, 11 stops is plenty...most cameras nowadays do that, even toy cameras. If you can't work with that, well....get another job. Motion and a decent codec is something(which might all be the same) is something that toy cameras still lack. You might notice what the talk was about on forums like this one in the years since dslr video. first everybody wanted shallow dof-Dslrs solwed that. then we wanted more resolution-4k solved that. then we wanted more DR-here comes Log. then it came down to colors-here, have davinci resolve for free, now everybody is a colorist(like back in the day, you had photoshop and you were a graphic designer). And now the hype is about motion cadence, which comes with raw or a strong codec. Ok, we have had raw for a while now, but not everybody is willing to "hack" their canon for professional use and not everybody is willing to shoot with a BM camera. Eventualy toy cameras will be given that as well, but not before cinema cameras have it alot better.

gh2

I just ordered the same one. Will share my results in a week or so.