Cinegain

Well, looking at a 399 monitor is one thing, looking at one of 1199 is another. And then you might as well get the 502 Sidefinder combo this summer for 1499, monitor/EVF solution for half the price of the Zacuto Gratical HD. Although for that price I'd personally rather get the Videodevices PIX-E5H (1195) which isn't just a monitor (with LUT support!), but adds 4K Prores recording functionality too. Finish your kit with the PIX-LR XLR audio interface (299) and you're good to go!

Think you looked up the wrong thing. It's:

Host 'em at imgur, then attach 'em via 'Insert other media' > 'Insert image from URL', use the 'Direct image link' from your imgur upload. All given f-stops are in fact the correct aperture f-stop of a particular lens. Unfortunately, that doesn't mean much. Therefor T-stops should actually be given for any lens out there. Can't imagine the Sigma being off, the cine mod is T2.0 and just overall the Sigma is brilliant though.

​I order a lot from Chinese webshops, AliExpress/DHGate/Taobao/Tmall, eBay and so on. Never really had any issues. A lot comes down to research of the product and the seller. And of course have realistic expectations about what your money is going to buy you. But yeah, rather be skeptical than naive. ​Can't speak out of experience, so you should look into it some more, but from what I've gathered that would be a fine one. If you're looking in that range you might also want to check the Lilliput 663/O/P2 (mind you, there are other versions of the 663 as well), it has some additional monitoring features.

There's some good affordable ones from Aputure, Lilliput, Ikan, MustHD and the likes. The other day I found two more on eBay and AliExpress which looked pretty good value for the money, the Feelworld and Seetec. I guess those are amongst the lines of an Viltrox, which also seems to have two decent models. Kinda depends on what you're looking for. Some are basicly just bigger screens, so you can frame and focus a bit more clearly. Others actually do feature peaking, false color, perhaps some punch-in zoom and markers/guides. Only the more expensive ones also feature the more elaborate features like you'd also find on these monitors that are also recorders. So. Yeah. It all depends.

Yeah, well, it can fly around on a golden unicorn with layed-in diamonds. But with those internals, and from what they've showed us, it's never gonna live up to the expectations of most, you'd really have to have specific needs then, let's be honest here. But hey, maybe it's just the thing you're looking for and you don't mind the price. Go for it. They wouldn't have made it, if they thought noone was going to buy it, is what I always say. Hakuna matata. Have fun with it. Although I'm really really wondering if it will fly off the shelves like that... I'm pretty sure sealed boxes will remain in warehouses collecting dust. Then they realize they need to cut the price in half to even make it interesting, and by then, even people that might have considered it, won't consider it, because then there's always Blackmagic and Panasonic. Or you could rent the ARRI Alexa Mini. I really don't get this camera. And I'm not going to get it too. But hey, whatever floats your boat. No reason you shouldn't do how you do.

It's one of the few 4K portable monitor/recorders. The other popular one would be the Convergent Design Odyssey Q7+. The newest ones are the ones from the Videodevices PIX-E series. These allow uncompressed signals to be converted in high standard codec format files, rather than in-camera processing to a lesser codec. Because they are monitors you might find them providing useful tools such as waveforms, vectorscopes, RGB and luminance parade, histogram, zebras, false color, peaking, punch-in zoom, 1:1 magnification, LUTs, aspect ratio/safety guides, audiolevels and all that good stuff. I agree with sqm, the BMVA looks cool too. Not sure if it does HDMI 4K downscaling though and what the exact monitoring functions are... 'view the current input frame rate, histogram, audio meters, timecode, and more' is not much to go on. If it lacks monitoring functions, I'll probably look into the PIX-E series.

Just get one of these for gaming and on the go: http://www.msi.com/news/2044.html .

​Well, not the NX system, just the NX1. Where the GH4 is just a logical and evolutionary successor to the GH2 and GH3, mainly upping the resolution to 4K, the NX1 is a very bold approach, not so much evolutionary but rather looking at the future and deduct what could be made with the latest tech to make it relevant and ahead of its time. So, in that respect, I do find it in its early stages. The first big firmware update seemed to have improved it quite substantially and who knows what they'll give it next. So, I agree, it is a very cool player, but I do feel like the GH4 is more grounded. Just the way I see things. ​Yeah, definitly do something with that! It's great to shape ideas and make them a reality. Best of luck!

Yeah, that kind of scares me about the NX1 too. It's still pretty much in its early stages. And a big thing for me is lenses as well. I do like to have some native glass for hybrid shooting, it's just nice to have electronicly controlled lenses when shooting stills. But if I want really nice ones native for Samsung, it's the expensive S-series. There's not much else to choose from. And in meanwhile I have quite a history with micro four thirds, so it's not as if I can just 'switch' systems like that. And I do love the portability and the flexibility of the m43 system. That's why I haven't gone fullframe either. Size and lenses (and perhaps no internal 4K and vari-angle screen). You just gotta love the M43's adaptability. Maybe TomazK will get a 2nd hand GH4 and then grow to love it, not having the need to go with the NX1 after all. For video vintage lenses are king and the GH4 adores 'em. Gotta love what they offer for the price. Great character and usually built like a tank as well. ​I haven't got much FD's yet, but from what I've gathered they are some of the sharpest. Actually only got the Canon FD 35-70mm f/4 myself (and a R.J. Lens Turbo FD -> M43). Some FD primes would be nice to have perhaps. I did kinda build up quite the massive collection myself in meanwhile. I guess a lot of you know how that goes. You start with one lens and then it kinda spirals out of control. lol. I guess the stuff I have can be divided into a couple of different character sets. I might only have one FD lens, but I do have two Minolta's. The MD Rokkor 50mm f/1.7 and the 28mm f/2.8. Quite nice. Another that I really came to love is the Pentax-M SMC 50mm f/1.4 Asahi (not the Takumar). My Vivitar 135mm f/2.8 is quite nice too. Then I have a Tokina zoom which is really nice, the Tokina 28-85mm f/4. But I guess these lenses just have to form an oddball set together, as they don't have much similarities with some of my other glass. A Russian M42 set might have more character with some wicked aperture blades going on... myself, I've obviously got the Zenit HELIOS 44M-4. If you don't own one... how come?! Then there's the MIR-1B, INDUSTAR-61 L/Z, INDUSTAR-50-2, JUPITER-9 and soon even a TAIR-11A. Was thinking perhaps a METEOR-5-1 would be fun too... not sure. Anyways. Great set to add anamorphic to. For that I use the HELIOS 44M-4 as taking lens with the Kalart Victorscope 2x. I guess you could make a set out of fairly modern Nikon mounted glass. Lots of people like the older full manual lenses. Actually only got that new released classic, the AI-S 28mm f/2.8 MF. It's quite something! That's about as classic and prime as it gets around here Nikon-mount wise. Although the the wide angle Walimex Pro 8mm f/3.5 Fish-Eye II still counts; just isn't a classic. Do own the two modern Nikon zoomlenses which are famous for being used to shoot the Bourne movies with, the 28-70mm f/2.8D and 80-200mm f/2.8D. The Andy Lee recommendation; that man knows his glass! Nikon really has some quality lenses going on... although that does come at a cost. I guess in addition the Nikon mounted Tokina 11-16mm f/2.8 II and Sigma ART 18-35mm f/1.8 might add a nice range to the mix. The Tokina is a tad soft, but you've got to love the Sigma ART line-up. The 18-35 on the R.J. Lens Turbo Nikon -> M43 is the combo you might end up shooting with most of the time, it's so brilliant. I actually started to buy Nikon-mount lenses because of aperture control with adapters adapted to M43 cameras. But recently there was a hot deal on the Nikon D5300 with 18-55mm II kitlens (449 EUR) that I couldn't pass on. So all these Nikon mount lenses suddenly became very useful. The Veydra lens set is pretty brilliant too. They come in at roughly the same price as the VDSLR lenses from Samyang/Rokinon/Walimex/.. but are then dedicated cinema lenses for the M43 system. Adam Wilt regarded them as 'scaled-down Ultra Primes'. Currently only the 16mm, 25mm, 35mm and 50mm are out. The 12mm lens from the set ships out later and they will be adding a even wider option as well as a 85mm. If you followed NAB you know they will be working on dedicated anamorphic primes too. But that's just going to be too much at an expected 5000 USD a pop. I'd rather get a Letus Anamorphx adapter or something. So a big thing for me: native mount lenses, since that's just the most convenient. The SLR Magic HyperPrime CINE 25mm T0.95 is still one of my favourites (perhaps because secretly I'm a sucker for fullframe like shallow depth of field), but it is of course still full manual, so not really benefitting from being native, just that you can forget about adapters for once. Same for the ZY Optics/Zhongyi 42.5mm f/1.2 and 24mm f/1.7. These all manual lenses actually come native mount, their image rendering kind of reminds of the old days. They're not the sharpest wide open, but they have some funky rendering. Bit artsy these are. The Panasonic primes are really convenient for minimalistic shooting, I'm talking about the 14mm f/2.5 and the 20mm f/1.7. Smack 'em on a GH4 or what have you and it's such a compact package. And autofocus and electronic aperture is quite nice too when run 'n gunning. For flexibility there's the already discussed 14-140mm (that might lack a bit of 'soul' but I do feel it otherwise performs pretty great). For tele there's the 100-300mm (there's a really neat lens collar from r-roesch.de availlable). Like I said earlier, Olympus has really amazing and affordable glass, similar to the Sigma ART line, very sharp performers, with great rendition in color, details and out-of-focus areas. Very organic. Quite different to the Panasonic lenses (ok, excluding the Leicas then) that kind of have that modern sharp and contrasty video look, which like I said sometimes I feel might lack a little 'soul'. The 45mm f/1.8 is really great. Then I do have the 60mm macro lens, but I think it doesn't have that much use for video. The 17mm and 25mm f/1.8's I do not have, but they must be pretty cool too I guess. And who wouldn't want the 12mm f/2 or the 75mm f/1.8? But man, those don't come cheap! Pro line-up is really nice. Blessed to have the 12-40mm f/2.8 PRO which came with the Olympus E-M1. The 40-150mm f/2.8 PRO with teleconverter is still something to dream off, but again, that's the kind of prices that buys you a new camera! I mean, I would love to have Olympus everything, that might just make for the greatest set out there (well, from a hybrid (video AND photo) perspective), but that is just not going to happen. So I guess, roughly the same reason I'm not really eager to jump the NX1-train just yet, atleast with M43 there's lots of native mount alternatives. Another downside of an all Olympus set is the use on other brand M43 cameras... no stabilization! The E-M1's IBIS is amazing, but the GH2, GH4 and BMPCC that I also shoot these lenses with don't have that luxury. Actually, the Panasonic primes with stabilization might be an interesting buy (there are only 4 stabilized M43 lenses, all from Panasonic: the expensive Leica branded Nocticron 42.5mm f/1.2 and Elmarit 45mm f/2.8 macro and then we have the new Lumix 42.5mm f/1.7 and 30mm f/2.8 macro). Then there are some electronically controlled lenses that aren't Panasonic or Olympus. I have two from Sigma actually. They had the earlier versions of the 19mm and 30mm f/2.8's, the EX DNs, on sale for 100 EUR a piece! Optically really strong. Mechanicly and material wise didn't really shine, but as long as the image was great and the price right... who can complain about that? Since, they've replaced them with a new line-up, including a 60mm. The new ones now have smooth surface focus rings, not a big fan of that. So, I've got quite a bit of stuff going on. Kinda married to the M43 system now and it doesn't look like she's going to let me off the hook that easily... but I can't complain really, I'd do it all over again. Yeah, the GH4 might not have that awesome lowlight of the A7S, perhaps not the color, dynamic range, codec and upped slowmo of the NX1, but it's still an awesome camera. And personally prefer the flexibility the system offers (especially what native lenses for hybrid use concerned). But different folks, different strokes. Any of these cameras out there on the market today can give you killer results, atleast that much is for sure.

Oh wow, that's pretty dope.

You're from Slovenia? If that's the case, like I said in the other topic: ​You could just order a NX1 already. Don't think that's a problem. If you're up for a little road trip, you could even cross the border and go up to Vienna where it's in store and pick one up in person. Don't think it's much of an idea to go up and buy a new GH4 kit and then sell it in a few months though. Unless you really have a shoot coming up where you need the 4K or something and you really need to buy it locally for whatever reason... I'd say there's little point to get the GH4 now if you're set on the NX1 already. But if you go GH4, pick one up 2nd hand. Must be some folks that went fullframe with the A7S and perhaps Nikon D750. Or the NX1, and now have to part with their beloved GH4. And once you're done with it, if you bought it second hand, you don't have to drop the price much lower than what you got it for. You'd lose more on a new one. And in the end either a new or 2nd one both can accomplish the same. @ darrellcraig: you're right. I was mainly talking about the normal line-up like the 14-140mm and the 14mm and 20mm pancakes. From what I've seen the Leica branded ones are something else. But then again, so is the price, no?

EU wide offerings: http://geizhals.eu/?fs=nx1&in= , so you could go with Foto Koch or Foto Erhardt for example.

I can't speak for the Nikon F to EF adapters, but the cheap adapters I've got for 'something' to M43 are fine. Got some mainly from Fotga, haven't had a problem. Similar would be: Prost, Pixco, Kiwifotos, Roxsen... I did have to go through some generic no name C-mount adapters before I had a decent one. But if you feel more at ease with spending more, then I'll be the last one to stop ya.

​The 14-140mm is a great flexible lens. It's sharp, has pretty nice rendering and contrast and everything. But... personally I think it's a little too modern and tends to give off a slight clinical but also video look. Kinda lacks 'soul' so to say. The pancakes are pretty sweet, the 20mm f/1.7 and the 14mm f/2.5. Olympus has very sweet offerings too, and I like the character Olympus lenses give off quite a bit better, more organic with very nice rendering. Yes, they are e-native lenses, even the Olympus ones, they share the same e-mount, so in-camera settings and autofocus. With none of the Olympus lenses stabilization though, as Olympus doesn't build that into the lens, but into their camera bodies. But then again, the 14 and 20mm lenses also do not feature built-in stabilization. The closest thing to the 15mm f/1.7 Summilux might be the 17mm f/1.8 from Olympus. They're pretty similar in price. No experience with either here, so not sure which is the better performer. If you want it for tight spaces... there are the Tokina 11-16 or 11-20mm f/2.8 zoomlenses. Not as tack sharp as a prime, especially wide open, but very usable and flexible lenses I'd like to think. Could get one with a Nikon mount and cheap dummy adapter. Or a focal reducer/lens turbo. Or if you can accept the price and range the Sigma ART 18-35mm f/1.8 of course. But again, adapter needed, so no AF, full manual everything. Could be the holy grail amongst the choices though... In the end it's a tough call I guess. But you really have to be dedicated and sure of the choice for the 15mm f/1.7, because you're putting quite the constraint on your range. The 14-140mm again is just so great because it's so flexible. But if its character bothers you, then that's not really gonna work either.

​Yeah, that! But there's a fine line between ridiculous and ridonculous. It's one thing that the movie is pretty dumb, like you said, nothing wrong with a bit mindless entertainment and some wow stunts from time to time. That's what you can expect. But when the dumb movies treats the audience itself as dumb... that's just painful to watch and perhaps even insulting. I mean, I get car chases and shooting. But a 20+ miles runway is just ridonculous or that thing with the tank... Then we kind of come back to the point of the whole 'realism' thingie. That if you're set out that this kind of stuff takes stage in roughly the exact world we live in, you can't suddenly expect me to just chew it up that 20+ miles of runway is a normal thing. Unless you beforehand explain to me that these kind of things are possible in the portrait universe, just don't do that kind of stuff. Please.

​Agreed. I mean, take the runway scene in the previous one... I'm not sure if I'm supposed to laugh or cry it was so bad. Just... why? I mean, I get it... take a Blade Runner. It's obviously not (meant to be) real according our understanding of what's real to us, but atleast it has rules applied to its own realm that aren't being broken. But just because something is a movie, doesn't mean I can throw away every rule that applies to reality, especially if the foundation is that it takes stage in ours. I'd rather like to being able to realate to it (yes, I just made that word up). So it's like you say, they started out in the real world, with real probable scenarios and now it's just some mumbo jumbo action with little regard to realism. Atleast The Avengers or Transformers created a world with a different set of rules and I do love me some dumb fast pacing and XPLOSIONZ!!1! movie once a while though.

Yeah, I just hope the next Indiana Jones isn't about aliens again...

I liked this mix-n-match better

For the money you can pick up the FZ1000 and the BMMCC with some decent glass... I know a few people will see something in the XC10... personally though, I just don't get it.

~ http://www.43rumors.com/ft3-will-panasonic-let-you-charge-100-for-the-gh4-v-log-lite-firmware-upgrade/ lol

​Curious about the same thing. The SLR Anamorphots seem pretty nice, but I'm not sure how suitable they're for use with like the Veydra primes for example, you'd have to use some weird construction of step-down rings, not sure if they would work and how stable that would be. Clamping vintage anamorphics in such a case also doesn't seem very likey. Seems Letus got the concept figured out quite nicely as Veydra doesn't seem to be willing to go there (but instead release full anamorphic adaptations). Would be nice to have one purchase make every piece of glas you own, so many focal lenghts, anamorphic instantly. I won't argue that an anamorphic lens itself would be more ideal to work with, but you know... what if it is 5K. That's then either one single focal length anamorphic lens, or multiple lenses and an anamorphic adapter, or one awesome camera. I understand it's a cool option to be able to rent one at your local rental house, but buying one? If you're working with those kind of budgets, instead of owning one lens, you might want to rent something more high-end altogether I was thinking? Just thoughts. But the Letus Anamorphx is starting to make sense to me... especially with the new firmware, which I applaud Panasonic for!

I've got to ask... Is there any meaning to the numbers at the end of some of your posts? I've been noticing this for a while now and got me intrigued. Are they referring to passages from the Andy Lee's Bible of Filmmaking? If so, where can I get one? 404

The scene with the P&O ferry and the windmills was golden! Great job.

​Ooh, that looks interesting as well. To get back to that Pilotfly H1 deal, nope, with them setting up shop in Bayern, Germany and NAB coming up and indeed, it being a 8-bit controller on there, when they might do a 32-bit version... I felt like holding off a bit longer was the best thing to do. I guess I can even wait for Photokina when hopefully the GX7 successor will be announced. If that's the case I might not even get one altogether. With a lot of full manual glass in my possesion a great part of getting a stabilizer is just to be able to shoot handheld with unstabilized lenses (was on the verge of trading in my E-M1 for the E-M5II, but unfortunately the E-M5II didn't live up to my expectations). For sweet camera movements and use with e.g. the new Micro Cinema Camera however a gimbal stabilizer is pretty nice to have too. Now, I don't really mind the controller being 8-bit on the Pilotfly H1 now, I don't know how they put it to use, but it's one of the most effective things I've seen out there. So if a 8-bit wins from a 32-bit one, I'm not going to argue it should suck more. Anyways. There's tons of MOVI like stabilizers out there now. It's a matter of time for the people behind the Nebula 4000 and Pilotfly H1 to up their own game and others to try and catch the wind from their sails, so I'm sure that in a few months it's the best time to make a choice and the concept of pistol grip gimbals has matured a little more.