sudopera

Hallelujah! That would've been insane. These politicians must be so damn bored that apparently they really don't have anything better to do than to come up with shit like this. I guess as long as they find ways to keep themselves preoccupied they're gonna keep their jobs and with that those ridiculous salaries and benefits.

Yeah, I'd like it somewhere in between what Inazuma and cantsin came up with.
Inazuma had a nice base. But it looked a bit dimmed and greenish. catsin took out the green and added some contrast. In the process making it a little too blueish/purpleish and boosting the highlights a little too much for my taste. Yes, that might pop a little more, but for me it takes out a bit of the flatish filmlook and I would prefer a little warmer tone in that scene.
The other ones had a too strong blueish cast. With the last two going straight for the typical Hollywood teal/orange look. Fun to see all these different takes on it.

Just found some Nick Driftwood's GH4 V-log 10bit 422 untouched footage download link posted on Twitter. Footage is recorded on Shogun.
Here is the Dropbox download link: https://www.dropbox.com/s/xtwhwbpe75k3k7s/VLogL-SHOGUN_S001_S001_T008b.mov?dl=0 

Here are some
​http://coremelt.com/
http://store.pixelfilmstudios.com/?gclid=Cj0KEQjwiN6sBRDK2vOO_vaRs5cBEiQAfsnJCR3Gik8jMEbkfHVfbgoagR7iHqCtf669WUgiLGG9tQ0aAlhs8P8HAQ
https://www.redgiant.com/
http://try.colorgradingcentral.com/colorfinale/
http://fxfactory.com/products/

​Definitely not.  
Brand loyalty, a strong hard-wired-to-the-brain-physiological-effect that marketers have been successfully exploiting for generations gets in the way of rationality.  Humans are irrational people when willingly or unwillingly ignorant --and they rely on those "gut-decisions," typically based on familiarity, in those instances.  Advertisers know this and it's why advertisements/marketing is most often built not to actively sell product but to get the familiarity of the brand stuck in your mind in a welcoming way.  After all, Coca-Cola ads never sell the actual thing, they sell happiness, love, and comfort.  And to get it you're encouraged to buy the can/bottle with their logo on it.  Same with imaging.  You want to be a great photographer you HAVE to buy a" Canikon" ...because that's what just about everybody has familiarity with.  You heard about it, you know people that use it, etc.
So, as us filmmakers/photographers get more informed we can make more rational decisions.  Newbies can't really do this as they don't grasp the details as well, so they'll most likely tend toward Canon and Nikon unless actively exposed to different ideas.
This post is an excellent example of explaining those different ideas in the context of making motion pictures.  It might seem redundant to us that have been in the market for awhile, but for somebody new to it, it'll be very helpful just as a way to understand how to consider things they've never considered.
Good job on articulating those basics Ebrahim, it'll definitely help someone in the future!  If I could up vote this or pin it to the top of the page, I would absolutely do so!

Probably best to wait, perfect camera should be just around the corner

There's no free lunch in optics. Light, fast, cheap. Pick two.
Personally, even though the range is quite short, I think it's useful to have a zoom that can double as a variable prime. Many of the big cinema lens manufacturers (Zeiss, Cooke, Panavision, etc) bend over backwards to provide as many focal lengths as possible in this 24mm-35mm range. There's a reason why Cooke S4s come in 25mm, 27mm, 32mm and 35mm focal lengths. If you're very particular about your frame, a couple of millimeters makes a big difference.

​I don't. I prefer paying 5% less and having the 30 minute recording limit I'll never reach anyway.
Of course I understand there are plenty of people who'd pay the extra for not having the limit, but I don't think I'm the only one who doesn't have a problem with 30 minutes max.

18-35 f2 would have been the next top lens for photojournalysts.

http://newcameranews.com/2015/04/01/shocking-nikon-canon-to-end-camera-development/

My main concern is colour... I don't care what you say about s-log, luts etc... The colour on the a7s just isn't great. For cool colours, it is nice... For natural or warm colours it is a pain

Holy fucking shit. 42MP, 5 Axis IS, Internal 4K.
I'm going to sell all my gear and buy this MONSTER.
 

Thread.....  Dead...

If he got a girlfriend we are fucked! ;-DD
 

​man I wish I hired you to write some lines!

Where's the frontpage article?
Revolutionary camera imo, for the budget shooter. The GH2 of 2015

Panasonic is doing some really cool things, but I feel like their lineup isn't fully realized. The GH series is awesome, obviously. And the new Varicam has features that have simply never existed before, like a sensor with 2 native ISO ratings. All the technology is there. All they need to do is fill out the middle of their line-up.
This is what I'd love to see from Panasonic:
Tier 1 - DSLR style B Camera - GH4 - It already exists. It's awesome. It's the only DSLR that I don't actively hate shooting with. It's got 4k internal, a super versatile mount/sensor combo, v-log, it can fill the memory card without stopping the recording (I can't believe that's a feature nowadays), and don't forget my favorite feature, the insane battery life.
Tier 2a - The "News" Camera - DVX200 - It already exists. From what I can tell, they ripped the guts out of a DVX100 and replaced them with a GH4. That's a great idea. The m43 sensor size is perfect for this style of camcorder. It's big enough to get a nice looking image, but not so big to be constantly searching for focus. The DVX form factor is battle tested with XLRs, ND filters, timecode I/O, AC power options, you know, everything video cameras used to have. It's not going to be adopted by the "micro-budget film" crowd, but plenty of people shoot news, docs, and events. If I shot more of that stuff, I'd buy a couple of these in a second.
Tier 2b - The "Pro" GH4 - AF200 - Everyone was bummed out by the DVX200's fixed lens. I have to imagine Panasonic is going to release an AF200 which is basically the DVX with the lens ripped off. Sell it for under $4,000, and I'll buy 2. Rigs suck. Recording audio to a zoom recorder sucks. No timecode I/O sucks. No ND filters suck. Please Panasonic, just release this camera and take my money.
Tier 3 - The "Shoulder" Camera - Varicam35 Mini - I would love to see this camera. It would be Panasonic's answer to the FS7. I imagine a shrunk down Varicam35, designed for a single operator. It would have a similar 35mm sensor, but with a m43 mount (like that JVC camera), 2 native ISO's, 4k, high frame rates in HD, ND's, XLR's, V-lock batteries, ENG style viewfinder, v-log, and great LUT integration. They can keep the RAW capabilities. As far as I'm concerned, if clients are asking for RAW, they've got budget for a rental. Give me a solid 10-bit 422 codec, and I'll be happy. Price it anywhere from 10-15 thousand, and it'll give the C300/FS7 crowd another great option.
Tier 4 - The Rental - Varicam35 - It exists. It's an extremely well thought out camera. Panasonic may have been a couple years late with it, but they didn't cut any corners. Rent one. The LUT integration is really awesome. And let me repeat, 2 native ISO's!?!?! The traditional thinking would say my proposed Varicam Mini would cannibalize sales, but as long as they hold back that one high-end feature (RAW maybe?), it won't cannibalize the high-end projects that the Varicam is aimed at anyway.
GET TO WORK PANASONIC

Do we even need to speculate about the Canon 5Dmk4?

As it is sooo easy to predict:
1) they'll sell bucket loads of it. (thanks to their marketing machine, their size, and retail presence, and idiot friends giving recommendations to their mates while not having a clue....)
2) but tech spec gear heads like ourselves who actually know their sh*t will be very very disappointed in what a flop it is. 

I think the reason we spend so much time writing and obsessing about gear on forums is that there are actually two processes involved in getting better at the craft of making films. One is a technical process: how to achieve better shots, better sound, smoother motion, dynamic range, etc. This part is easy to talk about -- we often don't own the gear we're arguing about. And it's fun! The second process needed to improve is an artistic or aesthetic process. And it's more difficult to talk about because it derives from feelings rather than facts, taste rather than spec sheets. It's much easier to say 4k is better than 2k, and much more fraught to say that, gulp, Michael Mann is better than Oliver Stone, etc. And it's even more difficult to prove. 
Further, there remains some part of being an artist that requires you to walk off into the extremity of your experience and actually come back to people with something unique to say. Something touching or funny, and above all true.
 Years ago I wrote a series of posts on No Film School about the craft of directing, and have shot (directed) short films, a feature film, and numerous music videos and works for clients. It's not that people don't want to talk about directing or the craft of the art form itself, it's just that some part of that is personal. Maybe somewhere on the web there's a place where people launch into polemics against "fake Wes Anderson" style, or dolly-zoom shots, but I haven't found it. And the truth is it's hard​ to talk about one's artistic process, and even harder to hear someone tell you why it sucks. But point of view does leak out over time on a forum like this. That's why getting to know the various voices over a series of posts counts for something in the long run.
One of the longest threads on Reduser is called "shut up and shoot that Scarlet". But there's an even longer one with people posting pictures of their rigs. To reply to fuzzynormal's original post, no I don't need a new camera. But I always want one. And talking about it will do in the meantime.

​I love me some up-tempo pacing (I have the attention span of a 6-year-old), so I didn't mind it, really. Also, a lot of these cuts seemed motivated by the music. Now at first I was like: oh no, this is one of these pretentious hipster vids with random all-over-the-place stuff just for the sake of it. But then after a few seconds the track picked up. The fragment visuals led up to the establishing shot of the street. Then showing the girls having fun on their night out in the city, playing pool, singing, dancing, chatting, laughing. Just a good time.
Visually I just found it to have very pleasing colors and light. Very nice depth of field and softness, together with the motion and grain it felt very filmlike and organic. I absolutely adored the look in the screencap below. Very dreamy, nice silky milky blacks. Nice bokeh going on. If you don't get that. Well, I guess everyone's got different taste. Would be boring if we'd all be the same!

About the fuzz and cuts with no clear purpose... you could also interpret it as 'the next day's memory of last night'. When you were out the night before, the next day you probably remember bits and pieces, but not everything is quite as clear. So in a way, you could interpret the way the footage is being presented to us as not an in-the-moment documentation, but more of a dreamy memory flashing by before the viewer's eyes.
It was a fashion piece. I assume the bags were the actual main characters in this and incorporated in such way. Together with the bracelets they really stood out with their vibrant colors.
So, I think this approach has paid off quite nicely. It works for me atleast. It shows the power of the tools used and Ed's creative and artistic side to set a certain mood. Now, you might not want (and you shouldn't want) to go with this look for everything you shoot. But just as a camera is a tool, so are different grades, cuts and grains...

1. Because it looks better.
2. Because it suspends your disbelief. 
3. Dreamy is a form of imagination.
4. Imagination can create great art. 
5. Tell A DJ that vinyls are history. Now tell a filmmaker the same thing about 24p. 
6. Just my opinion. 

+1 for the Digital Bolex motion cadence.
Even slowed down to 18fps like an old film camera, you can tell it is different to the CMOS sensors.
And I have absolut​ely no idea why

It's unfortunate that so many of the replies here come from a spec sheet formed opinion.  I personally couldn't afford to invest in this camera, however if i were an artist/film maker who values the benefits of true monochrome, or one who's art practice is purely in b+w this is definitely the cheapest option.  It's sad that so many seem to compare this to the bmpcc and the currently not released bmmcc.  It's also sad that it seems ISO's are more important than image quality to strong mouthed eoshd-ers.  Rag the hell out of a b+w sensor and i imagine the grain is rather pleasing - as it is when you rag monochrome film.  it;s only colour noise that looks nasty.  film grain looks lush      

you kinda did it too jfr, and tons of people here love the nx1. I'd rather we get off topic than nasty

Screw gear Tell your friend to take a trip around the world with that money.