Craig Marshall

Not yet. The GH4 is still a clunky DSLR. If Panasonic decide to combine the two units together in a 'video' form factor camera, (perhaps at a price point slightly less then the two separate units) then you'll then have a real contender.

Not yet. The GH4 is still a clunky DSLR. If Panasonic decide to combine the two units together in a 'video' form factor camera, (perhaps at a price point slightly less then the two separate units) then you'll then have a real contender.

Not yet. The GH4 is still a clunky DSLR. If Panasonic decide to combine the two units together in a 'video' form factor camera, (perhaps at a price point slightly less then the two separate units) then you'll then have a real contender.

I would think any unbiased, informed opinion from an engineering perspective, can be helpful in any HD camera Forum. Even if the logo at the top of the page says: 'DSLR Video Forum' Thank you for your interest.

Call it what you like but the secret to getting excellent video from the Vg20/30 is 1) knowing what you're doing and 2) selling the stock 18-200 lens. I have been shooting stills, corporate videos and TV commercials professionally for thirty years and using a PAL NEX VG20 for eighteen months. My camera is equipped with a genuine Metabones CY-NEX Speedbooster which I use with a large collection of vintage Carl Zeiss 'Contax' prime lenses. The broascast television requirement here in PAL land is 50i so my native AVCHD files have been subjected to and passed, stingent quality control checks by broadcast engineers with state of the art test equipment, not as a result of some dubious and highly compressed internet streaming from pre-release demo models. The Vg20/30 series have always offered a clean, uncompressed 8 bit 4:2:2 HDMI output which I have test recorded to 50i ProRes/DNxHD on the BMD 'Shuttle' for even better picture quality. Sure, the VG20/30s have 'Handycam' writ in large letters down the side so I certainly would not call that a 'pro body' however, if my modest outlay continues to satisfy broadcast television luminance and chrominance standards and earn a tidy income, then I'm not complaining! PS: my future upgrade path will be to a 4K camera, either BMDs Production Camera with the Super 35 sensor and global shutter or the Panasonic GH4, both of which will accept my valuable collection of Zeiss primes via suitable adapters but in my opinion, neither camera is the correct 'form factor' for broadcast television acquisition. Perhaps Panasonic's new 4K Varicam 35?

This would be nice: How about a 'video form factor' camera with a removable lens mount featuring a 'real' rubber cupped viewfinder (plus a flip out/upside down touch screen) with an almost Super 35 sized a 16 Megapixel (APS-C) sensor which doesn't overheat and shoots unlimited length HD to SD cards but also captures RAW 5K stills and excellent audio too with full manual control yet offers a 'clean' 4:2:2 HDMI output and shoots 50/60P at up to 28Mbps, unhacked. How about we add focus peaking, focus expansion and adjustable 75% or 100% zebra, all on/off at the same time with full manual iris/gain/ISO/shutter control? Body only price? Around $1.5K. Interested? Sorry DSLR guys, you're too late! It's been available for nearly two years. Sony's NEX VG20.

ClipToolz COLOR v2.0 is out now. All the power of Film Convert without the pricetag plus a de-noise feature that you don't get in Resolve Lite! COLOR lets you gererate film grain 'loops' so you can create them in any length, it features a great set of 3D LUTs and very accurate waveform monitor, vectorscope, historgram and RGB Parade. COLOR does not need a high performance GPU CUDA card so works on low spec computers and you can even operate COLOR's control wheels from your iPad! Take a look at RAW and Thumbs too!

ClipToolz COLOR v2.0 is out now. All the power of FC without the pricetag plus a de-noise feature that you don't get in Resolve Lite. It works on low spec computers and now features a great set of 3D LUTs too.

Forget Resolve unless you have a CUDA card installed. Use instead Cliptoolz COLOR. (major V2.0 upgrade out soon) and Cliptoolz RAW was especially desgned for BMPCC.

'Good To See You' An audio visual tribute to a track of the same name from Vangelis' 1990 album, 'The City'