kidzrevil

for 10 seconds at a time, and stills, yeah 5d, but if you want most reliable raw video and don't love tiny sensor, maybe BMCC - probably still cheaper than what you're looking at. better resolution than both, great sensor size when speedboosted, best blackmagic image I've seen, better battery life (but trickier when it dies... probably battery solution needed). 5d raw is great though of course. can't wait to see what you can do with this  
edit: plus the bmcc is huge.....

Not technically a hack (but take your point) - as the ML firmware runs 'on top' of the canon code. You can still access canon menus and unload/ load ML firmware at any time.
Canon DSLR's (specifically 5D2) was never primarily intended to be used as a video camera to start with - it was a last minute request by stills photogs to be able to shoot video clips for news websites. If anything the 'DSLR revolution' was the hack...dragging a non primary feature of a stills camera - kicking and screaming into the filmmaking community.
I would (and have) used 5D3 running ML on paid gigs, but never as A-camera. Not because of reliability issues - but mainly due to MB/s being so high, it is often impractical to allow to roll for multiple long takes. I recently used 5D3 as C-camera next to Amira's on an electric motorbike commercial, had no issue matching the image from the Arri cameras. Form factor of the 5D3 was a huge bonus - as it could be rigged very easily and be maneuvered between A-B Cam, often capturing better action. The final edit resulted in roughly 40% material shot from the canon. When the commercial goes live, I'll post a link.
BMPCC + Speedbooster looks very very nice and is best route for 99% of compact/raw loving folks, but if you 'need' full frame look with very beautiful colour rendition - ML on 5D2/3 still seems to be a gold standard, despite the huge file sizes and clunky workflow.
 

Played a little with the old Nikkor 50mm f1.4 today. For the price its more than ok.
It was a very warm and burning sunset tonight, this first one is a tiny bit graded to give it some blue. f4.0.

Next I think was at f2.0, its ungraded in Red Gamma 3.

This is also ungraded at f2.0.

Lastly, ungraded at f1.4.



 

Well, growing up with so much awesome gear around them, perhaps just pass down the knowledge and skills by homeschooling them in the art of photography/cinematography. Imagine The Kelly Family if you will, but instead of playing instruments and singing, they grow up taking pictures and video. That's a pretty mean production crew put together right there!

lush.  It's the grain I love from the bmpcc. - as shown in this gif.  running base iso in night time where a lot of the areas of a frame are underexposed, then applying a careful colour noise reduction in raw - leaving the luma grain sharp and intact renders a superbly filmic look.  I've had lots comments of how nice the 88mm, 0.58x sb and bmpcc work together and have not tried the combo myself.  the defocus rolloff on this shot looks great - as I;ve said, that sb 0.58x is creating a very good mimmic of a bigger 35mm format.
I also like the lower frame rate that gif is exhibiting.  is that 15fps?

Zeiss lenses really are amazing. From any era, with any manufacturer. From the Zeiss Jena to the Zeiss Milvus, there is something special in their glass. I recently bought the Contax Zeiss 50mm 1.7, I haven't had the chance to give it a good workout yet, but from the minute shot of my cat... It looks great. Uh oh... I feel a Distagon in my future... I need a second job. 

DSO Trump88 with 2x oval.

Go for one very good card not 2. SLI does not speed up Premiere. I have 2 GTX 960's in my system and Premiere crashes on every render unless I disable SLI.

For all those people saying ML has never crashed, well they're lucky - but it does & they will experience it one day.
Battery life is of no concern on the Pocket, as it lasts about 45/50mins & since I shoot ProRes HQ, when my SD card is full and needs changing, I change the battery at the same time.
RAW is awesome, but I've only needed to use it twice and that's simply because 10bit ProRes is amazing!
The whole Full Frame thing is of no concern to me - I love S16 sized sensor & the way it looks. My cheap speedbooster get me to M4/3 sized sensor, which is nice too and one day I'll get the metabones for normal cinema standard size, but don't feel the need just yet.
Also, if you like adding grain to your footage, the Pocket produce one of the nicest looking of all the cheap cameras (really is Alexa-like) when you underexpose or have to raise exposure in post - so no more grain in post needed!

Kidz - buy a pocket & a cheap speedbooster (RJ are the best - don't get sucked in to the marketing of spending the same amount of money on the metabones) and if you don't fall in love with the footage, then you'll be forever chasing that camera which doesn't exist.
Honestly, with the pocket you don't even have to use RAW - if you can't shoot & grade ProRes HQ 10 bit footage then you should put down your camera & walk away!
Also, ML will crash & when it does you'll curse the day you ever thought that it was 100% stable (it did it to me on a paid job & I was lucky the client was understanding - it fucked me & fucked me hard!). What a lot of people who rave about ML won't tell you is that the ML developers have pretty much stopped developing RAW on Canon cameras, as they are doing so much work on another camera's firmware. One of the ML developers or ex-developers is on this forum & raves about the Pocket - enough said.
I was like you at one point & I just stopped searching after using 10bit footage - the only camera that will replace my Pocket is the soon to be released Micro version & even then I'll keep my Pocket cam. Suck it & see - wait a little as the prices will drop once the micro comes out!
 

I've been following you for a few years kidzrevil. Big fan of your work. I've noticed you've been through a couple different cameras recently. What's up?

Work directly with H265 if you can, saves space and better to edit with the native files.

Am not sure if it was the camera, the vision color or your grading, but one of the naval videos looks like an old, technicolor movie. A look I personally love. I am really interested in seeing what the gh5 has in store and I may just wait until they announce that before I make a decision. When I first used the G7, it instantaneously felt like I was using a basic cinema camera. So, I can imagine the gh4 or gh5 would be that much better. I think Panasonic would be really smart to introduce Raw video with the gh5. I've always seen Sony and Panasonic as natural competitors and I think Raw would be such a brilliant way to distinguish them self. Hell, they could literally keep all of the same features as the gh4 and add 1080p or 2K Raw with ibis and the 16mp sensor for better lowlight and I'd be a buyer. Hell, I would probably sell almost every lens I have to get those features. They could even crop the Raw to S16, nearly eliminating any aliasing and I'd still be ecstatic. 

Everyone seems to say "don't shoot higher than 400 (or 800 or whatever), try to keep it at 100", but compared to every DSLR I've owned, this thing's a low light beast. 
One of yesterday's shots - I'm pretty sure I was around 1600-2000 iso for this; full frame on the left and a 100% crop on the right, (EOSHD and JPEG compression has added some stairstepping that's not there in the screen grab), but it's very very nice. The thing with this sensor I've found - bring up the master black a bit at high ISOs if the shot can handle it overall; if you're shooting at 400 or higher and, say, your subject has some deep black sweater or something that really just eats up the light, master black will mess with skin tones, so throw up a big sheet or something, crank in some fill and bring your key down a bit. Deep deep blacks have some blocking that H264 delivery seems to just latch onto terribly. Open the blacks where you can crush out the noise and it becomes much better. But it's freaky how punchy and bright a gloomy scene can get with higher ISOs, my experience has been that it's not just a cranked-ISO mush look - with a nice lens, you can get a really sort of "snappy" look. My grip was like "man, do we need to drag some lights in here?" And i was "Look in the VF, dude…"

I'd use a samsung lens. The 16-50s seems like a perfect fit.

Rest of the week is pretty booked, but this could be something I do maybe next week. Let me see if there are any camera shops that might just be willing to let me borrow a test chart, or maybe shoot something in store. Do you think that micro adjustments like green, red, etc are universal between all the chips that Samsung put into the cameras? What lens would be most appropriate? I have the 16-50S, but also access to sony cine alta primes which are quite clean and don't seem to warm or cool images much if at all.

My opinion? Keep the NX1 and buy a used A7s for those heavy low light situations. Will save you money compared to selling the NX1 and buying the new A7s II or A7r II. If you have nikon glass I recommend checking out a D750. Excellent low light even at 60 fps an a great image. 
Why do you need 4K? Do your clients demand it? Are they going to know that you upscale the lowlight footage? Or is it that  you just prefer it? If your doing event work no one is going to care about the resolution, just getting a good image. 
Also, get a simple shoulder rig. IBIS will not solve all your problems and switching to a body with a smaller grip isn't going to make handholding any easier. 

Won't bore you with a long story, but in short, I went from an a7s and instead of sticking with Sony, I went to the nx1.
Now if low light is that big of a problem for you, I don't think you have much of a choice, you'll probably want to move to the a7s2. While I do miss being able to shoot at night by the moon and a flashlight (essentially), I've not really found myself lacking with even the most basic of lighting kits (of course your situation may differ).
I'm also not entirely sure you'll find the lens/body weight ratio much changed in your favor by switching to Sony.
We do know all signs point to the nx system being dead, so really they biggest benefit of switching is that you'll be switching into a system with more longevity.

Is the bottom photo taken with the 85mm? I have been obsessed with f2 lenses, so I have been eyeing the 85mm ai f2 lens, but am looking to get one for around a hundred. Eventually I'll find one. I am actually in a little of quandary... I am looking to pick up another camera. I want to start shooting some stills, but I don't think I want to use the G7. As you know, I also have the NX500 which should be decent for stills, but I am really enjoying the video I have seen from the D5500 and/or the D7200. It seems like either would be good for stills... But I am also really interested in shooting Raw video on the Pocket or the upcoming Micro. I will probably sell off the NX500 to help fund my next camera. For the hybrid purposes, the Nikons seem like a more logical choice, but I'm not sure how much still work I'll actually do. Hmm. Idk. Just thinking out "loud" really. It's great to see how good the Raw stills are with the NX1 though. 

They look great... It doesn't hurt that your subject is stunning. These are with the Nikkors and the NX1 Raw?

The Sigma ART lenses are top notch from the quality, I wouldn't be concerned about any plastics vs metal discussions. I clearly wouldn't want them to be any heavier for sure, which brings me to the point: did you consider how big the Sigmas are? They're surely quite a bit bigger than your Nikkors or FDs so consider that. When you compare the Sigma 50 1.4 vs the Canon EF 50 1.4 USM you get way better quality at the price of a way bigger & heavier lens. For some applications I'm not sure which is the better compromise.

First, I hope you have safe travels and thanks again for your service!!!
Second, I don't know man... It kinda seems that the NX1 is just not suited to your workflow style. I like what you've been getting out of it, but you seem displeased with your results.
Between your Nikkors and your FD lenses, you have a great set up. I think you might enjoy the pocket cam or the 5D better?
If I were you, I'd probably ditch the NX1, while you can still get some coin out of her and pick up a pocket and a 5D. Maybe sell your FDs and get some c-mount lenses for the pocket. 
But then again... What do I know. If you want the Zeiss... Go for the Zeiss, they are beautiful lenses. Or the art lenses... You can't go wrong with either. 

To be honest, abberation have never bothered me much. 

Got the Nikkor 50mm f1.4 today. Now I just need the 35mm f1.4 that should arrive later this week before my Cheap Vintage Nikkor Set is complete.

I had promised myself not to post any more screens without actually posting a video, but I couldnt resist start grading some new stuff. I promise Ill post this video this week :3