Mat Mayer

This is an awesome idea. Found the PCSPECIALIST website and it seems ideal to build a laptop without having to actually put it together. Prices seem very reasonable to me on first glance. Unfortunately I probably left it too late, selling my MSI was a spur of the moment decision, so I need something someone has in stock nearby as I leave Tuesday. Might see if they can deliver Monday if I order tomorrow morning.
Currently also looking at mini PC's, as I will be getting a monitor anyway and small ones can easily fit in luggage. Also the black HP Spectre x360, which is thin, fairly light and can be used in tablet mode, so it would replace all 3 of my devices (tablet, notebook and workstation laptop). I like to spend time looking so I get the best device and deal- will post the winner of best 4K portable computer when chosen.
Might wait though because I checked Mac prices in Singapore and they are way cheaper than in the UK: for example £4,049.00 for the most expensive Mac Pro in UK and £3,409.57 in Singapore (approx 15% cheaper). Would rather steer clear of the c*nts at Apple though until I settle down and get an iMac. They leave people in the lurch all the time with their updates e.g. my spare monitor doesn't work with Macbook Air anymore and thousands have had the same problem for many years with no help from Apple. Microsoft make stupid decisions but I always find a way around them eventually.
 
Edit: Found the perfect laptop: Dell XPS 15. 1TB SSD, 32GB RAM, 2GB 960M GPU, i7-6700HQ. Same screen size as my big MSI, but feels more like the size of a 13" Air. 4K touchscreen too.
 

The repair center where going to repair it(since they said they already ordered the parts from Apple), but where forced to deny repair since Apple refused to send any parts for it. This is Apple denying there own service center parts and making it so that noone can fix it, anywhere, ever.
No matter how you dress that up the smell still going to come through.

Which is something that I and plenty of other people find obscene. No company should have a say with what I do on something that I have bought. Or how I want to upgrade my computer that is.
https://www.bleepingcomputer.com/news/government/eu-prepares-right-to-repair-legislation-to-fight-short-product-lifespans/
https://www.bleepingcomputer.com/news/government/us-states-considering-legislation-to-introduce-right-to-repair-for-electronics/
https://www.bleepingcomputer.com/news/government/ftc-warranty-void-if-removed-stickers-are-illegal/
"Limiting repair options illegal under 1975 US law
The FTC says that such practices are illegal under the Magnuson-Moss Warranty Act, a law that governs consumer product warranties, and which states that no company can put restrictions on the way users choose to repair their products.
The law says that companies can't force users to use only certain types of (astronomically-priced) replacement parts, take produces for repair jobs only at certain repair shops, or can't plaster anti-tampering stickers on products to prevent users from repairing their own products."

@1Ale82 If your shooting out in the mountains with cold/rain elements i'd forget the sony's especially A7III as it's only dust/moisture proof vs complete splash/freeze weather sealing for XH1.
And with the WR primes you could have a rock solid setup.
Also you mentioned timelapse, another point for XH1 as it's got an intervalometer function. no can't do on A73.
Btw, don't discard your XT2, with the latest update it's got F-Log, 120fps and couple other enhancements.
XT2 + XH1 could be an awesome combo and minimize lens swapping.
As for the 200Mbit vs 100Mbit, less compressed means less artifacts which could be very useful in nature/water shots imo.
Check out the thorough A73 vs XH1 comparison here: https://mirrorlesscomparison.com/sony-vs-fujifilm/a7iii-vs-fuji-xh1/4/

Getting very tired of reading this over and over and over

Totally agree. Unhelpful, unnecessary, ego-driven, snarky. No, Kisaha, it is not "simply pointing out information" if your reply swings that way. These sorts of comments just bring the purpose of these forums down.
I'm looking forward to spending significant time with the new firmware later in the week. Curious if the slow-mo aliasing issues of the X-H1 show up in the X-T2 post-firmware update - in the 60p as well.
Glad, glad for the Flog and Eterna LUT. Jonnie at Cinema 5D had a nice, short intro to the new firmware. Basic story but the images look good.

I think they both have a GH5. One does marriages and some ads, one does non film stuff mostly and both are dabbling in drone videos for businesses. 

Those Netflix originals (and the most recent Sundance feature I worked) were released last year. Things are moving fast, but large professional markets are the slowest to catch up. And frankly, most festival features don't have the budget to finish at 4k.
I'm just offering my experience, maybe elsewhere things are different. For stock footage I totally agree you want 4k bare minimum, fwiw.

Interesting... I think I just have a different mentality than a lot of people around here. Content is content in my mind. 4K, 2K, 1080p...
In almost every job I have done, there is the best way to do it and the best budget way to do it... often they're synonymous in the end. Now I agree, 4K is probably important, as your research has shown. But unless you know exactly how much revenue your stock footage can generate, buying a new camera for this specific task puts you in a hole right from the outset.
It's okay to swing for the fences, but a lot of times you may end up striking out... whereas a nice grounder up the middle will get you on base.
I would be more interested in a Raw or ProRes 1080p image from a BMPCC or BMMCC than another shot of a sunset from the GH5... I would think it would set you apart.
Anyway, you've seemed to have done your research, I would just consider the overall cost in equipment, media and time before jumping head first into a $2000 camera that requires $200 cards for the best codec and a really fast computer to edit, render and deliver the content...
Just a thought.

For personal work, I don't care about 4k or 10bit. But for stock footage I think you do want to shoot 4k bare minimum. Beyond that, just do a cost/benefit analysis if something even higher end will improve your client base. I don't think you need to worry too much about bit depth, though...
Because for stock footage I don't think the requirements are as exacting as you think. BBC specs are for the A camera. B cameras can be whatever. No studio is going to reject a lone clip of stock footage because it's 8 bit instead of 10 bit, that would be insane. The difference between the two is usually invisible anyway, except for HDR or with thin codecs or poorly exposed images. It's only if the image doesn't hold up subjectively that a client would turn it down. In fact, the bigger question is what database you're on. Some networks won't use Pond5 because their clearance system isn't rigorous enough.
I worked on a Netflix show and the footage itself was all 4k raw but the stock footage was whatever worked, like anything HD would be fine. I remember on Wolf of Wall Street (which I didn't work on, I wish I could have!) they used iPhone 5 footage for a shot. I never noticed in the theater. Some of the drone footage was also 1080p 8 bit (C500 but without an internal recorder). I didn't notice. Others here with keener eyes surely did, but for bigger clients usually the technical image quality is less of a concern.
Most of us here are aiming for significantly higher technical image quality than Wolf of Wall Street on our personal work, I get this this forum prides itself in delivering the utmost image quality without a lot of money, but it doesn't mean most clients care. That said, with stock footage there's a good change your client will be zooming in on, grading, compositing, or manipulating your footage pretty heavily, so any extra resolution is good and log files aren't a bad idea. But I would be very surprised if they even looked at the bit depth. 
Personal work is obviously another story.

Quick and dirty test comparing my 12.5mm c-mount lenses. For my taste, the Fuji wins.

I got a new copy of the Fujinon-TV 12.5mm 1.4 after unsuccessfully trying to modify my first copy (it was only $15 so whatever). This one works perfectly without needing modification. These grabs are shot wife open on the bmpcc. It's a bit soft and glows, but it could be used effectively with the right scene. It looks better at f2, and really nice at f2.8. My step dad, who co-owns a metal shop, is going to bring some handheld grinding tools from his shop to modify my Fuji 25mm and 50mm lenses. If it works, I'll shoot a test comparing my Fujis to my Cosmicar and Canon TV-16 lenses.

Caught this one recently. The story has been done plenty of time before, but it's a great effort with minimal budget/crew. 5D3 h.264 in cinestyle, going from the comments/bts. 
 
 

@GregormannschaftHey, if m43 coverage is good enough, you could get a b4 2/3 lens with internal doubler, powering the servozoom with an external battery.
Jon, don´t react to negative pms or public messages. They are not worth to be read twice. Enjoy doing your work, just like we do watching it. Mark, I find your last remarks not inspiring nor supporting to do filmwork.

Your "model" videos speak for themselves, as do your insulting comments. I showed them to some students I know, and they were shocked. Get a hold of yourself. I gave you the chance to back out gracefully, I have been a supporter of your video work. As I said, I would have been happy to remove what you found so surprisingly offensive, but you insisted on lashing out publicly. I still think all of these posts should be removed. Please complain to Mr. Reid, as I did.
My original comment on the model was based on my belief the subject was indeed a model, and I just found the poses amusingly ridiculous for a professional. When your defense was that the subject was a student, then that brought enlightenment about your defensiveness.
since jonpais wants to make personal messages public, let me post what I initially wrote to him (typos included):
"the poster you accuse of joining the lens thread to trash your model supposed to be me? The link is dead, but it seems you really took offense, even though it was a criticism of the subject not of your work!.
I said: "Nice image as always." That is a complement, and I meant it. I have in fact stayed away from criticizing the truly awful color grades people have posted. Your colors and lighting are very nice, as always. 2. I came to the lens thread for the first time to post a video with an old lens to show what it could do; it followed your post almost immediately. Why in the world would I join the thread just to criticize the "model". I actually found the content - this teen model acting phony - offensive, actually. It was not a criticism of her looks, but her behavior. But so what, the key point of  this forum is technique and I said it was great. Why do you care if anyone does not like the model?
In any case, your criticism  of me and my work and my intentions is way off base. Am I being paranoid, did you really mean to trash me personally, my videos and impugn my motivations? What is going on? What is that link?"
To which he replied he had nothing more to say to me. So I then privately told him what I thought of him, based on his behavior and his "student" videos.. And other insulting posts he has made in which others were victims. This is repeated behavior, not a one-off, though I think it is the worst I have ever seen from him or anyone.

Little lensologist advice needed. I've seen a few videos recently (and yet struggle to find those videos again) which feature some lovely smooth zoom ins to people's faces. I love this style and would love to try and replicate it. Any idea what I'd be looking at buying? Would it only be possible with a par-focal cine lens?

Let me know if my description is a little too vague. Basically, think wide shot, that quickly zooms into someones face, smoothly and in focus.
Re: everything above.
@jonpais For what it's worth, you may have to accept the occasional remark on the internet about a grey haired white man living in an Asian country posting videos of teen girls posing for the camera. The situation is so culturally and historically loaded, however unfair or inaccurate that may be for your individual situation.
@markr041 You're being immature. There's no need to label Jon 'sick', and I have no clue how anyone would be shocked (SHOCKED) at Jon's video. You're picking a fight and what you have said and directly insinuated is incredibly insulting towards Jon.

Not sure what they do, I never visit that sinkhole. xD
_
But on the topic of lenses... the new Huawei (Leica partnership) P20 Pro has 4 of 'em (rear 3 cam combines to a Vario-Summilux-H1 27-80mm f/1.6-2.4 ASPH.), sensor size = 1/1.78" which is quite huge for a smartphone (that's not a CM1 or something).

https://consumer.huawei.com/en/phones/p20-pro/ Official launch was earlier this afternoon. Incredible piece of kit if you ask me. It leaps ahead of the first closest thing from Samsung with a whopping 10 extra DxOMark points: https://www.dxomark.com/huawei-p20-pro-camera-review-innovative-technologies-outstanding-results/ ... who conclude that it's a game changer. Curious to find out what it's like for video. It does do 960fps slowmo (720p) and AIS (they find EIS/OIS doesn't quite work, but when you use AI, you can get much better results) and AF seems impressive. Guess we'll find out!

With DPREVIEW:
- The EOS M50 offers 4K video and Dual Pixel CMOS AF, but not at the same time. Is there a technical reason for this limitation?
"With the EOS 5D Mark IV, we do offer 4K video and Dual Pixel CMOS autofocus, so technically it is feasible. But given the position of the M50 in the lineup, we can’t include all of the features available in a product like the 5D IV. Given the position of the product, we wanted to achieve the optimal balance [of features] in a camera in that range."
We all knew Canon was crippling its products. Now is another proof. How can they dare sell you completely crippled shits for so much money? And people buy that.
What a ridiculous company. I am speechless. 

Shutterstock, Fotolia, if you go into your sales at Pond5 you can see what's sold.  Getty, I just do photos there, and it's such a mess I just take the money.  As far as money and video's, Shutterstock I've made the most on, Fotolia on average is twenty eight bucks a sale, but I've seen over a hundred per video there, as well as Shutterstock.  Pond5 you set your price, I go low and high, it doesn't seem to make much difference. 
I should add, if you're going to start, keep with the majors.  Shutterstock, Fotolia, which is Adobe, and Pond5.  Getty I haven't a clue, like I said, they are so messed up right now it's hard to figure out what they're doing.  If you go on the fringe sites, you'll probably loose money, ie, it will take more time to upload to them than it's worth.

No (EDIT!!! as in "No, your wife is mistaken") all of the other settings are still available, you just select them as normal in the menu.
The best approach is to save a Cinelike D version as one of your C settings so you can recall it from the camera instead of having to do the hack each time.
The hardware device above includes the Cinelike profiles in its list of profiles as though it were like the others so you can switch to it without saving it as a C setting or having to do the hack each time (as it is doing the hack each time itself automatically when you select a Cinelike profile).
Instructions for switching using the C settings are here
 

That looks awesome. In the meantime is there a simple way to switch between normal and the hack settings? My wife said the hack limits the camera to only Cine D. 

I’ve been doing tests and am shooting like 5 different reviews on this camera for Kinotika and my personal channel and to me, honestly, the GH5S is game changer. I’m noticing significant improvement in skin tones and color science here along with better autofocus with the “hack” than the GH5. I’ve been comparing the two cameras using the same settings and the GH5S does seem to be faster. Also, I love the newer sensor size. Just that little extra amount of sensor size allows for the Olympus 12-100 zoom to be the best lens of all time! Constant f4 was always a problem with this lens, but now with the low light performance it’s a non issue. That 12mm becomes a 21mm equivalent which makes it the perfect “vlog” focal length and with the ability to zoom to 100mm... you have a 21mm-175mm which is unheard of. You get fabulous IS with the lens so you’re not missing out by not having ibis and call me crazy, but I’m not a fan of ibis. It’s always ruined the shots for me. 80% of the time on the GH5 it’s great, but sometimes you just see that wobble and it ruins the shot in my opinion. Lens IS never does that for me. 
So: GH5S + Olympus 12-100 = best walk around kit. 
There’s so many things with the panny cameras that just make my life better and more pain free too. Like the hdmi implementation. Having all your settings, audio levels, etc carry over hdmi is so incredible. 
I even love the stills off the GH5s. Really clean and 10mp is fine for me. Less megapixels than my iPhone but the photos are fine for my use (family portraits)
I’m buying the GH5S with the 12-100 with a speed booster for my contax Zeiss glass and actually going to sell my 1DC for this. I’m so happy with the 10bit files and vlog. This camera makes me happy. The GH5 never did. 

I got me two sets of D-Mounts. Three Kern Paillards and two Yashicas. They cost me €12 + €6 + shipping for all of them and included two cameras as rear caps.
If someone wonders about the specs compared to a modern Canon or Panasonic equivalent they are smaller, cheaper and better built with loads of character. So better speced indeed


 
Here is a sample of the Kern 13mm f1.8

 
Here the Kern and Yashica 13mm goes head to head.
Yashica


Kern Paillard

 

Absolutely the best image you can get in 2018 on a pure 4K quality basis (if you don't mind 1.3x crop) and an absolute monster of a full frame stills camera.
It depends how you are going to use it though.
Manual focus only in video mode, stick it on a tripod and hit record. Ok. Handheld with IS lenses...hmm... ok-ish I suppose. Anything more elaborate than that and the ergonomics will hurt you. The lack of articulated screen, EVF, audio functionality and HUGE file sizes are the complete opposite of your C100.
Long recordings on this baby are a no-no unless you love buying MANY large CF cards, MANY batteries and transcoding to ProRes LT before editing.
Absolutely the bigger brother in terms of image quality but the smaller sister in terms of literally everything else haha.
2500 euros with 1 year support is a superb deal
At least if you don't get on with the handling, you could sell it on eBay for more and buy something else.
The ones to consider are:
D850
A7R3
GH5/GH5S with Canon EF Speed Booster XL

Just last month I went to visit Panasonic UK for a hands-on with the new Panasonic GH5S. My full review is in the pipeline but first an introduction to the new camera on the block...
The GH5S has a newly developed 10.2MP sensor for enhanced low light performance, as well as 240fps 1080p S&Q. Furthermore for the first time since the GH2 this sensor is an over-sized 1.86x crop multi-aspect sensor.
Possible for the first time is 60p at Cinema 4K resolution (4096 x 2160), whereas the GH5 is just Ultra HD 60p. The field-of-view will be slightly wider in Cinema 4K on the GH5S compared to the GH5 due to the larger sensor. The new CMOS also brings colour improvements with a new 14bit readout and less noise.
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