Geoff CB

​The Sport Mode not dropping DR is great news.

I was looking at the same thing. That is: something for the GH4/BMPCC (perhaps BMMCC/BMMSC). Figured the way to go probably would be the Lilliput 663/O/P2 for the most complete 'cheap' monitor (incl. histogram, waveforms, vectorscope, etc).
Up from that the Blackmagic Video Assist as a nice external recorder and monitor combined. But I'm still not sure what the monitoring features specifcally entail.
Then the Videodevices PIX-E5H 4K recorder/monitor with PIX-LR XLR audio interface as the crème de la crème solution, with a premium price tag (still believe it's better value compared to a SmallHD 502 + Sidefinder that doesn't record, or Atomos Shogun / Convergent Design Odyssey Q7+ that do record but have the thing of price, size, storage, mainly).
But yeah, for the entry level... really budget price, Aputure seems to take it away (their LED units are awesome value too). There have been mutiple threads about this subject ( most recently here and here ). Apparently the Feelworlds aren't that bad either. But I kinda feel like paying a bit more might really get you something quite a bit more useful. Depends on what you do with it and how it would add to your style of shooting. So you have to do some soul searching... still working on that myself. Perhaps by the time the Video Assist is availlable I might finally have an actual need for one.

God I love the look of the Kine cameras. Hope they find success. If I ever get into more feature films (right now mainly doc work) I'll probably invest in them, 3K 16-bit is astounding. Still hoping they find a US Distributor.
​You can find some samples of the Cineform files that the kineMINI produces online, excellent non-raw codec that edits in all editors and has more efficient encoding than ProRes. 

​They should focus on color.

​I think the new price is probably a 'break even' price.  

I have a set of Nikon Primes & Tokina Zooms. Started building a Voightlander set of pancake primes.
You can never have enough Unless you can't afford it.

I have a set of Nikon Primes & Tokina Zooms. Started building a Voightlander set of pancake primes.
You can never have enough Unless you can't afford it.

Watch your language or your going to be the subject of Ed's upcoming documentary. 

And a pan to check the dynamic range, also from Indian Canyons. I shot this handheld, so stabilized it in post, but it's otherwise untouched. I don't believe there is any change to DR in 1.30.

I'm with Cinegain. An EVF is a personal requirement for video work. I'll never have my primary camera be a DSLR again.
 

​Call her D810.
:-)

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. 

Personally I use Premiere due to it's photoshop/After Effects/Speedgrade intergration. I like the idea behind the method that FCPX uses, but I work on PC systems that I build myself, so it's not an option.

The Nikon 11-16 is probably the easiest/best way to get close.

You can get a used 11-16 v1 for not much more than the 10-18 goes for, and you get a lot in return for the extra money, the fast, constant aperture being the biggest one.

Personally I use Premiere due to it's photoshop/After Effects/Speedgrade intergration. I like the idea behind the method that FCPX uses, but I work on PC systems that I build myself, so it's not an option.

If your already decided, certainly act on it, but I actually migrated the other way. I started in FCP5 and loved it through 7. A fanboy for sure. When FCPX dropped, I was really excited. It looked slick and I was excited to try something different, but in end it didn't seem to work for me (granted, it has gotten better since). Since I already used and owned Adobe software (AfterEffects, Photoshop, Illustrator), I figured I'd give it a go and I haven't looked back.
I ended up really liking the way all the different programs effortlessly synced together, which made a profoundly positive difference in the speed and efficiency of my workflow. Additionally, Motion doesn't even hold a candle to AfterEffects. Even when I used FCP, I used AfterEffects, awful round-tripping and all.
All that said, they both are great tools and there's nothing that says you have to stick to just one. Aside from having a favorite, and we all do, any editor worth his salt should be able to work in the big three: AVID, FCP/X, Premiere Pro. (With a +1 for Davinci, who's really had some growth in the editor features department.) Good news is, they all have free versions/trials, so go play, my friend!
I'd be interested to see which you one/ones you end with, so keep us posted.  =]
 
*Oh, and welcome to the community!

Every half-decent artist knows how to irritate people by dropping a few unintelligible, chaotic remarks/symbols.

It's one thing to put together a good anamorphic rig, but you'll eventually have to understand widescreen composition.  David Boardwell's video is a fantastic introduction to widescreen technologies and composition.
 
 

Thanks, will check the making of asap, should be interesting. 
Saw the film yesterday. Id give it a solid 8, but i did go in with sky high expectations after witnessing all these ten out of ten reviews. The film is certainly much better than Age of Ultron or Furious 7 and probably will be the best action blockbuster of 2015. Feel it's slightly overrated but not as much as the first Avengers or Guardians of the Galaxy. Id rate it equal to Dawn of the Planet of the Apes. 
I was floored at the beginning of the movie and especially at the first carchase setpiece but the latter half of the movie failed to sustain or outdo the assault on the senses i got in the first hour. The second half was really good but it definitely peaked early for me. The last setpiece was more of the same and the sense of danger was somewhat lost sadly. The baddies could have easily won in the end if they had put some thought to their actions. But i guess logic doesn't apply anyway to film such as this.
One nitpick - the high shutter speed in action scenes was way overdone and made the movements too jerky and less realistic.
Overall the design and the world itself was simply amazing and quite mad indeed, if a bit comic book alike compared to earlier films. Tom Hardy was good but he doesn't quite have that fierce look in the eyes like Mel Gibson. Gibson could have still pulled it off imo. Theron was awesome if underdeveloped as a character, but we all now the drama isn't the main attraction in a film like this, so it's all good. 
Soundtack was nothing special, fitted nicely on action but not as much during the quiter scenes, overly pathetic. 
Big respect for Miller to pulling it off, Fury Road is a stunning action movie with incredible visuals and style but not quite a flawless masterpiece. Look forward to seeing it again. 
Id like to add that i secretly hoped for a cameo of Bruce Spence. I don't know if it's just me, but the film seemed to aim for PG13 like Prometheus.

Guys guys. Why are you arguing with what is clearly an immature geek who just wants to wank to paper specs all day?

This is a recent short that I did. My wife and I were originally making it to use as a sort of announcement that we were having a baby (only our immediate family knew about it) but I also wanted it to stand alone as a fun little short. After shooting the bulk of the footage my wife went into labor the next day so we had to do all of the quick zoom/close-up shots weeks after. Better late than never!
 
Since I was unfortunately in the video, I had to rely on my wife for shooting most of it and when we couldn't operate the camera ourselves, we called over my Dad and a friend in the middle of the night to help us shoot. All three of them had absolutely zero experience shooting anything and as a testament to the NX1, they all learned the basics of the camera reasonably quickly.
 

​Your lol-filled argument makes no sense whatsoever, APS-c sales completely trounce FF. And it isn't even close. APS-c isn't going anywhere, because its the dominant force in the market - plain and simple. Even Steve Jobs' corpse is smart enough to see that. Don't know why you can't. If that's your imaging division's major source of revenue, rest assured that's a top priority. APS-c/S35 is also where all the innovation lies with the big 3 (excluding m43 since canon, Nikon and Sony don't produce m43 cameras), internal 4k video, high fps stills, dual pixel AF and more are all finding their way into APS-c/S35 sensor cameras before FF. One could counter-argue FF is dying because more of the innovation is going to APS-c.
You're pushing your own uninformed opinion as fact, when Amazon sales are in fact a measure of where the market is going. Even anecdotal stuff - what cameras are available in large retailers such as Best Buy and Walmart - low end APS-c Canon's and Nikons. FF has not seen mass adoption on the level of APS-c and it never will because costs put it out of reach of many casual users - and that's where the sales numbers lie.
Pros make up a very, very small percentage of the market and have specialized needs that are served by small-volume niche products - hence cameras like the 1dx, D4s, FS7 and so on that use bits and pieces of other models to leverage the costs of development across multiple lines. If you have actual facts to back up your argument, and not just your opinion please provide them. 
Cheers

Considering most still shoot with Super 35 mm sensors, that they strike the balance between DOF/ being impossible to focus, and I'm actually think of using the new Black Magic Micro Cinema camera as my A-camera if it lives up to spec, I have to pretty strongly disagree. FF is the future for photography, but not all video projects. 

What I would like to see more focus on, on various blogs, are the tools that complement the cameras.... Dollies, gimbals, cranes, lights etc
The cameras are hitting saturation point, but there are some really interesting tools that can help with the cinematic look, every bit as much as DR, resolution etc.

Considering most still shoot with Super 35 mm sensors, that they strike the balance between DOF/ being impossible to focus, and I'm actually think of using the new Black Magic Micro Cinema camera as my A-camera if it lives up to spec, I have to pretty strongly disagree. FF is the future for photography, but not all video projects.