DayRaven

That's a REALLY wierd species of Canna if the Canon has the best colour here - it look's like it was the one grown in the radioactive wasteland!

That's a REALLY wierd species of Canna if the Canon has the best colour here - it look's like it was the one grown in the radioactive wasteland!

As you have Nikon lenses I'd recommend the NX1

If you'd have Canon lenses you'd be stuck... as then you couldn't use the NX1 And Panasonic would make more sense then. 

Take a trip down to your local shops, you'll find ripoffs from every country in the world. Including yours. Lego ripped off Kiddicraft, Oreos ripped off Hydrox (and then launched an ad campaign claiming they were the ripoffs), Sketchers ripped off Toms, Disney Pixar ripped off Pierrot Le Poisson Clown, Angry Birds ripped off Crush the Castle, Farmville ripped off Farm Town, Pong Ripped off Table Tennis (the 1972 computer game), Guitar Hero ripped off Guitar Freaks, A fist full of Dollars - Yojimbo, Lincoln Continental - Bently Continental, Chrysler 300 - Bently Continental, Focus/Mondeo - Astin Martin, Astin Martin - Everything Fisker does, Marvel Wasp - DC Bumblebee, Psych - The Mentalist, Benson - Squidward, Secret of the Incas - Raiders of the Lost Ark, Monsters Inc - Little Monsters, Facebook - Friendster, Twitter - TechRadium, Paypal - Billpoint, Burberry - Vivienne Westwood.
Need I go on, or shall we keep nationality out of it?

Take a trip down to your local shops, you'll find ripoffs from every country in the world. Including yours. Lego ripped off Kiddicraft, Oreos ripped off Hydrox (and then launched an ad campaign claiming they were the ripoffs), Sketchers ripped off Toms, Disney Pixar ripped off Pierrot Le Poisson Clown, Angry Birds ripped off Crush the Castle, Farmville ripped off Farm Town, Pong Ripped off Table Tennis (the 1972 computer game), Guitar Hero ripped off Guitar Freaks, A fist full of Dollars - Yojimbo, Lincoln Continental - Bently Continental, Chrysler 300 - Bently Continental, Focus/Mondeo - Astin Martin, Astin Martin - Everything Fisker does, Marvel Wasp - DC Bumblebee, Psych - The Mentalist, Benson - Squidward, Secret of the Incas - Raiders of the Lost Ark, Monsters Inc - Little Monsters, Facebook - Friendster, Twitter - TechRadium, Paypal - Billpoint, Burberry - Vivienne Westwood.
Need I go on, or shall we keep nationality out of it?

Take a trip down to your local shops, you'll find ripoffs from every country in the world. Including yours. Lego ripped off Kiddicraft, Oreos ripped off Hydrox (and then launched an ad campaign claiming they were the ripoffs), Sketchers ripped off Toms, Disney Pixar ripped off Pierrot Le Poisson Clown, Angry Birds ripped off Crush the Castle, Farmville ripped off Farm Town, Pong Ripped off Table Tennis (the 1972 computer game), Guitar Hero ripped off Guitar Freaks, A fist full of Dollars - Yojimbo, Lincoln Continental - Bently Continental, Chrysler 300 - Bently Continental, Focus/Mondeo - Astin Martin, Astin Martin - Everything Fisker does, Marvel Wasp - DC Bumblebee, Psych - The Mentalist, Benson - Squidward, Secret of the Incas - Raiders of the Lost Ark, Monsters Inc - Little Monsters, Facebook - Friendster, Twitter - TechRadium, Paypal - Billpoint, Burberry - Vivienne Westwood.
Need I go on, or shall we keep nationality out of it?

Well yes, you seem to be making the extraordinary claim that Kinefinity are trying to pass their products off as Reds with that link there, so do eloborate to your hearts content.

Take a trip down to your local shops, you'll find ripoffs from every country in the world. Including yours. Lego ripped off Kiddicraft, Oreos ripped off Hydrox (and then launched an ad campaign claiming they were the ripoffs), Sketchers ripped off Toms, Disney Pixar ripped off Pierrot Le Poisson Clown, Angry Birds ripped off Crush the Castle, Farmville ripped off Farm Town, Pong Ripped off Table Tennis (the 1972 computer game), Guitar Hero ripped off Guitar Freaks, A fist full of Dollars - Yojimbo, Lincoln Continental - Bently Continental, Chrysler 300 - Bently Continental, Focus/Mondeo - Astin Martin, Astin Martin - Everything Fisker does, Marvel Wasp - DC Bumblebee, Psych - The Mentalist, Benson - Squidward, Secret of the Incas - Raiders of the Lost Ark, Monsters Inc - Little Monsters, Facebook - Friendster, Twitter - TechRadium, Paypal - Billpoint, Burberry - Vivienne Westwood.
Need I go on, or shall we keep nationality out of it?

I don't get the fascination with "cages" - it adds hundreds every time you get a new body. I've been using the same rails & baseplate setup for a couple years now. Though I don't stick a microphone on my camera, I kinda like it next to the talent (for true event and run & gun shooting without a boom op, I use a "real video camera" with mics and XLRs and NDs). I once stuck a battery-powered cheap lav inside the front of one of my rails for synch when i couldn't get a recorder-out working with a motion shot and it sounded about as good as any other mic stuck to the camera, and was invisible - I'll probably make that permanent for when I'm moving too much. I have a little 15mm rail clamp with a lock for two cables, that gets 8" HDMI and camera-in-extensions with female ends, so I'm not fiddling with the camera ports to hook up. Haven't spent a dime on camera rigging in a couple years now.

Hahaha, most probably. That forum is a dick sucking contest to rationalize spending 40.000$ on a camera and still being a 40 years old men with no clue about image making.

There is no "proper way". You can do it anyway you want. 
You can think of LUTs as the easy way of translating color information. 
So you can shoot sgamut3 and have an LUT that gets you to sgamut3.cine space or an LUT that gets you from sgamut3.cine to rec709. You can add another LUT on top of the previous to add secondary looks, or you can have just one that combines all the LUTs together. Or you can do all these things manually with color and contrast manipulation but spend a significant amount of time doing it. 
I agree that people tend to misuse LUTs, but then again color grading is not a trivial task. I find that people misuse/overuse more the slog/sgamut than LUTs... 
While shooting a wider gamut allows more control of the final image since you can do more translations of color (match very different clips), it can lead to bad & unbalanced results easily and with 8bit codecs things can get messy (banding, plastic looking colors, etc..) very fast. That is why wider gamuts  such as sgamut3.cine or log profiles are not always advised. 
For my type of shooting (documentary run&gun style), Cine4/Cine2 gammas with Cinema/Pro/rec709 gamut with rec709 LUTs added in post, give me the best balance between gradability and quality.

Look at the price of the kinemax.  it's pretty much as good, if not, better than the red weapon with dragon 6k sensor, and costs less than an FS7.  The capabilities practically blow everything black magic have to offer out of the water, for very similar prices.  It's not about price with these cameras, it's about the fact that their press releases are written in Chinese that very few people invest in the equipment.  
 
IMO they'd make more of an impact if rather than developing new cameras they simply put the money into sending out complimentary kinemax's to shooters for review.  
 
I've seen work from @Rob Bannister using his kine-mini 4k that leaves nothing to be desired - that camera is less costly than the fs5!  

It's a combination of things -
1. Sony cameras don't handle difficult white balance situations with any grace
2. Sony offer a huge degree of options that control the sensor
3. Sony give you profiles that require grading - and I mean, proper, years of experience as a colourist grading, not just drop on a lut or tweak sat and curves
Combine this with low prices and any tom, dick or harry can grab one, stick it in pp9, wave it around a baby with leds, sunlight and an incandescent bulb and wonder what happened to the skin
They aren't cameras for everyone, thats for sure, you can mitigate many of the issues, but they are cameras that demand, in certain modes, a very high degree of cameramanship and skill.
1. Desaturating the higher luminence can work wonders to help take the green and yellow gills away.
2. Stick to pp0, and your fave creative style, if that's too limiting, stick to cine 4, s.gamut.cine. If that's ever too limiting, then you are going to have to start reading technical documentation to understand what the options do and how they do it.
3. Just look at the size of s.gamut 3, and think what is going to happen when you cram all of that into the comparitively tiny space of 709 and understand why colourists can charge what they do. Then never, ever use it.
Or just grab a camera you can get decent results with because clever engineers did all that for you and plenty more besides

Good post Day, I agree with every word

It's a combination of things -
1. Sony cameras don't handle difficult white balance situations with any grace
2. Sony offer a huge degree of options that control the sensor
3. Sony give you profiles that require grading - and I mean, proper, years of experience as a colourist grading, not just drop on a lut or tweak sat and curves
Combine this with low prices and any tom, dick or harry can grab one, stick it in pp9, wave it around a baby with leds, sunlight and an incandescent bulb and wonder what happened to the skin
They aren't cameras for everyone, thats for sure, you can mitigate many of the issues, but they are cameras that demand, in certain modes, a very high degree of cameramanship and skill.
1. Desaturating the higher luminence can work wonders to help take the green and yellow gills away.
2. Stick to pp0, and your fave creative style, if that's too limiting, stick to cine 4, s.gamut.cine. If that's ever too limiting, then you are going to have to start reading technical documentation to understand what the options do and how they do it.
3. Just look at the size of s.gamut 3, and think what is going to happen when you cram all of that into the comparitively tiny space of 709 and understand why colourists can charge what they do. Then never, ever use it.
Or just grab a camera you can get decent results with because clever engineers did all that for you and plenty more besides

It's a combination of things -
1. Sony cameras don't handle difficult white balance situations with any grace
2. Sony offer a huge degree of options that control the sensor
3. Sony give you profiles that require grading - and I mean, proper, years of experience as a colourist grading, not just drop on a lut or tweak sat and curves
Combine this with low prices and any tom, dick or harry can grab one, stick it in pp9, wave it around a baby with leds, sunlight and an incandescent bulb and wonder what happened to the skin
They aren't cameras for everyone, thats for sure, you can mitigate many of the issues, but they are cameras that demand, in certain modes, a very high degree of cameramanship and skill.
1. Desaturating the higher luminence can work wonders to help take the green and yellow gills away.
2. Stick to pp0, and your fave creative style, if that's too limiting, stick to cine 4, s.gamut.cine. If that's ever too limiting, then you are going to have to start reading technical documentation to understand what the options do and how they do it.
3. Just look at the size of s.gamut 3, and think what is going to happen when you cram all of that into the comparitively tiny space of 709 and understand why colourists can charge what they do. Then never, ever use it.
Or just grab a camera you can get decent results with because clever engineers did all that for you and plenty more besides

Feels like it should be the other way around - the large flange distance would (and has been a factor) prevent me from buying the camera, because I couldn't use a lot of glass on it but should I already own one then buying the NX lenses would be fine for me because of the flange distance as they could be adapted for a great many other cameras

Hi guys, I've until now been proudly and strictly amateur, and really learning for the sake of learning and the enjoyment of the process. Recently, a friend of mine has started his own business and it has been going really well for him. He is going to an expo, and has asked me to attend, to shoot video of the event. Normally I would have said no straight away for any number of reasons, but, this guy has gone above and beyond for me and my family in recent years - to put perspective on it, he has, without question or complaint, or recompense in any form took my learning disabled son out every week for over a year when I have been bed bound with illness, and built a log cabin for me in my garden - so I owe this guy big time.
He hasn't got the budget to pay anyone, in fact, I am helping to cover accomodation for his team, so me being there isn't taking away the chance to get a pro in to get better results than I can achieve. He understands that I am not experienced or professional, he obviously knows my health and emergencies with my son may cause me to be unable to attend or stay and is still happy for me to try, which is why, I said yes.
Obviously I want to do the absolute best job possible, but, I'm a overawed by it all. Firstly, the expo has a press accreditation application, but I don't know if that's appropriate for me, also it allows members of the public attending to "snap away as long as you don't sell the photos for any purpose" , but doesn't mention the exhibitors, presumably the rules for the public apply at a minimum.
Secondly, I have an equipment list which isn't going to do me many favours, this kind of work wasn't on my radar when I was getting my kit together. I have manged to beg/borrow/steal the following which I think will be a suitable kit to take:
Cameras:
A Sony a6300 & NEX 7 C/Y adapter, C/Y Speedbooster, C/Y Zeiss 35-70, C/Y Zeiss 80-200, 50mm f1.8 OSS. I have two Sony batteries, one brand new, one that came with the NEX and has seen years of work along with a year of storage, but seems to be working just fine. I also have two relatively unused off brand batteries.
For the above cameras, I have two 256Gb Sandisk Extreme 95MB/s cards, also an adapter for the go pro's card below, that accomodates the NEX 7's video without a hitch
A Canon XA10 that is barely used but been in storage for years and is in an unknown working state, no cards etc
A go pro hero 4 silver and a metal housing which solved it's plugged in overheating problem. I have a sandisk extreme 64Gb card for it.
Sound:
A Shure Lenshopper with the built in recorder
An AT875R with Rycote Softie
A Shure MV51
A Zoom H4n
Very good (for music) earphones
Stabilisation:
A Gitzo tripod
A Sirui Monopod with feet and ball joint, which seperates into a normal monopod and a little ball jointed tabletop tripod
A manfrotto 502 head
Lighting:
Two large and one small cheap and nasty LED units
Computing:
A surface pro 2 with a 1.5Tb external HD
iphone with it's camera and app ecosystem including a surprisingly accurate enough light meter.
 
Italics indicates gear I have been promised by a reliable person, but, as always, until it's in my hand's I can't be certain I will have it
-------------------------------
The Plan
Day 1 - setting up, Im going to take the go pro and a6300 w. lenshopper on the monopod, NEX-7 to hand (spare in case of failure, photography), and just document the team setting up the stand. The go pro will do a time lapse while I get cool and interesting shots of the process
Day 2 - Trade. a6300 + monopod. I'll spend this time around and about the expo getting interesting shots of other stands, interesting people, interesting locations within the center itself, the signs etc. This is the teams most imortant day and I don't want to be there putting them off or being a nuisance to the people they are hoping will become customers. I'll have some of the product and will hand them out to people to hold while smiling for a photo - models and notable attendees - if they will allow me to take them and my autism doesn't turn me into a puddle of antisocial water, and again if they are willing, a few signed products.
Day 3 - Public. Go pro in an unobtrusive corner, a6300 on monopod, nex to hand. I'll be hovering around the stand, getting shots of the great unwashed being, hopefully very enthusiastic about the products and the team being pleasent, lovely people.
Day 4 - Public and tear down - Another Go Pro timelapse of the teardown and more public shots admiring the product
Evenings - Candids of the team (go pro, a6300) and a few more formal "interviews" (MV51, tripod & lights)
Obviously if the Canon is is good working order, I will be using that in place of the a6300 with the AT875R mic, the a6300 with become my backup and photography and the NEX will stay in the bag.
------------------------------------
So, what do you think? Am I mad to even try, have I overlooked anything important, am I overthinking this way too much, will I get kicked out?
I would be extremely grateful for any and all advice, ideas, guidance and wisdom. The expo is in May, so I have time, and I can afford to invest £500 or so, but that's only justifiable if it will be useful to me for what I actually use my cameras for - short films & family stuff!
It's worth pointing out, that gear that I have (or have access to) which I'm not taking includes:
A BMPCC in a decent rig with sigma 18-35 with a tilta follow focus and a z finder pro, big external battery, 5 internal batteries
A Phillip Bloom Slider of unknown length (but almost certainly won't be the shortest if the guy who will lend it to me is anything to go by)
Beyerdynamic M99 with cloudlifter, NI komplete Audio 6
A bunch more lenses and adapters for the e mount
A metric tonne of mounts for the go pro.
 
Cheers!

Thank-you so much for all the replies!! My experience of these events is sorely limited, so I had no idea - I've been binging on other peoples footage all day but what you've written is absolutely gold for me! The con is Bodypower, all about fitness with an emphasis on massive muscles etc, I have a feeling most people will be fine with the cameras, I tend to err on the side of respectfulness, even when unnecessary. And, yes, more Sony batteries is on the list! Hoping to find them for less than RRP though, £50 a go is steep, but don't want to end up with fakes either!
Ebrahim, I've got a nerve condition which results in fibromyalgia, and because I minimise my pain relief, I use a wheelchair to keep my mobility. For this event, because I won't have my son to look after, I'll be able to use the oramorph and that should see me through, and monopods make passable walking sticks! If you have any general tips for filming, at times when I can't use it, I would be really happy for all advice on this as well - I usually have 4-5 hours during school time to use my camera, and I am very motivated, but sometimes the pain or the difficulties in working from a chair just impede me too much. It's my dream to write, shoot and edit a movie, and I'm having a blast teaching myself the techniques and getting out there and giving it a go, but I just don't see a way to get beyond the writing stage at the minute, I don't feel it would be fair to get other people on board with a project, which I can't be sure of being physically up to following through!

No, but more than a hint of Wonkaland, though it's hard to tell if that's the camera or fake tan!

I think I'm very much in the same place as you - I'm seeing stuff I absolutely love and I have no idea how to replicate it - I'm finding a lot of mileage in grabbing a notebook, dedicating a double page for each scene, writing down everything I can tell about the scene from:
a writing perspective - how the scene is communicating to the viewer and what information it is giving
a photography perspective - The physical layout of the subjects in frame, and what is not included in frame
a cinematography perspective - How the frame changes through time
then I pick up a camera and spend a week trying to perfect that scene, using the second page to make notes of what works and what doesn't.
What I'm finding is that the most important things will get me shouted at if I write them here, but after you have those things sorted, you get to really hammer down how to make the scene work bit by bit, and each time it gets easier, more natural, your instinct gets you closer straight away and your natural style incorporates those elements.
It's not the quick easy way, but I feel, for me at least it is the best wayt for the long term.

If one of the criterias is what you personally find acceptable, how are we going to be able to help you? You'd be better served encoding a couple of clips at various different quality levels and working out the minimum you can tolerate, and going with that option.

Ever since the first DSLR started shooting video there has been one dream, the functionality of a camcorder with the sensor and lens mount of a DSLR. All in an affordable package.
This might be just that.

JVC has lended me the camera for a few weeks to try out. What Im mostly interested in is if:
Its as good as the specs makes it out to be. If it can be both a true Run n Gun camera and something for cinema. If it is the ultimate camera for vintage lens junkies Regarding the specs, here is what cought my eye.
MFT Mount S35mm Sensor 4K 4:2:2 HD Log Prime Zoom External Controls Built In NDs XLR
First Impression
It is light and small but doesn't feel cheap or flimsy. I would say it feels just like theses DVX type camcorders always does. Not 5D rugged, but solid, maybe a bit more solid than a FS100.
Setting it up was super easy and intuitive, I mean its a camcorder... its great.. its like riding a bike
Getting all the features I want like zebra etc went fast, they where all exactly where you would suspect them to be.
The ND wheel feels nice, so does most of the controls and buttons. The audio wheels are clickless, thats a tiny complaint but no deal breaker.
The first lens I tested was a m4/3 12-42mm. Its the kit lens from my GFs GM1. It worked and surprisingly it only had some vignette at the long end in s35 mode. In other words its both a normal MFT zoom and a s35 wide angle.
It also turns out that there where sensor size stops between s35 and MFT!
I hate to say it, but thats all I have time for this first evening. First test and some downloadable J-Log will be up tomorrow.
Meanwhile, here are some pics.

Nope, he looks English to me.