bamigoreng

A versatile tool is a versatile tool.  So say I, an amateur poser.

The lack of touch screen is unforgiveable. 
For all the people that moan that pros don't need a touch screen in models like the A7 and RX series, seeing Dan Chung's News Shooter touch screen demo clearly illustrates the focus pulling-like capabilities a touch screen offers. 
What's the point of having state-of-the-art PDAF without having easy access to focus point selection?

Wowzahs. Those are the better kind of deals. Good tip! Thanks. They only allow a very select few items to be shipped outside of Germany (or to Austria) it seems though... but I've been interested in the 77mm Smoque 1 and for EUR 29,98 incl. shipping, I'm going to find out of that really does add atmosphere. I'm not one to go ahead and take fog machines with me everywhere, you know.

Agree, guess it´s a Sony A7s. Pink lips... 
I am also not impressed from the overall quality of this doc.

Tiffen HDTV/FX 1/2 58mm - EUR 11.32 (+ UK shipping c. EUR 9.99; AVIDES, via Amazon.de): http://www.amazon.de/Tiffen-Filter-58MM-HDTV-FILTER/dp/B001U8888M/ref=sr_1_69?ie=UTF8&qid=1454358161&sr=8-69&keywords=tiffen+filter+58mm

Tiffen HDTV/FX 1/2 58mm - EUR 11.32 (+ UK shipping c. EUR 9.99; AVIDES, via Amazon.de): http://www.amazon.de/Tiffen-Filter-58MM-HDTV-FILTER/dp/B001U8888M/ref=sr_1_69?ie=UTF8&qid=1454358161&sr=8-69&keywords=tiffen+filter+58mm

Tiffen HDTV/FX 1/2 58mm - EUR 11.32 (+ UK shipping c. EUR 9.99; AVIDES, via Amazon.de): http://www.amazon.de/Tiffen-Filter-58MM-HDTV-FILTER/dp/B001U8888M/ref=sr_1_69?ie=UTF8&qid=1454358161&sr=8-69&keywords=tiffen+filter+58mm

I just shot my sons nativity play on my GH4 and BMPCC for the school DVD (hardest thing I've ever had to film btw!). It's the first thing I've done using major, extensive cropping in post. What's amazing is that the BMPCC in many cases was not only as good as the GH4 for cropping, but many shots actually better! The GH4 starts looking like digital, over sharpened and compressed garbage pretty quickly when you crop in. The BMPCC however looks organic and rich all the way in, and can be sharpened to quite a high level.
Dont get me wrong - it doesn't have the same level of RESOLUTION as the GH4, but as we know resolution is far from the only thing that matters. Colour sampling, dynamic range, codec, bit depth, compression, processing, etc all factor in to what makes an image useable and pleasant to look at. DR, colour, grain quality all qualify as DETAIL imo. Cropped in, the BMPCC has more of these things than the GH4.
The GH4 is a nice camera for 1080 delivery but I'd never crop in on it for a critical job. Canon have simply bypassed the 4K workflow inconvenience with the C100 by down sampling in camera. 

I also want to like this new generation of Sony cameras. Ever since magic lantern blew the lid off canon DSLRs by enabling RAW, I've been expecting an HD/2K camera to come along that offers similar quality in proper shape at a decent price. Instead its all 4K smoke and mirrors, delivered with flaky, pain in the ass codecs.

Maybe we should listen to both sides of the story and make our own minds up without changing our minds about the people giving each side... or demonising one person or the other. Maybe it's possible to separate a standpoint from the person making it, you know, like in the old days before the internet.
Unions - in the UK politically these are quite militant. They're so powerful they have a big sway actually in who the Labour party (our Democrats) elect as leader. For two successive leaders they have elected completely unelectable people who they think can look after the interests of the unions, even though they're completely out of touch with the voters and have no chance of putting the party into government. I think union leaders have a lot to answer for.
In the case of B&H I don't know enough about the politics of it all to comment... I just want the best for their workers and for the company to treat them fairly.

Exactly! I've been saying the same for the last couple of months... oh how I wish they would just put some of the RX10M2, RX100M4, A7RII and A7SII tech in the next APS-C mirrorless camera. Just a good solid performing sensor, 4K capability, high framerates, etc. But like you I'm afraid that they'll pull a Canon and restrict the lower end segment. I mean, I would be perfectly fine having E-mount APS-C mirrorless. Fullframe, sure, it's nice, but I'm not heavily invested in fullframe covering lenses, nor do I have the wish to buy some because they tend to get bulky and expensive. Sony's answer obviously would be 'well, if you want the serious functionality, you just got to cough up the serious dosh. You can use the camera in S35 mode'. But I'm just not looking to throw money at something I'm not going to use to its full potential. Then just give me that APS-C camera already. If I still wish to get a fullframe look, I'll adapt lenses with a focal reducer (Sony: 'see, if we give you that APS-C camera you want, you'll then leave us for dead after. We need you to buy into the system, not just buy a camera').
I went with Micro Four Thirds because back in the day I more or less stood for the choice: GH2 or 550D/T2i. I went with the GH2, because it's mirrorless, I love liveview and to use an EVF. Articulated touchscreen is awesome to have! And a huge plus: small formfactor, especially when used with the 14mm and 20mm pancake primes. As well as the ability to adapt all sorts of lenses, really. That philosophy kind of continued with the E-M1, BMPCC, GH4 and Z E1.
I did have some Nikon glass (e.g. Tokina 11-16mm f/2.8 II, Sigma 18-35mm f/1.8, Nikon 28-70mm f/2.8D & 80-200mm f/2.8D) because of the easier adaptation than Canon mount, so when I found out the D5300 with 18-55mm II was on sale for 449 EUR, I couldn't resist. Only added the 35mm f/1.8 on top of that, to have a nice alternative electronic native mount lens as well. Image quality wise, there's hardly any better value out there. It's pretty damn solid. For stills, Micro Four Thirds just isn't a match. For video, the D5300 has that more organic rendering and superb colors. Lowlight performance is decent as well. But again, you're so right, it might be one of the least user-friendly cameras out there. For stills, if you're used to liveview on mirrorless cameras, shooting in liveview on the D5300 is a horror, it just slaps the mirror around like it's applauding itself. I just don't see the benefit of having a mirror and OVF, except for the dedicated phase detection system for reliable AF, which I think is the only reason people still buy DSLRs (and perhaps their rugged touch and bulky ergonomics). Then there's weird behavour like don't being able to change aperture on the fly. C'mon Nikon... Anyways. I do feel the 24MP APS-C sensor is a nice place to be at. Enough resolution. Good performance, decent in lowlight. Overall a better idea than Micro Four Thirds.
The NX1 gave it a good shot and still is a nice camera, it showed that APS-C mirrorless is where it's at! But I still feel you would have to get the 16-50mm and 50-150mm S lenses and then it's getting pricey to the point I wonder what I'm doing spending so much money on a system without a future, when there's so many interesting alternatives out there... sure Sony has the A5100 and A6000, but they're really getting behind the curve now and don't think Sony ever expected people to be using it for shooting somewhat more serious video given the fact they only gave A6000 XAVCS with a firmware upgrade for example. But I think they've come around on that now... and they've been implementing cool video features in those 4 mentioned cameras (as well as higher end stuff). You'd just think there's almost no way around it not to implement any of those things... right? Unless again, they want to pull a Canon. Not sure. There's loads of rumors, but also, rumors have been going on for a year now and nothing happened. Personally I think 4K and in-body stabilization is quite a bit of a stretch, but if they can pull it off... power to them! Just hoping the EVF is any good and they'd give it a vari-angle touchscreen. That would make it competition for the E-M1/E-M5II and X-T1/X-Pro2 for sure. We'll just have to see how things will pan out. But the A6100 might just check off most of my wishes and might make me not buy a Micro Four Thirds camera again...

Got a great deal on a new BMPCC during a Black Friday sale for nearly 50% off. It's my first Blackmagic camera (I have the Micro pre-ordered) and have been eager to pair it with the Trump lens set I ordered from Richard Gale. I took possession of the set a couple weeks ago and have started shooting a short film with it. I love the versatility in terms of contrast control (from standard to ultra-low) and the variety of aperture discs. The 2x and 3x ovals are my favorite. Made a quick comparison of the two here.
But this week I finally started shooting a short I've wanted to do for some time. I work professionally as a freelance editor so this project is being done as schedules allow. Shooting RAW has been an eye-opener for me. For the last year I've been trying to wrestle a GH4 into being something it just wasn't capable of. And have come to the conclusion that I should have traded 4K for color science and dynamic range a long time ago.






 

Hi Friends.
I have made this spec ad with a Sony A7s, Gopro 4 and Lumix LX100. Hope you enjoy it. 
 

Grain - free DL: http://www.vision-color.com/free-stuff/

Grain - free DL: http://www.vision-color.com/free-stuff/

EOS M, 22mm f/2 (+adaptor, ML and Neat video).

Not unless you throw on a couple promist filters to remove any aliasing... and any discernible detail.

I watched a drama shot in 4k and displayed on a Samsung 4K OLED TV last week.
It wasn't an enjoyable and involving experience because you could see imperfections in the make up and see the actors sweating under the lights.
Instead of being immersed in the story, I was distracted by these production issues ruthlessly revealed by too much resolution.
  

The love for the 5D RAW video image quality seems to underscore what the Imaging Science Foundation has been saying for years - resolution matters far less than other aspects in the overall picture quality:
http://www.trustedreviews.com/news/isf-contrast-still-the-most-important-aspect-for-picture-quality
Their top 4 attributes:
1) contrast ratio (dynamic range), 2) color saturation, 3) color accuracy, 4) resolution.
I'd easily give up the 4K resolution of my A7R2 if I could get 1080p raw with the quality of the 5DmkII / III.  I don't know if I would give up the size, portability, and ease of use features like autofocus of the a7 system for it though.  Just give us some tech from 2008 in our new cameras already..

I thought I'd make a sticky thread for sharing original camera files direct off the card.
Always interesting for people to try the original files without having to look at someone else's grading and compression via Vimeo or YouTube!
Let's get a bunch of stuff up here and make a little vault!
We have so many cameras between us on these forums. 1D C, Red One, Cinema DNG, C300 II, FS7, we can really build up a nice collection.
Here's my initial contribution:
XAVC-L from the FS5 in 8bit 4K and 10bit 1080p -
http://we.tl/yQO2ZM4HdA
Comparison with Cinema DNG raw from the 5D Mark II / Magic Lantern -
http://we.tl/HOACsCROeZ
Got any Red ONE files Mattias?
Also we need to find a better file host than WeTransfer as that only keeps hold of stuff for a couple of weeks and after that we'd have a bunch of dead links. But if you want to share WeTransfer links anyway, please do go ahead until we find a more permanent solution and I will keep a backup of all the files on my drive.

In terms of image? I have an NX1 and think it has some nice characteristics, but the poor highlight roll off and general lack of DR put it below the 1DC. As for Sony, the colours just don't cut it, for me.
For overall image and performance as a hybrid, I think the 1DC still reigns supreme.

The best 1080p export settings for YT (Adobe Pr)? - link: http://maisemassa.com/2015/10/13/the-best-1080p-export-settings-for-youtube-with-adobe-premiere-pro-or-an-overkill/

How can you say this without doing a side-by-side comparison of both cameras under exactly the same conditions?
Sometimes a camera will seem pretty good by itself, but when compared side-by-side to other cameras, things like color and skintones become very apparent- the results may surprise you.

As Ebrahim said the C100 MkII is a great camera too. Superior to the C300 really. It's significantly better in low light, offers 50p and the colour science is improved noticibly. Of course the C300 has a slightly stronger codec but paired with a Video Assist or Ninja Star the C100II is smaller, cheaper and outguns it. It's often sold with a free ninja Star too. Expensive for what it is on paper but it is a canon so that's a given really.

Yes.  Why people are chasing this aesthetic is kind of strange.  f5.6/s35mm is what typically works for most films, so to go shallow, I don't get it.  I can see using it for certain scenes if that's the way you want to effect your image to fit a particular narrative, but for overall?  eh...