Parker

Pre-order and pricing details: http://www.8sinn.com/index.php/supported-cameras/blackmagic-pocket-cinema-camera-4k.html

I used to have a similar set up (looks like we've all taken old Andy Lee's EOSHD lens advice to heart!) That 80-200 is one hell of a lens, sharp wide open, built like a tank. Just be aware that it is indeed a push-pull lens as well, if you're going after the one frequently recommended on this forum. The actual one used on the Bourne movies was the same lens, just re-housed for cine use. I liked mine, but eventually sold it because it was just too big and bulky for the type of shooting I do, as I don't really like to go all out with a rigged-up heavy cage/rails and lens-support setup, which I felt like I had to with the 80-200. Plus I rarely feel the need to go beyond 135 so it was kind of unnecessary zoom range for me. Eventually I had gotten rid of enough of my other Nikkor Ai and AiS primes that I started getting annoyed only having one lens that "focused backwards". Wreaks havoc on my muscle memory haha.

Because I primarily shoot on Samsung NX cameras with dumb adapters, so no electronic control of the aperture is possible. Originally I was hoping to get a Nikon version of the Tokina, which has the physical aperture wheel present on the lens, unlike the EF version, which is electronic only. The 35-70 is absolutely my favorite lens at the moment. It's absurdly sharp and certainly has that special Zeiss "je ne sais quoi." I've been meaning to post a bunch of samples of all my new CZ lenses over in the lens thread, because I've been so thrilled with the quality and character (right now I have the 50 1.7, the 60 2.8, the 85 2.8, and the 35-70, which is on my camera the majority of the time.) The push-pull nature of the lens is actually a huge plus for the type of shooting that I do, which is primarily run and gun corporate, university and wedding stuff. It's really convenient to be able to both zoom and focus with the same hand at the same time, rather than switching between two different rings like a more modern zoom. It is also parfocal, assuming you can zoom without moving the focus ring, which just takes a bit of practice. The focus ring on my copy is buttery smooth, and still has a very long throw which makes nailing focus easy. That's where the 3.4 aperture is also kind of nice (effective 2.4 w/speedbooster) because I have the tendency to always shoot wide-open, I can't help it, so the little bit slower lens means I'm not fighting with crazy shallow depth of field as much as I would with something faster.

I sold my Tokina/baby Angénieux 28-70 f/2.6-2.8 just a few months ago, I wasn't ever using it after I moved to a pretty much all Zeiss Contax lineup (the 35-70mm f3.4 on a speedbooster is an incredible lens, just amazing, I can't wait to see what it looks like on the new BMPCC). But the Tokina does have very beautiful, filmic rendering. Basically I sold it because I had an EF version (so no way to change the aperture) and that drove me crazy since it is quite soft wide open. Little did I know, if I had just held onto it for a few months... anyway, here's a pic that shows off the Tokina's bokeh and special look for those that are curious:

The T5 has a small, blue, blinking LED indicator on the port-end that flashes when reading or writing.

I have had those corrupted green frames maybe once or twice over the last four years or so (in one case it did indeed ruin a shot). I attribute it to a random, very rare encoding glitch of some kind, since if you look at that green frame carefully you'll probably see the codec itself start to break apart slightly before and slightly after. The problem I've been running into more and more (which has me a little alarmed) is a different kind of codec glitch, where the video basically just tears itself apart for just a single frame or two, almost a deinterlacing-looking artifact of some kind (most of the time it seems to occur at 120p, although on my current project I've noticed it happening a few times at 60p as well) it happens really fast but is very noticeable once the clip is slowed down. I'm not sure if it's just an issue of pushing the bitrate so high, or something inside my NX1 is starting to wear out, but it's rather troubling.

I always export to h.265 now, since Vimeo accepts it for upload. Basically as a rule I just push the bitrate as high as it can go to whatever gets me the closest to that 5 GB upload limit. It is usually quite a bit slower than exporting to h.264 of course, but theoretically the hevc codec offers far higher quality at the same bitrate than h.264, so for me it's perfect as a delivery/upload codec for the highest possible quality without astronomically large file sizes.

I don't edit directly with my recording media (I mean I have, occasionally, for super quick, tiny little projects, off of SD cards) but for the past couple months I have been editing all of my projects off of my Samsung T5 USB-C ssd, which is what most will be using with the new pocket, and it works perfectly. Super tiny, light, and incredibly fast. Once I get my my hands on this wonderful-looking new cam, recording with the Sammy and then editing immediately should be a breeze.

Why don't you just adapt all that lovely Canon glass to Sony? No need to sell it! I've seen A7III videos with truly remarkable performance of adapted Canon glass, the eye-autofocus especially for stills on the Sony looks incredible.

@Fred14what about this one? Rokinon 10mm f2.8. Only downside is I don't think it will accept filters. A lot of people might also recommend the Tokina 11-16mm f2.8, but personally I've just never been much of a fan of that lens, always seemed soft to me. Great closed-down star shape though. Here's the link to the Rokinon, Good luck! https://www.bhphotovideo.com/c/product/1039916-REG

@Mokaraoh that makes sense. I don't use exposure compensation at all as I only shoot in manual mode so I don't notice any exposure inconsistencies between what I see on the monitor and what I actually capture until I get into post.

I mean, I believe so. Just like if you had the picture wizard set to black and white, for example. Obviously your raw photos would still retain full color information. Playing with the RGB sliders only effects jpegs and video. So like I said it is just a minor annoyance, that if you expose for the brighter looking RGB-boosted image on the LCD your photos show up a little bit darker than you anticipated when they appear in Lightroom or whatever raw photo editor you're using.

@Allen SmithI shot this using mostly contax zeiss lenses, the 35-70mm f3.4 in particular (on one of Luca's speedboosters) and a couple shots with the contax zeiss 60mm macro as well. The wide shots were all on a zhiyun crane with a rokinon 12mm f/2. @Mokarawhat issues did you have? It doesn't change the function of the camera at all besides magically making things a stop brighter? The only annoying thing I've ran into is forgetting to turn picture wizard back off for raw stills, otherwise your photos end up a stop or so darker than what you exposed for initially.

I found some Pro Res RAW clips online today and had a go at them in fcpx, pretty cool. I was just curious about the workflow. They were shot on an EVA-1/Shogun Inferno combo. They loaded right up in final cut, Metadata showed they were pro res raw hq, definitely seemed malleable with the color board. Right now about the only thing you can change with them, Metadata-wise (that I could find anyway) is the color space/log options of the footage... With one click in the info/settings menu you can switch between different log profiles like panasonic's Vlog, canon's Clog, Sony Slog, etc. So that's pretty cool, though I was hoping for more of a true ISO/wb/exposure adjustment etc., like with traditional raw workflows.

B&h pre-order is up as well: https://www.bhphotovideo.com/c/product/1401512-REG/blackmagic_design_pocket_cinema_camera_4k.html

Full specs and product info here: https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera

...which is ironic since it seems like they're talking about how blackmagic is taking audio seriously with fairchild integration etc. etc.

Here's a quick little spot I shot for a local restaurant's facebook cover yesterday, very quick turnaround because those Sammy colors are so gorgeous! This is basically right out of camera, only a tiny bit of tweaking on a few shots. Normal gamma, color sliders at 1.99, sharpness -10, contrast -4, saturation -2, on both the NX1 and NX500 (the only difference being the master black level on the NX1 was at 15 and obviously the NX500 doesn't have this setting). While this isn't showcasing of increased dynamic range per say, I do really like the way it came out looking. password is jacks

Yeah I'm excited to try this! After that debacle of bullshit fake-raw rumor thread, I'm glad there is at least something new to play with on these cameras. Nice work people!

I have used skateboard wheels and bearings for my own DIY dolly builds without issue

I'm holding on to my NX1 for good, especially with the newest intrigue swirling around the possibility of raw video, which sounds bloody fantastic. But it is a true hybrid; I really like the both the stills, and the video that come out of this camera as long as I am in decent light (granted, I would love to have a camera that can shoot above 1600 with no worries, but oh well). But the new A7III is honestly the very first camera that has come out that seems tempting to me. It seems like a fantastic hybrid! What downsides have you heard about it? Insanely good autofocus for stills, decently fast shooting rate, improved ergonomics and battery life, decent 4k video, really good low-light- the only thing that it is really missing is 4k 60p and 10-bit, neither of which the NX1 have anyway. I don't know. I love the NX1. But the A7III does seem like a hell of a camera, especially for a hybrid shooter.

I know this isn't the selling part of the forum but I figured I'd post this here just in case, since this section is probably one of the last NX strongholds on the internet. I figured I'd ask here first before I relegate these babies to fleabay. I'm selling my 30mm f/2 for $200. It's in fantastic shape. Probably one of the sharpest primes for the NX system. Tiny, lightweight, compact, it's fantastic as a walk-around lens. The white color is a little mismatched to a black NX1, but these lenses are only going to become more rare as time goes on. The 50-200mm OIS III is the newest, latest version supposedly with the best stabilization out of the bunch. Couple nicks in the plastic but the glass is flawless. Everything functions properly. This is pretty much the only telephoto zoom for our poor, dying NX system this side of the far more expensive S lens. Asking $150. Willing to ship just about anywhere.

@Kisaha Oh, don't get me wrong, I'm very grateful to enjoy my US-based prices, the European VAT tax alone would drive me insane and seems unjustly high, on top of already higher prices. But my experience with my Audio Technica system has been great, actually. It has been just fine for talking heads, as well as mic'ing up grooms at weddings. The range is impressive, and I've never had any of the dreaded blips and audio bugs of the Sennheisers. Initially I worried there might be some kind of interference with things like wifi and that, since the 2.4 ghz band is pretty crowded, but I have had it for... at least two or three years now... and never had any problems. Like @IronFilm said, it's a minor drawback that the receiver doesn't have user-replaceable batteries, but it lasts a long time and I always have USB battery packs with my gear just in case. The transmitter just runs on standard double AA batteries, so I just keep some eneloops charged all the time and throw them in when I go shoot. The receiver also has a little display with battery, channel and signal strength information, so you can see the battery levels of both at a glance, which is pretty cool. I would say the build quality is not as robust as mics like the G3's. No metal to speak of, the transmitter is a touch bigger, and pretty plasticky, but still easy enough to hide. The receiver is also larger than the competition with the dual antennas attached. But like I said, I got it for a song, and haven't had any issues.

Yeah I'm not in love with the grade either to be honest, but I had very little turnaround time for this project, and part of the problem I think was all of the very warm/reddish colored wood of the stage, floor and walls in front of him catching reflections and coloring the environment. I do wish the skin tones especially were a bit cooler in hindsight though. But I know exactly what you mean about sensor sizes and lens preferences; on aps-c, for example, I love the look of 85mm, I like how tight it is and the distance at which people fill the frame and I got very used to that field of view, but on full frame, it's just not the same and I rarely use it. Quite the opposite case with the 50mm though. It's annoyingly tight on aps-c, but I really dig the ease of framing and "normal look" it has on FF.

Ah, I'm sorry I missed such a good deal then! The price shows up as $529 for me, bummer. $399 seems great! @IronFilmthanks for your insight! I actually own one set of the Audio Technica system 10 already, I got it on a killer Christmas deal a few years back for like $250 so it was a no-brainer at the time. The receiver's internal battery lasts up to 12 hours and can run on USB power in a pinch so it hasn't bugged me too much for my needs, but like I said I'm looking for an additional setup soon. I've been looking at different options, debating on just buying the System 10 again so I can mix and match gear. When it comes to Sennheiser I definitely don't want any G3's, that's what I use at work and keep having more and more problems with them, annoying interference issues and wierd distortion blips in the recordings all the time. But I'll definitely keep the Sony's on my radar! Hopefully another deal like that comes around again!