Lintelfilm

That's not an appropriate way to give feedback to someone coming here posting their work. Have some manners.

That's not an appropriate way to give feedback to someone coming here posting their work. Have some manners.

Saw it yesterday on the IMAX. I used to be really into Malick, Herzog, Tarkovsky and probably any other slow, elegiac-landscape director I could find (Sokurov springs to mind) but these days I have little patience for such films. If I want to enjoy the beauty of nature and life I go outside and open my eyes. The Revenant though was something else. It really impressed me in a serious way. It was sooo beautiful to watch on that huge screen - not just the images but the camera movement as it connected to the story. I'm even considering going to see it at the IMAX again because it will never be the same for me again. Even 4K on a 60" TV or projector won't cut it I don't think. I could talk about the film for ages but suffice to say I can't remember the last time I was so hooked on the actual physical experience of being in a cinema. Truly a work of art. I can't think of a better experience in terms of just soaking up cinematography (& not just pretty images but connected to the story). 
Really worth traveling to an IMAX to see before it's too late IMO. 

Yeah, I waited forever for it to arrive. It's pretty fresh! I just got my Patona power supply for it sorted this week (didn't just have Canon stuff around being a MFT system shooter and all). I guess retailers ship 'em out when they get their small quantities in, so you're best off, if you really want one, to order as soon as you can and then keep your fingers crossed they'll get a shipment from BMD in, within a few weeks from ordering and there isn't a massive waiting list for 'em. I think it might take a while for them to just be readily availlable.
The VA takes SDI 4K, but I haven't got any HDMI to SDI solutions around, so it's HDMI 1080p for the occassional V-Log L mainly. Recording ProRes out of the GH4 is really nice to have, even if just FHD. Didn't do more than running some tests out of the box. Now will have to update the firmware and see what that's like. But so far... it looks well worth it... especially since I'm probably going to get the BMMCC with it. 4K is cool to have, but solid 1080p doesn't really bother me. As everyone already mentioned, it's probably one of the most pleasing images for the money... and now it has global shutter and the battery doesn't run out on you in a blink of an eye, as well as now you'll use a dedicated monitor, instead of the iffy display on the back.
- Actually, if you don't mind a demo unit, they have one for direct ship out over here: http://www.one4av.com/ex-demo-blackmagic-design-video-assist.html?___store=default_en&___from_store=default

Come on, obviously not.  I've just personally had more instances where clueless ladies have been the brunt of the problem - getting more stressed, uptight, flapping around etc.  it's the stress, not the hard work that tires me out.

Thanks! I may be loosing my mind over stupid stuff.

If you notice the handle on the top left, with some knobs in front, I think it's just the side profile of the Varicam style body.

Hey guys here is the Rallycross race I filmed last weekend with the Angenieux 12-120 
https://vimeo.com/152638879 
This lens was interesting to shoot with. Loved having the zoom range to get the cars, and it went decently wide. All real time footage was filmed in 4k in 4:3 aspect ratio and cropped into a 16x9 HD timeline. (the anamorphic crop on the final footage is just a mask)  The slow-mo on the gh4 is only in 1080p so I wasn't able to crop in to hide the vignette however at the longer end of the zoom the vignette I got gave a pretty cool look. I feel like Top Gear goes for a similar look in their post.  I applied a kodak LUT and minor exposure balance. The in-car footage was filmed with a No.1 close up diopter as the 12-120s minimum focus is ~4 feet. The diopter increases the tunnel vision effect further. Some shots I cropped in more than others but I ended up liking the cramped view for the in-car shots. Enjoy!

So, er, kinda off-topic but ... this exists in the world. I'm going to be singing it in my head for the next 5 days I can tell:
 

So, er, kinda off-topic but ... this exists in the world. I'm going to be singing it in my head for the next 5 days I can tell:
 

That is correct there has been no GS footage on any of the switchable rolling shutter cameras, apparently the beta firmware doesn't even have an option for it.

Hopefully similar to the BMPC4K. Which is down sampled in camera in such a way that it pretty much beats 4K downscaled in the NLE.
And it also looks pretty much identical identical to 4K when up scaled again.
In other words you can save a ton of SSD storage and make editing faster with the same end result as 4K.
On the BMPC the HD has no loss in DR, less noise (smaller) and a bit sharper.

I also think at least some parts are global shutter because it seems to me that he intentionally made some sudden movements with the camera to show it off.

Lasted a week, then took 3 months for the camera to be delivered.
Still the best £366 I ever spent though.
Ha ha ha. Ha ha. Ha ha ha hahah ahah ah. Ha.
It's only funny because it's true.
[What's the emoticon for "Rocking gently in a dark corner in the foetal position"?]

Probably going to be the Ursa Pocket or something. Maybe an ND adapter/module for Ursa. 
Whatever market gap exists now, Blackmagic are on it now - shipping in July. 
To be honest, it would be more respectful to not release any cameras and make the Ursa Mini 4.6k the best thing ever in cameras ever made ever. 

LX100 has an MFT sized sensor BTW.
An EOS-M would match with your T3i perfectly and with adapter they could share lenses. Less than $200 on eBay (IDK how much adapters are).

Lasted a week, then took 3 months for the camera to be delivered.
Still the best £366 I ever spent though.
Ha ha ha. Ha ha. Ha ha ha hahah ahah ah. Ha.
It's only funny because it's true.
[What's the emoticon for "Rocking gently in a dark corner in the foetal position"?]

They are just trying to shift their stock ready for the next NAB announcements

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.

Not scientific, but will give you a good idea of what gels a light may need - you need a camera that shoots raw stills.
Shoot a gray card under the light - optimally a grayscale, if not, a professional black/grey/white card. Stick a human in there with it if you like.
Open the raw file in photoshop/etc - eyedropper the gray and look at the RGB readout; r, g and b will optimally be the same number. (IE, R144 G144 B144). In reality, within 3-5 digits or so. If they're off, play with the color temp (orange/blue) and tint (magenta/green silders) and see if you can get the numbers close. When you get them close with the sliders - within a couple points - look at how far you've pushed things. If you've moved the tint into magenta territory, re shoot with, say, 1/8 minus green and try again. You want to find a gel combo that gets the grays neutral as possible. At every step, check the whites and the blacks as well.
Shooting raw is best here, because you won't have the light's real color messed with by camera profiles. 

Only the studio 4k version has SDI (as seen in that pic) because it doesn't record internally. the micro cinema camera has no SDI. HDMI only for monitoring.
I'm very happy that a monitor is not integrated into this unit. hopefully it will have a positive effect on battery life. but more importantly, I plan to treat the camera body like I would an Alexa Mini that's been miniaturized even further, allowing me to place my SmalHD 502 monitor where i need it for any given situation -- behind it when on sticks, forward when shoulder mounted, or with a 15ft HDMI cable run when car mounted so i can monitor the shot while hiding in the backseat.

Here's a test clip: NX1 UHD converted to 422 vs the VA recording in 422 (not converted). The video here is 1080p h.264, so it might be kinda hard to tell the difference, but it looks like the NX1 had less banding. If you can't tell what you needed from the clip, I can upload full-sized stills from each device.
LIghting test.mov

thanks for taking the time to do this and upload. could you have possibly mislabeled the video sections?
because the bottom one looks cleaner in the shadows to me and is labeled nx1 

It's 5500K (just double checked).