Phil A

It's kinda pointless anyway, agreed. If you swing the camera around enough to get so much motion blur, chances are there's something intense happening anyway and resolution isn't going to be important that moment.

It's funny that this seems to be such news here. Back when the Nikon D800 came out a lot of people on photography forums advocated only shooting it from tripods or with really, really fast shutter speeds to prevent loss of resolution due to movement. And to the comparison of 4k GX85 vs downscaled 1080p GX85 vs 1080p BMPCC. Due to how sensors work, the 4k from that sensor is probably more like real 3k, the downscaled 1080p is actual 1080p and the BMPC something like 720p. A 4k camera downscaled to 1080p will most likely be sharper and more detailed than nearly all native 1080p cameras, as long as they don't internally downsample or use such tricks (which the better / more expensive ones did).

From the description it reads as if they just use motors strong enough to overcome the fact that you didn't balance properly. I get away with suboptimal balancing on the Crane too if it's not too out there. But it'll run the batteries down quicker and some people say it also increases the strain on the motors (=quicker time to failure). For a gimbal to be "self balancing" as some said, it would need automated balancing of the base plate by moving the adjustment points and I don't think we'll see that soon. And if we did, what do you think additional motors for all axes just for balancing will weigh and cost? No thanks. And have to agree, I wouldn't want to be a paying "beta tester" for Nebula. So far their products always underdelivered on the expectations. Can someone remember the spring loaded T bar that was supposed to counter act walking movement?

Agreed. And even with the adapted stuff you need a really comprehensive selection if you want to cover your desired focal lengths on all systems. Even with focal reducers you don't get the exactly same results. FF = 1 APS-C = 1.5 x 0.71 = 1.1 m4/3 = 2 x 0.71 = 1.4 BMPCC = 2.77 x 0.58 = 1.7 It's annoying. I have some Sony APS-C lenses now and I'm satisfied with them, I even get colors I can really live with out of SLOG, but I am not willing to shell out 900€ for the 24mm 1.8. I would really like to stick with Sony APS-C but I'm afraid they will never give us a more professional MILC (10bit, higher bit rate, no overheating, no screen dimming, bigger battery, less RS, ... basically the GH5 in Sony APS-C), if something comes it'll probably be full frame in A7 / A9 line. And I think it's delusional to think there're many more APS-C lenses coming from Sony. I'm kinda teased by the GH5 (even though I hated m4/3 when I tried the GF2 back in the day, probably not skewed because my main camera then was a EOS 1Ds III). It does everything I need & even more and will be way more reliable than the A6300. But I'll wait for NAB before I decide anything.

I feel like f/2.8 (on FF) is the sweet spot for weight / size / performance when it comes to video. So f/2 on APS-C and f/1.4 on m4/3. Also typically easy to balance on a gimbal because rather compact lenses. I'm all about fast lenses (in photography all I used was f/1.4) but for video I think the usability decrease can be big. I'm really contemplating lately. Theoretically the easy way is just to get a set of Zeiss / Canon / Nikon glass and be done. I think I could do just with 40 (barely anyone makes those so probably a 35 + 50) and 85mm (this one preferably macro). Maybe a 24mm for gimbal and landscapes on top. If you get them in Nikon mount, you're set for life because I don't think we will ever see a system with a bigger flange distance come out. I have 35mm 1.4 & 85mm 1.4 from Samyang but obviously that's a biatch to focus with open aperture and I struggle to balance the big 35mm lens on my mirrorless body. On the other hand going native is also becoming really rewarding with crazy auto focus performance (inc. touch screen for focus), face-tracking, hybrid image stabilization and what not.

That has nothing to do with "hacking". It's just a bot registering new users and posting rubbish. Maybe the register form needs a good captcha function or the new registrations should need manual approval by a moderator before being able to post for a while?

I'm really sorry but I think @kidzrevil 's videos are completely useless to judge lens performance. Half a second in I forget to look at the rendering of the lens because the women are just always so good looking. Only cat videos do for science! Really enjoy following him on FB, the consistent stream of super short snipets are just great visuals and I really like the more stylized looks.

Maybe one of the slightly bigger and more expensive ball heads that have adjustable friction?

https://www.slashcam.de/artikel/Test/Panasonic-GH5---8-Bit--10-Bit--4-2-2--V-Log-L---alles-OK--.html Next part of the Slashcam review, testing 8bit vs 10bit and V-Log L. Summary: They say there is some issues how NLEs interpret the white point and black point of the footage In Premiere Pro CC neither 8bit nor 10bit fit to the whitepaper from Panasonic. In Media Player Classic - Home Cinema the files look exactly the same In Davinci Resolve under OSX the files are different again, even in comparison to Premiere Pro on Windows In FinalCut X the files are practically identical but they can't really judge the white and black point because it gives % instead of values Latitude for grading with V Log is, as expected, better with the 10bit material than the 8bit. A lot less posterization when bending the image. They think both Adobe and Blackmagic have to fix compatibility within their software to really make the most out of the footage and be able to actually judge the 10bit V Log of the GH5

In general or with the battery grip / boost mode? Because Cinema5D says it is 21ms but the guys on DVXuser say it's 30ms. That's a rather big discrepancy in measurements.

Lord, that jello! I think we need great rolling shutter performance maybe more than 10bit. Sony, Fuji and Samsung at 30-39ms is just atrocious.

The Canon EF 50mm f/1.4 USM extends when focusing and has rather delicate mechanics. You might want to go look at one in a store before buying to see if it will actually perform for your needs, I'm not sure you can mount the weight of Anamorphot + Rangefinder on it without damaging the mechanics and if you use rods to support the weight, you have to adjust every time you refocus.

Sure, with the T bar you have a lot of additional possibilities. But then you also just increased the footprint like crazy and are not able anymore to just put it into a backpack, hence I decided not to bother with it. I would have gone straight for a Ronin-M then probably to carry heavier setups. I'm sticking with using a super clamp on the bottom of the Crane.

I didn't really test it yet, only shot some Hyperlapse travel stuff with it yet and cursed the lacking dynamic range of the phone. If I find time this week I'll try to make a comparison for you. I can compare 120fps with iPhone, A6300 and NX1 if anyone cares.

Get an adapter to mount Nikon F mount lenses on Canon FD? Then you can use all the lenses for F mount that come with a aperture ring including the stuff from Samyang.

Indeed. Quick summary of that part of the review: With sharpening and NR on minimum they are happy with the image quality. They remark o how good the 60p 4k looks, only slight degradation which they think is the difference between 8bit and 10bit due to the white and black points. They think the 2k mode (I guess 1080p, not actually 2k?) is really good and scales remarkably well with no artifacts (listen up Sony, stop giving us super sucky 1080p). Above 60fps there's no full sensor read out anymore, which is not a real surprise. They see two steps in quality, one up to 75fps and then another up to 180fps. There is line skipping so they get moire and aliasing but they still believe it is usable in reality. There is a demo video embedded where they mixed 4k and high frame rates. In the VariableFramerateSettings for slowmo, they camera reads from the full sensor width like in photo mode. The congratulate the really low rolling shutter. Panasonic says 15ms and they think it is accurate. Base ISO is 400. LowLight behaviour is okish. It's good up to 1600, 3200 is acceptable and 6400 is worse. Noise Reduction can't be completely deactivated and they muse if 150 Mbit/s is still not sufficient in 10bit high iso. I guess we'll see if there's improvement when the 400 Mbit/s firmware drops.

https://www.slashcam.de/artikel/Test/Panasonic-GH5-Sensor-Verhalten---Aufloesung--Slowmo--Rolling-Shutter-.html Next part of the german Slashcam review is online. What surprised me: they say in photo mode the crop to FullFrame is 2.08 and for video it's 2.26? I thought it's a straight 2 for both.

@Kisaha I think it's accepted to work like that for these products. After all, buying a RED brain brings you nowhere either until you splurge on a lot of accessories, basically increasing your investment by 50-100% with the lower models. I love the idea of the Ursa Mini. I actually considered getting the UM4k for filming at our place (studio situation stuff we do) until I decided that there's probably no way to match it to the Sony (with my skillset). Then you just wall plug it and get a CFast to SSD adapter. But if you need a V-mount plate, batteries, multiple CFast cards, the EVF, the shoulder mount set... no thanks.

https://www.bhphotovideo.com/c/product/1137315-REG/blackmagic_design_cinecamursashmkm_shoulder_mount_kit_for_the.html In the 395$ shoulder mount kit

Maybe, maybe not. We'll see :-)

Also the interchangeable mount is a really big deal. It opens the door for someone to make a dumb MFT or E mount and bam, put your focal reducer on it! Full Frame, 15 stop sensor, raw recording camera.

It'll do exactly the same as the Ursa Mini 4.6k, just more conveniently for one-man-band shooters. I love it, it's great upgrade. But it's still a big, heavy camera so I'm not a potential customer. Plus once you rig it with the evf, CFast cards, battery, etc. you're probably looking at nearly 10k.

The studio stuff was all announced at the last press conference. I'm really hoping there will be a BMPCC / BMCC v2 but I think the more likely, and really needed, announcement would be the 4.6k turrets indeed. But the B&H page is no reference, they apparently listed the 4.6k Big Ursa like that ever since it was announced, even including the global shutter that never made it to the mini. Seeing how I use Resolve for editing and grading, I'll win no matter what gets announced today

Got money? I just got crazy gear lust!

Current camera (or DSLR size) but m43 chunk of the 4.6k sensor (would be like 3k then) and doing at least 3:1 compression, bigger grip with space for LP-E6, higher resolution screen. I'd preorder that (so I get it by June 2018)!