Kisaha

So, what is the point exactly? E-ND?

I do want full control and shooting M most of the times, and I do not found the Fuji controls to my liking. It was good some time ago, simulating analog ergonomics, in my opinion is not sufficient for 2016. I love the NX1 ergonomics, if anyone has any experience with it (you can do most things without change your holding) and the Canon C ones for video.

@Trek of Joy Exciting times and great tools we have.

I mostly agree with what you said (almost what I already said), one point thought that most people seem to misunderstood, is the fact that if you need only 3-6 lenses that you can find in a specific system, then the hundrends of lens options in other systems are not that important. How many people can afford, or need so many lenses? Also, the NX1 is 2 years old, but still better in most things than any Fuji. Sony is kind of a joke in my opinion (especially for APS-C users), but their aggressive stance gains them a big market share and they eventually (A7sXVI) will produce the perfect hybrid.

I do not see many video professionals going full time Fuji, as of now. Maybe in the next couple of years or so.

Enthusiasts, die hard Fuji funs, and upper-middle class purists and hipsters. There are a lot more specialized users, than let's say, people buying the 700$ Panasonics, or a6xxxx.

The Fuji system is not cheap, it is a notch and a bit more than Sony APS-C, and a lot more than NX and m4/3 (thought, now with the new GH5 and Olympus,  and the 1.2-1.4f lenses the price difference us mininal, or in favor of Fuji), while this is the first truly good camera for people doing 60/40% video, or more. 

The picture profiles, are existed in every image capturing device too, I like Fuji's as well, but it is not so groundbreaking as people suggest. With slight tweeks at post one can achieve similar results, and can use a picture profile, and then add a little bit of something (real super35 film grain?) or even luts.

They still need a few things, but they are going there. I closely follow them and I am excited about every new product, as they seem to be the best listeners in the industry (them, and Panasonic!).

Very important little detail! Then you are set and done, do not know about AF and lens image stabilization though. My advice, always, is to have at least one good native lens, for whatever reason.

I have no much knowledge as I am mainly an APS-C shooter (and obviously, the smaller the sensor, the less the ultra wide options), but my impression always was that with Pana 7-14/12-35/35-100 2.8f you are set for everything!

I do not know pricing, your lenses, and your style, but the 12-35 is a logical step, being 24-70, with a couple more primes you are perfect. Another option, and maybe greater but more breakthrough-ing is to go ultra wide, 7-14 and another couple of primes. For such a trip usually tele lenses are not that great. What I do is usually wide scenaries/architecture and normal to short tele (around 50-70mm equiv.) for people, action, wide portraits etc.

In my system, 16-50 (25-77mm 2-2.8f) is my standard lens for my main camera (NX1) and I have the 12-24(18-37 4f) on my secondary/smaller one (NX500). That works great for A-B work too. 

The 18-36 Sigma would be 36-72 on m4/3, not wide at all in my book. Everything further from 24 is just not wide enough (that is why I detest the 18mm zooms for most APS-C systems, 30mm are not wide enough for me, 24-26 is much better)! As I said, everything is depending of the style of the video/photo-grapher.

I do not know about Olympus lenses as they didn't(don't?) had IS, so not really great for GH4 I was using back then.

Ofcourse there is always the speedbooster option..

Very nice trip and video. Very enjoyable and proper editing. Welldone!

I really admired the use of your limited means, and the rythm of the edit.

18mm on a croped sensor like this won't be wide at all. All these mountains and epic nature and architecture would be benefited by an ultra wide lens. There are ultra wide to medium options very well suited for these kind of trips.

20 hours ago, PannySVHS said:

But just the trailer makes me want a DVX100:) Would love to have a 3 CCD cam with HD and writing to card. These are still not to be found under 1000+ usd. DVX100 for around 300.

Did some messy filming with an EX1 a few days ago. Color blooming caused by purple gels was like 8bit Nintendo.

Other than that, pretty colors, also with red and blue gels:) and lowlight like apsc canon.

 

There's still an EX1 around here! One of the greatest video cameras of all time. Typical Sony, all the lettering was off after a few months purchased new! Other than that, incredible camera, and survived a lot of abuse.

@kidzrevil you needed a C100markII from the beginning! A few months ago I did a documentary series for a small TV station, in the northern part of Greece (Macedonia and Thrace territories, I am not even sure if you know where Greece is!) , 12-14 hours of work per day/ a lot of miles/6 days a week for a full month (and a bit).

I could choose between a dozen of cameras (GH4/5D markII and III/Canon 70D/a couple of Sony 1/3inch video cameras/C300/my NX kit/ e.t.c) I didn't even think about it, I grabbed a C100markII, an 18-135 STM, and a couple of primes (I never used one, never, we had 4-7 locations every day, and it was me and a producer/driver type of guy).

I was sending the footage every week, and the people in our base had to edit a whole episode in a few days, so, no really time for post.

I believe this project was only possible because of the C100.

Exactly! If you need the full frame, M5 or 80D+ speedbooster, is more than a MKiii used.

Buy a full frame then.

My impression of Roland equipment is of the highest order. Great price, once again, wish I was living in the States!

I guess Spain, Portugal, Southern Italy, Southern France, Greece have very similar working conditions, add to this that Greece has by far the least working rights and the smallest salaries anywhere in the Western World right now..you get the point, why I count every euro!

As I said, a small and cheap mirrorless kit is a must have for small jobs, or when you need to pack light and small, but in the end, when you have to decide between camera body + good zoom lens (for the f stop mainly) - cage - monitor - microphone/external recorder, OR C100+18-135 STM, then the Canon doesn't seem that big anymore. And when your small mirrorless kit worths more money than your C100, then again, C100 seems more appropriate!

The JVC is a very underrated camera. People just ignore it, they shouldn't. The variable sensor is God send (and in-house manufactured from JVC), if GH5 has a similar sensor (isn't JVC owned by Panasonic anyway?) then it will be an instant hit, negate the small sensor (but true) argument, and adding much more versatility and innovation. Instead, they are going for a 18megapixels one? That is certainly a weird number (as the Sony sensors right now are 16 and 20), so we have to wait for more info, and pricing. 

Seriously, it is so expensive to live in Europe these days!

I commented on the rumored price of 3000$ (and you know that these prices are higher in Europe), and the fact that the waiting game pays off (less trouble/less money spend) in new complicated tools, like hybrid cameras, and I am definitely not a snob.

I do have a NX1/NX500/NX3000 kit for my hobby (photography) and extremely low budget video jobs, and I always trying to find the best value for money (that's why I stayed with the NX system for so long).

NX1 as 4K (no crop) A-cam, especially with the exceptional 16-50S lens; NX500 as a small B cam is fine (crop, usually with the 45 or 30mm prime, which are very good buys, and very good for interview close ups or live coverage), and the NX3000 with the NX 10mm/3.5f fish eye as an APS-C version of an action cam (that is no 4K of course, but is my crash cam). The whole system (with 7 or 8 NX lenses) costed me around the starting price of a A7Sii (body only, just to put it in perspective).

But if I have to pay 3 or more thousands for a body only, and I was a pro (I am) then I would definitely considering something more appropriate for advanced needs (depending the style and the line of job, usually here in the European south east, the working days and nights are hot and long, and the salaries less and less!). Even the JVC LS300 (for me) is a great idea, and sells new, as much as a C100markII used. We are using it now for a documentary series (speedboosted +  L glass), mixed with a couple of 5DmarkIII, and the ease of use of the little JVC is cost, and time saving. The original idea was 3 Canons and recording sound externally, now we record on the JVC, time (and battery) saving on production, and in post. 

Significant things for me as a professional (and that's when I reach for the C series usually) are: ergonomics, battery life, ND filters, XLR/Sound connections. Most of the dedicated video cameras these days offer adequate quality.

If the GH5 sells for 2000euros, it will be..ok, not great, but ok.. but if the new Olympus's price is any indication, and the rumored GH5 price is right, then a price above the 2500euro mark is most possible, and that will be very expensive in my opinion. Also, in 6-8 months, Sony can put another aXXXX camera, doing 4K/60fps (even if it records for 27seconds before burning hot!) and sell it for much less. Sony makes the sensors, do you not think they are not aware of what kind of sensors are selling to the m4/3 group? 

Plus, we are talking about thousands of euros, if someone is so interested in video, why spend 3-4000$ for a hybrid camera? Most in business, would prefer a real video camera, even if it hasn't 60fps/4K. 

Don't forget that Canon C100ii is still selling very well and Canon has the XC15 out with 4K and all. If they put a 4K C100 out for 5000$ everyone is going to buy that one.

IBIS is another thing too. Most serious videographers use serious ones, when needed, and if... I am not against, but things that weren't even there a week ago, suddenly become a necessity amuses me a lot. If you do not have proper money (and if you are not a pro), a GX85 (or even better, the working G85) is pretty much perfect for most things and for most people (that they need something more than their iPhones), 3 and 4 thousands for a "similar" camera, is overkill in my opinion. Except if the true video cameras go to 10.000$ territory, and good buy video middle class, like it happens with the real middle class everywhere!

P.S 4K/60 and/or 10bit needs a lot of money on editing equipment as well.

You don't put a long tele zoom on a beholder, you put the 16-50 S, and in some occasions, even with Ronin, the PZ. The 50-150 is light and small for what it is.

This camera is due to May or June, I wouldn't be too excited about it (I mean, I always am, with equipment/gear/tools/machines!), until is truly out, tested and reviewed.

With tools/machines/gear/equipment, I learned to play the waiting game. Early adopters always pay a price (money, or troubles).

Kinda off topic, and sorry for this, but...normally EU prices are even more than UK prices..seriously, that is a lot of money for m4/3 cameras, and a lot of money for good pro lenses to (the kit seems like the best offer though, if you are going for this camera, and do not have any other pro zoom lens). 

I thought that smaller/lighter cameras/sensors/lenses would be less money, but it seems that that is not the case anymore.

I really enjoyed the GH4 when it was the most modern mirrorless for video a few years ago, but the rest doesn't cut it anymore and the 5 is just far away from now. I am really worrying that m4/3 sensors are in their limits with current technology, and I am not sure Sony will manufacture a solution for them soon.

One considerable option could be a variable sensor, like the JVC LS300 has, native m4/3, but with the ability of taking APS-C lenses, and zoom prime function. That would be something.

Even thought I detaste the Sony experience so far, in the end, most of us we will consider a a7000+a7markIII combo, in a couple of years to cover all bases.

For now, I am staying with the NX1/NX500 28mgpxl BSI (15fps, non crop 4K for NX1) and the 20mgpxl APS-C of 3000. Every announcement, I squeeze another extra year of this discontinued system.

Also,I have problem with the reply->quote in Android. I can't delete anything, and it seems to save the content in the specific thread. I do not know if anyone else has Android problems, but it seems to be in both my phone amd tablet.

There is another topic here about issues of the Panasonic body and lens stabilizer.

Have you not have your NX1 anymore Kidz? The S is an amazing lens, I haven't test it's stabilizing abilities yet (there is dual IS too but I have never used DIS, ever), but the optical qualities of the lens will probably please you.

I still believe that a C100ii with the 18-135STM is the best run n gun system these days, but I am closely follow these small Canon cameras!

I do follow most things NX too.

I saw an add in Sweden a couple of months ago for NX1 and a prime (I think it was the 30mm, do not remember) for 670€. That was the cheapest I have ever seen, ever! Adding the S to that, I do not know.

Maybe it's profitable for you Northeners to buy and sell. That is easily a 1500€ sell. And you are even talk about $$?!

This is the sell price of a a6000 in my country, body only, seriously.

The Rode boompole Pro is alright too. Quite cheap, carbon fiber and has the Rycote patended connection mechanism that it used to be my favorite when I was using Rycote booms. Unfortunately they sold the patent to Rode, and they made something slightly cheaper, but slightly worst too, but for the money you are getting an alright boom, and with a case.

Sound issues are not dissapearing using magic beans. To loose noise, you loose frequencies from elsewhere too, maybe with no specific sound source it is ok, but when you have sound that matters (spoken words let's say, depending the voice, and the octave of the noise) or more complicated and rich sound sources then you have to listen the differences and if it is acceptable or not.

To start with, I would never choose a camera with such a huge problem on audio, or I wouldn't use IBIS, ever.

I have noticed most of the prices go up in the whole of Europe. In Greece, the country with the most financial problems, a6300 ia still near 1500€, and most of the products I follow are 10-30% higher than the rest of EU countries. Also, the starting value of most cameras are scandalously lower in the US than Europe, when you see a 1499$ camera being 1699€ in Europe (closer to 2000$ than 1500$) then it makes you wonder what is going wrong in the world right now!