Hanriverprod

Yeah the layout of the controls is a hell of a lot like my AF100A. Interesting that it does look like at the least it is a Sigma cropped sensor lens or more.

I don't know if this has been shown. Plz delete if it has.
 

post stuff!!! ?

Has anybody tried a modest bump to 2.5k or 2.7k. I would love to be able to get 2.5k 2:39 working one day. Hell, even cinema 2K at 48-60p would get me off. 
Yeah I need to test this, Hyalinejim swears by it. I'm pretty sure he uses it with Adobe, and it seems like it may be better designed for After Effects than Resolve, but since I am testing workflows right now, I am pretty much game for anything.

Jean-Baptiste Marcant shared these stunning shots of Rome.
- Resolution : 3072x1024 px
- Bits : 14 bpp Lossless
- Aspect Ratio : 3:1
Also, lostfeliz on ml forum says that hdmi out monitoring is possible on higher res without lag for focusing but you only get 40% of the image on center. They were wondering if it might somehow be able to pan the area to get focus on other parts of the frame. (http://www.magiclantern.fm/forum/index.php?topic=19300.575)
If anybody else wants to chime in on this development or where the experimental builds are in terms of preview on the higher res modes...

Jean-Baptiste Marcant shared these stunning shots of Rome.
- Resolution : 3072x1024 px
- Bits : 14 bpp Lossless
- Aspect Ratio : 3:1
Also, lostfeliz on ml forum says that hdmi out monitoring is possible on higher res without lag for focusing but you only get 40% of the image on center. They were wondering if it might somehow be able to pan the area to get focus on other parts of the frame. (http://www.magiclantern.fm/forum/index.php?topic=19300.575)
If anybody else wants to chime in on this development or where the experimental builds are in terms of preview on the higher res modes...

Jean-Baptiste Marcant shared these stunning shots of Rome.
- Resolution : 3072x1024 px
- Bits : 14 bpp Lossless
- Aspect Ratio : 3:1
Also, lostfeliz on ml forum says that hdmi out monitoring is possible on higher res without lag for focusing but you only get 40% of the image on center. They were wondering if it might somehow be able to pan the area to get focus on other parts of the frame. (http://www.magiclantern.fm/forum/index.php?topic=19300.575)
If anybody else wants to chime in on this development or where the experimental builds are in terms of preview on the higher res modes...

That latest 4-29-17 build broke my live view preview in modes above HD.  No grey scale or anything. 

Jean-Baptiste Marcant shared these stunning shots of Rome.
- Resolution : 3072x1024 px
- Bits : 14 bpp Lossless
- Aspect Ratio : 3:1
Also, lostfeliz on ml forum says that hdmi out monitoring is possible on higher res without lag for focusing but you only get 40% of the image on center. They were wondering if it might somehow be able to pan the area to get focus on other parts of the frame. (http://www.magiclantern.fm/forum/index.php?topic=19300.575)
If anybody else wants to chime in on this development or where the experimental builds are in terms of preview on the higher res modes...

A fullframe lens covers a fullframe 35mm sensor with the image circle it gives off (APS-C/MFT would vignette on FF). Why put it on there? Like I said:
It probably is an EF mount, not definitely, but I would say highly likely so. Wouldn't be a fullframe sensor, though. The Panasonic Varicam LT has both EF and PL-mount options, has a S35 sensor. It's the industry standard for this type of production camera. A shallower mount however, like MFT or Sony FZ/E-mount would be more flexible, something I mentioned earlier as well. It would allow for the most adapting flexibility... and most importantly, it would allow for fullframe lenses to be squished onto the S35 sensor when using focal reducers... something you can't do for example with that Sigma Art 24-35mm f/2 lens on an EF-mount. Because there's no such thing as an EF to EF focal reducer (yet?).

Yes I Was going to add a F35, even a F65 in there for 9 grand and I thought nah, people Will think I am crazy. And I agree with you on that point.
I am just afraid if Panasonic does 9 grand they will fail. I just don't think the Industry considers Panny stuff high end, even though they have the Varicams. I know they have, had ENG cameras for years, mostly 1/2" sensor ones. To be honest the reason they were popular was they were cheaper than a Sony, not hard to believe LoL and they were, cheaper with lot more plastic compared to built like a tank Sony's. But you have to cut costs somewhere to compete. But they are great cameras for the money. They also came up with the the P2 media, which while expensive, no worse than others cost wise, was a great idea. It is basically a Raid System in a single slot using SD cards, for the people that don't know much about them.. Great idea.
The Panasonic AG-HVX200 was really a groundbreaking camera for the average person. The first I think, real 24, 30, 1080p camcorder that a normal person could afford. It had both Mini DV, and P2 cars in it. Incredible stuff at the time. I loved mine. Just about wore it out. Panasonic has been a manufacturing great stuff, for real people, for a Long time.
 

Probably a rendering at this stage, so I would'nt presume anything, except even if the mount was m4/3 on a s35 sensor, Panasonic would still choose a physically large lens to display on there, to perpetuate the Cine Camera concept...m4/3 lenses would be the wrong "look"....too diminutive...the mount also appears to be "locking" which would definitely be a plus...I also doubt strongly that the actual camera is sitting under glass and under the veil...could be a clay prototype shape that's painted...but what I can tell you what it definitely IS....it's a great bit of marketing, as was the early 4 spec release on the GH5....and why not....I preordered on the GH 5 before the first round of cameras went out in the US and mine has'nt even shipped yet...and now...we are all buzzing about what this Cine Camera is going to be....LOL...maybe Panny will incorporate the best ideas on all the various forums posted by members that are reasonable in terms of cost and current technology, and everybody will say in June that Panny really listens to their customers??

ntblowz had posted that image on page 2 of this topic already, but it's neat to have somekind of idea going on there!
Sigma already has M4/3 Art lenses, the 19, 30 & 60mm f/2.8 DN A: http://www.sigma-global.com/en/lenses/cas/product/art/a_19_28/ .
This however seems to be the fullframe 24-35mm f/2: http://www.sigma-global.com/en/lenses/cas/product/art/a_24_35_2/ . Without a modded mount. So either the mount is fixed EF. EF speedboosted or hot-swappable with other mount plates.

That's why it will make more sense in the future if you pick up a crate of vmounts for a shoot from a rental house instead of a genny with a truck and operator....as LED lighting improves, so power consumption needs go down...but owning a bunch of vmounts become expensive and they have to be maintained and charged regularly, even when not in use...that kind of thing is ideal on the gaffers truck, with lights from a rental house

Nice stuff.
Funny that Variety targets it for Facebook content creators... LOL
http://variety.com/2017/digital/news/dish-slingstudio-hardware-for-facebook-live-1202392811/

Always used generators for outdoor shooting but thinking about just using leds on the next project so curious how these batteries do time wise compared to each other for an led light like this. If the v mount is considerably better maybe buy one for each light and then rent batteries for long night shoots since you can just use ac indoors rather than dealing with several npf's for each light.

Dracast is releasing these bi-color 1x1 v-mount flexible leds cri and tlci of 95 for $199 and a set of three for $499. Exciting lighting options for budget filmmakers coming out of nab this year. Great times for doc and indie shooters.

Yes, he's pricing the NPfs at $30 a piece by the looks of it.
So 2 hours means he's using 2 x NPF at $30 each and the adapter at $50 so $30+$30$+$50=$110 
And then every additional 2 hours of power is $60 (2 NPF x $30)

Wonder if a trend will  develope with rental houses where they will be renting milk crates of fully charged vlocks and one will have the bliss of true silence while shooting away from AC sources...Aperture just released a light (300D??)  that they claim to be equal to a Joker 800 or 2K tungsten...whether there yet or not, this seems to be where the future of development in lighting is going. Owning and maintaining that many batteries seems impractical and expensive though...and a lot of work if they're sitting idle
 

From the original post on Cheesycam, someone ran a test on another LED light between a real v lock and two NPFs on the adapter.
Won't be absolute in terms of how long they will run this new Dacast of course because its on a different light but the comparative figures will be a good guide.
The advantage of the NPFs is obviously cost but also that they'll do double duty as there are numerous low cost powering solutions for cameras like BM and field monitors/recorders that use them.
From the original thread >>>
"I did a test on the CN-600s with a Beillen 150 Wh V-mount battery, and it lasts 3 hours. The cheapest 150Wh V-mount battery I see on Ebay, Lanparte brand, is about $200, and the Beillen --also Chinese-- is about $250. The dual-NPF solution is much more economical.
3 hours v-mount=$200-250
2 hours NPF+adapter=$110
4 hours NPF+adapter=$170
6 hours NPF+adapter=$230"
-------------------------
http://cheesycam.com/v-mount-adapter-for-sony-l-series-np-f-batteries/

EOSHD is not an odd case, nearly all the major sites are named after cameras:
DVXUser - Panasonic DVX100
Cinema5D - Canon 5D Mark II
REDUser - RED
This isn't really how it works with most people, as they come from a Google search and click the article because it's relevant to them - i.e. Sony or Panasonic posts. So it is immediately apparent both the blog and forum cover non-Canon gear.
Times change and Canon might bounce back and start dominating. So changing to align with current Sony/Panasonic trends may be a waste of time as brands have to live forever.
Reidvision wouldn't be so bad but it says nothing about 'cameras'
I like short and snappy!
Thanks for the feedback though I do see where you're coming from
Most important thing for me is the site works well, looks clean, no shitty advertising, thriving community forum, great content, strong personal opinions, not in bed with PR industry.

Yep, a lot of the GH5 footage I  have seen also, to me, could have been shoot with a GH4. I mean most footage does Not Have to be shot in 10 bit. Heck I would think it would actually hurt the footage if you were trying to make it look like s16 film stock!
And I also wonder how much of the A7s, even A7sII is being shot in camera, or is a external recorder used, and do they have an influence colors wise, etc.??As far as I have seen the GH5 does not hold a candle to the ML Raw coming out of the Canon 5D mkIII. Glenn and others have shown that thing can kick some serious butt. Not even close to a BMPCC as best I have seen. Now I guess if I was doing a commercial spot, a interview with men in it, I would use the GH5 over the other two. I can see its use, but not for being old school looking. I think it is never going to have that look in my eyes. It looks videoish. No real surprise, so does a A7s, on and on. Not my cup of tea.
But what I want is not the target audience of the GH5, A7s. So I guess they have done well with it for the masses. But it won't be on my short list for Christmas. I think a lot of it maybe using 4k. I really like 4k for certain uses, but really don't like it for most stuff. It is Too good I guess, is what I am saying. Maybe down sampling it to 1080p would let it have a better output for a film looking grade. And I would guess most of us on here Are looking for a great Film looking grade output.
But the $64,000.00 question is, is the GH5 the vehicle to do it with?? I guess the jury is out yet on that question. Too soon to know. But overall I don't see how it can be beat for the money. It has some serious stuff in it. I don't think we are Ever going to get a Arri output for 2000 bucks LoL. Well maybe the 5D mkIII, hmm.

I have yet to see any footage from this camera with good dynamic range and nice looking colors. Hopefully, the summer firmware fixes that or else the a6500 with its own issues seems like it has a better image at a much lower cost and 8bit.

I just got my GH5 today. One of the things I'm going to want to do is to match V-Log to ML Cinelog. In the process of doing that I'll probably be able to make such a comparison for you. But it will take a while as I don't have V-Log yet.
For those of you that are ML users, check out my Ektar luts.
TWISTED - this one is easy to use:
https://www.magiclantern.fm/forum/index.php?topic=19338.msg183659#msg183659
ADVANCED - this gives amazing contrast but takes a bit of effort:
https://www.magiclantern.fm/forum/index.php?topic=19338.msg183803#msg183803
ML footage needs to be in Cinelog-C or else Alexa Log C
 

Indeed.  The image quality has really spoiled me on what's currently out there now.  The 4k at 12fps is spectacular....it is an absolute tragedy as to what these canon dslrs are capable of.