can someone give me a clue how to achieve wide show with this camera?

to cut out the EF mount :)

@mo7ies I think this is amazing video quality for the price, and this is footage from a pre-production camera. It seems to shoot in a very nice log mode, comes with amazing software for CC, the dynamic range is ridiculous and a few stops better than the GH2, records to SSDs in DNxHD and ProRes, and has professional balanced audio inputs. I don't think the GH2 will be able to shoot those Bondi beach shots without areas getting blown out or underexposed, and if it did, it would take lots of time to get the colours to look so naturalistic

If this is indeed the fairchild sCMOS, then limiting the camera to 30fps rolling shutter (for now) sort of makes sense, as the dynamic range of the sensor drops beyond that point. the sCMOS is capable of 100 fps (full rez) with a rolling shutter, or half that with a global shutter. EDIT: and for 2560x1024, it is capable of 220fps, or half that with a global shutter..

I believe there is too much hiss about this camera at this point... I appreciate its pros, but lets be realistic. Putting an EF mount to camera with such a small sensor (which was probably taken of the shelf) is stupid move. Even if you try playing smart and you count with the fact that most people already have some EF lenses. You cant get effectively wider EF lenses than 14mm and that's not really wide for such a small sensor.

Another point is ISO/ASA rating which says that the base is 800 and you can go up to 1600. Now I understand that this is definitely not a low-light camera, but I'm afraid that even with a huge dynamic range, you cant save small sensitivity given by small sensor.

Another point... for what good is a RAW camera that cannot get the shallow DOF filmic look? (remember, that was what made DSLR's popular).

I'm afraid that RAW recording had too much priority in this case. I understand that their intention was to keep the price low... well at least thats what is delivered.

About my feelings. It is hard to formulate them exactly. But I'll try.

My idea is that problem with some users can be in whole expirience.
Many won't have external screen or viewfinder, due HD-SDI.
Many will complain about choosen lens mount. Preview most probably will be not very accurate and will require some adaptation. Some software problems are almost guaranteed at early stages. Plus you have difference arising from RAW workflow.

Personally, I think that future of video cameras for us, mere mortals, lies in parallel AVCHD (with intra option) + RAW recording.

@robbie75vr it looks a lot more like lens distortion than RS. Notice how the "Optical fiber" board is a lot more skewed in the left side than in the right and those lines were read at the same time.

Same applies to the screen!

except big companies (sony ,canon ,panasonic) all others buy their sensors... ARRI use sensor design by Cypress (but they sold their business to ON Semiconductor) RED uses sensor made by Israel fab so all that of the shelf talk doesnt make sense...

Vitaly’s and Nick’s efforts have demonstrated that the GH2 (i.e. hardware from 2010) is capable of reliably encoding and recording H.264 at bit rates of up to ~150 mbit/s. Apple ProRes 422 tops at 147 mbit/s (and 220 mbit/s for HQ), and it’s VBR. It offers lossy but nearly indistinguishable from the original all-intra compression and requires a fraction of the processing power of the H.264 encoder.

It’s 2012 now. Why hang on to AVCHD when one could adopt ProRes with its 4:2:2 10-bit capability and much more simplified workflow? It records a single flat file and supports extensive metadata (as opposed to the cumbersome, unwieldy folder structure of AVCHD). It should be a piece of cake to implement it in virtually any consumer camera with enough processing power to spare.

AVCHD is the silliest choice for an acquisition format. Neither the H.264 codec nor the AVCHD format were developed for acquisition to begin with. Why Panasonic and Sony decided to shoehorn them into their acquisition products is beyond me.

AVCHD is the silliest choice for an acquisition format.

I see no problems with H.264. And I prefer to see fast parallel preview with WB/contrast/etc adjusted on set.
I am interested in how good and fast is the process. And how easy is to get end result.
Current RAW is still more oriented on normal full team approach with professionals doing processing and grading.

@brianluce of course there is no need far RAW all the time ... prores and DNxhd are very good alternative ....

DR look like ARRI ALEXA maybe even better.

Sorry, this made me laugh. Having shot with an Alexa I can tell you DR looks nowhere near it. The fall off and gradients are not nearly as smooth or filmic.

I guess though people are seeing what they want to see.

And lack of xlr still makes this an indie cam. Not that there is anything wrong with that. But as a working professional creating content for doc series, the most incredible thing out of nab for me is the fs-700. Now that's the camera I can't wait to get my hands on.

I can almost guarantee my work will be 75%+ ProRes or DNxHD and the higher end and green screen stuff will be the RAW 25%. It will be very nice to have the 2.5K 12 bit RAW when needed.

@Brian202020 thunderbolt can be converted to literally any other output type - hard rives firewire USB monitor inputs etc etc etc e.g.

http://compare.ebay.co.uk/like/150779432500?var=lv&ltyp=AllFixedPriceItemTypes&var=sbar&adtype=pla

cheap as chips