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I have heard its not wise to use two types of stabilization together as they can fight each other. I have no idea where i picked that particular nugget up from however and i suggest you take it with a grain of salt. There was one discussion some time ago on the forum about cadence and motion blur in videography, perhaps its abit like that. You may notice peculiarities that pass the rest of us by. Bit like some people are susceptible to flickering lights or flashing lights. What sort of image resolution and frame rates are you talking about ? I have a small gimbal and a crane m3 gimbal that can carry anything reasonable and then some... i could do some 10 second clips if that helps narrow the issue down.

I kind of get the comparison honestly. Sony used to feel like the “experimental” brand, but now they seem a lot more conservative with updates and product segmentation. Still great cameras, but the excitement factor definitely feels different compared to a few years ago.

What brand of camera are you using? My Oly/Lumix cams behave, but Fuji acts like a bitch, and and the IBIS will shift-glitch. I sold my X-T5 partly because of this.

How impactful / costly would it be to get a camera without IBIS? If it's just a matter of buying another body to add to your existing ecosystem then maybe it's worth it?

Thanks, yeah I can fix it in post with optical flow in davinci resolve, but I often just deliver my footage to production houses, so I sometimes even feel emberassed as I can see it. And I am afraid it may hurt my business. When walking forward I almost never see the issue. Only when doing a kind of slider shot. Moving left to right without even taking a step.

Equipment with stabilisation like cameras with IBIS or lenses with OIS can have very different reactions to motion. For example the normal IBIS mode on GH5 vs the IBIS 'tripod mode' where it tries to eliminate all motion. I've been aware of this for a long time as one of the OIS lenses on my Canon 700D refused to let me pan the camera, and would hold the composition steady and when it ran out of travel it would jerk suddenly. It felt like the frame was 'stuck' and I had to 'pull hard' on it to get it to unstick and then it would jerk into a new position (that it would then wrestle with me to try and hold that new position). The jitters you're seeing from IBIS mechanisms may very well be some kind of undesired response to the motion of the camera perhaps? I have IBIS and non-IBIS cameras and I previously frankensteined a rig with four of them and then walked around the backyard with it. I can probably dig up the details / footage if that would be of interest, although the cameras are quite different (IIRC the non-IBIS camera was the OG BMPCC). I've sometimes wondered what an IBIS mechanism does when it's switched off. Does the sensor get held in place by the motors, or does it get disconnected and flap around? If I turn my GX85 upside down to get the battery / card out of the bottom I can feel something moving around inside it, and I just always assumed it was the sensor. I just grabbed it and did a quick test: - camera off = rattling inside when I turn it upside down - camera on / IBIS on = no rattling - camera on / IBIS off = no rattling I guess it's held in place somehow? In terms of seeing subtle jitters in the footage, does a touch of stabilisation in post fix it? If so, that might be the quickest / cheapest option. If you're doing hand-held work then you might really miss the IBIS. When I was using the OG BM cams for street shooting (BMPCC / BMMCC) the OIS lens did a great job of pan and tilt but OIS doesn't stabilise roll at all, so the image had very unnatural motion and I had to stabilise the roll in post.

I'm not sure about how to answer parts of your question, but I would suggest that if you want IBIS, but to be able to fully lock down the sensor when IBIS is off, some of the Nikon cameras do that.

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Hi, I am thinking if I need Ibis or not in my camera's. I think it introduces some kind of jitter when panning the camera or when on a gimbal doing slider movements.(even when ibis is turned off, the sensor might correct/wiggle). Anyhow it is driving me crazy. I see it on a lot of online videos as well, and they all say it is perfectly stable while it def is not. Or might be stable but there is some kind of jerking going around. I don't have an non ibis camera around that I can mount to a gimbal to compare directly (c500ii is too big). Can someone confirm this is the case? And this is the reason why there is no ibis on most cinema cameras, as the sensor will always be floaty? Thanks!

Round 3. Changes include: More softening I'm currently aiming for a neg + print look, so that will be far softer than just a neg scan only. This is obviously adjustable to taste depending on what look I want. Grain is more saturated and with more blue and less red Grain engine completely rebuilt from scratch based on a grain-blur-grain-blur architecture More halation and bloom I think my previous versions were based on a 35mm preset where I adjusted the grain to 16mm but the halation and bloom were still at 35mm amounts - oops! I've applied it to some old images and some new ones. I have built a little set of S16 reference images from YT and also from PNGs people have sent me of S16 film scans, and in comparing these new grades I feel like these are closer but are in that strange space where they are too sharp and also too soft, where there's too much grain but not enough, etc. I suspect that either means these things are still missing the mark, or that there is so much variation in my references that I'm somewhere in the middle and therefore not close to the examples at the extremes. Feedback welcome...

... Half of a grand looks like something to me: https://wondamobile.com/search?q=vivo+x300+ultra&_pos=1&_psq=viv&_ss=e&_v=1.0&type=product

Good article. Interesting discussion of both the technical aspects as well as how they support the story. Thank you. At the bottom, the article shows the camera set ups in this image. https://www.afcinema.com/IMG/jpg/les_outils_du_tournage.jpg

This week's looping music track might sound really nice in an open-world game, a puzzle game (or something I haven't thought of.) "OVER ANCIENT WATERS" (Looping) You can listen to it here: https://soundimage.org/wp-content/uploads/2026/05/Over-Ancient-Waters_Looping.ogg I originally intended it for drone videos, but I think it could work really well in games, too. You can freely download it here: https://soundimage.org/aerial-drone/ NEED SOME ORIGINAL MUSIC FOR YOUR GAME OR PROJECT? Feel free to contact me...I'd love to help out! OTHER (HOPEFULLY) HELPFUL LINKS: My Game Music Mega Pack (1400 tracks and growing) https://soundimage.org/ogg-game-music-mega-pack/ My Genre Music Packs https://soundimage.org/ogg-music-packs-2/ Support https://soundimage.org/donate/ Enjoy! 🙂

https://www.afcinema.com/Emmanuel-Marre-director-and-Olivier-Boonjing-SBC-director-of-photography-discuss-the-technical-and-aesthetic-choices-made-for-Notre-salut.html?lang=en

According to this reviewer VIVO x300 Ultra is the GOAT of smartphones for video: https://www.youtube.com/watch?v=Zbh6Kplm8pc RAW video with DCG on all 3 lenses with the MotionCam Pro 5 Beta and 35mm on the main camera. Now question is should I buy the Chinese version from tradingshenzhen.com or wait 10-12 month for global version to appear on second hand market at decent prices.

Tilta compared to Viltrox -his summary of the differences is at 9.5

Thank you. I'm glad people are liking it. It was a lot of work and took two years to make. Most of the time by myself, out in the city with a tripod and camera. I met a lot of people doing it since the camera looks unusual. (It's common in Vancouver to see someone filming as it's a big film production town and has six film schools but people out shooting usually have more modern squarish looking cameras.) The themes and aesthetic came out of the photography I had been doing for several years already. I had been framing buildings to make geometric shapes. This was basically adding motion to that series. The music was from a friend who had I got to know when he acted in a short I did a few years earlier. https://testcardmusic.bandcamp.com It hasn't had a festival screen it yet but it did get an award in Sevilla, Spain. https://www.instagram.com/seviff.spain/p/DUTcVcGDLq7/?img_index=16

Pretty cool. I found this article about the cameras used in each of the films at Cannes. It's pretty interesting. This film is shown. (Alphabetical under M. About two-thirds of the way down. ) https://www.indiewire.com/gallery/cannes-2026-cameras-lenses-arri-alexa-35/screenshot-231/ There's a picture of the director holding a camera. It's so rigged up that it's hard to see but looks like a Digital Bolex with the PL mount. It says they used two of them, a PL mount one and a C mount one. The second one not rigged up and hand held. Looks like they used a variety of lenses too. In the picture it looks like a vintage Angenieux zoom. There's mention of a TV lens and CCTV primes. Here's a quote. That's been my experience as well. I shot 16mm some decades ago on a 1970s Bolex and a 1930s Victor (that had been fished out of a dumpster behind an NFB office.) so I'm familiar with that and of course many different video cameras over the years. The Digital Bolex is closer to a 16mm camera than to a video camera in both how you operate and how the image looks.

Hi, I still rock an dji ronin s, so I am thinking about upgrading to a new one. For the panasonic S5II, or nikon zr, or Sony a7v a low weight hybrid. The dji ronin s isnt smooth enough for really slider like movements. I am not sure there huge improvements in gimbals besides ai tracking and speeding up set up time. Which is the most smooth stable gimbal in 2026? Thanks!

Wonderful! Great eye and great images. Definitely in the direction of Koyaanisqatsi etc, not only with the images themselves but the shifts in theme too. Everyone should do themselves a favour and watch it!

Great stuff! I also find that when using 'lesser' equipment my brain can more easily switch over from "will this make technically great images?" to concentrating on the compositions and creative aspects. I suspect that our subconscious knows that footage from the latest cameras gets very detailed technical scrutiny but once the tech is no longer the current model the technological fetishism moves on and it's only the creative people left. I also find a strange satisfaction from getting great results from older equipment, and I have no idea why, so I just go with it. Other potential advantages of older equipment: it's potentially cheap to replace, so you can be less precious with it, even risking things like taking it in the rain etc any scuffs or scratches or wear marks can improve it's appearance rather than detract from it (people say "look at that old camera and how worn and beat up it is, awesome!" and also "oh no, I scratched my nice new camera") older bodies are often smaller older equipment is more likely to be metal rather than plastic - I dropped my GF3 once and it just got a little dent with no other damage! the lower DR forces you to expose better in-camera rather than choosing the exposure (and therefore the subject) of a shot, forcing you to be more decisive when shooting etc etc. Plus... if you own them already.. they're free!

That GH2 footage looks great. Makes me want to take my GH1 out again. Any one of us would have been overjoyed to captured that footage ~15 years ago when that camera came out. And even now, it looks great. I don’t think I would have ever guessed that it was from an 8-bit mirrorless camera. I’ve been really enjoying shooting with outdated cameras and applying modern post to them, especially degrading them further to hide the imperfections. I don’t know that I’m achieving something that I couldn’t with more modern and convenient cameras, but I feel like it takes a lot of performance anxiety away and that may have an impact on the way I’m shooting. I think it’s nice to go in thinking, “this will probably look terrible” and then it just becomes about enjoyment, and less about the result. And then when you do manage to get a nice shot, it’s all the more rewarding. I’ve written a short that I’d like to produce later in the Summer or Fall. Since it takes place outside and mostly downtown, I’m kind of liking the idea of shooting it guerilla-style with a hacked EOS-M.

The trailer is gorgeous. Great job!

I use it both for my own films as well as I get hired to do music videos and events. I just finished a feature length experimental film shot entirely with it called Shapes, Colours, Patterns. (There's a trailer for it on my Tumblr. https://clarknikolai.tumblr.com ) I'm very happy with it, and of course the image from that camera is gorgeous. Something I've discovered with the Digital Bolex's footage, is that it looks the best projected rather than shown on an LCD screen. I'm now working on a new project. It's a narrative, collectively written, performed and crewed by myself and three other artists. It's set in the present day in east Vancouver where three artists are working on their art projects. The characters are based on the people involved and their real lives (but fictionalized so we have more freedom.) We're using French New Wave and Availablism methods. Quick half-day shoots. It's self funded, using what we have around us, the equipment we already own, locations we already have, etc. (I think so far all we've spent on it was some coffees.) I plan to enter it in to film festivals when it's done. Here's a picture with the camera mounted backwards on the shoulder rig. This is so the camera operator can walk forward while the talent is behind them and they don't need a spotter. It's tricky to learn how to move but it's going okay. It works fine with a wide lens but not easy when zoomed in (as you'd expect.) We have to flip the image in the monitor or it's disorienting.

Here's a pic from a shoot I did last December. I don't know the brand of the shoulder rig (as I got it used on Craigslist), the EVF is the (sadly discontinued) Kinotehnik LCDVFE. The camera attaches to the rig with a Niceyrig quick-release plate (that has feet). The lens is a vintage Angenieux 17-68mm zoom with a screw on wide angle adapter, on top is a Niceyrig top handle holding an Audio-Technica stereo mic and a monitor mount. A bit hard to see is an attachment that goes below the rails between the shoulder pad and the grips for two wireless mic receivers.