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But enough of that. In a worlds-first exclusive that nobody asked for, I proudly present.... The anamorphic Charmera! It shoots open gate 1.55x anamorphic, has USB-C charging, and fits in your pocket! What's not to love*? (*note: don't answer this) Obviously the rig isn't dialled in quite yet.... Surprisingly it's quite easy to position as you can just look down the barrel of the adapter and you can see where the lens is easily, so that's cool. I think it loses its pocketability though!

Indeed. I have a bit of experience shooting like this actually. Years ago I realised I never got any establishing shots or transitions when shooting travel stuff, and it was because my camera was in my bag and I'd only ever get it out once we'd gotten the family out of the car, walked to the entrance of the zoo/museum/park/whatever, bought tickets, and then was inside getting our bearings. I had a GoPro Hero 3, which didn't have a screen, and wondered if that would work, so I shot some little outings with the wife as little tests, and the concept worked brilliantly. I worked out the general framing and because there was no manual anything to adjust it was just a case of pointing it in the right direction (framing the shot in your head) and hitting record. I named it a "shot getter" because it was so fast to get an incredible variety of shots. After that phones got good enough to replace the GoPro so I ended up going in a different direction. TBH though, despite the fact the Charmera is about as non-serious a camera as you can get, it actually fits a huge number of the artistic maturity elements.. get it right in-camera, slow down and take your time, be in the moment and bake in that artistic expression into the footage, etc. The illogical conclusion to the shoot wide and crop in post approach would be a 360 camera, which is a valid way of doing things, but in a sense with a camera this (terrible) the point isn't to capture quality images, it's to capture footage with as much personality and capturing content that is as interesting as possible (because the image quality won't save boring shots). I saw that in a comparison video and the quality was just as bad as the Charmera, but the thing is like 5x or 10x the size! Plus no actual screen! Definitely creative though. All the manufacturers follow my threads, so that's a given at this point 😉 I wonder how good that viewfinder is... like, I wonder how closely and reliably you can actually frame up shots. In terms of embracing the blind shooting with tiny camera approach (or semi-blind in the case of the above) that camera is definitely the leader as far as I can see. I did also run into the DJI Osmo Nano which is a similar concept, with detachable screen. It does look like it might be a tad larger than the Insta360 though: But, as soon as you want to compose, suddenly it's the size of an action camera again.

Here are a few samples after IT8 color calibration: https://drive.google.com/drive/folders/1EqZM7ZMvsTiZBEeMZ6E6lWjT5Hbzwnrc I’m still working on the in-phone RAW processing algorithms.

The price is too high for a 1" sensor, rather get the used iv for way less.

I’m developing a video recorder that can capture both uncompressed and compressed RAW, while also recording a flat H.265 stream with minimal ISP processing. The application can process RAW data and encode the result to H.265. It adjusts the saturation vectors in the linear domain to preserve accurate color relationships and supports color targets for calculating a 3×3 color correction matrix and TRCs. It also includes USM and MTF-based filtering in a mildly nonlinear domain, allowing either sharpening or attenuation of high spatial frequencies. I’m also planning to add film simulations after calibrating the camera using manufacturers’ spectral sensitivity curves. I’m open to suggestions regarding additional features worth implementing. At the moment, my main problem is dropped frames during compressed RAW recording. Below is an example from a Motorola Edge 50 Pro: the brighter image is produced by the phone’s ISP, while the other image is processed from RAW. ISP: RAW: RAW:

With the FX6 wearing the 24-105mm, I'd avoid swapping lenses unless there's a real break in the action. A second body with a fast prime is usually the safer play. For the two primes, a 35mm f/1.4 and an 85mm f/1.8 (or f/1.4 if you already own it) would be my picks. The 35mm is perfect for backstage moments, crowd reactions, merch tables, and environmental shots in low light, while the 85mm gives you flattering performer close-ups and tighter audience emotion without relying on the f/4 zoom when the lights get dim. One thing that's easy to overlook is how much time you'll spend filming everything except the performance. Those pre-show interactions and venue details often end up carrying the recap. There are some solid production workflow ideas from Love Studios Nyc Photo & Video Studio, click here, that emphasize planning around the entire story instead of just the stage, which fits this kind of assignment well. Whatever you bring, keeping one body dedicated to the zoom and the other to a fast prime will probably save you more shots than carrying extra glass in the pack. Good luck, that sounds like an incredible opportunity.

I might be wrong, but downscaling from 6K to 4K or HD helps reduce moiré or aliasing. That’s probably why there’s less of it or none with the BMPCC 6K and cameras with more pixels. I’m looking for examples using 4K, 4.6K, or lower-resolution sensors with rawlite filers.

what camera is it for? i cant really make a comparison since i dont have any with the upgrade, but the olpf that BM has started using on the FF models has been very helpful in not getting moire. On the pocket 4k it wasn’t hard to generate it with certain fabrics and high frequency detailed stuff in the background, but on the 6K FF sensor i’ve not seen it yet.

Thank you. I'm still hopeful that someone with a Blackmagic camera and a Rawlite filter will post this online. It wouldn't take long to put together something done properly, and I'm sure it would be helpful to others. In the meantime, that's a lot of money based on promises.

I've seen some before and after tests a long time ago and they do work, but it's reduced not completely eliminated. I understand your frustration because they seem to cost a lot and it's hard to know what you're getting ahead of time.

And I am far from alone on this one: https://www.digitalcameraworld.com/cameras/sony-rx10-v-review

PS: That 600mm reach makes it interesting if/when it costs less than a grand... mandatory then? OK, less than a grand and a half! : P Anything over $2K would put it in a different category, for sure. And not only for wild life... Nonetheless. Disclaimer: FX30 + 16-300mm owner here. Has the FX30 + 16-300mm killed the RX10 V? ; ) The FX30 gives you a cinema body: APS-C/Super 35, 10-bit 4:2:2, S-Log3, S-Cinetone, 14+ stops of claimed latitude, 4K 120fps, active cooling, dual card slots, full-size HDMI, better rigging options, better audio with the XLR handle, and interchangeable lenses. The RX10 V is now much stronger than the RX10 IV for video: 4K60, 4K120 cropped — probably around 1.43x vs 1.62x on the FX30 — 10-bit 4:2:2, S-Log3, S-Cinetone, LUT support, 4K30 USB streaming, digital audio through the MI shoe, and AI subject recognition, whatever that means... But it still has one SD card slot, a fixed lens, a tilting rather than fully articulating screen, no IBIS, and remains more of a high-end bridge/photo camera than a cinema tool. Sorry to be the party pooper but yes: the RX10 V has more reach, about +33% compared with the FX30 + 16-300mm combo, plus an EVF and slightly less weight. The RX10 V lens is faster in pure exposure terms, but once you factor in sensor size, f/2.4–4 on a 1-inch sensor works out at roughly f/6.5–10.8 full-frame equivalent. The FX30 + Sigma 16-300mm is roughly f/5.3–10.1 equivalent on APS-C/Super 35, so between 28mm and 100mm equivalent the FX30/Sigma combo can be up to about one stop better in equivalent-aperture terms. The FX30 already gives you a 24-450mm equivalent range with that Sigma lens, plus everything above, plus interchangeable lenses, for a similar price or even less.

100% correct : ) Nuts. - EAG

Looks like I came close-ish while overall being too optimistic (my guesses didn't feel all that optimistic?) and they exceeded in at least one way ((cropped) 4kp120). Otherwise, yes, faster UHS-2 SD card (I think that's the second row of pins that I meant). No CF Express, but memory stick is indeed gone. No extra megapixels. I didn't watch anything yet to see if 4k recording is now full sensor width vs slightly cropped or whether they support open gate - guessing no on open gate, at least, since it seems to be either the same sensor or a minor update to the same sensor. I also mistyped the camera model on the USB port bit.

Yes, I preferred it when it had the much shorter zoom. What was it? Something like 24-120 and constant aperture of f2.8 which on a 1” sensor was already borderline for me.

So basically a 1-inch video cam in a bridge body. Not so attractive to me. The previos 2.8 continuos lens of the OG and the II version of the same model truly gave it an original photo differentiator over Panny and Canon models Mercer mentioned. This newer model seems to be competing with Sony video cams. I owned a Panny superzoom camera about 20 years ago and the 2.8 "beer can" zoom was a huge boon.

I really liked the mark II, but felt the camera jumped the shark with every subsequent release. And this one is no different. Although I appreciate the bump to 10bit video, I kinda hoped they would bring back internal NDs and the constant zoom. I would love a cine-bridge camera, and for a while, about 10 years ago, it seemed like a strong possibility with the RX10, FZ2500 and XC10, but they were all quickly abandoned... I suppose the market didn't agree with me. The really offensive aspect of this release is the price... $2300... I recently purchased a refurbished Canon V1 that has a larger sensor, and internal ND for $650. So far, it's been one of my favorite camera purchases to date. It's a shame, I really liked the image and form factor of the RX10 II and have been looking for a reason to try Cinetone. Right now, it seems like the ZV-E10ii is the cheapest way in.

Well, as expected, it’s an incremental release that reflects developments of the intervening nine years. Not listed there but included is S-Cinetone, Slog-3 and custom user LUTs. Not much that it doesn’t have really. More details here https://www.bhphotovideo.com/c/product/1985961-REG/sony_rx10_v_digital_camera.html Price is £2K which in the overall scheme of things is about what I expected because previous versions weren’t particularly cheap. Might not be for a camera for everyone but for someone it could be the everything camera.

"UNFORGIVING HIMALAYAS" (looping version) - is this week's free-to-use-with-attribution music track now in Ogg format. You can listen to it here: https://soundimage.org/wp-content/uploads/2026/07/Unforgiving-Himalayas_Looping.ogg And download it here: https://soundimage.org/world/ The standard, non-looping version is in Mp3 format, so if you're a video content creator, this is the one you'll want to use. Same for all the tracks on my site. 🙂 OTHER HELPFUL STUFF My Ogg Game Music Mega Pack: https://soundimage.org/ogg-game-music-mega-pack/ My Ogg Genre Music Packs: https://soundimage.org/ogg-music-packs-2/ Custom Music https://soundimage.org/custom-work/ Attribution Information: https://soundimage.org/attribution-info/ Enjoy! 🙂

@Emanuelhaha well, you know, life gets in the way. Since posting that, I've stayed plenty busy growing my little Utah-based production company — we did documentary and commercial projects in 10 different countries last year — while juggling getting married, having a little baby son, with another on the way now, so becoming a YouTuber on the side never quite worked out. Thanks for checking it out five some odd years later though, lol. I always intended to get back to it, maybe I will at some point.

https://www.youtube.com/@CtrlAIDelete/videos CtrlAIDel is helpful, to say the least... Just look at this, quite vividly represented, shall we say. That V pretty much tells you where to look… : D Or this one, where you’re probably used to having their ad pop up right in front of your eyes: CtrlAIDel is a channel that investigates AI tools, crypto projects, and digital services by analyzing their claims, their creators, and their real credibility. Most online tools look convincing on the surface but fail when you trace who built them, what they previously created, and how consistent their results actually are. This channel focuses on: - breaking down AI and digital systems beyond marketing claims - exposing patterns behind misleading products and services - analyzing founders, companies, and past projects behind the tools - showing where trust breaks before money is lost No hype. No surface reviews. Only source-based analysis.

Unfortunately, a filter in front of the lens doesn't work. I think pro mist or soft focus filters doesn't affect the same frequencies. The only thing that works seems to be an OLPF, good debayering or bigger resolution. I had the impression that Rawlite reduced false color issues but not the banding. €450 is a bit expensive just to slightly reduce the problem. I’ve never seen any serious before-and-after tests.

I have no direct experience with the rawlite filters, but people seem to like them. You might want to specify the camera since there may be variance in the quality/utility of the filter. As a cheaper option, have you considered using a pro mist/glimmer glass/etc filter? I think those can help with moire too.

Yeah, i think it is great to start and then just go with the flow and see which direction it takes you. By now i am putting bits and pieces on my channel: https://www.youtube.com/@MagnetischC I have some videos in the making ranging from short films to equipment tests and i even try to create a vlog... I believe making money on youtube is a whole different thing with it's own rules - the amount of channels, podcasts that focus on this matter is vast.

Happening mid season, so right now… I sent my S9 in for repair (audio side of things not working) and yesterday, finally received a repair quote…which is not only more than the trade in value, but more than buying an ‘as new’ one from MPB! Nope! Instead, I have requested a return and will make it a dedicated gimbal camera where not having audio is not an issue. Which still leaves me a camera short… I have been juggling what I have with the L10 picking up the slack and managed the situation for the last 5 jobs, but it’s not ideal as the S1RII’s definitely DO overheat and shutdown on hotter days at around 15 minutes max. Step forward a used S1IIE which has all the tech (but upgraded) from the trusty reliable S5II but in the much better (mainly rear LCD) body of the S1RII/S1II. It doesn’t have quite the ability of the S1II, but for my needs, that’s fine and the reliability is more important to me. So the re-jigged line up now is: Pair of S1RII’s for hybrid, but pretty much 95% stills, with the 18/35/50/85 f1.8 primes. S1IIE primary video unit with the Sigma 17-40 f1.8 S5II static video unit with Sigma 28-70 f2.8 S9 with Sigma 17-50 f2.8 + gimbal as err, dedicated gimbal unit L10 candid, closeups (has excellent macro function), details, plus doubles as my personal EDC/DadCam. Should be able to function properly for the second half of my season…