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Balls. Sent the S1IIE back without even opening the box and picked up another S9 instead. My first 8 jobs of the year were 7 hybrid and 1 pure video. Of the next 7, I knew 1 was photo only but ‘assumed’ the other 6 were all hybrid. Nope, only 3/7 are hybrid and not worth spending that money for just 3 jobs when 2027 is a bit of an unknown… Unknown as in almost fully booked and every booked job is hybrid, but I am still hopeful for either a genuine S1H successor or an S9II. Or even some kind of Nikon/Sony mashup but that is as unlikely as my Hasselblad dreams… But then also still ‘waiting’ for Sigma to build a sibling to the 28-45mm f1.8 such as a 45-90mm f1.8 with internal non-extending zoom, but probably dreaming there also… And then there is my Leica fantasy, but let’s not go there either.

I dip in from time to time what is happening in e Mount land because I am envious of the lens line up. L Mount is decent, but it’s got holes for me that I want filling and I am always doing a slight workaround, but with e Mount, it’s easy. Easy albeit, at a higher price point. The FX5 from what I can see is an ‘FX3.2’ isn’t it? At twice the price you can score a brand new, UK stock, FX3a, the one with the better rear LCD. What has the FX5 got that would tempt me over that? Nothing that I can see and I could pick up an FX3a AND a pair of FX30’s for the same price as a single shiny new FX5. Not that it’s all about the money, but also is. I need 3 video units and a single photo (assuming zoom for the latter) so chuck an A7RV (that I used to own) into the pot regarding the latter. Also used. But that has nothing to do with the FX5. Not really sure if it’s a 5k camera…

I've been away from the camera world and stuff for quite some time, I have dabbled a bit with AI and making a good living out of it directing hybrid and 100% AI commercials but I want to own a small cinema camera again, for some projects I have in mind. This may be one of the strongest contenders and it comes right when I enter the market again to find which one I may be interested in.

This is a beast of a camera for sure, but man, almost $5K??? I mean, I get it, it's almost a cinema camera, but no internal ND, SDI etc.... I guess I'm just grateful you can pick up a used A7SIII for around 2K and get basically the same image at the end of the pipeline. Or even an old F5 at $1k for that matter... It's funny because I'm at the stage in my career where I can kind of choose to shoot with whatever cameras we want within reason. More often than not though, I end up going with older cameras because we get basically the same image at end of the pipeline, and they are like 10x cheaper. The budget saved can be invested into cooler on camera stuff. Spoiled for choice I guess

It's the best compact cine camera in the market, for NOW. But I'm not sure it can hold that position for long. Maybe they know this and keeping some features unavailable today to be unlocked at 2027. Firmware update these days are more a marketing policy (our product still competes) than an engineering challenge. I mean 4k240 is not some issue in the code you want to resolve. Its a switch.

nostalgic for the ergonomics of camcorders ;-)

Let the chat commence…

I like Ektar 100 simulation implemented.

Correcting a bit IT8 grid. Color checker video V2 target is expensive not sure if implement.

Hey ya'll! I was wondering if by any chance anyone knows a good site that reviews older DSLRs and MILCs? Yes, I know this is a bit of a strange petition, but nowadays reviews have gotten stale since every modern camera can perform 99% of what every other camera does. Specifically, I'm looking for a site that reviews older gear from 2026 perspective, a modern view of vintage gear, if you like.And no, parsing reviews from 2016 of Canon's 5D Mark IV is not very useful. I want the modern take, with today's technological ecosystem, of this older gear. IMO, the market for these slightly older cameras is ripe for the taking. Vintage sells and overall prices for these cameras is very respectable now that they have depreciated. Anyone?

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I used Ektar drumscan: To create simulation profile:

I watched the videos on the rawlite account on Vimeo. He shares videos that he didn't make himself. Either the camera or the objects are moving. In one of them, the chart is even hidden at one point, or he isn't comparing the same shirts. You can still see the problem, though. Even the seller can't share long well-made videos with clean results. Sadly, I'll probably have to switch cameras and upgrade to a higher-end model.

Almost no card ever reaches the quoted "up to" numbers that they give, especially not in a sustained transfer. A2 and V30 are generally the best specs that you'll find on a MicroSD. If the Mission 1 Pro writes faster, you might want to check on some forums to see which cards people have found work well with its highest-bitrate modes. Though that said, if you're talking 100-200mb/s (megabits/second), a V30 card should do that without breaking a sweat since the V30 refers to 30 megabytes/second which is 240 megabits/second.

I probably have the bull by the horns or my understanding is really really flawed. lol I have doubled the capacity of my memory cards 1x micro sd and 1 sd card. Apon opening the package the kingston card it looked like this Its obvious that its been opened previously, theres dust and grit inside the blister pack and the exterior shows signs of lots of rubbing. I have tried it in a couple of cameras and two card readers however it fails to show up on any device. A dud in other words, my other card i have is a kingston 256 gb from the same supplier. Which is a bit surprising as it runs fine and works at near the rated speeds, sometimes a little faster than the rated speeds. Not sure how this got past quality control but its going back tomorrow. The box it came in shows no damage, so i don't think i can blame the postal service. I got this card for the mission 1, while testing it, it doesn't operate at anywhere the rated speeds of 200mb. best i have seen 100 mb write speeds and 120 read speeds . I plan on doing some 4k recording, if it drops frames its going back as well. Both cards are from amazon as i thought there'd be less chance of buying a fake card and the fact i payed good money for both kinda ticks me off. Be interesting to see if this new card helps the shorten the buffering time after you stop recording on the mission1 although thats all dependent on how it handles 4k recording first.

Sony updates the model after so long, and its either still missing stuff, or the improvements aren't enough. They should have got a much better (LOFIC) sensor, internal storage of Atleast 100GB, dual card slot, way better autofocus, pre-burst perhaps since it can do wildlife etc. The major camera makers aren't really looking at the Smartphone and pocketable camera (DJI etc), to see what users are actually looking for.

Does that mean there's a gh7 going cheap ? 😀 I have to confess, i'm suprized you have managed to wring further interest out of this thing... Not suprised about the iphone however i have another lens that i can use on the iphone and it does the same thing by jumping to different lenses. i figured it out in the end. I suspect another app rather than the default photo app will stop its shenanigans. A tripod collar around the middle part of your set up and some magic arms and or cheese plate to hold it together ?

More Charmera shenanigans. In comparing it to known camera/lens combinations, it turns out that it's about a 44mm equivalent lens, not 35mm as they state. It's also not infinity focus, but more like about 30-50cm too, about the right distance for shooting people. This makes anything further away than that a touch soft, although with the image quality I'll excuse every reviewer of it I've seen missing this rather significant detail. Back to more fun things, my new Neewer 1.55x adapter has a 17mm rear element and a 67mm front element, and my Sirui 1.25x adapter has a 58mm rear element. I'm sure you can see where this is going..... The combination makes this about a 2x de-squeeze. Normal: Double anamorphic setup: Cinemaaaaaaa!!!! I'd actually shoot with this, only it's awful to use and once you've got these things on there you'd be far better off getting a similar image via different means, like putting a cheap ultra-wide onto a tiny ILC and cropping in post or whatever. As it's actually meant to be a smartphone anamorphic adapter, I tried it on my iPhone 17 Pro as well, but it's tricky. 1x camera SOOC: Obviously coverage is a thing! 2x SOOC is better though: and de-squeezed and cropped: Fun! Definitely a vintage anamorphic character. A pain to shoot with though, as not only is the lens far larger and heavier than the camera, but the iPhone really didn't like it. I just shot stills with the default app, but it kept wanting to change to the macro camera (which is the ultra-wide lens) and was generally just terribly behaved. If you were using a dedicated app and had a tripod mount on the adapter then maybe, but once again there are probably better ways to get similar results.

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.