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I should add though that any likely Nikon Z6iii will almost certainly trump the XH2 for my needs on 2 levels. 1 is it will almost certainly be more sophisticated in every department and 2 I am already 50% in the Nikon body system, or should I say the adapted Tamron E Mount system and I do already own my own personal ‘holy trinity’ of zoom lenses, those being the f2.8: 20-40, 28-75 and 70-180 which are probably the ‘best’ set of zooms all factors considered, but mainly based on highest quality performance from the lightest and most compact size. Latest rumour, but strong one, is Z6iii announcement in around 2 weeks…

I understand that they based the algorithm for the battery gauge on the Pocket based on this. Do you have one of ye olde worlde NPF adapters like this one ? It will power the camera all day obviously and with much the lower profile F550 batteries you'll still get plenty of run time without it being too unwieldy. There is actually an argument that adding the weight on to the camera using one of these is beneficial anyway when it comes to it not wafting about. However, the good thing about these plates and the way I use(d) mine when out and about was to have it in my coat/bag and attach it to the camera when moving place to place to top up the charge of the internal battery. Time has moved on though and if I was looking for something a bit more modern to deal with the problem then this small charging case looks pretty interesting. It is to be used with a USB power pack (of which there are a gazillion of various sizes and capacities obviously) and can be used in the jacket/bag in the same way as the battery plate except of course you are background charging batteries to be put in the camera rather than re-charging the one that is currently in it. I think its a decent price for what you get as it includes two batteries and it also doubles as a dual slot USB card reader. It won't stop the randomness of the insta-drain "feature" of the BMPCC so to be totally sure of avoiding that then you'll need the continuous power offered by the NPF adapter.

Yes, I use lens support for the Sigma always; it's a long, heavy lens and the MFT mount on the Blackmagic cameras is weak. So I use a baseplate with rails, and a lens support on the rails for the lens. I have occasionally used that lens on the Pocket, supporting it with my hand, but when I'm handholding the Pocket I usually use lighter lenses (my favourite is the SLR Magic 10mm Hyperprime cine lens) and my Zacuto Marauder Mini. I do think just a pistol grip plus another point of stabilization would work; I also have the Zacuto viewfinder that clips onto the LCD and I use that as my second point of stabilization. The concert was an interesting challenge to film; the room was smaller than I expected and the music started before sunset; there was a bright shaft of sunlight coming in. I had my expensive Sekonic colour-temperature meter with me and took readings on the lead singer's face before the concert, but of course all that went out the window as the evening progressed and the sun went down; at that point they were lit by two colored stage lights on the floor beaming up toward them plus the two lamps that they placed to their right and left. I am glad I shot raw (3:1 CDNG) for the maximum flexibility in exposure and white balance, although I'm sure ProRes could have handled even the huge adjustments in white balance I had to make.

Yeah you can get over an hour on the 5D3 with one battery.

“Daddy, please come back inside and play with us” ”Not now kids, the world MUST be told IMMEDIATELY about a rumour I’ve heard about a new camera”. From Mr. Undone to Mr. Unfun, it’s all a bit silly for grown adults this isn’t it?

I will watch it later on the weekend. Thanks for sharing! @bjohn Have you also been using the 18-35 on the pocket for handheld work once in a while? I imagine it to help due to its weight. A smooth, damped focus ring does also wonders with a light camera, avoiding all these small shakes and jerks from operating and focusing. Did you use lens support for the Sigma with your Bmmcc when on a tripod?

And pros do it too. Ever listened to two sound guys talking about mics and rigging and tricks and magic until seconds before the take, then during lunch or coffee breaks, then only them two at the side of anyone else, in front of a beautiful sunset after wrapping? Ask David😊 @IronFilm Sound people are the heart not only of the film but also of the crew. So is nerd talk, full of joy and stories and life. What I find dull is the kind of bloated tech talk, specs race, tech ads marketing blah. Talking about shoes can be either, the later or he former. I imagine a shoe nerd can be fun to talk to. On the other hand, a shoe social media personality can leave me alone though, please.

Gimbal worldchampions. Do they also engage in cinematography?:) I liked Brandons og A7S pieces and his A7SIII launch video, the former for artistic and visual appeal, the latter for showing off the camera, setting and his trademark shooting style. But his gimbal prowess in this video only fits one purpose, to showcase the cosmetic features of his video model and to emphasize the parallax of fore- middle- and background. My two cents.

Awesome! Are you allowed to share one or the other? @mercer pointed out Pete Ohs. The cool thing is that one of his movies is available on youtube. A big channel has it up for watching. It's even free of charge. I still havent gotten my Canons ready for ML but I imagine them to be great fun. Is battery life much better on the 5D2/3 ML than on an og Bmpcc? Yesterday I lost some beautiful shots when reached the end of each of my batteries. That definately bugs me, being on 30% and camera stopping the recording. Sometimes it recorded flawessly when being much lower like 10%. The battery status was jumping back and forth as well, even from around ten to 70% when I put it back into the camera.

Good catch indeed! What about from the standpoint of pure image? Is the C70 comparable to the K-X? I didn't want to use the word cinematic 😉 Yes, when run&gun meets cinematography

I think it’s going to be the S35 Gerald1 tribute cam.

As the saying goes, there are many ways to skin a cat and whilst not an infinite number, no ‘right’ way when it comes to the tools. It can be done with any combo of bodies and lenses including 4/3, APSC, FF, MF, stills plus video, stills from video, FHD, 4k, 6k, 8k, primes, zooms, cine lenses, freehand, tripods, monopods, gimbals, with filters, without filters…and I know this because other than MF and 8k, I’ve tried it over the 13.5 years since I began this journey! Fuji is one of my strongest candidates for 2025, but XH2 only. It’s not top at this present time but has been under consideration several times. For my specific needs, I need as a minimum (and ideally a maximum) 3 bodies and 3 lenses. For ceremonies and speeches, I need 2x static units. A pair of XH2’s shooting 8k for video and frame grab stills would cover that with a 3rd unit roaming. The rest of the day, ie ‘everything else’, one unit stills shooting just 8k video clips and another, landscape, details and family groups as stills because those 3 areas I think will still be better served as actual stills. There are also lenses with focal lengths that meet my needs and everything is relatively compact, light (enough) and not too expensive, especially as all of it can be purchased used. Actually, I’ve just talked it up a notch to myself, but we’ll see how the 6k approach with the kit I have goes first because I’d rather not change anything physical unless I absolutely have to!

I truly hope my dreams come true and it is a S35 EVA2 with L Mount!! Can't make any other sense to release an APS-C L Mount camera??? As it would freak out all the Panasonic MFT users!!! Releasing a Medium Format camera in L Mount makes no sense???? Releasing a brand new mount is even more insane!! Thus surely it must be a MFT camera??? (or it's a P&S, no mount at all) So by a process of elimination the most likely cameras would be a Panasonic GH7 or GX9mk2??? Maybe an extremely small outlier chance of something such as say a Panasonic BGH2 (i.e. a BGH1 but with the guts of a GH6 inside it instead)

One can only hope that they didn't lose Jerry's invitation in the mail this time. Their event just won't be the same without him sitting on a couch not shooting anything and distracting other people who are just trying to generate a quick marketing piece.

This is what I would do too. The next level in matching is to go through the Hue vs Hue, Hue vs Sat, and Hue vs Luma curves and tweak things to match there, paying particular attention to the Hue vs Hue of the skin tones. I'd be gentle with these, so if the curves looked too drastic I'd back them off to minimise the risk of breaking the image (although with cameras like these that's unlikely). Then I'd just save that as a power-grade and apply it if/when required in future. You do it once and have it forever basically. Even this is potentially unnecessary, as once you put on a global look over the whole project it will often obscure differences between cameras to the point they're not visible in context.

I'll start making popcorn.

People don't want to know that they're basically full of BS. That's why people don't go looking for new information unless it's to reinforce their existing views, will argue their position regardless of how ridiculous it makes them look, and why they get so emotional when challenged.

I'd say the same about the term "filmic." It's usually used by people who clearly never shot on film and seem to think that all film looked the same. But Portra (negative film, low contrast) and Velvia (positive film, high contrast) don't even remotely look alike. In fact, I'd be willing to bet that half of those people would see images shot on Velvia and damn them as being insufficiently filmic. 😉 Similarly, FP4, HP5, Delta 400, and T-Max 3200 all look very distinct from each other - including that the first two are traditional black and white films and the others are modern t-grain films. Even within the same black and white film stock, choice of developer is extremely relevant. Anyway. People use "cinematic" and "filmic" in camera discussions like people used "old-timey" in O Brother Where Art Thou. They just mean it's something they like, but for some reason, won't just say that.

Between the K-X and the C70? Do you mean to see how well they can match? For that, I'll probably just set them up next to each other on tripods with similar lenses at a similar t-stop and shoot myself holding a color chart. Then I'll use the Resolve color chart tool on both and look at them side-by-side. If I think that they're similar enough that a normal person wouldn't find it jarring, that'll be good enough for me, especially for a 48. Fair enough. There's no wrong choice there, it really just depends on one's goals. I only bought the C70 last year when it was already pretty dated (mine came from a rental house for a great price). With Canon, there's no knowing whether the new version will really improve anything that one cares about and what things that you liked will be removed for seemingly no reason. But at least a new model would be likely to push down prices even more on the used stuff. I'm watching Chimp Empire now. Looks beautiful. Wonderful example of how great the C70 and C300 are for run and gun.

I thought internet fixing was illegal?

Good luck, and happy shooting!

The sticking point is that people don't want "filmic" looking images anymore. Everyone uses and abuses the word "cinematic" and it no longer has anything to do with what is being projected in cinemas, but rather it has come to mean overly sharp images with very shallow DoF and a heavy grade in FilmConvert or Dehancer where the mood of the grade has no connection to the story of the video (if there even is a story at all).

As someone who frequently covers events and a "one man band" travel doc shooter, I have also been watching this space closely the last 10 years. Oftentimes it's just the mental shift for me because stills and video are just different enough to need a slight mental adjustment to plan/prepare for action stuff. I've gotten better with time but my safety net has been to add redundancy and more bodies. Or to just commit to high resolution video and pray some of the stills will work out. (Not ideal) In Tokyo a couple of years back I was shooting some martial arts action and really needed to get some stills but was also unsure of how much time/access I would be given in this very private dojo. I was shooting open gate 5k on two GH5 bodies, (One Static and one Handheld with Sigma 18-35mm f1.8. I also had a little GX85 with wide angle speed boosted Contax mounted overhead at 4k. The mental load of running the 3 cameras for the video shoot was enough that switching modes to cover stills just felt too much to add. Luckily the client was ok pulling 5k stills for social and even printed some of the action shots. With a lot of travel, (Nepal,Japan, India) the M43 system and GH5/s was amazing for size, weight and cost. But jumping back into FF has definelty made things more of a challenge in all of those areas and I am also thinking now about just two GFX bodies now. Maybe a GFX 100 ii and an X-H2s. Or just get 4 various Lumix S bodies in 2024 for pennies and dedicate an S1R for stills and make sure I use it.

I just had some GH5 5k video (open gate) stills published in a couple books. Was shocked they printed up so well. Everyone was happy with the images but I was super nervous. Amazing what the general public is OK with while us nerds get in fights online over camera functions LOL.