Leaderboard

Someone named Vitaly hacking a camera? Oh boy. 😅

I know we’re not supposed to talk about action cams, but this action cam is not! Why is no one talking about the Mission 1 Pro ILS? This thing looks so good. Have I bought into the YouTube shill hype? I just sold another camera and a couple of lenses to get it. Is anyone else going to pull the trigger on one?

Seriously, look at the ridiculousness of this. The JJC LCD hood fits perfectly on my S9. The LCD viewfinder is something I purchased with a used GH2 about 5 years ago. It fits perfectly on the ILS and doesn't really require anything else. That said, I find the LCD bright enough for daytime use. The viewfinder is really the only thing that would really help for focus. Yes. You can set it to one color or it dynamically decides a color (never seen that before). You'll need to have it on sensitive for it to mean much. I think there might be a steep learning curve if you're not used to manual focus though. I often prefer it. It slows me down and gives me something to do other than being intentional on framing.

After looking and foraging my various drawers in the house, I was able to find 3 Bell & Howell lenses from my grandfather: 0.7 inch, 1 inch, and 4 inch lenses. This was standard war-time military issue for war journalists. I also found 3 plastic Lomography lenses: I have ordered some inexpensive Chinese lenses too: 7Artisans 10mm f/3.5, TTartisan 17mmf/1.4, and TTartisan 25mm f2- a holy trinity for about 350 euros. From what I've heard, these lenses all suffer from poor corner performance; however, I'm throwing away 45% of that APS-C image anyway and only keeping the sharpest part. I figure those will be a perfect size too with the total kit under 1kg. I considered the Laowa cine lenses, but decided that they were simply too pricey for the concept of this kit. I'm bummed about not being able to use my AF M43 glass, but I love the limitations of straight up manual focus. I'll be shooting a lot with the 17mm this weekend.

The things that impress me most about this camera are the frame rates and processing. In addition, it’s so damn small and light. I purchased it, and it’ll be here tomorrow. I’ve seen both super positive and super negative opinions about it, but it really does feel like a new category. I have a few assumptions about it, though: I think it will be a stellar performer when it comes to moiré and rolling shutter. It’s also going to be pricey to get wide, sharp lenses for it. That’s why I plan on using it with my S9. I feel like they could complement each other well. I’ll definitely be playing around with it over the next few days.

So I rented the Pyxis 6K this week to run some tests. We're building a new studio and I wanted to see if these would work for us in our workflow. My criterion for these studio cameras is the following: - Somewhere in the $2000-3500 range - SDI output - Solid 4k image - Clean image for fast workflow (no denoising in post) - Good autofocus - Simple workflow Honestly after spending a few days with the Pyxis, I enjoyed it more than I thought I would. It's a really simple camera body, and everything is laid out really well. It's smaller than I thought it would be, but built from a heavy duty metal, and kind of heavy overall, which I didn't mind. The 5" monitor is amazing. It's also built out of some kind of metal, but still thin and light. It powers and does video from a single locking USB-C cable. It's touch enabled, so the menus and autofocus can be controlled from there, and the image is really bright and easy to see in the sun. It's honestly just really nice to be able to put the camera on a tripod, plug in the locking and included AC adapter, plug in the monitor, and you're good to go. No janky adapters, dummy batteries etc. The image is really really good. It's very sharp, clean, and as much dynamic range as you could want. I was able to underexpose shots by a solid two stops to hold highlights out a window and the image looked really good after recovery in post. The autofocus kind of surprised me as well. It's DPAF, added somewhat recently in a firmware update from BM, so I wasn't expecting a lot. But it was really solid. Not a lot of control options, but when a head comes into frame it locks on and tracks really well. I feel like I can totally use this for talking heads with no worry about it losing focus. Overall the biggest downsides were the lack of internal ND filters, which is a real killer. For our studio workflow, this is totally fine. But it would be amazing if ND was included for if we want to use them for other projects. Also rolling shutter was pretty noticeable in 6K. Not a problem again for studio work, but could be an issue if used for other things. The other two downsides for me would be the lack of codecs and resolution options. There is no downsampling in camera. If you want to record in 4k or 1080P, the camera crops the sensor. Also you are limited to b-raw, there is no h.265 or h.264. Again, this isn't really an issue for us since the camera can still output a full sensor downsampled 4k signal from the SDI output, while being set to 6k internal. But for other workflows, I could picture this being an issue. I think there is a love hate relationship with this camera's simplicity. All the basic, core functions are there, and really easy to access, like resolution, frame rate, audio, LUT control, proxy recording, etc. But when it comes to anything more complex, this camera is kind of lacking. On one hand I really like this because it keeps things simple and uncluttered. It's really nice to pop in the menu for something and not have 10 million options to sort through. On the other hand if you're missing something important, this can be devastating. Overall This camera nailed what we're looking for in a studio camera, but I'd be hesitant to buy it for run and gun use. I think for run and gun the one and only reason I would buy a heavier cinema camera is for the internal NDs, so with the Pyxis lacking them, it wouldn't really make sense over something like an A7IV or an FX2 which would both be in the same price range.

Thinking of it as a Super-16 FILM camera represents an incredible opportunity when combined with the high-resolution sensor - zooming in post. My experiments with emulating S16 film showed that even a moderate amount of blur applied in post hides a huge amount of detail in the image. This means you can crop into the source image significantly and the blur will hide it. For example: If you were to put a 12mm lens on it, then you'd get a ~35mm FOV at 6K, which you then blur. If you were to put a 12mm lens on it, then crop 2x you'd get a ~70mm FOV at 3K, which you then blur and the blur hides the zoom in post. If you were to put a 12mm lens on it, then crop 3x you'd get a ~100mm FOV at 2K, which you then blur and the blur hides the zoom in post. Depending on how much blur you applied (if you were going for a vintage 16mm look or a more modern 16mm stock emulation) I suspect you could zoom up to 4-6x in post before the digital nasties started being visible through the emulation. I don't know what kind of digital zoom the camera offers, but if it allows it then you could frame in-camera and not be throwing away bitrate when you crop in post. This gives two advantages: 1) It turns any prime into a zoom, perhaps even a 4-5x zoom - much more than the 2-3x fast zooms like 18-35 etc 2) if you crop in post then you can apply additional stabilisation, making it feel a lot larger than the tiny camera it is I suspect that mostly this advice will fall on deaf ears, as people are drastically afraid of softening their images, like they'll be punished in the afterlife for it. When I saw Goodfellas in the cinema on 35mm film projection, it looked like somewhere between 720p and SD - and that was a 35mm feature film!! The amount of blur to accurately reproduce even a semi-ballpark 16mm film emulation is beyond most modern thinking, but if you can wrap your head around the concept then the ILS can become a drastically useful camera.

Interesting update on the FP front. A user has apparently developed a way to use the FP's internal gyro data to get post-production stabilization via the cam's SD card (vs needing to attach an additional piece of external hardware). You can get more details here: https://discord.com/channels/1542149935523299378/1542153963837853807 And this is an FB group where the developer made the annoucement earlier this week, and is discussing it with other owners: https://www.facebook.com/share/v/1EPzkeRZny/?mibextid=wwXIfr There is also a user (Vitaly Li) who literally just posted about a new mod they're developing that could give the FP 3000x2000 open gate: https://www.facebook.com/share/v/1F1sixsTzz/?mibextid=wwXIfr Personaly I've moved on from my dreams of owning an FP, but this is seems like pretty promising news for FP users.

And… …selling it. It’s been a decent stills experience but less so video. From the stills perspective, it takes nice pics but back to the same old dilemma I always have and that is the best camera I have with me at all times is always going to be my phone and it’s a PITA to carry 2 devices. On the video side if things, it worked well enough on the gimbal but operating the gimbal as a one man band hybrid shooter is as much a PITA as that ever was so selling the RS4 mini also and replacing both, ie the gimbal and the L10 with a Pocket 4P. Also, in the static role, overheated in literally no time in the type of environment I typically work in and at not much difference in size to an S9 with a small lens, which despite not having a fan, is surprisingly durable. More so than my S1Rii’s I *think*. I have not tested the latter but as my S1Rii’s have overheated in a static role multiple times and my S9 never has… Anyway, L10, I wanted to really like it, but it’s not cutting it for work purposes (never really expected it to as than as D cam at best) and can’t really be bothered as an EDC and with hindsight I shouldn’t have bothered, but hey, we sometimes need to try to find stuff out. Anyone want to buy a lightly used L10 in the UK?!

Another new size appropriate lens for the S9 in the form of a 20mm f2.5 launched today. https://www.wexphotovideo.com/panasonic-lumix-s-20mm-f2-5-lens-3358704

I was pretty excited about this idea, but with the limited lens selection, even with the new 40mm f/2, it’s still bigger than my Sony A7R II with the Rokinon 35mm f/2.8. An A7C would be even smaller. It still doesn’t really feel like there’s a proper upgraded/full-frame version of the GX85 + 20mm f/1.7 combo, which I absolutely loved

Completed filter holder V1..... It's far more compact than anything else I've seen that fits anything other than a naked iPhone, which is important because if my phone is a huge rig then I may as well be using a "real camera" and if I can't fit the whole thing in my pocket then that means carrying a bag and (once again) I may as well be bringing a real camera. I cut up some 2mm aluminium sheet to bridge the gap between the two sections of the Tiffen and epoxied it in place. Then I added another layer of 0.22mm aluminium that was painted black (that I ordered by mistake - thinking it was 2mm) to cover it up and give it a semi-nice finish. I did a bit of filing around the edges and added some black nail polish to tidy up the edges, and finally put a pop-socket holder on it so I can hold it a bit more securely. This is how I typically hold my phone when shooting, it's nice and stable and it gives me a good grip. The case is super grippy, so I'm optimistic that it'll work well. I deliberately called it Version 1, because after discovering how easy it was making this one I'm thinking that version two should be a custom one designed from the ground up. After all I have all the tools and plenty of spare materials. I'm thinking I might have a ring of rare earth magnets set into the sheet, and I'll base it on a step down ring that's stepping down from a few sizes above so it's got a bit of material in it. Hopefully I can create something that attaches really well and is still nice and slim.

I was only able to muster a few shots today. I'm actually not sure what I'm more impressed with: colors and look with log and FilmConvert Nitrate + Hazy; or, my MacBook Air's (M5) ability to cut through the footage and watch in realtime. Initially, I wasn't that impressed with the Natural or Vivid profiles, but the Log looks great to me with FilmConvert. I need to try more. The ILS did very well with handheld shots at 17mm, given it's only electronic stab. I will have more lenses next week to try out. Unfortunately, I didn't have a ND of any type to test on this lens (who make a 40.5mm thread anyway? That's stupid). Anyway, next week, I'll have more stuff, including the media mod their new microphone kit. I know it sounds like I'm going all-in with GoPro, but I definitely think they're on to something. I'm quite impressed with the ecosystem too. No need to go through the anxiety in choosing between 5 different cameras either. You want wide- get the mission 1 pro or a Loawa lens.

If your use case is with C mount Super 16 lenses, "a bunch of lenses" might fit in a coat pocket. The tripod can also be an insanely light tripod or even something like a Manfrotto MP-3.

If you're going to get an ARRI phone, why wouldn't you get one with a built-in gimbal?

I envy the Ronin 4D for that.

GoPro ILS vs BMPCC OG... not a completely scientific test, but lots of shots in different scenes, so a good real-world comparison.

For me, 6K is ideal - I don't lose detail when reframing and even with some denoising, a lot of the fine detail sticks around. Really, for anything from 4K through 8K, it's fine for me. 4K just means I have to be more careful with my frame and 8K means using a bit more disk space (which I have plenty of for now, hope hard drive prices come down someday, though). But yeah, the frame rates are fantastic. They're one of the big reasons that Camera Conspiracies loves his M1P ILS so much.

I think we had some discussion about it! I'm very pro-Mission 1 ILS. I've bought a couple of Backbone-modded cams over the years (well, the first one I bought as a conversion kit for an existing previous-gen GoPro, which I promptly screwed up and then sent to them to help me fix nice guys!). The thing that's kept me from using either one is that monitoring is bad on them. The HDMI output on the older GoPro lags. We're not talking 3 frames... more like 1/4-1/2 second. And the monitor output on the Insta360 One RS... isn't. There's no wired display option for it and the wireless display to the phone is also laggy, even in an area with no wifi interference. Neither was made for pulling focus. And holding a wee little action camera right up to the eye to focus on its little screen (very little on the One RS) stinks - and tools to punch in, while available, are clearly an afterthought and are clunky. So they're most usable for something where you focus once and then just roll - which doesn't fit a lot of my use cases for a smaller sensor. Though they were great for the eclipse that came through the US a few years ago. Anyway. The M1P ILS seems to fix that problem. The screen is as big as you'll find on an action camera. Wired monitoring is possible and (from what I've seen) low-latency. Dynamoc range is, by action camera standards, good. The only reason I didn't buy one when I got the "in stock" notice from B&H was that... well, I just got a Pyxis 12K because the current sale is crazy. That and it's GoPro - they'll be on sale for at least $100 off within a year. That's how I got my M1P non-ILs.

For anyone looking to do something similar a suitable harvesting product is this Allied Vision industrial camera that uses the same Kodak CCD. They are also long since defunct of course but are available on eBay. https://www.ebay.co.uk/itm/284133056331 I think the price seemingly on the high side is probably reflective of people looking to do a DIY Digital Bolex too but when you consider that a used D16 is not easy to come by and is well north of £5K then for someone determined enough this route is something of a relative bargain. Pi 5 and its eco-system have now matured sufficiently to be able to handle the Allied Vision software in the intervening years so it’s definitely viable as a DIY project. Not trivial of course but viable.

It seems RED SDK beta 9.3.0 released in 9th of September has this line: Added: trim support for R3D NE. Hopefully it’s not long until both Resolve and RedCineX Pro include this SDK🙂

Side 100%. Can’t stand tall stuff! I’m rebuying the battery grip for one of my S1Rii’s because it’s just a bit too unwieldy with the Sigma 28-105 f2.8, especially in portrait orientation where having that shutter trigger button is a boon. That lens is only on the camera 20-25% of the time but it makes sense to just keep the battery grip on at all times for the constant familiarity in handling even with smaller & lighter primes plus it would be faff to keep switching. On the other S1Rii, I have the Smallrig half cage which is basically just a base plate with a side rectangle that is supposed to protect any cables, but has 3 threaded holes. Just a case of attaching the thingy that holds a P4 to that left side and then simply have it in the horizontal plane when I want to capture some gimbal video whilst shooting stills plus the ability to flip it to the portrait mode the rest of the time when I want to shoot social media BTS BS. Also much easier workflow than shooting open gate and having to frame for both 16:9 and 9:16 in the same shot and sort through all that footage. Less kit, less BS, better workflow.

Nothing wrong with ZR dynamic range IMO, and highlights look good too. With NRaw ETTR just below clipping point is needed, but with R3D NE exposing correctly by false color works well. Just get Cinematools false color LUT to ZR, make your own in Resolve or use Parallax Monitor app. The ZR is no pocket 4P with DLog2 DR wise, but pocket 4P IQ still does not look even closely as nice as ZR, and guess which one breakes sooner in very low light. The pocket 4P IQ as a gimbal camera is still nice step up from earlier oversharpened stuff and does not look bad when mixed with raw shot with ZR and Z6iii. Have not used RedCineX much after discovering it does not support R3D NE trim save either.

The single biggest issue is that operating the thing one handed is not great and one handed is the only way to also shoot stills at the same time. The answer is to primarily shoot stills two handed and have the video unit attached to the photo unit and in that regard it needs to be small and operate on its own mini gimbal. Et voila, the Pocket series and its rivals. I also need a better BTS and quicker social media option so again, better tool for the job.

I wonder if it will ever get the 'Red-lite' raw codec 'everyone' wants... If that ever happens, what a fucking camera it would be.

Definitely the best value of it’s kind… For not much more than 500€£$, what it’s capable of is nuts! It’s only real Achilles heel for me is the build. Mine is in the XLCS cage so it’s like Robocop visually, but that does’t change the rear LCD, buttons or dials. I’m not one for chasing the next gen camera for the sake of it, but for real world upgrades that would make a genuine difference. Bring in the S9ii…

The 12K line has a steep discount going now, too.

For people in the US, at least (I'm not sure abroad), Panasonic are running some trade-in deals. The one for the S9, in particular, is fantastic if I understand the terms right: https://www.bhphotovideo.com/a/trade-in/61933 The S9 is $1,197 normally, but there's a $300 instant rebate and if you do a trade-in, you seem to get an extra $350 + trade-in value of what they describe as "any working digital/film camera." I wonder just how much of a potato would still quality - $547 for a brand new S9 is genuinely tempting. It's pretty much the most pocketable full frame camera on the market now - would be nice if it had internal ProRes, but I think Panasonic's HEVC implementation is decent. Also, kind of crazy to get sensor shift stabilization on a FF camera for that size/price.

Funny that sony raises prices and blackmagic cuts prices. Allthough for me with the storage space costs at the moment. Braw isnt cutting it. It is better then h265, sure. But I just cant justify the storage costs. I wished they included compressed prores again. Love blackmagic though, it has an amazing look. I think I owned lost of their cameras until the pyxis. But its shitty on gimbals, and storage adds up, not as much as the nikon zr though. I hope nikon announces good news on IBC in a couple of weeks. My c500ii will do for now.

There's a counter-culture online of (young) people shooting with early digicams etc, and the way they talk about it is that they're going for an alternative aesthetic to the clean modern digital look that's now in every smartphone and has become the 'default' look. Personally, I've been pushing how small a video camera can be, and it has brought me to the same place - deliberately choosing very poor video quality. I've been using the Kodak Charmera for travel, which is the size of a construction-workers thumb, because it's so small no-one really takes it seriously when shooting in public, and also because it doesn't attract thieves etc (unlike a large ILC or new smartphone). But I'm also resurrecting my old Lumix point-n-shoot for roughly the same reasons. I've started to think of the Charmera as a sort-of modern Super-8 camera - a much smaller and lower quality camera for amateurs. If you apply some film emulation then it can take away some(!) of the digital nasties but I'm guessing some people will prefer the unmodified low-quality digital look. In a sense it's a 'worst of both worlds' situation as it clips like digital but also has the low resolution of film while simultaneously looking sharp and harsh - applying the film emulation rectifies some of these issues to create a hybrid with some limitations of both looks. Here are some stills, both ungraded and also graded with a modified version of my Super16 film emulation, and some sample footage to get a sense of the motion (it's truly terrible). However, the more I use this camera and look at the footage the more it grows on me. I can't say I like it, but as I get used to the look it strikes me more as a look rather than deficiency. Here's a warts-n-all montage of some shots I took. I was mostly walking around while rolling, but at 45mm FOV with no stabilisation it's pretty jittery anyway considering it weighs about 30g / 1oz so has almost no weight to prevent micro-jitters. If this was a real edit I'd smooth over a lot of the rough edges like sound pops and clicks etc, but this is a realistic look at how it performs. The issues do lend it a certain charm (like in the name!) I think, and it's the imperfections that give something character, so logically this must have a lot of it! I'm still constantly thinking about how to get better results from it, but being so small it's hard to modify the setup at all without drastically diluting its biggest advantage - the size. Anyone else experimenting in the very shallow end of image quality?

some client work i did this year that switches between nicer video camera - iphone and minidv: i think the artifacts from minidv are really cool in an age of constant video recordings from phones and mirrorless cameras. the built in super long zooms on these old camcorders are also super useful.

Emanuel, I've been on many concerts 🙂 Mostly rock, pop groups and individual performers. 🙂 More or less concept is the same as Sony maybe Honor has a better implementation. IMHO it will have low market demand. I am motioncam user and visit their community forum from time to time. How many members do you think this forum has ? It recently crossed the 10K mark. More than half of the people who bought the application will run a few test clips and forget about it. Let's assume it has 10K active users or 3x this number. It is still a tiny number compared to the billions of smartphones sold per year. While the economics work for the application and team of 2 people I doubt it will work for the design and production of an add on module + related application and software that can be used only with specific smartphone model. Smarthones are primarily communication devices, then cameras. It doesn't make sense to spend 2000 Euro for a smartphone only because of a particular camera module or add on. 1000 Euro for a phone with decent cameras + 1000 Euro for a better cameras with interchangeable lenses makes more sense. Again IMHO those add on camera / lenses, telephoto lenses, robot phones, they will not last long. We'll see. Let us know if you buy this particular smartphone / camera.

Lets just remember its basically an action camera that had fixed focus for the longest time. Gopro are to be lauded for giving us a mount that allows different lenses, maybe not every lens in the world, but an improvement on what came before. I look at like, baby steps, its a start. Getting af and every other modern lens feature would be akin to putting another man on the moon i think. Probably not doable for $700 us I suspect electronics and af motors in the lens would probably drain the battery pretty quick. The mission 1 does have better battery life, i guess GoPro didn't want to jeopardise that for a pretty niche product. Well i think of af as a pretty niche product, for the longest time cinema cameras didn't have af, realistically af is a fairly new development. No doubt lots of people will argue about it but i have gotten used to peaking and for me no af is a abit of a non event anyway.

Good to know, i have gotten used to the peaking on the e-m1 iii. Occasionally i can still mess it up however but most times it works ok and i have to add its not the camera, its me with my Goldilocks syndrome, it has to be just right... I presume that if i use a fast aperture then the corresponding zone of focus is narrower too for the peaking and with a wider aperture then the peaking occurs across a wider zone of focus thats my thinking, although i cant say i have ever seen anything on youtube to confirm or deny that.

I actually kinda like it. Don't think it needs it, but you could easily add some sprocket holes to one side and some hair/dust/grain and I think it would pass for a bad digital 8mm film look... the micro shakes just adds to it. Could use those shots as transitions in your edits.

Nothing new under the sun. Sony tried this concept 13 years ago with Sony DSC-QX100 and Sony DSC-QX10. It didn't work / sell well. Maybe their implementation was not good, maybe smartphones were not fast enough or price was too high. I somehow doubt it will work now. 99.9 percent of the people are quite happy with the cameras on their smartphones. Those who want something more are a tiny minority and they have plenty of other toys to play with. So again I doubt this will sell. Same as those telephoto 300mm,400mm and more add on lenses. Who the heck needs those ? Bird shooters, sports shooters ? They are a tiny minority of a tiny minority and they will buy a mirrorless camera for those tasks. Smartphone manufacturers will soon realize they waist time and money. I am quite happy that we now have : 1. RAW video and basically great video IQ from smartphones with 3rd party applications 2. Finally one company broke the mold and produced a flagship smartphone with 35mm focal lenght main camera

Great to hear it's working for you. I've long suggested that the cheap Chinese lenses are a lot like the high-end vintage lenses from the SLR film camera days - both had simpler optical designs and simpler coatings. The only challenge is how good the lens is wide open, but if it's enough for your application then you're all good! Same for me. I have saved power grades for each camera that convert from camera colour space to Davincis log space, and a few Timeline power grades that apply a few variations of film emulations. I just pull all the footage into a timeline, apply the power grades, and then adjust exposure on any clips that need it (I use ETTR so this is normal for me) and mostly I'm good. The wider DR of the GH7 and iPhone 17 Pro means that the images are less crunched and therefore respond nicely to a film emulation contrast curve and so need a lot less fussing than the GH5 ones did. I standardised on 58mm filters as that's the largest size that fits most of my lenses. Actually about two thirds of my lenses have that size natively and for the ones I use a lot that don't have that I bought dedicated step-up rings and just have them permanently attached. I have a K&F Concept True Color Variable ND2-32 (1-5 Stops) as my main vND and recently bought a NiSi IR ND8 (3-Stop) fixed ND to stack on it if the 5 stops of the K&F aren't enough (5 stops is enough for full-sun at F5.6 but wider apertures than that will require more). I wanted to just buy a nice 5-9 stop one but I have a Tiffen? 4-stop filter and when I paired that with the 1-5 stop I got all kinds of IR pollution on the iPhone, so I knew that anything more than 5 stops needed IR filtration too, and I couldn't find anything that had it. I had to buy an 82mm one for the front of my Sirui anamorphic adapter, but got a cheaper Neewer 1-5 stop which seems to work ok, although that one I only shot at night and colour fidelity is less important for that stuff. I also bought a few lower-quality 1-9 stop vNDs in specific sizes for when I wanted to keep the lenses as small as possible, so I got a 46mm one for the 14mm F2.5 pancake lens which lives on my GX85, and a 40.5mm one for the 17mm F1.4, which I had thought might be a good low-light lens for the tiny GX85 Super-16 setup but I haven't shot anything with that combo yet. Funny how people end up with similar solutions!

Super cool. The only thing that I don’t like is the lack of stability, so I guess I like ‘the look’ more than anything. I’d never use any ‘retro’ camera myself, but I like the concept and idea of it. Keep pushing Kye!

5D3 ML Raw vibes! Looking fantastic. Are you still rocking the GH6 plus Arri Log?

I think this is more "normal" footage that you can shoot with this camera. I share this guys opinion on this release:

the mission 1 ils seems to be more rare than a unicorn or hens teeth here in aus. i would buy 1 in a heartbeat. as i have the mission 1 pro already. I have tried to buy from gopro here in aus however the sale, for want of a better word is (blocked) its not falling over because off insufficient funds, something else stops it. i could pay cash for an alexa or high speed phantom if i desired, so i know i'm not the problem. b&h photo wont ship it to aus. thirdly, pro av one listed as one of the few available resellers for gopro here in aus called me back today after i made a request on their webpage. basically, their middleman who gets cameras for them, have no idea when one will be available. Their not even taking orders for when they do become available. His advice was to be very careful chasing an ils as he feels there are some odd things happening. He did also ask a bunch of questions whether i had m43 lenses already and other things, once i had satisfied his curiosity he was quite happy to discuss the ils. I suspect he wanted to make sure it wasnt a rushed purchase and i had some idea of what i was getting myself into. Thats kind of nice when most are just chasing a sale. congrats to anyone who does manage to get hold of one. Not sure if it because of gopro got sold or something else but it looks like it will be awhile before one falls into my hands.

Yes, and I think that the right situation for it is the combination of when you want a small camera and you want to shoot impromptu things. If you're shooting in controlled environments then a larger camera probably makes more sense, which was sort-of my point, and probably not explained that well. I agree about it being a new category, it sort of feels like that to me in a way too. Cameras are all about combinations of features, and this one has some feature combinations that haven't really come together before. I can recommend the Laowa 7.5mm F2, it's really sharp, but not cheap. It's probably not the right choice now as there have been wider lenses brought out in recent times, but as a reference the Laowa is a great performer. I suspect that we're probably better off without it having AF. I suspect that (in the parallel universe where they did give it AF) the AF they gave it would have been pretty rubbish and also because it got AF it probably wouldn't have gotten any/many good MF features, so neither pathway would have been particularly useful. Back in the days before PDAF subject detection was really a thing I remember spending quite a lot of time half-hitting the shutter and then asking the camera "why did you focus on the background?!?!?". The problem then, as well as the problem now, is that when there are multiple things to focus on, the robots are choosing which one and often falling on their faces. I shoot MFT at F5.6 and at F2.5 on PDAF and CDAF models and it's great and focuses incredibly fast all the time, but only because either the DOF is so large that everything is in focus or I'm simply focusing on on the middle of the image. I have the TTartisans 17/1.4 and it's small and light and cheap, but wide open it's more of a "character lens" rather than a sharp one. It's good for emulating the softness of film in-camera, if you know what I mean! I also have the 50mm 1.2 and it's a bit better than the 17mm IMHO, but neither of them are high-end glass. Share some images with us if you're able!

That’s so awesome. Amazing to see how far ML has pushed the life of these cameras.

That's really cool! Wish someone would update the 5D3 with that UI! I see on the GitHub, it says stable build. How stable is it? The only time I ever had an issue with my 5D3 was when I ran the experimental 4K builds or the compressed MLVs. The last nightly build I used worked just as well as any camera I ever purchased.

I agree. I had an EOS-M when it was first hacked, sold it, and then broke my own rule and bought it again when Crop Mood hit. Now I have two of them: one built up, and one bare bones. And the developers are improving it all the time -- especially lately. Have you checked out Amit's new builds? They are based on Bilal/Danne's last release so they are seemingly just as stable, if not a little more-so. But the new UI is great, and he seems to be unlocking a new feature every day!

Canon EOS-M with Magic Lantern in 1:1 mode. These are the resolutions currently available: 3072 × 1308 2880 × 1226 2560 × 1440 2520 × 1080 2160 × 1620 (doesn't work with a monitor plugged in) 1920 × 1280 Yes, there's a major crop. And yes, it is possible to overload the buffer with the 3K and 2.8K modes when shooting 12-bit. And rolling shutter is pretty terrible. But it's a digital 16mm camera with 1:1 readout that shoots raw. Practically no moire or aliasing. And a beautiful image (one of my favorites right now, bar none). Plus, one developer has been making major updates to the UI and simplifying the menus in the past 2-3 weeks. It's like a whole new camera.

I may be up for an 8bit challenge! Can I use the 8bit cDNG from the FP? 🤪

The one thing I have not tried is the e stab, but straight out of the box with zero set up other than a quick balance, on the RS4 mini with the optional tracking module, it worked superbly. Not even close to anything like overheating, but then so far, I have only really been shooting stills with it. Start up time must be fine as I have not noticed anything other than it takes a second or so for the zoom to find it’s last setting, either; 28, 50 or 75mm as I have it set. Battery life excellent. I just came back from a week long trip to Scotland and shot well over 1000 frames and battery still showing 2 bars.

Already looked a ton of reviews for this one, since is (almost) the camera I was waiting since 2014, when I got my OG LX100 - it was my first 4k camera. Still have it here, internal batery dead, but still functioning well. For years tried to get an MK II, but the used prices are insane (should drop now). This one solves a lot of problems of the LX100 I and II: - Finally it have a PDAF sensor on it, and with more resolution to boot (12mp on the OG, 17 mp in MK II, 20 mp in this one). - The sequential field EVF is gone, is a proper OLED now, the same 2,36mp panel that everyones uses. Never had the tearing issue with my LX100, past in the day it was on par of the others, but now you see the resolution difference. - Movable LCD. I would prefer a tilt screen instead of a flip, but in todays market, I undersatnd the decision. - More controls, more customization, LUT support (this is a MUST), switch for stills / video / S&Q, and now is a PASM model (In the LX100 you had to remember to set the shutter speed manually every time you wants to record a video). I was 100% sure to get one, and I saw the price. Ouch. But newer cameras are pricier each day. And after I saw some things: - The camera is much larger than the LX100 models - in fact, have almost the same size than a S9. Ok, they fitted a much larger battery, but...for m43, it could be much smaller. Battery aside, it could have the old size (even with some video lenght cap, like 30 mins - not the 15 min of the LX100)...and than I realized. - Panasonic now have the tendency to share body design between cameras (S5II and G9 II, for example). Then my prediction - this body will be shared with the S9 II, EVF and all. - About the lens - is exactly the same, but the PetaPIxel guys said that Panasonic told them that the dust problem was addressed. And the stills appear much sharper than the MK II, looks like there were som optimization. - No IBIS - Probably it would cause trouble the the "multi-aspect" of the sensor. The lens does not cover the whole sensor, and vignette would appear if the sensor moves (which does not occur with the lens OIS). Internal space for an IBIS they have for spare - the GX9 is much smaller and have a very good IBIS. They should keep the lens formula the same, just make it larger (to cover the whole sensor) but...profits. It is a very good camera, and I still want it badly. But is expensive, and for an EDC camera, for my use cases, an RX100 VII is a more versatile and smaller proposition (and costs the same new, much kess used). The X-E5 is almost a dream camera to me too, and I did not bought one, again for the price. And I shoot less and less, hard to justify it.

https://www.fastcinemadng.com/ Thoughts?