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4/3 Rumors is reporting that the LX100 mk II will be announced on August 23. https://www.43rumors.com/ft5-panasonic-lx100ii-announcement-on-august-23/ No specs yet, but fingers crossed!

I'm pretty sure %99 of Nikon lenses out there outresolve 8 megapixel ?

https://twitter.com/BRUCKHEIMERJB/status/1004433006822612992 This is what a DoP commented over on the DVXuser thread:

Wish I could do reviews but I struggle to find the time. Also not sure if I could offer anything unique as this area is pretty oversaturated as it is. When the upgrade arrives, I’ll let you know my views at least.

to be honest I have the GH5 and A7 III and guess which gets more use... the Sony ?

From what I've seen, it seems to work well. For example, the difference from Alexa color science is astronomical by comparison This is an S frame from Jeff Cowie that I prepared with EC and black level placement earlier this week:

Whenever I see things like "we can't see in 4K" or "no-one will ever need 8K" I just hear "640k should be enough for anybody" ???

a7III + Vivitar 19-35 @ 35/4.5, no filters used, 5000 ISO, handheld. S-Log2, S-Gamut3.cine Colored using Geoff's GFilm correction LUT + simple adjustments. https://www.youtube.com/watch?v=dUBaOrFtrYU

I want so much of their gear: https://edelkrone.com/products/headplus

Google registered 75% less interest in the 5D Mark IV launch compared to the previous camera. Overall, all search queries for the Canon range has fallen 50% since 2010. With that an other insights let's take a deep look at the search giant's traffic... Read the full article

That’s why I always buy unlocked phones, not carrier versions.

I'm interested in seeing what happens with the flexible OLED screens.

I've thoroughly enjoyed using the GH5s with Kowa Prominar 40mm. Lightweight and tons of character.

Man, that Venice image just takes my breath away and could make me lose that loving feeling for that Arri color science.

The problem I've found with a lot of these reviews is that some people using the system haven't made the simple "trouble shooting" adjustments when a problem arises. At first, my slides were very jumpy but I fixed it with a simple tightening of the screw in the slide module. The system isn't perfect but they deliver really astonishing results, if you put patience and creativity into your shots.

Unsure if I should laugh or cry at this comment. With what’s on the market right now, I would probably switch back to Panasonic for the G9 or get an X-H1. But I can assure you, either way there will be imbalance... This was supposed to be in black and white... imbalance

An interesting qualifier for us is "video" Brands: Models:

Phones have reached a level where the're all so similar, it's basically just a pick a flagship and go about your day. Most, if not all, relevant apps are cross platform. All of them will have iphone fake depth of field or better (which was the main selling point on the iphone for my friends) going forward. Just make the batteries last longer and we're fine. Literally the only way my friends can claim superiority with their phone choice is whether a group text is blue or green. It's reached that level of pettiness. Now, the NX2 would be a day one purchase for me. Make it happen, Samsung. Let me throw money at you!

But why??? Not trolling, just STILL trying to decide between them (and yes, I know that by the time I make a decision on whether to buy the GH5 or a7 III, the GH6 and a7 IV will probably be out...) If only we can get @mercer and his cat overlord to switch from Canon to Sony then balance in the universe will have been restored / utterly destroyed...

That is why now I spend the least possible on my phones! My "fancy" phone now is a secondhand Samsung S7 Active

That was the name of the 48HOURS team I was in!

Oh and by the way, he kept referring to it by a name. Think about one of their current cameras that has traditional styling and replace one of the letters. Not the second one.

They should make a waterproof version

@Sage honestly, I’ve been one of the biggest critics of the GH5/s on this site. But I can honestly say, you’re conversion/LUT (to be honest I’m not a hundred percent sure of your method, I need to go back and read the entire thread) makes me reconsider my preconceptions. I’m still not sold that it is a replacement for an Alexa or exactly like Arri color science, but it doesn’t matter because it fixed every issue I’ve ever had with Panasonic color. I’ve owned a few Panasonic cameras over the years and I’ve always struggled with their color. Granted I struggle with color in general but Panasonic never worked for even my tried and true, goto color hack jobs. But I’ve always been a fan of CineLikeD, I find it just flat enough for light grading. Now I don’t think I’m in the market for a GH5, but the prices of the G9 are dropping and the G85 is a great low budget option, so I’d be very interested to see how your process works with those cameras in CineLikeD. Also, as a side note, I have a history with the Nikon D5500 and their Flat Profile is simply gorgeous to work with. While messing with some files the other day, I noticed that LogC LUTS worked amazingly well with the footage (obviously at a reduced percentage) so with the new Nikon mirrorless coming, it may be worth looking into. And with the D3400 now sporting the Flat Profile and a $300 price tag, it or the still cheap D5500 are great options for no budget filmmakers. If you could work your magic on that... I know I would be a customer. Either way, great work!!!

And here's Training Day Part 2. BMPCC/Kowa Anamorphic combo. Color Graded to taste ?

Bumped into this today while browsing vimeo.

Looks gorgeous.

Yes and the app has been re-worked, looks far better and much less cluttered. This company make some of the best and most interesting gadgets for filmmaking in the world. I want every product they have! ?

I had the SLR Magic 12mm “old version” too. Sold it. Worst decision I ever made. I really miss that lens.

LoL. When I was just starting out working after my fun time in the US Navy, ? I worked at a VW dealership as a mechanic. And the Used Car Manager there used to say" there is an ass for every seat". Kind of applies don't you think. ?

Nice post @jonpais. There are so many different aspects to consider, and for many of us, a camera that really stuffs-up a single feature is worse than one that is passable at everything but doesn't wow. I think that's the difference between different types of filming - some situations call for a camera to be great at some things and don't need other things, whereas other styles need everything to operate above a certain minimum level of performance, even if that minimum level is quite modest. A great example is the GH5 vs A7III - 10-bit or 4K60 doesn't matter to me if the AF has failed, yet there are many cinema cameras that don't even have AF. People have told me flat out that I'm expecting too much but unlike perhaps the vast majority of people on here, I started making films with what I had (a Samsung Galaxy S2 and a ~$300 Panasonic GF3 m43) and only upgraded when I went on a trip, filmed real things, messed up shots all over the place, and then looked for ways to improve.

I think you are sort of are trying to talk me into that the Matrix movies were reality! I "see" where you are trying to go here. ?

My impression was that it was a quick 'fix' to bypass some kind of issue. Considering how important aspect ratios are in both still and moving images, and the fact that everyone has known they're important for almost the entire history of photography, it's unlikely it was a mistake. Of course, regardless of how and why it happened, it's likely they'll fix it quietly and we'll never find out

Evidence suggests unable. Using MJPEG is not about protecting their product lines, they could do that with any codec. It is that they didn't have the processing to compress 4K images to MPEG4 on the fly in a small and power efficient form factor. Therefore they had to use the enormous MJPEG which required CF cards as they didn't have the write speed to SD in any comfortable way. So only models with CF or Cfast got 4K. That's 1DC, 5D IV and then C-series (but even then only the recent C200 have been able to do really compressed 4K). Digic 8 is what has enabled MPEG4 compression on the fly in such a tiny camera and onto SD cards. XF400 seemingly uses a similar camcorder version of that processing (and C200 maybe). At present they don't seem to be able to downsample on the fly, which is why we still get windowed modes on all of these cameras. The next generation of sensor may be able to provide a 4K full sensor feed right off the sensor, so the image processor still just needs to compress that 4K feed. The M50 is the only camera I know of from Canon that outputs 4K over HDMI (the C300 II might? - I'm sure someone knows the answer to that). All others that have 4K downsample the 4K out to 1080p. It is also possible to get nearly clean 4K out. So that's all quite a big jump in the technology available in this little camera. I DEFINITELY think the DPAF being disabled is about being unwilling. They crippled it on purpose. Typical Canon. Canon have promised to be much more focussed on video in the next wave of products starting with this, which is already a big leap (for them). Really looking forward to see what Canon launch in the next 12 months.

I only understood 6 words in that sentence... lol. What’s the street value of all that ear porn?

Get yourself a F8n with a Sanken CS3e and Schoeps CMC6/mk41!

Sorry unless you want all your photo to have motion blur it is far from that easy. What about flash, are you going to carry something like a 300-1000 watt led light with batteries etc when you can have just a speed-light or two. Another misconception about photography, when you have to edit for example a wedding, you have to watch every shot then decide if it is good or bad then cut it t remove unwanted part etc. This is already tedious, not doing it at 24,25 or 30 fps, but one frame at a time, good luck with that.

No it doesn't matter. But it is interesting to know why it happens, as it's very strange.

Anything DJI does will not have an impact on Nikon in any way, regardless of spec. The x7 in a regular body, even an cube like the Blackmagic Micro, would be competition for Blackmagic, Zcam and even Panasonic - but certainly not Nikon. They could make that space more interesting by providing another option, but I don't think they can even match the price/spec of the upcoming Blackmagic P4k, that's going to set the bar pretty high.

@youshouldtry11 The lens is pretty small, but heavy as it's metal - feels front heavy on the eos m. It's a c-mount lens -I think this is the adapter that works best to make it work parfocally, though haven't personally tried it: https://fotodioxpro.com/products/c-eosm Don't know what mount the lens in your photo has - it doesn't look like it has any mount at all, maybe it was unscrewed or removed, or it's a custom built one?

Ahh hell it is only around 5000 bucks. Get your Visa card out!

Jon, thanks for mentioning these. I’ve spent so many years in search of cameras and lenses, in the near future I’m going to shift my focus and wallet towards lighting and audio. Although the Fotodiox versions are a little pricey (did they invent flapjacks?) they seem so well built and get really good reviews. I think I’m going to pick up the 5x8 or 7” on camera light in the coming months and if I’m as pleased with it as I suspect I’ll be, I may pick up one or two of the studio lights next year.

Looks like Mavic 2 announcement is August 23rd (same day as Nikon Mirrorless.)

@newfoundmass He’s been pretty cool and helpful to me... but I could be one “dumb” comment away from receiving his wrath... lol.

@youshouldtry11 if you plan to use super 8 lenses, you're best off using "movie crop mode" and cropping to 4:3 aspect ratio in post to get rid of most of the vignetting. Movie crop mode in h.264 (1920x1080 resolution) is similar or same to the field of view you get with movie crop mode in raw (1080x1030 resolution). This is a 4.66x crop from full frame - which is larger than super 8, but cropping to 4:3 aspect ratio will get rid of most of the vignetting. Below are tests I did with the eos m and schneider 6-66mm f1.8 which I had posted here a few pages back. I shot this in raw at 1800x1024 in movie crop mode. For this lens I think the fotodiox adapter is the best one that will give you parfocal lens performance, from what I heard. It's tough to find an adapter that works as they all seem to be really different. If you want to use super 16mm lenses and shoot raw, there's also the option of using 5x zoom mode with a max stable resolution of 2520x1080 (3.33x crop from full frame), this is close to 16mm (rather than s16). However, it isn't possible to shoot this resolution with regular h.264 video.

im interested in the voigtlander 10.5 too (which gets even wider on the gh5s with the reduced crop factor) - its a lens that is surprisingly un loved on line though. Right now I use the Olympus 7-14 and its great - but it has to be locked down - even on the gh5 / Gx85 the IS does not play well with the super wide angle - i think IBIS and super wide angles dont play well as the lenses are actually really sensitive to making small moves look big (i know its counter intuitive) - the sweet spot for wides on IBIS seems to be around 12-15 mm

I want to get the Voigtlander 10.5 f/0.95. I have a Sigma 10-20 on a dumb speedbooster that I use now. I also have a Sigma 8mm fisheye that I've used from time to time on M43, but it distorts a lot, so I don't like it. There you go. That's my input.

Hi, Thought i would share a short film, that i have worked on for some time, as the technical side of the production might interest someone here You can see the film here. http://www.ekkofilm.dk/shortlist/film/nem-dating/ There are no subtitles, but the synopsis is this: A young high school student gets an after hours job, to pay for a trip around the world with his girlfriend. The job is as a promoter for an online dating site, where he writes to girls there, to keep them as subscribers of the site. One day he realises, that one of the girls are someone close to him, and he tries to make things okay again. The film was shot over a week, and we mainly used the GH5. The camera is awesome and i loved the stabilization function, although it sometimes gave us trouble. We where mostly shooting with a Sigma 30mm 1.4 for canon and a focal reducer, and as this is an aps-c lens, it vignettede on the GH5. That is not so much of a problem, but when the camera was on a shoulder-mount also, it would counteract the internal image stabilizer, and the vignette would "bounce" around. So we found out to either use the camera handheld og turn the is of. Also we could use the ex teleconverter function, this lessened the vignette somewhat. We also used a canon 24-70 L 2.8 lens, and when using this, there where no problems with the bounching vignette, as it is a full frame lens. For lightning we mainly used Yongnuo led light and some Aputures. They worked great, but the aputures are imo a lot better for color reproduction. For sound, we had a Røde ntg1 connected to a Tascam 60d. It was okay, but the ntg1 has a lot of hiss, and really needs to be close to the talent or have a stronger preamp. On the tascam, don't use the highest gain option, it's really noisy. I picked the Gh5 over an ursa mini pro for the film, as i could set it up more quickly, the battery would last longer and we didn't have to carry so much gear, which was important, as for the most time the crew constisted of myself on camera and directing, a sound-recordist and a gaffer/lightning guy. In the editing fase, we had to tweak the colors a lot, especially skin tones took a lot of time to get right, as they where a bit read of camera. But, as we filmed in v-log 10 bit, it was not a problem. I have also shot 8 bit footage with the camera, and the image falls apart when doing any grading in v-log, and i dont like the other profiles. I have read some people cant see the difference between 10 og 8 bit, and neither can i. But when you grade them, there is a huge difference, i would not use buy the gh5 if it did not have v-log and 10bit. In low light i was also supprised how good the image looked, but i am not so afraid of noise. The camera is great in low light, as long as you have a small amount of light on the subject, like a bedside lamp or something. If there is no light, the camera dont look good, but i dont like those kind of images anyway. I have attached some images also, but check the film out, as the stills don't do the footage justice.

Thanks @tupp. I guess this update makes the title of this thread slightly out of date now! Here's the build I used: https://bitbucket.org/Dannephoto/magic-lantern/downloads/magiclantern-Nightly.2018Jul03.EOSM202_mv1080p.zip With this build you're stuck with shooting full sensor only (3x3 pixel binning), you can't switch to 5x zoom mode. They may have partially fixed that in the newest build but unsure if you can then access the full sensor height, I'll need to test. See here: https://www.magiclantern.fm/forum/index.php?topic=19300.msg204564#msg204564 I shot that footage at iso 100 and iso 400, f3.5 and above. I later noticed that if I export to prores on MLVapp I get less noise in the shadows that exporting to cdng (which can look really excessive if you push up the shadows). However I don't know if I tested this fairly and will have to experiment further. The above video is cdng. Right now the main issue is liveview preview is streched vertically 1.6x (preview looks like you have an anamorphic lens attached) and you can only see the top half of the image. It's still usable though and half-pressing the shutter gives you a low fps / pixelated preview of the whole frame. The moire/aliaising can get fairly bad depending on what you're filming, and can become very obvious if cropping in on an image. I guess it's now the same amount as you get with all the other aps-c Canon DSLRs, or it's similar to the bmpcc. Exporting to prores rather than cdng on mlvapp can sometimes reduce the amount of moire - I need to test this further though.

Seems like they are not focussed on the camera (similar performance as other top of the line smartphones). That would be the only reason I would have bought this. Too bad, would have loved a camera that shoots cinematic images that I always have with me.