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Thanks for the "welcomes". I (and others at BMD) have been following this thread (and threads elsewhere) so we're aware of what people are discussing and asking but in general we don't/can't comment on a lot of things before release sorry. We appreciate the support and are working hard to deliver the best we can offer you all.

I've used a cinema camera in my latest project, the Canon C200 recorded in Raw 12bit and aswell as the NX1 which I've been using as my main camera for last 3 years. it continues to be so impressive that I prefer its image to that of the c200 but you're the judge. "the nx1 was whenever the video wasn't a fixed shot"

A couple Minolta lenses can be converted by changing out the mount but not with a simple adapter... they require one of the adapters with glass. Same goes for FD lenses. Now I found a Minolta 35mm 1.8 that was converted that I use with my 5D3. It’s a lovely lens. Here’s a few Raw screengrabs from a test shoot... But honestly since you may need EF in the future, you’re probably better off with the Nikon Nikkor lenses. They are so well built and the IQ is simply gorgeous. Some of the ai-s lenses are still sold new today. Here’s a frame from my short film and a test shot from the Nikkor 35mm 1.4... If you can look past my meager color grading skills, you can still see the attributes of the lenses. Unfortunately I had to sell off some of my favorite Nikkor lenses but I may buy new copies. Or I may get a couple Zeiss ZF lenses instead and replace the mounts with Leitax EF mounts. Or if I do go with Nikkors, I’ll probably do the same.

Panasonic GH2 + Flowmotion V2.02 Hack. Color Graded to taste. Download my BozGH2Pana_GT Film LUT for Panasonic GH2 Cameras HERE: https://bulentozdemirfilms.wordpress.com/downloads/bozgh2pana-gt-film-lut/ Music: Ross Bugden - Dawn

Well... you say that, but I doubt it would make sense, as I said once before... ... a cinema camera should be used as the name would suggest in a product-type environment. Where you'd otherwise would've loved to use a RED/ARRI for, but due to budget or space/weight contraints isn't exactly an option. Rigs, matteboxes, follow focus, tripods, monopods, sliders, dollies, since the HDSLR revolution production style shooting has become accessible to anyone and I loved shooting that way with all the GH-range models. IBIS, C-AF, et cetera sure makes life a bit easier, but I don't actually mind doing it the oldschool way, that's been proven to work for decades and is actually still very much the industry standard of high-end production. That's what cinema cameras are all about. To use a camera with such purpose for vlogging... I do believe it's the wrong tool for the job, so a flippy screen and sweet C-AF... for a LX100 successor... yeahhhss! For a BMPCC4K... ehhh... not really a dealbreaker if left out. I think that they might even do that on purpose. Must've been a lot of consumers buying one of those 475 bucks BMPCCs back when they were on sale that went complaining because they had no idea what a cinema camera can and can not do. It requires an operator with know-how.

Probably a Leica R MF 50mm? https://www.ebay.com/itm/Leica-SUMMICRON-R-50mm-f-2-E55-MF-Lens-Optic-Clean/113004852743?epid=99733080&hash=item1a4f9d3607:g:oq8AAOSw48dbAok1

Yup can do that as well! that's awesome - 6 ASA pretty much at the start of commercial films!!! Man imagine using that indoors! I think that's why the film industry moved from New York to Hollywood - you needed daylight pouring in to get any exposure. And Arclights. Man what a different time now.

Would be so great, my husband (hobby Photographer) has the LX100 that I got him years ago for his bday. His 50th is coming up, this would be a nice gift together with the Japan trip I got him. Excited!

Panasonic's peaking never let me down, so long as I fed it a scene with at least decent lighting and contrast. Which it sounds like you will definitely be doing, I imagine surfers against waves will give more than enough contrasty edges for the camera to detect and display peaking on. So maybe look for a G7, G85, or GH4. Alternatively, I can recommend the Lilliput A5 as a cheap-and-cheerful little 5" monitor with good peaking. It's not the brightest thing out there though, so to use in bright beach sun you would probably need some sort of extended hood. Upgrading the camera is probably smarter. If you get a 4K model, you'll be able to crop a bit (or use ETC mode), which will give you even more reach. Plop a cheap magnetic loupe on the LCD, switch to monochrome display mode with blue or red peaking, and off you go.

I'm excited for the specs that Vitaliy posted, but I have a sneaking feeling that while this will be a good camera, it will still be far from hitting the potential this camera size/niche of the market has for an incredibly popular milestone-type camera, that's good for vloggers, adventure/nature types, travelers, street photogs, etc. With the market shrinking it only seems logical to try to sell to as many of these little niches as possible. Give us something that's just a little bit bigger than the LX100, but has: -a flip-out screen, OR a tilt-only screen that flips up over the top BUT with a relocated hotshoe so an appropriate small mic, like a VideoMicro, doesn't block it. -a slightly ruggedized body with some rubber coating/bumpers. Not so much as to make it bulky, but just enough to protect against small bumps, and make it secure to hold. Like the "Active" Samsung Galaxy models, which basically have a mid-size protective case built into them (but not to the level of the huge massive Otterbox cases). -the lens needs to go just a little wider. 21 or 22mm equivalent would make the camera so much more appealing to vloggers, as apparently 24mm is just a little uncomfortable to selfie-film with. If it could do this while staying fast and still going out to 70mm, great, otherwise I would prioritize speed over tele reach. -make the filter threads and material around the front lens element from steel, to allow for magnetic filters that easily click onto the front of the lens. I'm assuming that this body size would not have space for a moveable internal ND, so this allows for a quick and relatively painless filtering option. -make a matching dedicated hotshoe mic, like the MS2 you came out with for the GH3, but that connects via the hotshoe- no cords. It needs to be small- VideoMicro size or smaller- and it needs to flip over to face backwards so that vloggers can narrate during shots (picture how the SmallHD Focus flips over). -a bit bigger battery would be nice. USB charging/powering is a must. I know normal USB won't supply enough current to charge and run the camera at once, so make the camera compatible with the QuickCharge protocol, which lets a QC charger send more than 5V (9V or 12V, I believe). I believe USB-C allows for.more current as well, so maybe that's a more modern option. -mic jack- put it somewhere where it will never interfere with the screen or the mic itself. Maybe on top of the body? Or on the front? -stick with 12MP, or lower- keep those pixels big. Keep the oversized sensor and the MAR cropping. -steal a page from BlackMagic and design the grip and button layout to also function well when held "backwards" in selfie grip. If there's a joystick on the back it should be positioned so you can use your index finger on it to move the focus point when in selfie grip. -use the position sensor on the screen (that tells the camera to flip the image when the screen is turned/flipped forward) to trigger a selfie mode, where buttons reconfigure for selfie grip, maybe focusing distance is limited to less than 3ft unless a button is pushed, etc. And definitely allow the user to configure what this triggers. -don't be afraid to offer a non-standard video resolutions, to allow for higher frame rates while keeping over-HD res, especially if 4K60 isn't doable. A 2560x1440 60p mode would be just as good for most people. Or if 4K60 works, give us 2.5K100.

If you're referring to the resolution after debayering, then you're absolutely right. People say that the 1080 from the C100 is so nice because it's downscaled 4K, and the A7III downscaling 6K to 4K seems to be a feature that isn't spoken about enough. I find it strange that through this whole conversation about 4K vs 1080 on YT no-one mentioned debayering. With film you shot at the same 'resolution' as what you delivered in, but digital doesn't do that. Anyone who wants to see what 4K YT can look like if done correctly should compare it to a video by MKBHD, who shoots 5, 6, or 8K RAW. and if you think he can't possibly be shooting 8K RAW because it's ridiculous in terms of camera equipment and storage, check this out: There's a pretty strong technical argument that the A7III should be the C100 of FF mirrorless, because it should have a bunch more resolution in its 4K output than anything that shoots at 4K. I'm surprised that the pixel peeping people aren't publishing test charts of this. If I end up with an A7III then I'll do a comparison just for my own curiosity.

So I went to check out the S9 expecting it to be the boring reheat of the S8 that it seems like on paper. Maybe I have been a bit harsh on them! There are considerable evolutions across the board. Video is 4K 60P and much nicer than the S8. MUCH. I've compared the headphone jack to my Burr Brown stuff and tube amps - it stands up. What's more, Adapt Sound now allows you to save profiles for individual headphones, which it tunes to your ears. Hifiman HE100 sound wonderful on the smartphone, as good as a high-end portable DAC like the Chord Mojo (which I also benchmarked it against in an A/B). They have solved the slow loading of RAW DNG files in the gallery. It's slick. These can be edited within 2 seconds of a press on Advanced Edit. It used to take over 10 seconds to load a single raw photo in Polarr, my main mobile editing app. The raw files allow you to turn off the typical smartphone over processing and get fine grain, better grading. The camera app now defaults to Pro mode if you left off in that mode the first time, it no longer defaults back to auto, which doesn't save JPG+RAW. This makes a big difference to usability. I am comparing it in this instance to the P20 Pro, with it's ridiculously nice 40MP raw.... Will do a review. Performance seems snappier and slicker than S8 with less background apps and bloatware, plus new CPU makes a difference. The speakers are hands-down the most full-bodied I have ever heard from a smartphone, with twice the dynamic range of what I've previously experienced from iPhone X and P20 Pro. YouTube Premium plays music clips in the background on the phone, with it's latest Android OS... That's a nice touch. You can use it like Spotify. Tidal works well on the phone in MQA mode, to get the most out of that new DAC and headphone socket. So it's not a case of iPhone 6S vs 7... There is actually a bigger difference under the surface than expected.

Correcting for Leonardo

I think he meant “crushing everything else” based on google search numbers. So if we are to believe that this extrapolated data has any direct correlation on sales, or interest, and the 5D series is down, then Panasonic and Sony are really screwed because their numbers are way worse than Canon’s.

Pocket 4K and UMP on Gen 4 match colour-wise very well IMHO.

I don't think that this is true in all raw modes on the EOSM. My understanding is that raw on the EOSM in the lower res crop modes (which you seem to seek) is stable and can work without over-cranking the SD card. Perhaps @Alpicat could enlighten us further on this matter. It looks like a very clean cameflex mount with the end flanges removed. Here is such a mount with the end flanges: Here is the cameflex mount with no end flanges, but with a PL flanges: Here is is a cameflex-to-Emount adapter:

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

I concur : ) For some reason, came to my mind Tarkovsky and his Katok i Skripka... aka The Steamroller and The Violin

Some film speeds from Wiki. Man I don't remember 8mm film being so low of a ASA. Yikes! https://en.wikipedia.org/wiki/Film_speed Looks like the 35 mm Film stock ranged between 50 ASA to 500 ASA for Movie film. Different ASA's for Daylight and Tungsten. https://www.kodak.com/US/en/motion/Products/Production/default.htm

Well, I'm an old stills film guy, so I don't remember movie film speeds, but I do remember ASA25, and 50 for stills. Actually, I bet I could find some ASA50 color film in the fridge bins, I know I have some 4x5 and 120, though those wouldn't be ASA25, nor 50.

I picked up a few weeks ago a Tungsten Fresnel 2K for only NZ$50!! (US$34) Used it on one shoot a couple of weeks ago.

Those Jem Ball units are a work of art! I like the adapter for the Joker 200. They still make the Jem Balls here in LA. I bought three Jem Balls last year. Come to think of it I also bought one of your old, well used Dedo 1x1 Led lights ( has your logo on it ) I Still use my Kino 4x4 and 2x2's a lot. I love my tungsten 150w Dedo lights. And I kept my old 400 and 200 Joker par's, for punch. I still burn my fingers once in a while on these hot lights?

Normally i script everything, but with this film all the actors improvised....everything.........it was shot in just six hours........The best part is i only told the actor about the beginning.....the last part i surprised him just before we shot it........he was angry jjajjajajajaja

Here are some stills in color from my last test with the Pancinor lens. I'm more bias toward deep contrast more "drama like" and cooler tones.? Really loving the contrast and skin tones that i can get with the Alexa conversion!

Right, all adjustments (apart from white balance) should follow the conversion. Using lift/gamma/gain or the luma curve, you can place different elements in the scene in accordance with cinema placement. Take a look at the scenes with corresponding IRE graphs, you will see that scenes of a given type reliably place things of a given category (bright window, lit face, darkest black) at the same IRE level. All movies share general properties (darkest areas in indoor/night scenes placing just above 0) and ranges for for given scenes (shadow to highlight placement for lit faces indoors/outdoors). You can create an IRE guide for your grade, to have a consistent look throughout the film.