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Are you in the market for a new camera and confused or overwhelmed by the choices available and can't decide which features you need and which you can live without? Or, are you looking for a camera that gives 4k60 10-bit with IBIS, flippy screen, and internal NDs that fits into your budget and into your pocket? Are you thinking about 8K? If this is you then look no further! The best new camera purchase in 2018 is... Don't! With Don't you get to keep your existing camera, but that's not all, it comes with features no other new camera can offer! It is completely free! It has already shipped! It comes with no learning curve, no menus from another planet, and no colour science that looks like it's from another planet! But wait! There's more! It even comes with more than three lenses! .... *ahem* But seriously folks... If you aren't sure which one to buy then I'd say to wait until you understand what your requirements are (especially which features you can live without) and have seen the reviews of the cameras on offer so that you don't get any nasty surprises. We're all familiar with the manufacturers vague and deliberately misleading claims, like when Canon said the M50 had 4K and DPAF which is technically correct but they didn't mention they're not both available at the same time. This is just an example and all the manufacturers do this. This is the reason for full and impartial reviews. Personally, I'm waiting, and if nothing absolutely hits the bullseye for me then I'll wait a generation or two until something does. <END OF PSA> ???

I'm sure you guys can grade better, but I loved the footage https://vimeo.com/290295765

Well the best artists steal I suppose. And I totally see the logic giving a demo unit to someone with 55 subscribers.

What will you want to have once you have what you wanted to have?

I'm not buying another camera until triple card slots become standard.

I'd recommend simple test. Take one big mirror and stay in front of it at golden hour, asking loudly: "Do I need new camera for my next masterpiece?" If you hear quiet insider voice saying that you are at the level of possession when making masterpiece depends exclusively of you - you are artist candidate. But if - looking with suspicion to a mirror - you hear suggestive insider voice that ask you "Are this mirror autofocused you enough quickly for deep contemplation? Is your skintone correct? Are you mirrored with enough dynamic range to be able to answer sensible? Does this mirror has the best Out-of-Mirror image to provide natural i.e. "ungraded" answering? ... than you are candidate for very high-ranking between popular contributors in EOSHD asylum.

Apart from the fact that he does disclose that BM sent him the camera for free why the fuck should he care about the FTC any more than you or I would? He lives in Mumbai.

We had quite a long thread about this a while ago and the general consensus was that for most of us the list was of about as much immediate concern as a list of recommended footwear that you should put on for a meeting with the Loch Ness Monster would be. The list is for Netflix's own content that they commission for Netflix Originals rather than for external content that they buy in so you can make it on whatever you want within reason and if it's good enough then they will buy it. Especially if it's a documentary about Nessie's footwear preferences.

Back in June I reported on the joint sensor development between Fuji and Samsung. You can read all about that ISO Cell project here. This was 100% not a rumour. Now you may look at the X-T3 and wonder where the new 26MP sensor comes from. Read the full article

Shot this spot using the two cameras and an odd collection of lenses. Leica, Xeens, Tamron zoom...

If you're waiting for a camera that shoots uncropped 1080p RAW from a 4k sensor I've got some bad news for you... EDIT: Forgot the word 'RAW'

Even if they'd used an EVA1/FS5/C200 then odds are high the final rig would still look almost very similar overall. I reckon if that was posted now in 2018 then we'd still be seeing people rip mercilessly into it!

Yup. I’m still keeping the P4K as a possible option for me in the next 6 months or so. But I have no interest in being an early adopter. And I’m unsure if I am going to get one at all. As I’ve said, the 1080p Raw crop is really bugging me. So for me, I need to know how the footage looks when more units are in the wild, what growing pains the early units have, if B-Raw is going to be implemented, and finally ML’s progress with the 5D4. Needless to say, I don’t need a new camera right now and I am a few projects away (6 months to a year) before I would use the camera for a film. So hopefully all of my questions will be answered by then.

did u guys see this

I did use a C-mount adapter for that one, for my other lenses I use the Viltrox with EF mount. The super 16 gives a lot of vignetting, I used it with the 4:3 4k mode and also the EX-tele converter, those two modes gives the exact crop for a super 16mm sensor. Here a frame in native 4:3 mode.

I was shooting Eterna---it is a film simulation between the standard simulations and Fuji F-Log. Eterna is not, strictly speaking, a truly flat profile. F-log is what should be used on bright days like I was shooting on. It will give you a full 12 stops of dynamic range...not too shabby by any means. The reason I didn't use F-log is because I was trying out these FD lenses for the first time and trying to properly judge exposure and dynamic range in F-log would only complicate things. I wasn't trying to demonstrate dynamic range. I was only trying to show how you can shoot non-electronic, fully manual lenses in the X-H1 because of the 3 axis internal stabilization the camera provides. If I'd been trying to do something finished and professional I would have shot more on a tripod, definitely shot in F-log, been more careful with my exposure over all, and graded things carefully in editing. But in this I was only trying to say you can get some pretty good images with a lot of character, very fast speeds, and not have to spend thousands of $$ on expensive lenses. That's why I mentioned the footage was shot on FDs...never before was possible on Fujifilm cameras. You can do the same with Rokinon cinema lenses--but they're heavier.

This post should be taken as friendly advice to all YouTubers. In the video above he says "I do not get cameras for free. I buy all the cameras I review". In the next video, on the Pocket 4K camera he says it is the final retail version, and starts unboxing it. There is not a single disclosure about it being sent to him for free by Blackmagic expressively for a review. This is known as "sponsored content". In fact, Wolfcrow has broken US law without even knowing it. The FTC (Federal Trade Commission) says that all sponsored content should disclose the relationship with the manufacturer. If you don't clearly label it as such, in the description for example, it is punishable by law with a huge fine and legal action. This is NOT me being "sour grapes" about Blackmagic again (although I SUPER pissed off they lied to me about camera reviewers not being sent units). I like Wolfcrow's channel. But if he is going to say "I never get a camera for free", and then suddenly he goes against his word and has a pre-release camera from Blackmagic, he should disclose it. Right up-front, start of video, clear as can be. End of story. No discussion. Just do it.

Tried out the Z7 today at Allen's Camera in NJ, came away extremely impressed. Very responsive (quick to turn on, no hesitation in the menus) , beautiful EVF, great IBIS (smoother than Sony) and the video tracking for me was better than what I saw in the A7III. 24-70 was very sharp and focused well, but lacked character for me in it's rendering. 35 1.8 was incredible, razor sharp, great rendering. They did not have the 50mm there. What floored me the most was video AF with my Nikon AF-s glass. It was excellent! The focus motors are not quiet, but the focus was smooth and didn't hunt at all. Would not hesitate to use for event work. The adapter seemed rock solid when mounted on the camera. Obviously would need to use for an extended period of time to see other issues, but so far I think they have a winner.

https://www.fujirumors.com/fujifilm-x-t3-video-4k-at-60p-10-bit-and-zebra/ I could not care less about this APSC camera but I like this. The more 4K60p 10 bit camera on the market, the more chance people like Sony put this (or better) in their cameras like A7S III. I would love to have the new Nikon Z camera having 4K60p... would be amazing and would replace my A7III (assuming AF is as good).

You're probably right about him not receiving a pre-order, but the guy does have a few feature films in Hong Kong, maybe that was his ticket? Either way, he's got camera, and we dont make those decisions... ?‍♂️ Your post make it seem like you'd be happy if no one get's the camera because you didn't. Anyway, It's your site, I'll leave you to it. No more responses from me on the matter.

Nobody has their pre-order yet. It'll be December for most of you.

But are we not considering that maybe it's possible the camera was his pre-order, or the fact that he was director, actor, and producer for a few films in Hong Kong? I hoped you were past all that since you decided to go with the X-T3, guess not ?

That's interesting. Back when I first heard of the rumours Samsung were exiting the market, I wrote one of the first articles about it, and shortly afterwards I got an email completely out of the blue from Samsung's marketing person (quite high up in Germany and Europe), saying it "didn't reflect Samsung's position" and they wanted to rebut the article. Come a few days later, he just dropped off the radar and I never heard from him again. I think Samsung's marketing and PR agencies were amongst the last to know. I'd be fascinated to know if Samsung canned a full frame NX2. Stranger things have happened. I bet they regret it now, having had the chance to be first to the full frame mirrorless market after Sony and seeing the sales hike in the past 3 years. Smoothed out, 8bit look? Well I think 10bit at 400Mbit helps a lot for skin tones! If film grain can finally be enabled in video mode, that can help as well. We'll see some amazing results. 100% sure of it.

Fair enough! I certainly don't have access to that kind of money either. I'm just confused why someone would be concerned with requirements for Netflix originals unless they were already in talks with Netflix and were looking for recommendations from lower-budget filmmakers for crash cams or smaller cameras, etc.

Fixed that for ya

@HockeyFan12 yes you are correct it is wrong to assume based on my budget and that’s why I was assuming based on his last 20 some odd posts. I was adding my experience with like minded people (if my assumption is correct) I think you may be assuming based on your experience working in LA on bigger productions but I can count on one hand how many forum members that may have access to that kind of “less than a million dollar per episode budget” so I am guessing he’s somewhere between our two worlds.

why do you say the sensor has to be a 3:2 ratio, most displays are 16:9, this 3:2 is coming from film era and no longer makes any sense as people are no longer printing photos on paper, new sensors should be 16:9

I have GH5,GH4,GX80 and BMMCC , and GH5 has biggest DR of all in 400 ISO , with less iso decreases DR. BMMCC has smaller DR and noise shadow (in ProRes), and other colors than Panasonics. The (CineD Hack) GX80 is more usable DR than BMMCC in ProRes

Ah yes, exactly what I thought! Those are not "bad videos" They might not be to other people's tastes (K Pop isn't for everyone), but that doesn't mean those are "bad videos" composed of nothing but "tits and ass!" I wonder if he owns though an URSA Mini Pro? As I've noticed that referenced in some shots of videos that he has filmed himself.

Okay, here is a true story. Back in 2015 Samsung spent enormous resources on pushing their new NX camera. They for example offered workshops with star photographers in important markets, here in Germany it was Jim Rakete ( in the US I think Alex Webb among others) who shot a series about the music scene in Hamburg on the camera and did a little exhibition along with a workshop for I think something along the line of 20 young photographers who needless to say got a free a camera and some lenses in exchange for posting a bunch of pictures in a visual diary created as a marketing tool by the agency doing the promotional work for the camera. I am not a photographer but a filmmaker and found the video specs of the camera to be quiet exciting. So I asked the agency wether I could have one as well. To my surprise they agreed and loaned me a free camera, plus a whole set of lenses six month for free, with the option for another additional three month if required. Surprised about the generous offer, the agency explained to me, that Samsung had such a high degree of vertical integration, meaning they were able to build the whole camera in-house, that for them cameras were much cheaper to produce than for most competitors. So they did not really thinks twice, when it came to giving away free cameras or loaning them for longer periods of time. Plus they aggressively were pursuing marketshare and had deep pockets. I got the camera and the lenses, shot some stuff on it and got an invitation to lunch from the agency, around late August 2015. The meeting was among other things about a new Samsung full frame camera that was supposed to come out in early 2016. Originally the plan was to release the camera for x-mas 2015 and according to the agency people it was completely ready and in existence, they just had it delayed to devise a better way to market it. The camera, in the words of agency reps, was targeted at the A7 / A7S market and having had a good response from filmmakers for the NX1, they planned on focusing much more on its filmshooting abilities for marketing. So I was asked wether I`d be interested to be among the people to shoot something on the camera before its scheduled release in early 2016. I said sure and we agreed to meet again later that year. Anyway about a month or so after our last meeting, Samsung decided to cut its loses and I had to return the NX1 and the lenses and never heard again from the agency. Since Samsung already had working prototypes for FF cameras with a strong focus on video featuresin 2015, I would not be surprised if those would now see the light of day under a different brand.

lol! Totally going to steal this ?

Yea, it is stunning. I do alot of wedding stuff and the 90mm shots always get the best reaction (and also allow me to go unnoticed in the distance). I was toying with the idea of moving to the 80mm/f2.8 for the OIS, but the XH1 has fixed that issue.

The gigantic difference between Blackmagic manuals and other brands is that the BM manuals actually explain what's happening. They don't just state that the sensor will be windowed at higher frame rates, they explain it's because it reads out one-to-one pixels when it windows. I love that.

you could also just film 1080 in camera with no crop. It only crops the sensor at 120p. Up to 60p it will be the whole sensor.

LOL 5Dmk4 not even in the top 20.. wow

Brother the dude in that test was using extended ISO. This decreases dynamic range. They are the same in CineD otherwise. Vlog and HLG you get at least a stop more. The XH1 has pretty solid dynamic range in Flog and Eterna.

With the cameras released, announced and about to be announced in the past few weeks, I'm thinking that the Atomos Ninja V might end up being a very decisive product for many people. And a potentially dangerous one for BM.

But video is clearly entitled "A Memento of Life Teaser - Fujifilm XT-3"?

I am looking forward to all the "Pocket" rigs again ?

Even leaving aside the fact that no one has used the camera to form any informed opinion, it will always be the case that the only opinion that matters is that of Netflix. If you find yourself in the position of being commissioned by Netflix to do one of their Netflix Originals then that is the only time that list will matter. At which point it will be the least of your concerns. Until then, concentrate on getting yourself into that position in the first place.

Exactly. What is Pani came out with a FF camera? Would the colors be any better. Would the AF still be pure crap?!?!? You bet your bipy the AF would suck. I got my X-T3 yesterday--and the AF and eye AF are fantastic---no smoke and mirrors here. This camera and the technology are the Real Deal Lucile. The problem with the FF version (if it actually happens)is the problem with the MFT version: weird color--inferior to the Fuji---and AF that sucks to high heaven. I just got my X-T3 yesterday and will be publishing a video in a few minutes that uses the X-T3 in a studio setting, and the eye AF and general AF is fantastic. And those Fuji colors. I really think they're better than Canon---better by a LOT! This video is shot with the X-H1, but there is about three minutes of intro shot on the X-T3, which I just received yesterday. (I've got friends in high places). The audio recording in the talking part was also recorded internally in the X-T3, using XLR microphones with an adapter---pretty damned clean audio if you ask me. The zoo shots were done with the X-H1 using standard and speed booster adapters with Canon FD lenses. All zoo video is hand held.

has it ever happened in history that someone made a good film that ppl liked that didnt get picked up strictly because of the camera it was shot on? im guessing no

We're all going to be shooting Brawley soon not just me!

And Nessie is a wrongly convicted murderer.

Exactly; and it isn't only Cinema5D over Andrew Reid, it's also Cinema5D over Philip Bloom (who lives in London, AFAIK). We've known for ages that subscriber count doesn't count, nor does view count; what counts is the number of buyer decisions positively influenced by practitioners like Andrew Reid and Philip Bloom, who both have large and trusting followings. Both speak their minds, but that hasn't stopped, e.g., Kinefinity from asking Bloom to test their new cameras, and this has been key to Kinefinity's becoming a presence in this very competitive market.

Does calling him a troll negate the constructive criticism he posted?

Andrew, you do often come across as someone who is resentful, intolerant, often spiteful, takes offence easily and with a grudge against the world. I think if you were a nicer person, you know, showed kindness, tolerance, humility (unfashionable traits as they are these days), then you might get invited to more events. I don't mean that in any kind of snide or sarcastic way. I'm serious.

Andrew, Jun could also view your comments about him as snide. All because he got a camera, and you did not... It feels like you're jumping to critique all video's uploaded by someone with a Pocket 4K in another attempt to support your stance that BMD is giving cameras to the wrong people. I remember a thread here, some time back where more than a few guys critiqued your color grade on one of your Canon videos, and you responded like you never thought you'd receive criticism. You have threatened to quit this whole thing more than once, and people have always begged you to keep at it. People are here because they appreciate what you've created, but you pay way too much attention to the negative... No one can argue the numbers your site gets, but your victim attitude isn't winning.

Thanks! Can you recommend some LUT pack for rec709? Today I made a quick test for a shooting next week. I want to use ProColor with my A7III and I'm very happy with the results. Here is a screenshot of one of the takes, straight from camera without any correction. A7III + Tamron 28-75, Procolor and natural light. 4K24p