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X-T3 in da house! Just a quick glimpse at the image, but I already have a feeling it's the best I've ever seen from a camera this price. Wonderful codec and detail. I am trying the Zhongyi SpeedMaster 35mm F0.95, which is also a positive first impressions, very clean bokeh and Noctilux-like rendering. I am letting that duke it out with a couple of cheap Speed Booster clones though, to see if it's worth the money over, say, a Minolta 50mm F1.4 + SB. Hey guess what - you can punch in to focus during 4K recording and the quality is incredibly detailed, unlike Sony. The EVF is better than A7 III hands down. I am using Film Simulation bracket-mode for stills which is right next to Movie mode on the drive lever, makes it a bit easier to switch. 1/50 assigned to "T" on the shutter dial. Just waiting for my B+W vario ND to arrive. It will be manual focus for now as I am away from my main base with all my fuji glass back there. Will be bringing this to Photokina with me and saying to Canon "why would I buy YOUR 1.8x crop mirrorless camera" GH5 just got beaten I think. All it lacks over A7 III is a way to get the full frame look with Canon lenses at the same time as AF. There needs to be a better range of adapters!

Loving the stills output from the X-T3. I could tell from within the first few clicks of the shutter button that this camera is rather special for photography. From my early footage I am very optimistic about video also. Here are some photography samples from the X-T3. The video shootout will be up in a short while. I have quite a bit of footage to import and edit.

Just picked up a Canon FD 24mm F1.4L and 85mm F1.2L also FD at Foto Mayer in Berlin! Have put them on the Zhongyi Turbo II for the full frame look. They are CREAMY and great manual focus. Aperture ring and hard stops unlike EF lenses. What a pair of bros... Click the shots to see sharpness (forum compresses to hell the inline previews) 24mm "Jerry": 85mm "Zowie": Those shots were all with the Zhongyi Turbo II (150 bucks)

BRaw is amazing but the feature that flew under the radar is Gen 4 color science w/ Extended Video preview. It’s pretty much just like the Alexa and Amira whereas you can view a “modest” REC 709 version. Less saturation and contrast than the original BM to Rec 709 LUT.

SPEEDMASTER F0.95 is a sharpness monster wide open. It's Leica-rivalling. And yes that crop is a 1:1 crop of the 4K image, ISO 1600. Classic Chrome, noise reduction not needed. Who needs 8K?!

At the risk of sounding trite, a finished film shot on a camcorder is always going to be better than an unfinished one shot on a hybrid with a ton of vintage lenses so if thats what it takes to get you to the finish line then its an obvious choice.

It's hard to tell anything from YouTube, so compressed. A candle is not a good low light test either because you are either at full saturation of the pixel (bright flame), or barely nothing (black background). NEXT!

The 120p is very detailed. 1.28x crop though. Unless anyone knows a workaround

Always thought those camcorders were for porn

We get too caught up on what we're shooting with these days. 28 Days Later is one of my favorite movies ever. Would it really have been any better if it was shot on a cinema camera instead of mini DV cameras? No. Some of my favorite stuff was shot on Sony handycams straight out of camera. Would I use one to shoot something today? Sure, why not!? Do I like what ILC cameras allow me to do now? Yes but they aren't a necessity!

Nothing wrong with your idea, back in the day we used to borrow 2 or 3 Sony Z1s from work & shoot shorts etc... Not the best quality, but they were broadcast approved & had all you needed all in one handy package. Just remember that Festen was filmed using a Sony Handycam & it is still one of the best films from the 90s! As long as your story is good, it doesn't matter what you shoot it on. Just shoot something.... I'm editing up a short ATM which I shot a few years ago on my 60D - I had shelved it as I decided the original idea wasn't that great & work got in the way. I've come back to it now, with loads of ideas & I don't care what I shot it on - it looks absolutely fabulous considering what people say about how crap the 60D was for filming. I'm also using this film as a way of learning Resolve, finally!

What model have you ? I had the exact same view for all my gopros except the 6. Very pleased when I watch the footage. Very usable and as always as you say you use it when no other tool will do. I mean what else am I gonna use for a situation like this from yesterday, a GH5 strapped on my chest?

The lens turbo is awesome! I definitely wouldn't buy fuji glass for manual focus. Auto focus lenses are almost always crap for manual. I use Minolta vintage glass for manual focus 50mm 1.4 , 35 1.8, 24 2.8, and 128 2.8. I am getting the Fuji for auto focus and stills. Even if it wasn't a still camera I'd still buy it for auto focus. I really prefer APSC, but if it weren't for auto focus I'd probably go with BM.

Only one of the two cameras you mention here is a true hybrid... and it's not the P4K. The Blackmagic camera is really a video only camera that allows for frame grabs. Because let's be honest, no one is taking a camera that can only capture 8MP serious as a stills camera. With that in mind you should be comparing the P4K to other cinema cameras... I suspect it may compare less favorably in this category. But on the other hand, if you feel the P4K is actually a hybrid, then you need to consider its prowess as a still photography camera. I would have serious doubt that the Blackmagic camera would be anyone's first choice for actual photography. On the other hand the Fujifilm camera is an excellent choice for stills. Hybrids require balance. They must be well suited to both photography and video work. The X-T3 is a great tool for either task... the same cannot be said of the P4K. Im not hating on the P4K... I will buy one. I'm just keeping it real.

And here's the reason why BRAW looks so much better than CDNG... The internal debayering process smoothes out high frequency noise and almost acts like an optical lowpass filter: https://www.slashcam.de/artikel/Test/Blackmagic-RAW---Qualitaet-im-Vergleich-zu-CinemaDNG----IBC-2018--Debayering---Rauschen.html#Debay That's some great news!

That is kind of their direct competition in a way. I have a love/hate relationship with my gopro, compared to everything else is absolutely terrible, but when you need it no other tool will do.

Thanks for posting your video. To me, the IQ looks something like that of an 80D. However, I can see why you love the voitlander 40mm lens now. Do you think you will keep your a7 II??? Or do you think you will sell it? If you think you will keep it, may I make a suggestion? I would suggest trying out SLOG and seeing if you are ok with the workflow required for using SLOG. I say this because in the few shots in your video where it is bright and sunny, the highlight rolloff is pretty bad. Most sony picture profiles have nasty highlight rolloff (IMHO). SLOG will give you a bit more dynamic range and the rolloff is less nasty than the other profiles. But the workflow is harder. Of course, if you are going to sell this camera than that is irrelevant. Anyway, please keep us updated on whatever you end up deciding to do.

The Z6 seems to be staying under wraps for the time being. I guess if it gets launched with fully stable and optimised firmware then that might be a good thing.

I am using the 1" XC10 with Rode video mic pro plus and apart from the relatively deep DoF and slower AF it is a great setup and just gets out of the way. If you can get the aesthetic you want from this kind of setup then go for it. Here's a BTS from the other day of me doing a horizontal sliding shot in Pompeii with the aforementioned setup.

https://en.m.wikipedia.org/wiki/Flange_focal_distance look at this list. Any lens with a flange distance LONGER than a camera can be adapted with a simple mechanical adapter, but not vice versa. So you can put an ef lens on an l mount, but you can't put an l lens on an Ef mount so you can adapt f, ef, m42, pl, and many others to l. whether or not you can electronically control the adapted lens depends on whether the lens protocol is open, or if someone has reverse engineered it.

Those Sony ones have a lot going for them. The consumer version is the AX700 and gives you the same stuff minus the XLRs (though there is a shoe mount adapter to add them) if you want to save quitw a few hundred dollars. Can't beat it for stealth either.

That's what I am hoping as well, that the sensor specific partial de-mosaic filtering tuning will make the Pocket 4k more like the USRA Minii Pro after it got the BRAW update. With Pocket 4k it would be nice if they would do 2 tunings, one for each native ISO. I am already really liking the look of the Pocket 4k at high ISOs in low light, but at lower ISOs with lighting or daylight, I am hoping it can be further refined, like the USRA Mini Pro was after the BRAW update.

That's quite a reflective screen on there.

Im expecting delivery of the Kipon Baveyes 0.7x AF on Tuesday (If the estimated date was accurate that is.)

yeah for some reason the gemini is creamier and has some kind of pop like the alexa. Might be the other 24k $ that is giving that. BM should figure out what it is and implement it into their next camera, or better yet give it through a firmware update on the ursa mini pro.

Yeah I'll upload some tonight. 10bit 400Mbit ALL-I H.265 is butter smooth to playback on MacBook Pro in Quicktime player BTW.

There is a rumor (or is it confirmed already? I don't remember) about a new firmware update coming up for GH5(s)/G9. Could it make color science more consistent among cameras? Can it be done with firmware only or is it too much sensor-specific? If Panasonic gives us an updated color science which is more or less the same in their whole line of cameras, they will dominate everything. This and high-performance video AF is their only relative weaknesses against the competition.

Haven't you had the G85, XT2, GH5 & A73 all within a year of each other? ? Body price matters if you have a total budget. You can buy more lenses if you buy a cheaper body, especially if the lenses for that body are cheaper as well (i.e. canon/nikon dslr's)

"good for the price" and "affordable" are two different things though. I would definitely be able to justify it if I were to use it a lot or even somewhat often. But it would be rarely used for me so no. For example, if I had a Canon/Nikon I would probably have their 85mm just to have around because theirs are $400 or less and I'd probably have spent less on the body as well

You can't justify the 85mm F1.8 FE??? ?? That lens is absolutely insane for the price. Its unbelievably sharp, fast, lightweight, and affordable. Sony E mount doesn't have a lot of affordable native AF glass like how MFT and Canon has. I always say in my Photography Discord Server "If your on a shoestring budget Sony E mount is simply not for you".

Yeah Super 35 has taken off from the 90s... the 1890s. Honestly, I kinda find all of this irrelevant anyway. The only difference it makes for me is FOV for my lenses. But since I prefer 2:35 or 2:39, I end up cropping even more out of the frame. Anything between FF and M4/3 is pretty much acceptable. And if I am looking for a really different aesthetic, FF with no letterbox gives that vista vision look, or a one inch sensor will give that S16 look. None of it is exact and most people who watch movies would even notice the difference or even care. But there really is something cool about FF... I just wouldn’t make a purchase decision on that alone.

Perhaps I could clarify this: users think that either the cheaper Sony lenses are not "good enough" (at least in regards to value/cost) OR they are fantastically good but very expensive (the G-master line and some other Sony branded lenses). Not everyone has 10K+ to spend upfront for lenses when adopting a new system, so having a reasonably priced, high performance option is always welcome. Furthermore, many Canonikon users already used to use and love Sigma ART lenses on their DSLRs; in fact most Canon users at least initially use their EF Sigma glass adapted on their Sonys.

BS clickbait. Of course there is no quality improvement on a basic image between normal and log. The point of log is not better quality, the point is being able to grade the way you want and not fall appart thanks to 10 bit. Ask the guy to take a difficult scene with sun, and do a heavy grade in both and we will see.... If you do not need to grade the footage there is no point in shooting log indeed.

Absolutely not. In a few days Panasonic will announce 2 4k60p FF camera. A7S III will have 4K60p too. I would not spend 6K on an 1.5Kg 2 years old camera with 1.3 crop when better lighter and cheaper is coming. AT LEAST wait for the announcements and rent a camera if you need until then.

exactly and this lens is just 120% pure joy in use! Interestingly, I found out that a two pass encoding from FCPX to compressor yields better quality than rendering ProRes directly from FCPX. So in the end, the result is better than expected, yet shows that the A7ii is quite limited:

Can they please release a 35mm f2. I mean... This is a basic lens. How do you skip past it for so many years?

???

Just a guy trying to get everyone ahead of him in the queue to cancel their orders, so he gets bumped up.

If someone wants a CCD on the cheap (other than the D16) then you can pick up a Sony PMW-F23 for next to nothing! (I've heard of them recently going for sub $1K) Eh, I don't miss my Nikon D50

What did you read 39 minutes ago?

Got my DJI Ronin S a few weeks ago and while digging through the app realized that I could program tilt and pan moves and repeat them. I paired the Ronin S with a motorized slider creating a small motion control system. This allowed for some interesting VFX in a music video I just shot. I was able to created several versions of the singer interacting with himself while the camera moved around following the action. Check it out:

You guys need to understand that shot noise is different from sensor noise. All these new CMOS sensors are very low noise chips, regardless of their area size, so what you see is mostly shot noise, which is revealed in low light situations where randomness of the photons appears as noise, and you can't do much about that other than temporal noise reduction that is better be applied in post. So for comparing two cameras, you have to test them in exactly identical environment, "my footage is cleaner than your footage" is stupid method.