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@Mrrvrn Sigma 18-35 combined with that Viltrox looks pretty good on Pocket 4K. Stills from Note Suwanchote

...did we watch the same video? I skipped to the last few minutes just to watch her work and to see her footage, which I thought looked great -- I mean it's a wedding, you don't have the luxury of a gaffer truck and crew. She was confident in her instruction, she knew her gear and moved fast to get the maximum number of shots in a short space of time. There was a couple of shots where the background was a bit hot, but mate who cares about the background?!? Her exposure was on her couple! As it should be! Your criticism makes me wonder if you've ever shot a wedding before, because it's a high pressure environment where you work with people you don't cast and barely know and you're at the mercy of someone else's schedule and the weather. You're on your feet all day and constantly worried about making sure you've covered everything that's happening and with enough variety for the edit, and keeping tabs on battery life and card space and where you've left your camera bag. If I had a second they'd be busy getting a second angle, not holding a reflector. Not entirely sure how you expect to see any diffusion -- to diffuse full sun for two people walking they'd be under a 20' x 12' at least, and then you'd have to worry about shadows on the ground and the wind blowing the damn thing over. As a wedding photographer (who have also shot a few wedding highlight films) I'd be more than happy to work with her on a wedding. Definitely better than some that I've had to work with. My only criticism would be that she's simply not charging enough if she has to work 80 weddings a year, that is an express train to burnout town.

Oh, i heard, that's why the earlier statements about moving the bride/groom and what not seemed even strange. If you've done wedding shots, you know the pressure. You are fully entitled to your opinion on her work, but I personally think, if you have worked in that industry, you should cut her some slack.

Ive never heard a good DP complain that the Red Epic, Red Helium, Arri Alexa, Sony F55 are not full frame. I've put the Metabones XL speedbooster on my pocket4K and super happy with the look. Andrew, it seems that the whole BMD Manchester incident still has a bitter taste in your mouth. You are looking for any excuse to hate this camera in the same way that most heavy forum users look for excuses to hate on any camera and use a cameras lack of features as excuses as to why they are on forums rather than out shooting nice images. Sorry, I know that view is going to make me unpopular on a forum but I think it's kinda on the mark. Is the Pocket4K for everyone? No. The camera isn't a white unicorn....it isn't the perfect camera for everyone. No camera is. If you just want to shoot bare bones, in the hand video with no light, get an A7III. If you want to VLOG, get a camera with a flippy screen (although interestingly, I know a few vloggers that use Red Helium as a vlogging camera!). It really depends on what your priorities are. The Pocket4k is a solid little camera. Sure I wish the battery lasted longer than an hour and I wish the screen was easier to see in bright sun but having used Sony A7 series, Panasonic GH series and the Fuji X-T2 all as B cams, would I chose to shoot with one of those over the Pocket4K? No chance! I still need to add external monitors to those small hybrid cameras anyway and their battery life is barely any better ( apart from GH series) ........but the Pocket4k image creams them!

It can easily be the 'gold standard at the price point. The images up to ISO4000 are fantastic and 6400 is usable.. I never need to go above ISO4000 for my paid work. For lazy hobbyists that just want to shoot in the dark, get a Sony A7III and shoot 8bit. It's all you need. Lowlight performance of the Red Epic wan't as good as the A7S but I'd rate the picture of the Epic far above the A7S all day long. I've shot with the Red Epic, The Ursa Mini Pro among other cameras that have massive holes in the top. The Epic even has a huge noisy fan in the front that also use to suck all sorts of crap into it, didn't stop me using it in all sorts of conditions. Using the supplied BMD LP-E6, the battery icon flashes red and displays the voltage so you know it's time to change batteries. Using Wasabi, this doesn't happen and the meter is unreliable. I will try some genuine Canon batteries and report back but the BMD LP-E6 works fine after a few charges and discharges. Mine hasn't done this at all. The OS is extremely robust...My Fuji X-T2 on the other hand hangs every now and again forcing you to pull the battery and I've heard the same about the X-T3. It's not just RAW, the ProRes files also look fantastic on the Pocket4K. Absolutely no jaggies on fine hair but still plenty of detail. Very smooth image. As a Fuji shooter, I also love good colour science and the Pocket4K doesn't disappoint. The X-T3 also has poor battery life and crashes.

If you are going to use Leica R lenses go with Metabones XL 0.64x. I tried Viltrox NF-M43x 0.71x and my Summicron-R 50mm f/2 did'n fit without filing the protruding metal part of the lens. I decided not to file the lens and bought the Metabones XL.

If I get mine tomorrow I can do every single test anyone needs on here. I need to learn the camera so what better way than to take requests! Haven’t used the UI since I shot with an UM4K like 2 years ago. So lots of shooting the coming days if I get it!

Holy crap they just charged mine as well! Thank you for the heads up.

B&H just charged my card!!!!

So we are comparing it to the EOS R are we It is 4k60. EOS R doesn't even do 4K60! No-additional crop in 1.5x Super 35mm 4K/24/25/30p. GH5 isn't 1.5x crop. It's 2x crop. Quite different. Speed Booster = full frame. On GH5, close but no cigar. Codec - FAR superior to EOS R. Rolling shutter - FAR superior. Build quality - superior. Low light - superior (yes, really). Handling - superior. EVF - superior. Price - $700 less!

Actually, thinking more on it, I might just go ahead and save up for the Olympus 17mm f1.8 for now. The Sigma 18-35/Viltrox adapter combo is going to end up totaling around a thousand bucks for me, so it'd be nice to pick up at least one or two more affordable M43 native prime lenses to use on the G85 in the meantime.

Oh you made a really good choice with the G85. It has made some really good videos on here. It really is all you need to get the job done. Great at photos also. All these newer cameras test the people skills more than the camera skills. ?

Agree with Andrew, XT3 is fantastic with specs but lack of IBIS and FF is a pain. Canon is out of the question. Sony is late with A7SIII and they will have the usual ergonomics problems. Panasonic S fantastic but AF is such a deal breaker. Nikon got everything right except they aren’t releasing a super video camera like A7S / S1... no 4K60p... this is such a bummer. Not to mention poor lens choice but let’s say this is only going to improve with time. Again big compromises everywhere. My guess is that it’s still will be a Sony win next year for my use because the A7S will be the only one to combine 4K60 with good AF and IBIS and FF. Pana AF is a Deal Breaker so is 4K30p on Z7, so is Canon so is lack of FF and ibis with XT3. It’s a shame because the Sony’s probably the least enjoyable camera to shoot with from the above.

+1 I couldn't have put it better myself. Her images were a bit over-contrasty for my taste but otherwise it was great. It was in focus, smooth & she got the right shots. I haven't shot a wedding in five years but I would have been perfectly happy to deliver video like that to my clients. @jonpais has clearly never shot a wedding nether does he any appreciation of how a wedding is shot. An assistant with a diffuser or reflector? Are you kidding? ND filters? Just crank up the shutter speed. You are shooting a live event there are no re-takes & if you miss a shot like the first kiss or the ring shot you are stuffed. Good for her! She is making money & giving her clients what they want. She doesn't need to care about some amateur nitpicking about the quality of her work.

Yep... If I had, say, 15 minutes... I'd prefer to get 15 or so interesting shots than 5 perfectly lit shots. You do what you can do... When the budget allows for an assistant, ideal... When it doesn't, you make your decisions based on what you have gleaned in the (usually minimal) amount of time you have had with the clients. Anyway, the girl is making cash and probably not sat around on forums pixel peeping other people's work... Good on her.

Jon, here in Greece the couples that are getting married really do not really care about image quility. They care more about the brand(if the photographers are famous). I have seen some terrible video in the wedding industry and people are loving it because they are just... bad. And also the wedding industry will always be male dominant. She just got famous of good marketing as you can see because her image is terrible. Marketing is key. I was going to film a wedding in a Church and I saw those two guys before me shooting there with 2 a7sii without lighting and I asked them. Where is are your lights? 'Muh a7sii shoots at 25000 iso'. I lost it there. And these guys are booked a full year.

Oly has the 2 four thirds DSLR f2 zooms that can adapt to M43 14-35 f2 and 35-100 f2 Sigma has the 18-35 1.8 and 50-100 1.8 APSC lenses Tokina has the 14-20 f2 APSC lens. Sigma has the 24-35 f2 FF lens.

Since I am probably going to have to sell my FE 85 1.8 to pay for fixing my A7s I was looking at sold prices for them on Ebay today. Dunno about the rest of the world but here in Australia, the FE 85 1.8 seems to be going for quite a bit more than I paid for it months ago. I guess that is down to popularity of Sony here now (lots of pros and semi pros and even just good Instagrammers have switched to Sony in the last few months) and the reputation of the lens. I considered it to be the biggest bargain going in photography for ANY brand and any system. While it still IS a screaming bargain and still an extremely good lens regardless of price, there is definitely a bit of a cult mystic about it now pushing up prices and maybe due to supply. I do think anyone even remotely interested in an 85 prime who uses Sony FF E mount should have it unless they want a different 85 for their taste. The FE 28-70 kit lens is also quite nice and well worth the money though there may be copy variation (I use it as a 5.6 constant aperture zoom for video though don't use it often). This is a screen grab from a video I did using the FE kit lens at some really high ISOs (on an A7s -was in a quite dimly lit beer garden in Winter a while ago). I love the video of this and would love to show it but I can not. Sarah Mcleod from the Superjesus playing solo.

It is not just the lens, but the weight of the entire rig of camera + V lock + accessories etc that makes the image stable. But by the time you get to that point, then you can no longer hold it steady for any extended period of time. Which is why you then need an Easyrig (or at least a shoulder rig, but that is limiting in various aspects, and still is not something you want to do for very long periods once it gets heavy). Have been very seriously considering getting a knock of Easyrig from China to use with my Sony PMW-F3 rig. For instance: https://www.ebay.com/itm/3-18kg-Easyrig-Gimbal-Vest-Easy-Rig-Flowcine-for-DJI-Ronin-3-AXIS-Camera/332708600544 https://www.ebay.com/itm/YELANGU-3-18KG-As-Easyrig-Camera-Gimbal-Stabilizing-Vest-with-Arm-Rig-Accessory/113146003427 https://www.ebay.com/itm/8kg-Easyrig-Flowcine-Serene-Arm-Steadicam-Vest-Arm-For-3-Axis-Handheld-Gimbal/392028734017

First impressions of the Kipon Baveyes EF-FX Speedbooster. The image looks nice but its to dark to really tell. Will test more tomorrow. Build quality is excellent. AF speed is like most adapters, ok but not as fast as native lenses or using the EFs on a Canon. Strangely the 85mm was faster than the 50mm. On all my others adapters it's been the other way around. Like I said, its pitch black here. ISO through the roof and with an 85mm at "f1.2" the DOF is very shallow. I have raised the dogs face 5 stops. Long story short, peeping this image is pointless.

Alistair Chapman made a comment in an interview that broadcasters will more likely be using Rec 2020 sooner than they would be broadcasting in 4K since Rec 2020 doesn't require more bandwidth than Rec 709, while 4K requires a lot more bandwidth that HD. (By broadcasting I mean ALL forms of broadcasting whether over the air, internet, 5G... whatever) I know they aren't mutually exclusive or anything like that; Many 4K TVs sold today are already HDR capable. But does that make sense to you guys? Do you think we will see a wider adoption of HDR over SD sooner than we will see an adoption of 4K over 1080p??? I know Tony Northrop said something like they only shoot their videos in 4K now because they wanted to make them "future proof." My understanding is they still shoot in SD gamma and gamuts though... Then again, maybe I am misunderstanding the science behind all this...

Yeah I'm keeping my Gh5 alongside it for a while as a backup cam until im confident it won't fail. Saying that, I would do that with any new camera for paid work

1) Voigtlander 40mm f2. Light, wonderful rendering, and it's the focal length I see in. 2) The same. 3) Nikon 105mm 1.4 4) Not anymore, I've realized I like to shoot Nikon, so that's what I'm going to stick with for photography at least. Video cameras will vary.

Whoah..hang on a minute there... Letting shots breathe for more than 0.5 seconds, a faint whiff of a tripod and no drone shots?!!??! What a weirdo that filmmaker must be

Idk, do a Vimeo search of Panasonic 14mm f/2.5 and BMPCC and you may find some magic... I found one for you...

120p is 4x crop and no AF tracking. You can see THROUGH the camera from top to bottom - it has a HOLE in it. GOLD standard? Pity the early adopters, after I saw his 'problems' section. Squeals a high-pitched note randomly. Sometimes just hangs for no reason. No low battery warning or graceful shutdown procedure, just turns off and corrupts the ProRes file. The camera ain't finished.

Be careful, thats how people end up with a Leica Q

The stills are just some testing yesterday but they ARE from the Pocket 4K. I'll try and see if I can make a video soon but there's a lowlight shoot I'd like to add in and need to find some time for that. The Blackmagic RAW video is from the Ursa Mini Pro though. I just like the look of the great actors. And the asian guy is my brother haha.

No IBIS and way too huge and bulky. Especially when you consider 60% of my camera use is far in mountain backcountry...

Please correct me if I'm wrong, but I thought Rec.2020 only specifies 4k and 8k resolutions, using standard dynamic range, not HDR. Perusing Wikipedia, I'm finding: Rec.709: standard dynamic range, standard color gamut, 1080p, 8 or 10 bit Rec.2020: standard dynamic range, wide color gamut, 2160p/4320p, 10 or 12 bit Rec.2100: high dynamic range, wide color gamut, 1080p/2160p/4320p, 10 or 12 bit So perhaps Alistair Chapman was referring to Rec.2100? (Not trying to be pedantic, just making sure I understand the alphabet soup here!) Back on topic, I think 4k is easier to market for whatever reason, so we will see mass adoption of 4k before HDR. The public seems to "understand" 4k better than they do HDR. Moreover, we're all agreed on what 4K is, whereas HDR is still in a kind of format war from what I can see, between HLG and PQ.

It's a bit like doubling the horse power of your car through an engine mapping software tweak Not gonna happen. Anamorphic mode on the other-hand, perfectly doable!

@sobrietyrefund here u go ?

Do you have a link to that video?

The Fujifilm X-T3 is a hell of a camera no doubt, but another thing many seem to forget is when you buy a body, you also need to buy lenses. When you take into account the entire Fujifilm echo system, you start to understand that that the system cost is much much lower than virtually every other camera system out there. You will pay many times more for equivalent build and optical quality when comparing what Panasonic, Canon and other can offer. I think the Fujifilm lenses compare more rightly against the Panasonic Leica lenses, and far outclass the standard Panasonic lenses.

A terrible choice of name though as Weeble definitely has a distinctly unstabilised connotation for anyone over a certain age.

Exactly. It's a very versatile focal length for a "one prime lens only" option for narrative filmmaking and has something of a natural cinematic look to it IMO. Even when I was looking at the Voigtlander lenses, I was always focusing on their 17.5mm for that exact reason.

Yeah a 35mm equivalent FOV is a great one lens prime option for narrative filmmaking... get a little wide and with a fast lens, you get a little shallow depth... zoom in and out with your feet.

Yes absolutely viable but Nikon's marketing department probably doesn't even know what an anamorphic is!!

Another day, another M mount. This time its the Voigtlander 15mm f4.5 VM III Super Wide Heliar again but on FF this time rather than APS-C

Two things. 1) I think I figured it out, the exposure shift at higher ISO can be caused by two things. Peripherial light correct and dynamic range priority. With auto iso on and peripherial light correction on when the camera goes to 8000 iso there is a quick exposure bump that is not smooth. With this setting turned off, it didn’t happen in my little test. You can see this in the viewfinder and EVF as it happens. Dynamic range priority messes with exposure a lot, even if you have an iso value set. It pulls and pushes shadows and highlights regardless. I tried it in auto, strong and weak. I wouldn’t recommend using this setting if you’re in anything but continuous controlled lighting. Really, only use it for photos. 2) @Attila Bakos I’ve tried samsung 128gb uhs II cards, Sandisk 128gb cards and Sony 64gb cards that are on the approved list. I haven’t seen a difference in video mode at the highest data and quality settings. If I were shooting something I couldn’t redo on a paid shoot I would stick to the Sony cards for peace of mind but for everything else, just make sure it’s UHS II. For the sports preshot mode in photo, all cards worked but I noticed the buffer cleared significantly faster with the Sony cards. Couldn’t produce a lock up with any of the cards when I tried. As an aside, the 18-135 did produce something funky the last time I used it. The EVF and LCD would slow way down and the shutter speed dial wouldn’t change. It didn’t stop until I took off the lens and put another one on. I was able to make it happen again by looking through the EVF and then taking my eye away and putting it back quickly. Only happened with my copy of the 18-135mm, no other lenses. I finally got through to Fujifilm USA technical services this morning on the phone and they are going to take a look at my copy of the lens. Hopefully it’s just a problem with my copy and not a widespread issue.

You can probably find a used one pretty cheap in Japan.

Well I think those Clutch Olympus lenses Have to be the way to go for video. Panasonic, Olympus are Not noted for killer AF in video mode! Hey your getting smarter by the minute LoL. Good move. But it still is not wide enough to me. But I realize you have to start someplace. I would rather have the Olympus 12-40mm f/2.8

If I did go that route, I may spend the extra and get the G9 for the updated IBIS and 4K 60p. I saw an open box G9 for $1100 the other week on eBay. For $400 more, it might be worth it.

Shit. I must admit not the worse idea you have come up with. ?

I am fine with adapters for the older stuff like Canon FD. It's when it has firmware bugs and crap AF when it becomes an issue. Thankfully the Sigma / Sony adapter was pretty good and Metabones firmware improves all the time, though still not great. There are some very good adapters out there, Kipon have such a HUGE range. I am keen to try their medium format speed boosters on this. They have German optics, and bring Pentax 645 glass into play.

Yeah.. but see my recent post in the new Z7 review post from Andrew. Provleme is that all cameras have compromise. No 4K60p with canon and Nikon no FF and no IBIS with Fuji no good AF with Panasonic... always a compromise. FF is important for me not for video but stills. I am ok having two cameras now but preferably same system like A7SIII for video and a7iii for stills. If I get Fuji for video, I have to buy let’s say a Z6 for stills and carry 2 times different lenses and learn 2 ergonomics on the go : not cool. If only Z6 had 4K60p I would have bought a Z6 + Z7 and be done with it. So my best bet will probably be A7 III and A7SIII combo... let’s see next year in the meantime I might get the Fuji for upcoming video projects and sell it next year. I am so tired to change system every year just because there is no 4k60p FF with good AF and IBIS in market...

I have a bunch of these padded inserts ($19): https://www.ebay.com/itm/Partition-Folding-Flexible-Padded-Camera-Lens-Insert-Bag-Dividers-Case-for-DSLR/292318664042?hash=item440f8cd56a:g:1iQAAOSwQS1Z~xXq PLano cases are good for light duty use, I put my slider, tripod, lights etc in here, no wheels though and a bit flimsy ($40): https://www.amazon.com/Plano-Sportsmans-Trunk-Black-108-Quart/dp/B00HVCPT4W/ref=sr_1_3?ie=UTF8&qid=1538536359&sr=8-3&keywords=sportsman+trunk I actually use these over my Pelican 1650s because those are so heavy and overkill for what I'm doing (working by myself). I use this onstage cart to truck everything around, goes on sale for like $80 I think: https://www.amazon.com/OnStage-UTC2200-On-Stage-Utility-Cart/dp/B01KQ0X3OS/ref=sr_1_1?ie=UTF8&qid=1538536449&sr=8-1&keywords=onstage+cart I have a huge rocknroller but it's pretty big so I don't end up using it too much. For light stands I was using this: https://www.amazon.com/Stage-LSB-6500-Lighting-Truss-Carry/dp/B000PGS5M4/ref=sr_1_1?ie=UTF8&qid=1538536549&sr=8-1&keywords=onstage+light+stand+bag But I can't really cram too many stands in there, I just switched to a golf bag bag, we shall see how it goes. https://www.amazon.com/CaddyDaddy-Constrictor-Travel-Cover-Black/dp/B007OK866Y/ref=sr_1_2?ie=UTF8&qid=1538536587&sr=8-2&keywords=constrictor+golf I also have a bunch of these types of bags I put my audio gear in, you can probably find one on craiglist for like $5 as they give these out with noobie gear. https://www.amazon.com/AmazonBasics-Large-Gadget-Orange-interior/dp/B00CF5OHZ2/ref=sr_1_3?ie=UTF8&qid=1538536841&sr=8-3&keywords=padded+camera+bag https://www.amazon.com/Ape-Case-Digital-Camera-ACPRO1400/dp/B00079SWNQ/ref=sr_1_5?ie=UTF8&qid=1538536859&sr=8-5&keywords=ape+case

On day 3 and 4 of Photokina, I collaborated with Dave Altizer of Kinotika to record the first episode of EOSHD TV and an EOSHD Podcast. We discuss insider topics such as a rumoured on-chip ND filter by Panasonic, Fuji's "super full frame" medium format strategy and round up some of the highlights of Photokina (including the Panasonic S1R). Read the full article

Sam's Club used to, and still may, sell these. I bought two of them for my GH5 and G85. They're very well built for the price. https://m.samsclub.com/ip/16in-safety-box/prod20353692 Amazon also has some lower cost options under the Amazon Basics brand. I got one for my wireless lav.

Pop down to your local hardware store and browse, always interesting stuff there, you can probably reuse various types of tool boxes there for your needs.