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I agree with most of the above, but the thinking is wrong. Is super slow-motion required in 2018? Not if you're shooting a doco, but yes if you're shooting a hair or shampoo commercial. Is IBIS required in 2018? Not if you have the time, space and permission to take a stabiliser of some kind and set it up, yes if you're shooting in situations where a tripod/monopod/shoulder-rig/gimbal/etc isn't allowed or isn't practical. Is 4K required in 2018? Not if you're shooting for a client that doesn't mandate it, yes if they do (eg, Netflix). Is RAW required in 2018? Not if the requirements of your scene will be sufficiently captured in a more compressed coded, yes if you need the flexibility or resolution in post (eg, green screening) Is AF required in 2018? Not if you have the ability to manually focus sufficiently on set to track the subject in your images, yes if you don't. Is extreme high ISO performance required in 2018? Not if you are shooting a bright enough subject, or have the ability to light them sufficiently, yes if neither of these is true. Anyone can ask the question of ANY parameter within photography and find examples of both yes and no, depending on the project. ANY DISCUSSION OF REQUIREMENTS BEGINS WITH THE CONTENT TO BE CREATED. CAMERAS ARE TOOLS FOR A JOB. EACH JOB IS DIFFERENT. Anyone who thinks they can generalise is too stupid to understand that other people shoot different projects, using different techniques, in different circumstances.

Short film created by Nick Thomas, Calgary based Director of Photography. The entire film was shot on the FUJIFILM X-T3 with only the FUJINON MKX18-55mmT2.9.

Are they essential? No of course but IBIS and AF are like autoexposure functionality - as long as you can switch them off when you want full control then why wouldn't you have it if you could and have the best of both worlds? A lot of people, myself included, just want the option of a helping hand when they need it and its far, far easier to use an ON/OFF switch than try and build that additional functionality on yourself with gimbals and focus systems. Obviously, the only way to fully illustrate this is through the medium of hedgehogs. This is what it looks like to most people when they switch on a camera that has those features and want to grab some shots And this is what greets then when they switch on a cinema camera

Your comment has lead me to think a bit more about slow-motion. The below isn't directed at you, just inspired by you I think the topic of slow-motion is an interesting one. I agree that it is over-used and especially over-used in camera tests and on YouTube where people are failing over each other to try and make their footage more cinematic instead of making it more creative / useful / interesting / etc. I have my camera setup with three modes - one is 25p, one is 50p, and one is 180p. I don't think of them like that though, I think of them for the aesthetic that they will give to the footage they will create. I shoot home videos, and my goal is to make a video file with the aesthetic of fond memories. This means things can be slightly warmer, softer, nicer, more flattering, and less real than reality actually is. Also, because the brain doesn't process memories in linear time (think of memories of loved ones, a toddler running around, someone giving someone a hug, etc.. you can easily slow these down in your minds eye, in fact, often we slow and almost stop memories, like they're not a continuous stream of perception but little bubbles of moments) so speed and slow motion in my work are far more flexible, and far more compatible than most other genres. I think of 25p as reality. "Here's what happened". Shots like this are about content alone, where the emotion isn't going to dominate. I can slow these down in post but it's not as good. I think of 50p as flexible. I can slow it down to half speed or play it back at normal speed. Normal speed will look like video, which I'm fine with, and slow-motion is slow and slightly dreamy but doesn't look fake. Hollywood uses 50p for the shots when emotions are at the forefront, there is action, and they have music instead of real-life sound (eg, someone is sad and they're running away from their troubles, someone is happy and things are great, etc). It's kind of makes fast motion gentle but doesn't look like a special effect. I think of 180p as a special effect. It's very obvious as a special effect, and even with modern cameras you lose quality so should only use this on things where you want that effect - it's not a flexible mode. For me this would be for very fast action and because a 3s shot in the edit will represent less than half a second of real-life it's about moments, rather than a sequence of events. I think of this as almost like 'moving photographs'. This is where we think of things like a kid running and making all the birds take off, and a photographer would get the shot with the kid running, smiling and the birds going everywhere, in this mode we can use the same moment but we can savour that 0.4 of a second over several seconds in the final edit, along with nice music. I'll reiterate that most people over-use it, and we should be critical of it being over-used, but the criticism shouldn't be that it's not needed, the criticism should be that it's being applied where it is not aesthetically useful to do so. While this isn't as dramatic as taking the opposite stance of 'always/never' thinking, it's actually more cutting because we're not criticising the use of a camera feature, we're criticising the offenders ability to know how to make art, which is ultimately the most significant criticism that can be made I think.

DPreview (Jordan Drake aside), Kai (without Lok), Tony & Chelsea, Fro etc.. are all general photography based channels. They don't really know/care about video stuff , beyond the basics.. The few video channels that exist are either biased to a system, or sponsored by camera stores / manufacturers (ie shills). Not many independant, cross platform reviewers out there..aside from Andrew. I thought his review of EOS R was rather balanced, was expecting him to just rip it to shreds honestly. But he gave it some credit where it was due. ..and indeed pointed out it's giant flaws for video, rightfully so. i wanna hear the good & the bad in a review. not just one side & not just the obvious stuff. RS is a serious issue. Bigger issue then the crop factor imo. I'm only using 4K on EOS R for locked tripod shots, but if it weren't the case.. it would be basically unusable. Anyways let's all take a deep breath, we're all in here with a common passion & these gear wars are getting out of hand..

Your Pocket 4K advertising is getting more subliminal. Well done.

I made that Gemini vs Pocket video. If you download the original ProRes file, zoom in around 300% and notice the edges of her hair/face is fringing significantly more on the Gemini. I'm extremely impressed with the Pocket 4K thus far.

RED Gemini vs Blackmagic Pocket 4K

Canon Eos 5D Mark ii (2009) Canon Eos R (Fullframe mode) 2018

By the footage is seems to have at least as good image quality as the Z7. Rolling shutter seems better, definitely my next camera

uh oh

Rumours sites aren't an authority on technical matters, they just identify second hand info and label it. That chipmod source just tells us the manufacturing process is Sony. Doesn't say the design is. And made by Sony does not mean it's off the shelf Sony. Nikon designed the sensor in the Z7, Sony fabricated it for mass production. The sensor has Nikon IP and circuit layout, Nikon specification, Nikon micro lenses and other patented Nikon design aspects. It has a Sony BSI manufacturing technique, on Sony mass production wafer, Sony quality control and made in numbers determined by Sony's manufacturing capacity at their factory, which isn't as high as Nikon would like because they have so many other customers. Nikon should diversify their manufacturers, but making a sensor like this is hard. You won't see a BSI sensor from Canon. It doesn't exist.

The weather got a bit biblical to be honest! I haven't really got any long glass for it so I used it mainly for GV stuff of the stadium and preliminaries (including the moody shot of the soaked flags on the terrace as it looked like it was going to be called off at one point!). It worked really well in this role as the M lenses are so small that you can have quite a range of them in your pockets without having to haul too much gear round. In game, I used it for a few shots that were close enough to my position (both with the cheap 135mm f2.8 from the haggling at FotoMeyer ) and the manual focusing was fine although the peaking is a bit conservative at times. Roll on the new AF lenses from Sigma.

It's called a MeFoto travel tripod... Surprisingly sturdy for the size (I think the mobile phone camera made it look smaller than it is). Though the wing will be on a bigger Manfrotto at weddings.

All is good my man, I never hold grudges more than 5min/time. Life is too damn good (and short) It sounds as if the 16-55 might be for me. Im finally getting the 90mm f2 today and thinking that the two together would be a killer combo.

No worries @jonpais, something about camera talk seems to bring the demons out in people ? I'm gonna try and avoid all talk other than trying to better my skills and knowledge. On a side note, I just took delivery of an Edelkrone wing, oh damn, this is a cool slider! Gonna be a fantastic tool to keep constantly attached to the tripod.

I’ve been saying this for a while now. The DSLR Revolution was ruined by “filmmakers” using the equipment as if they are on a Hollywood set. It’s been said ad nauseum... different tools for different jobs. I have a film idea I am fleshing out that is entirely static shots... so of course I’ll use sticks for that project. The film after that will be a found footage movie... I’ll probably use a camcorder with OIS turned on, or a camera with IBIS and you can be damned sure I will use Sony’s PDAF or Canon DPAF. For the film I’m working on now, I decided to shoot handheld with just my camera and a strap, for some of the reasons Kye mentioned, but also to get in and get the shot. I’m relying on Canon IS and it is serving me well. With dialogue scenes, I’ll put the camera on sticks or use my monopod because I don’t want any movement while rack focusing. But I will say that I would love to have DPAF for tracking shots and for touch focus. I’m getting by without it, with a few misses here and there but it’s doable. I think webrunner’s point is valid though. I’m just a hobbyist, so I have the time to do more takes until I nail the focus or nail it enough that I can cut away in the edit. But if I was a videographer that gets paid to shoot events... without a doubt I would get a Canon or a Sony... time is money... or I’d get a camera with IBIS for the same reasons. Obviously this is a post born from the P4K thread and although I understand the OP’s sentiment, the problem with the P4K, which isn’t the P4K’s fault... even though the front record button is slightly misleading to the vlogger crowd, is that a lot of videographers feel they need the specs of a cinema camera to shoot a talking head video or an event and it’s those people who webrunner is referring to regarding the benefits of IBIS or AF.

Funny how people on here say they don’t want the camera but still come back to have opinions about it, a camera barely no one has their hands on yet and they probably have never even seen in real life on top of that. As someone who owns it (and loves it!) and also still owns the OG pocket, I can let you know that with both cameras I get paid 700dollars a day to take pictures with them. Funny right! Next week is first day to take pictures with the P4K actually. I have a very simple work flow with it, just load your DNG into ACR and voila! Here’s a load of pictures taken with OG pocket if you wanna have a look; https://www.olarch.com/retail

I haven't tested the filter yet, but I want to say how much I absolutely love Formatt Hitech's packaging for their filters. Packed by hand, quality control stamped, and come with cloth pouches for the filter. I wish every piece of glass came like this.

People have been having some success modifying the Smooth Q for the RX100 for a very minimal (size and cost) setup. There are a couple of different branded (JJC and Fotga being two of them) versions of the Sony wired remote which will give you Start/Stop and Zoom controls for about £20 to use with any gimbal. Or, like here, combined with the Smooth Q mod.

Can you please try installing Magic Lantern on that plane?

X-T1 (2014) X-T3 (2018) Roll on 2022

I was an XQD virgin until the Z7 came out and now I find it hard to go back to SD. They are just so slow, fragile and cheaply made by comparison. Roll on XQD. They won't even be very much more expensive in a year or two.

There are two parts to BMD Film, the log curve (gamma) and the "colour space" (gamut). The log curve is always optimized for the sensors dynamic range so the curve you get for cameras with different sensors will vary. Some will have more contrast than others. The gamut in previous versions would vary across cameras as well but with Gen 4 it is the same for any of our cameras using it and like Gen 3 it is more saturated to make it faster/easier to grade. Note shot it.

I actually think that Sony's goal of 'trying to exceed customers' expectations is part of the problem, Yes, they have done that in the past but it is relatively easy to do if there is no competition in your space. Once competition arrives it is a different story. It is doubly difficult to achieve in 'video' because customers expectations are built around the 'best specs available' which tends to be a Panasonic GHx - that has the advantage of a smaller sensor. I dont really see that Sony has falllen behind though (except fo a lack of external 10 bit.) The article says '... Nikon have got to the point where the XQD card equipped Z7 surpasses Sony on a technical level using their own technology and manufacturing facilities. It supplants Sony’s best specced stills camera.... But I dont really see it... 1. The A7riii has a much better focus system for stills. https://***URL removed***/reviews/nikon-z7-first-impressions-review/5 2. The A7riii has more dynamic range than the Z7. http://www.photonstophotos.net/Charts/PDR.htm#Canon EOS R,Nikon Z 7,Sony ILCE-7RM3 3. And even the single card XQD slot on the Z7 isnt much of an advantage as the camera write speed tops out at 245MB/s https://www.cameramemoryspeed.com/nikon-z7/fastest-xqd-card-speed-test/ and the Z7s buffer is smaller than the A7riii.

Yes. It's the next generation color science - Gen 4. The "negative" coming out of the new camera in Film log is a lot easier to grade than from older cameras. I dial in the EV LUT at 30% or so after basic color balance and it looks great.

I wonder if anyone will be brave enough to make a Speed Booster specifically for that 1.8x crop 4K? @Brian Caldwell The usual 0.71x adapters will I am sure come onto the market first, but then in 4K that will still be a 1.3x crop and not full frame. 0.60x Speed Booster would do the trick. Then finally we have full frame 4K H.264 from Canon with Canon LOG, after so long. Also with the flange being 20mm, that is more than E-mount, so more space for the Speed Booster optics to extend back into the mount close to the sensor.

JSFILMZ on YouTube has uploaded some nice sample footage as either RAW or ProRes, as well as some comparisons to the GH5s which might be interesting. The footage looks amazing after grading. Used a BM Pocket 4K film to Rec709 conversion via CST in Resolve at the very end. Download of the graded video: https://drive.google.com/open?id=1SAkBhaRRXnWpKY6_b-lKRns9g13ICEMZ

Haha!!!!!!!!!!!!!!!!!! And yet they ALL still have better hair than Fro! Which one is @Jordan Drake?

Everything shown so far with the xt3 and that lens has looked a step above... very nice

Great stuff. What lens were the wide shots with?

That's insane Sitting on stock while everyone buys it elsewhere. You'll be amazed by the lack of logic at big established companies, be it a shop or a camera company Enjoy the EOS R - looking forward to seeing your footage

Ups sorry. My bad.

Be aware that on the GH5 the ETC is clean in 4K but in HD at higher ISOs it has a lot of noise.

I use primes in these circumstances: 1) Unmanned locked off camera? Perhaps I might. As then a zoom or a prime, doesn't matter, I'm not changing it! 2) When darkness sets in and I'm forced to Otherwise zooms are more convenient for the run and gun nature of the day.

The question has a different meaning depending on what you already own. Personally, I'm completely satisfied with the 24p quality of my current camera. Do I need (insert any feature from @kye's list here)? Not at all! But if the primary features are covered by my current gear, it'll take an improvement in the secondary features for me to consider an upgrade. So IBIS or AF are not required for the camera that I use in 2018, but they might be a requirement for the camera that I buy as an upgrade in 2018--if I feel the need to upgrade at all!

one-handed gimbals are great and ibis isnt necessary (all from 0:55 is shot with original crane/xt2/18-55kit lens):

I used to use a6500 on the first version crane. Footage was smooth as anything and it was because of the ibis. I put other cameras on there and it just wasn't near the same. Ibis is a necessity.

When you're moving the frame, a longer lens will of course make the contents of the frame move through quicker. Of course even if you use a 35mm equiv. wide frame, completely still on a tripod, stuff can still move in the frame - a sparring boxer, a train, a swift movement from an actor, and trigger the distortion. The important thing is to do comparison tests. All cameras at the same focal length (equivalent, so not all same lens but same FOV), on same tripod, moved at same speed at exact same moment. I just did a test for myself of the Z7 vs EOS R and the Z7 is nowhere near as bad. That is both in 4K (full frame on Z7). I could share it, but you don't deserve it

It doesn't have half the features of the GH5/GH5s, It has different features. Taking the photo side of the GH5 out of the equation, I would say the pocket has more features for video. If you need a hybrid camera obviously the P4K is the wrong choice. I really don't understand this way of thinking. When shooting video, the GH5s only really has AF and a tilt-able screen up it's sleeve compared to the Pocket4k (and better battery life). Yes, AF is handy for shooting home videos, and yes, I wish the Pocket4k had a tiltable screen but to call it a useless camera is pretty silly. I've used it in a run n gun situation with zero accessories and more than happy with the results. How do you get to $3000? Add a $100 monopod, a $180 AndyCine a6 and an NP-F battery (the andycine can power the P4K) or 4 more LP-E6N batteries and you have a run n gun package that will be better than any IBIS can provide. A monopod is the most underrated bit of gear by videographers. Quick to set up, lightweight, easy to carry, versatile... and better than any IBIS or OS. While AF is nice for home videos, if you want to step up your video game, the sooner you learn to focus manually and ditch stop relying on AF the better. Are people today born with eyes that can't see, or hands that can't turn a focus barrel? Are they all born with hand tremor? Is a camera without AF or IBIS really useless in todays world? Maybe according to you, but I'm managing to use cameras from many different manufacturers that don't have either features pretty well. In relation to IBIS, while IBIS is nice for Home videos, for anything else, i'd still recommend using a monopod with or without IBIS. Are the X-T3 or GH5s useless today because they lack IBIS? No, people will make great videos with both. So, you're starting to add accessories? Again, I can easily add the Andycine a6 to the Pocket4K to get the tiltable screen. Speaking of adding accessories, you don't need to add any to get good audio into the P4K which you do for the GH series. So your GH5 has already gone up in price by adding the ninja star and Battery Grip. Talking about the Ninja Star, you do realise it's 1080p only right? To fairly compare to the Pocket4k you need to add the NinjaV which is $599USD. Your GH5 with NinjaV and battery grip to get audio now costs $2946USD but has the advantage of AF. The Pocket 4K with monopod and Andycine a6 cost around $1700. Will you be editing your videos? If so, you will need to add another $299 to get resolve for your GH5 making it closer to $3250. The P4K is far easier to use than the OG Pocket you really can't compare. Far better screen and ergonomics make it possible to use handheld. The OG Pocket was way too small to be used in the hand. You really can't put the two cameras in the same category or draw any similarities to them. When I switched to Fuji for stills, I really enjoyed using the camera and this made me want to use it more. In terms of video, so far the Pocket has done the same thing for me. Small package, un fussy menus and a great screen that reward's you instantly when looking at nice shot's. I just want to use it. It's actually less of a toy than most mirrorless cameras and I'm finding it a joy to use professional. It's far quicker to change settings on it than my X-T2 or the A7 series cameras that I have used as B-Cams before. It's by far more of a proper video tool compared to a hybrid but that's just my opinion. The workflow is not hard, you can bake LUTS in if you need quick turnaround or just use the provided BMD Rec709. I don't see how it's any slower. And if you shoot LOG on the GH5, then that still needs grading in post. For anyone reading this, camera brand aside, if you think IBIS and AF are going to make you shoot like a pro and some how magically make your images 'cinematic' ...they won't. 'Out of the box it's useless' ....'need to spend $3000 to make it work'....... 'it's a toy'. Considering you haven't used the camera yet, these are all pretty biased and inaccurate statements that I'd expect to hear out of a Panasonic rep ?

Oh wow the Canon defense force NPCs are attacking.

Actually, this morning I took the same Mavic 2 pro DLOG h.265 clip into both PP 2018 and then PP 2019 applied the same effects (lens correction, LUT and adjustments) and rendered them both out in h.264. Took exactly the same time give or take a second or two. The new curves are very nice and intuitive in PP 2019 though.

No need for CineLikeD when they've all got LOG

He better turn it off quick, the plane will crash!!!

Man I love the white vignetting & some of us feel it is part'n'parcel of using anamorphics - it recently appeared in "You Were Never Really There" Dir. Lynne Ramsey (great film, great framing, great narrative). Embrace the White!

@jaquet Please don’t try ink or paint on the rear edge of a pre-36...it is not a good idea (even for VD to attempt). These optics are best not to touch if at all possible. An effective way to solve the square rainbow flare by making a custom rubber ring and securing it to the outside edge of the element housing. As for veiling glare or white vingette on a pre-36? - I’m not sure if that is particularly normal (as it is with Kowa types). @ch_d is your pre-36 displaying any unusual white flare on the edges? Could you post a screen shot of what you mean? (And what taking lenses you notice it with). Pictured below is a shot of my rubber ring solution to eliminate the square rainbow edge flare that the pre-36 gives with taking lenses other than the factory Isco type that doesn’t have the issue (because that lens has an inbuilt light baffle). I’ve recently given Tito the details on how to make this ring, so he will probably do a video tutorial on it soon, like he did with the information I sent him about the edge blackening, close focus and sharpness tune up mod for Kowa types.

Now filming for a few days in The Efteling, the Netherlands. Because of the low light at evening I decided to build my setup; NX1 + NXL speedbooster + Mamiya 55mm f1.4 + Bolex 16/32/1.5x + Rectilux HCDNA. I had to set the lens not at infinity, but somewhere about 10 meters to get the sharpest results. The film follows later, for now a few pictures. After all, I am very happy with the NXL speedbooster.

Tito didn't invent this, it's been talked about on here quite some times previously. But good he made a video to let people know! BTW some people actually like that characteristic .

It is very common for the pre-36 to have these ‘square rainbow’ flares on the edge of the frame. They are caused by the rear element not having edge blackening, so it will catch the light and cause these flares when used with most ‘non factory’ taking lenses. The Isco taking lens that would have originally come with the iscorama has an internal baffle ring to eliminate this effect, so that there is the most basic solution to eliminate these particular flares...by using the factory taking lens. The other solution is to use a thin nitrile rubber O-ring that can be installed to the rear of the iscorama to slightly ‘choke’ the light from hitting the rear optic edge that creates the flare. I have found this to be the best solution to use...as it also provides a thin rubber ‘bumper’ to the rear optic as a bit of protection when swapping out taking lenses. The thin rubber ring is simply attached to the optic rear edge with a small strip of electrical tape holding it in place from the outside edge (away from optic). The rubber ring - when correct size and thickness, will not introduce any noticeable image vignette, as it will only block out the light from hitting the very edge extremities of the rear optic...and therefore eliminating the ‘square rainbow’ or diagonal line flares.