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I tend to agree that phones will eventually take over a segment of filmmaking. And if I remember correctly Soderberg said he would definitely consider shooting more films on an iPhone. I’ve been saying this for a while... future filmmakers do not care about the technical elements as much as we do. If you make your living working on films or videography, your world will change in a few years. Hell look that this forum alone... there are an increasing number of posts from newbies asking which camera they should get to start shooting weddings or corporate. People are jumping into this field without much prior knowledge and eventually phones will be more than capable enough to fill those technical roles. Right now I think the question is... which manufacturer will be the first to put a larger sensor into a phone? Apple? Samsung? Red? Hell I think Canon even has some new phone patents... get ready for the inevitable. I, for one, am excited for this. I want to tell stories, so if that can be done on a phone with a small gimbal and a lens adapter... of some sort... Then why the hell not?

Hahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahahaha I too think this footage is premature in a very very unfortunate way. Creating any kind of log profile or decent video codec on a camera cannot possibly be that difficult. Also, if ZCam wants to start improving the official footage slowly and show the improvements to people ovwr weeks or months, they may have understood the mindset of prospective customers all wrong. If people start seeing great footage from the 20th or 30th video, most perspective buyers would already have migrated to things. I doubt anyone has the patience to see the magic happening. They should not give us Alpha and Beta. Just come final product in terms of video quality.

Here’s my video review on the speed booster I got from a previous thread. Just posting here so we don’t have multiple M50 threads. Speed booster really solves the issues with the 4K crop. I wish Metabones would make an “XL” version for EF-M so it takes the 4K crop to proper super35. But still, the .71x isn’t too bad.

That won't work as the adaptor body is not the same thickness as the non speedbooster adapter. With speedboosters the adjustment if you are short of infinity is to wind the optical group towards the sensor.

I wish you successful resolving... But, one of the reason I dropped usage of adapted vintage lenses is painful trying to achieve infinity focus, especially (almost impossible) with wide lenses.

Just can't believe how good is the M50, it is a camera that you can get for less than 600 bucks on eBay!!!!....if it just had DPAF in 4K could have been a perfect camera......if the price go around 500 bucks I will get it anyway....

I am developing Pro Color for the new Panasonic cameras. Possibly for GH5 / GH5S as well but since they have LOG and the G9 / GX9 don't, you can use LUTs. Now if you remember the original Pro Color for the Panasonic cameras previously, it does not work like the Sony one where you have a picture profile in-camera that fixes everything. Panasonic cameras don't have that kind of control in camera. What they do have is a superb codec. So once again Pro Color will be in the form of a LUT. And once again you will not need to shoot LOG. CineLikeD or Standard will do it... Or so I thought, because I have found something rather interesting in the process of trying it out. CineLikeV really crushes the blacks but I have always liked what it does to the typical Panasonic colour science vs the usual consumer camera photo styles. It brings that Varicam look to colour. CineLikeD is certainly the flattest image but I have never really been comfortable with it. I honestly don't like the colour from CineLikeD most of the time after grading it and I find the dynamic range advantage to be quite small anyway. That's why Pro Color was designed for the Standard photo style on the GX85 / G8 and GH4. Well CineLikeV it turns out can do dynamic range much better than I thought, and I just think it is looking more filmic. So should I design Pro Color to work with CineLikeV or D?! Here is the test version of Pro Color on the GX9 with CineLikeD... WITH WITHOUT Gets rid of that harsh digital look of the camera. Now here is the problem I have with CineLikeD... I have graded it, and the path up to the highlights says everything... The colour range is very compressed. And in CineLikeV it has come off far better with more going on colour wise, less mashed together... It has sacrificed some shadow detail but I think it looks more filmic as a base on which to build the Pro Color LUT. So far liking the GX9 by the way...It's a bargain.

Glenn, you sound like webrunner, already :) Heck, I might start to apply that kinda liguistics. Heck yeah, that would be a tons of fun. :) Form factor is such a weird thing. The body i prefer the most with a pancake is from the GF1. Somehow it feels so much cooler and fun in the hand than my GX85. Don´t know why. So, if they put out a smartphone in that formfactor, heck, that would be cool. Or wouldnt it.

Got out and shot a bit more with the C200. Footage is easy to grade and colors pop. The 12 bit raw is great to work with and very forgiving. Check it out below:

I have to say I'm bewildered why they've released this footage. The camera is very interesting but let's be honest they lost a lot of buzz when the Pocket 4K was announced. The only way to get that back was to put images out there that made everyone who'd pre-ordered or was going to pre-order the Pocket 4K to think "Mmm....hang on...we might have been a bit hasty here". Surely no one is anywhere near thinking that based on this? Manufacturers have a difficult enough time as it is with people making their products look bad by shooting garbage with them without joining in with it themselves. You can go too far the other way and make a glossy promo film of a £1500 camera with an unrealistic hidden supporting cast of gear and crew so it's fine to show something that is more realistically obtainable. But it still has to be aspirational surely? If they don't look like they care then why should we? This is less to do with what the camera is capable of but what the company itself is capable of. Showing such half baked and half arsed footage is not going to convince anyone that the company is in it for the long haul with this product. The first impression they made with their other interchangeable lens camera wasn't entirely positive and the massive price drop on it was testament to that so they were already playing catch up in terms of perception. As soon as the Pocket 4K was announced they must surely have known they'd really be up against it to claw back ground from an established brand coming in with something that drastically undercut it like that. This just doesn't inspire any confidence in them whatsoever that they can build any sort of momentum to counter the Pocket 4K. I'm the last person who wants to be a sheep and just buy what everybody else does and I like to see the underdog have a go so I'm really disappointed that this is what they've chosen to release. It's easy to say that we shouldn't write it off based on this footage but this close to the release of the other camera it would have been better to release no footage than release this. Better to keep quiet and have people suspect the footage from your new camera may not be all that than to open a YouTube channel and confirm it, as Mark Twain would've put it

I keep seeing this repeated, yet no actual proof. Source? Thom Hogan lays out a pretty convincing argument for that being the case, he's well plugged into Nikon-land. It has the Sony DR jump at ISO 400, similar to the bump Sony's see at 640, but with a base ISO lower than Sony's 100. Until Chipworks does a teardown and analyzes the sensor, or another camera comes out with the same sensor, we won't know. Chris

Agreed. The video above comparing it to the Titla, I'm surprised at how big it is. It looks like a great setup - especially if your camera works with the focus knob. There's definitely a market for a smaller version with a less payload capacity, this is complete overkill for virtually any mirrorless setup. Chris

Or Cinema DNG 1:4 which is opensource as well. Would bypass the horrible (probably the worst I've seen in years) processing as well.

Indeed the main customer for this camera is surely vlogger/youtuber/street photographer and do they need a fast aperture or 200mm? Hmm. I'll let Sony figure it out.

Interesting. Seems he was going all out to do it indy style ?

DJI slowed down a bit this year, the new Phantom is kind of a disappointment, and they are not changing their tiny sensors in their smaller drones. Which is not great for us. 1" Mavic Pro type of drone is my dream.

You are right I was thinking of the uncompressed RAW.

I couldn't agree more. These are the very first samples from the camera. They seem to have neither log nor any flat profile, and the fact that the CEO is playing with the football in the video (which incidentally nobody else seemed to notice) seems to indicate how casual and informal (non final) the nature of this video is. I am not completely sure about these figures. What are the flavours of RAW that you are referring to? Blackmagic itself has 3 flavours on the BMPCC4k. So it basically would depend on the kind of flavour of RAW.

Thanks for the feedback. I ended up ordering the 55w bicoloured Boltzen with the Wi-Fi accessory. The fan noise seems tolerable, and with ~3500lumen output in both ends of the colour scale, I feel like it has a lot more use-cases than the Aputure

I think this is going to sell really well, but I also feel like there's going to be a ton on the used market as people don't realize how heavy it's going feel. If you need the payload and balancing capabilities then you probably know what you're getting into, but I'm betting lots of people using smaller setups are going to buy in to it, only to realize that they don't actually need a 4lb unit to balance their 2.5lb setups. I hope this thing actually gets smooth motion, because there are so many bad ronin clips out there. I'm astounded that people still rave about DJI.

Yeah, the EVO is already a joke. Autel made big statement at the CES (one inch sensor) and now we have the usual tiny sensor. I understand this model might be pre-prod but the horizon drift and props in view is all over the place. Doesn't look promising. By the time Autel deliver this drone, DJI will release the Mavic Pro II or something else. Autel will have a sub-mavic pro an no choice but to cut the price and the margin. Not very good to do serious R&D work.

I like the M50 footage better. Pretty damn impressive for the money.

@DaveAltizer first thanks for the test and on my phone, the matching looked pretty damn close... I was actually surprised by how good the M50 looked compared to the 1DC. I’d love to see a little more of an artistic test with a little grading... maybe by using Cinestyle or eoshd-log or Prolost Flat. And finally, although I understand the point of RS stress tests, sometimes I end up chuckling because nobody would ever shoot that way in real life... even with a whip pan. So if you do another test, I’d love to see how it looks with a slow pan and a slider shot. Also, I’d love to see some 1080p and DPAF?

I did some tests comparing my 1DC to the M50 in 4K. In the video, you can see that the 1DC in 4K actually has better rolling shutter performance. Also, to my eye...the 1DC has an advantage in overall image quality. More richness and color information in the files. It also seems a bit sharper as well. HOWEVER, with a speed booster, the M50's 4K is usable, and if anything, will serve as an excellent B camera for interviews. The rolling shutter in 4K is probably so bad that I wouldn't recommend it for gimbal shots. But as you can see in the test, using the FCPX rolling shutter fix plugin, it stabilizes it fairly well. I'm hoping a true full frame 4k mirrorless camera comes from Canon soon!

Maybe to try first with some dumb adapter? Try also behavior in regarding to f value... I'd rather say that problem is with lens.

And the large depth of field from the small sensor is an absolute boon when you need to keep the background magic trick in focus.

More classics from David -

@JeremyDulac @deezid Wow guys, this is so much better Why the heck isn't this the default?

Nice, but to be honest, in Davinci is a lot easier and accurate, you just need to include in each shoot something white at the beginning, I use to start shooting a white card and then continue with the shoot....

nevermind/ let me put a point on this: @jonpais is a raging jerk. hes deleted my posts and threads. i think he needs some time off from the forum @John Brawley, had a fit over the word "sissy", which infuriates me. in America that isnt "hate speech", you act like he said fa**ot. /thats it

That's just Nikon trying to sell you modern lenses.

The left have become a bunch of whiny, pearl-clutching Victorians. They've gone completely off the deep end with the offense culture and all the divisive race-baiting and reverse sexism/racism. Hillary was the last time I vote with them. Glad we still have a few brave people like Kanye and von Trier who truly don't give a fuck, but they are few and far between.