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@jonpais Can't you tell when a lot of people on here have had enough of your condescending bullshit and know-it-all attitude with nothing to show for?

If you dont need IBIS or the extra stop or so in stills on the Sony .. i don't think you'll miss it much.... i was genuinly happy to sell my A7s. Videowise, i think xt3 in eterna will actually better the blackmagic in everyway other than the extreme grading options of raw.

F4 on full frame is pretty good tbh, for most situations. Especially when you can use 6400 and 12800 iso.

Camera : Blackmagic Pocket Cinema Camera 4K Shooting Format : 4:1 RAW at DCI 4K resolution 25P. ISO 800-2500 Shooting Frame Rate : DCI 4K 50fps Lens : Metabone Speedbooster 0.71xl EF to M 4/3 Lens : LOMO Petzval 58mm ART Lens. Editing :Natively in RAW with DaVinci Resolve Studio 15 Grading : DaVinci Resolve Studio 15

Yeah other than DoF control Needing a fast lens for low light is a thing of the past anymore with most newer cameras. And even f 4.0 is not too shabby on a FF camera DoF wise. Why haul around a heavy big lens unless you are doing some damn specific shots. And then you need to be on a tripod locked off to ensure it is in focus to hit the mark. You aren't hand holding a f 0.95 lens and hoping it gets the shot! Also you would have to be in a coal mine or have ND's to stay with the 180 rule. But nobody ever said video was cheap or easy to do. ?

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

Yes - colors and how the image looks are so much more important than specs. I used a canon c200 which used an 8 bit codec when recording mp4 and the 8 bit codec looked better than most cameras. In deciding which camera I want, the thing I kept going back to was color and feel and so far all the footage I have seen with the xt-3 looks better than the pocket 4k, GH5/s, or any Sony series camera. Add the fact that it takes great stills as well and THAT is the reason why I am contemplating selling my Sony gear. Specs are specs, but how does the footage look, is whats important to me.

Unless they do a large redo of their color science I'll stay with Fuji.

Yes, APS-c dominates thanks to casual shooters buying cheap plastic DSLR kits, but that's still mostly CaNikon. Fuji is a small niche brand with very little in terms of retail presence. CaNikon is literally everywhere, and that visibility is a large part of the reason they own ~75% of the market. Olympus is in the same boat, no real visibility to casual shooters. Fuji's race to the bottom with multiple low margin entry level bodies that undercut their top models isn't a sound strategy either. Like m43, they rely on basically one sensor to cover the entire range, so there's no difference in IQ between models. Casual shooters don't care about 10-bit and 60p, things like AF and ease of use are the driving factors in the entry segment. I like what the XT3 offers, but I'll wait for the inevitable XT30 that gives me the same spec for 1/2 the price. The Tamron 28-75/2.8 is lighter than my 16-55/2.8, and combined with the a7III its a much better low light combo. My 28/2 and 85/1.8 aren't larger than Fuji equivalents like the 23/1.4 and 56/1.2 - and no Fuji can get you 42-45mp like current FF offerings. You don't have to use F/1.4 primes and 2.8 zooms, to get the equivalent image with FF you can easily just go with f/1.8/2 primes and f/4 zooms to stay smaller and lighter. Same applies when comparing to m43, and that's the problem m43 is battling on the high end, cheap FF glass combined with the larger sensor gets you better IQ in a comparably sized/priced package. M43 has the small size advantage with the tiny primes and smaller zooms, at the cost of light gathering and ugly noise with higher ISO's. Pick your poison. Chris

One of the biggest advantage of Full Frame for me is that you can use those super versatile F4 zoom on your camera for 99% of the shots. I intend to get the 24-70 F4 which will cover 80-90% of normal use when you counter in APSC mode. Something like the 24-120 Nikon would be a 24-180 with the Apsc mode and would cover 99% of my need for reportage shooting. The big advantage is that F4 on a full frame is like f 2.8 35mm cinema dof, so you still have plenty of shallow DOF. The second advantage is shooting in LOG format which is generally 800 ISO. To get proper ND to shoot at these high ISO during daytime is very very costly. You would need to close down your aperture again to at least F4 and F5.6 and the Full frame would again get you better DOF control. Nice, thats the guy who did Nikon music video, shoulder rest rig, no stab. What I like is the rack focus in some of those shots, very organic. Nice

Yeah a 50mm equivalent isnt very popular

Sounds great, but don’t forget an ice maker. It’s unlikely you’ll see a cinema camera with IBIS. The closest you will get is the GH5. It’s getting an AF update, so you may be set. I’ve seen some amazing work done with the XC10, so you may have what you need already. Or you could grab a GX10 for 4K 60p at a more manageable data rate with DPAF. Add an M50 to your kit with the 22mm and you can have the best of both worlds. The M50 for close ups and the GX10 for everything else.

Some of the film simulations are made to produce waxy skin. They dialed it down after many raised their voices about it. But it‘s not a bug it‘s a feature. Fuji cameras are very popular in parts of asia and waxy skin there is often what people, especially young females, are looking for. of course it would be best if it were a menu option

XLRs, variable ND, bringing out some key functionality onto switches to mimic camcorder ergonomics (switchable ISO and White Balance for example), a handgrip with thumbstick control of aperture, rec start and clear image zoom, power pack for longer run time and cooler running. And some other bits....... All contained in an outer case to make it look integrated. I will incorporate a special anti RS function which will shut the camera down if someone attempts to do a whip pan of a moving train.

Without mention, daylight. C'mon, we are not all vampires LOL : -)

I own the camera and haven't seen any ”waxiness” yet, and trust me, I was concerned about this with the X-T2. Maybe you don't know how to operate the camera properly?

And that not everyone is a wedding videographer. That's the one thing about this forum sometimes: people always assume that you're either doing totally run and gun stuff with no ability to light or prep, or that you're a Hollywood production with resources for days...not realizing that there is a whole freaking world of middle ground in between where most actual work happens. In those cases, spending a couple hundred to rent some lights, a truck, or an owner-operator gaffer/DP (like me) makes a way, way bigger difference than two different modern mirrorless cameras. Ditto art design, hair and makeup, location scouting, support gear, etc. Even student productions I've worked on in the Midwest can find the money to buy or rent who/what they need for a few days if they're half smart. So to act like that's only the domain of people who lounge in beanbag chairs full of hundreds with Steven Spielberg is wildly off base. On topic: great video. M18s are so versatile, and backlighting through smoke is ALWAYS money. The music itself, not my thing, but works well with the imagery.

An interesting read: http://www.focuspulling.com/bmpcc4k-learning/ For example, "Bob insists that the Pocket 4K’s sensor is not the same manufacturing part as the one in the GH5S", Bob being Bob Caniglia of Blackmagic Design. Also, on P4K ("Quattro Kappa" for Italians) memory cards and SSD, USB-C variants, audio XLR and 4 mics on the camera, bluetooth remote control, Extended Video, dual ISO, shutter angle vs. speed, window(ed) shooting, etc.

I noticed some very interesting developments in the last few months. From 43rumors.com https://www.43rumors.com/panasonic-says-olympus-did-not-share-their-same-full-frame-vision/ "Lesnumeriques interviewed Panasonic manager Yosuke Yamane and these are some of they info: • Eight years ago Panasonic had the idea to go Full Frame but at the time there were technical and commercial challenges • Two years ago they started to look for an alliance around a Full Frame platform. At the beginning of 2018 they approached Leica and Sigma. • Why is Olympus not on board with this? Yosuke said “we do not really have the same vision. Our directions ARE DIFFERENT NOW, 'ON THIS FORMAT' (Capital added)“ • The new AI autofocus system works on the question of “where to focus”. For example we use deep learning to track flying birds or human eyes • Panasonic has abandoned the smart phone project and there will be no follow-up of the CM1 (here on Amazon). • Panasonic does not think the smart phone market is a threat for MFT" And https://www.43rumors.com/the-seven-full-frame-lenses-patented-so-far-by-olympus/#disqus_thread "I went through all the most recent Olympus patents. Here I recap the seven Full Frame lens designs patented by Olympus in 2016-2017. • 17mm f/1.4 • 20mm f/1.4 • 24mm f/1.4 • 28mm f/1.4 • 28mm f/2.0 • 35mm f/1.4 • 50mm f/.4 It might be that Olympus is just playing with the idea to go Full Frame but never actually will do the step into making a real product." There appear to be too many things wrt to what roadmap Olympus is on. From the 2 posts above, from 43rumors above, it appears that: 1. Olympus has patented 7 Full Frame lenses upto 2017, meaning these were in development atleast 2-3 years before that. So it's almost 5 years since now, that the Olympus Full Frame project has been in effect. Since Olympus doesn't make lenses for other manufactureres outside the M43 system, these lenses were, therefore for its own FF system. One of those lens patents also mentioned various technical aspects like DRAM built into the lense (WHICH I thought wad pretty interesting). 2. "OUR DIRECTIONS ARE DIFFERENT NOW, ON THIS FORMAT", means Panasonic is Aware that Olympus has a Full Frame roadmap, and that they (Olynpus) were unconvinced about the new L Mount Partnership for whatever reasons (I am guessing it may have to do with mount issues). Panasonic would obviously not have asked for licence fee, and it may not have to do with only full frame sensors being outside consideration for Olympus. 3. If Olympus is indeed on a Full Frame Roadmap, it would have obviously consisted many things including mount size, plane distance etc etc. IBIS would be huge on their list of things to do among other design considerations. If Olympus is INDEED looking to launch a FF Camera system, I hope they get a few partners on board Before they go ahead. They already make some of the best lenses around, and they are the pioneers of IBIS, High Res Image Stitching etc. They would benefit Greatly from collaborating with someone for video. Maybe Blackmagic and they could explore BRAW to outsmart other FF competitors, since neither has anything to lose and a lot to gain from such a collaboration. There are already a plethora of Sony Sensors being used by anyone and everyone (except perhaps Canon), and if Olympus can just Skip 10-bit internal recording and move to well compressed 12-bit internal recording (12:1 BRAW), maybe they could be back with a bang. It's also sad that the 10-year M43 partnership of Panasonic and Olympus has ended before they could decide on a Full Frame Camera (mount) Format.

I am betting the features will be slightly better. They have to stay competitive.

10bit could be huge for the xt3 though, as banding can be a real issue with the xt2/xh1. Colour, even at 4:2:0 is already very strong... I'd much prefer no banding over (even) better 4:2:2 colour. Though hopefully they'll add both after the xh2 drops

Does anyone know a smart way to mount this to the X-T3? Anker PowerCore+ 26800 PD According to Fuji, it should give you 400 mins of 4K60 recording time, compared to 40 mins with the battery.

If it is an XT3 but with IBIS it would be interesting. Then after that the A7S III will be same but FF ..

I would say the main benefit of the Sony is clean high iso's in video and jpegs. I think you'll be happy with Fuji based on what you said. I haven't had a chance to play with Flog on the Fuji, but BM P4K is really impressive. It really blew the GH5's vlog out of the water in terms of highlight and shadow detail. I mean 14 bit raw is hard to beat. That said for me its the choice between the XT3, BMP4K, and the GH5S. Fuji wins it for me. The auto focus alone puts it above the other two. 10bit log is all I really need.

My EF to Fuji AF speedbooster has arrived Will hopefully be testing on a real gig this week. Otherwise it will be around the house and a road trip this upcoming weekend.

That was great. You guys have surprisingly good chemistry. But where is the video version?

I don't even think of camera purchases as buying anymore, just long term rentals. I bought the 5DIII used for about £1200, used it on various jobs and sold it for £900... Rental price for one year, £300. The headache only really comes when you are investing in glass too.... I'm now content with Fuji, so have started building up my glass collection. If the guy is not content with his gear, then why not change? There is usually something more than just gear lust driving a change like that.

Won’t happen. Some will lie and give you an answer on how they agree and want a camera that can last them for years and years, etc. Not me! I don’t mind selling bodies or lenses and exploring, I have no horse in this race, don’t get paid for it, and love technology. It’s a hobby and regardless of the gear - I still go out and shoot. Not saying you are wrong by any means - in fact you’re right. But I love this arms race, shit, I might switch another 5 times for all I know. I know, it sounds ridiculous, but I like gear and exploring.

To be honest, I really prefer my 58/2 Helios over 50/1.8 Sony. Maybe it's just 8mm, but it feels much more natural to me.

That's what I said. A 50mm equivalent isn't popular. Its not like the most sold prime focal length or anything

Hows this for af.

Cheers man. It was great fun! I'll be in touch about more stuff and ideas. I wonder if Dan will sell me his anamorphic. Surely he needs to get rid of some of those 300 lenses of his?

Completely OT but I was travelling through the US with a couple of friends in wheelchairs and when they got whisked off to a separate line for TSA I got accidentally left with their carry on bag which contained the disconnected hand controller for the electric wheelchair that they checked. Not only did it raise some eyebrows going through the scanner, but the all-metal clip in tray table also in the bag wouldn't have helped either. "Sir, is this your bag?" <choose words carefully > "Err, that one is with me...."

Certain a show highlight. There will be a whole article coming with that in. Berlin airport security - "What is this hand-made device with wires?" You... "It's a wireless trigger!" *Airport security stares even more suspiciously*

Can't believe you didn't give a mention to my Improvised Lens Device as one of the show highlights Incidentally, it did get pulled by airport security on the way out of Berlin yesterday !

+2 We'll see huge consolidation and what happens now will decide who will be the new Canon and who will be the new Pentax in 5 years. The reasons that I think the third category is small-screen and enthusiast content is that more and more people are producing video content for online and many of those will need multiple cameras for interviews, and even if you can use your phone for one of them you're probably not going to buy two other phones for the other two angles, although you might just use last year's and the year before that. Everyone wants a wedding video, an engagement video, there are now clandestine proposal videos being shot by photographers hiding in bushes nearby (I kid you not) and this trend will continue as the first world economies change from manufacturing to services economies. Social media and human vanity and sentimentality aren't going away. The other segment of this market is cashed-up enthusiasts. Every office building has a dozen or more people who own a 5D and 24-70 F4, not because it's got the FF look, not for the low light, but because they earn 100K a year, like photos and want "the best" or "what the pros use". It will take a long time for the answer to those criteria to be "use your phone". Don't forget that photography is an art that people think comes from the camera. "That's a lovely photo, you must have a great camera". This alone might be Canons entire profit margin - selling the same camera that took the lovely picture to the person that wants to buy the ability to take similar ones on holiday or at the park.

Although the last time I locked myself out of my home and needed to text my wife I was pleased I didn’t rely on my Sony rx100...

+1 I am on holiday in France at present & the other day we visited Mont-St-Michel. I decided that I didn't want to lug my Sony RX10IV up the steep streets so took my Sony RX100VI (which I use most of the time anyway unless I really need the RX10's 24-600mm FF equivalent zoom lens). Towards the end of the visit the battery ran out & had left spares in the car so I was reduced to using my iPhone 6s Plus. When I got back I uploaded my images I was surprised how well the quality of the iPhone photos & video held up. It's a bummer to have a single fixed lens instead of a zoom but TBH for snapshots as mementos I can see why the vast majority of people find their smartphone is good enough. I can't see how all these companies producing $2K+ FF cameras with $2K+ monstrous lenses can possibly make a profit. I gave up FF when I gave up shooting professionally. I have been happy with Sony 1" RX series bridge cameras for the last few years. I might be tempted with a MFT as I miss ultra wide angle & fisheye but it would need to be small. My ideal camera at present would be an OM-D EM5 with the EM1 II sensor & 4K video. The G9, GH5 & OM-D EM-1 II are great cameras but are getting to be FF size. In which case I would prefer an A7III or a Z6 or some other FF mirrorless instead of a big & heavy M43.

I don't care what most of them do. Some of them are going to be screwed. There is no room for all these camera company's anymore. Just about all of them now have the same stuff in them, and what is missing is of no real concern to 99% of the people in the world. Sure we want 10 bit, 98% of the people don't even know what the hell that means. I have no clue how they are Ever going to sell all this stuff, or even who the hell needs most of what is in them. Like everyone is going to buy Resolve and edit all their stuff, and Vlog? Their phone does all most every thing they need. These camera company's are living on borrowed time in a dream world.

Boy that person got their money's worth out of that slider and zoom lens. Christ I need Daramamine!

Thank you so much Andrew for having me on the show! It was such a blast hanging out and chatting about gear. The four hour beer and dinner bickering between you and Dan Chung was the highlight of my week!

You can't get rid of the waxiness as well as lack of definition and texture of skin, while you can easily fix colors in post. Astia Inter frame NR: OFF Lowered highlights a tiny bit Brightened shadows a tiny bit Sharpening -4 NR: -4 (F-log showed the same issue) The Sony was running my custom profile using Still gamma and Pro color mode and some other tweaks. Guess which camera looked better.

Not really. At least they got more light. F/4 is slow, and not bokelicious. And it is still heavy and big because it's FF. Really, I don't see the point of F/4 on FF. Try the 28-75mm 2.8 tamron on A7III. With video APSC crop it goes to 105mm as well, it's cheaper, better, faster, lighter. And to have equivalent DoF on M43 you would need a 14-35 F1.4 !! Which does not exist. Here you have the real advantage of FF. Not with a garbage 24-70mm F4. I would rather have a GH5 with 12-35mm 2.8 then. More light, way lighter... almost same DoF

So what you are saying is that it isn't even good enough to buy and return?

Tried the X-T3 at photokina. Not impressed. Recorded some footage on my SD card in the new 400mbps intraframe codec. Turned noise reduction, sharpening as well as inter frame noise reduction completely off. In both Astia and F-log faces and even textiles look like a paintbrush was applied. Faces look horrible and lifeless and waxy as well. Both my GH5 and A7III looked way better and more natural in comparison... Well, will wait for the BM Pocket 4K then.

You’re misreading what I wrote. I expressed the opinion that I see a sentiment that Olympus is somehow doomed because they haven’t launched a 135 system. I see the notion that all one needs is an A7 or a Z6 because if you put a small lens on it’s a small camera. It surprises me that you haven’t noticed this in comments sections everywhere. It’s true it’s less of a problem here since this is a video-centric forum where sensor size is discussed differently. I have no idea why you took it personally or even why you think I was talking about this forum? 135 is clearly a trend in 2018. I didn’t claim 135 as such would disappear, merely the sentiment that it is the end all format will change. That was my main point. Besides, I don’t understand what reasons you have for your fucked up attitude, that I witness again and again on this forum, but I hope your day gets better and that you find a more constructive place to deal with your frustrations.

Relative to bigger budget movies which have a craft's good budget just of itself which would be many times larger, then yeah, $50K is a "no budget feature film"

As mentioned in the video - Panasonic GH5 / GH5s / G9 AF guide Link

Are you mostly shooting real estate (like me)??? If so, have you checked out Matt Rosendahl's work with the a7 III? https://www.youtube.com/channel/UCoKNd-cLR8u2C2zXh4A696g He's using the a7 III and the 16-35 f/4 on a (rather expensive) Movi M5 Gimbal. His results are pretty impressive: Anyway, if you are mostly shooting real estate (like me) it just MIGHT be the best hybrid camera for RE until the Z6 is actually available in the real world. Of course, the new Panasonic FF might be better so there you have it, and there is supposed to be a new Sony APS-C camera releasing soon, so there is that. I think the Tamron 28-75 is kind of a game changer for us people who liked Sony but were dismayed by the lens selection and pricing.

I think it's clog3 that has a higher black point. I found the c200 noisier in the shadows than the UMP! At 800 ASA - was not expecting that. Thanks - yes Canon is much more green. I think yes still UMP has that magenta feel - which isn't bad - but yes also agree UMP has more gradients so much dimensions on the face and secondary highlights and all that - so the image feels more organic yes they both do good things - the c200 is smoother - but yea lacks the three dimensional quality.