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I feel like there is a crowd for these videos here. Apologies for the shameless self promotion though.

EOSHD testing finds Canon EOS R5 overheating to be fake, with artificial timers deployed to lock out video mode. In this test, we will probe my Canon EOS R5’s actual internal temperature in Celsius, as reported by the firmware. This week CDA-TEK and I are developing an Android app for the Canon EOS R5, which connects to the camera via the Canon API... Please read the rest of the article on the blog carefully before commenting below

I'm here if you need to talk.

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

Hello to everyone on the forum! A Merry Christmas from me! I hope you're looking forward to having a good break over the holidays and are ready to welcome in 2022. Talking of holidays - I have been having a break from EOSHD for a few months. I went and sat on a hill and finally had time to reflect on my work which is this blog and the community around it. The last video had a lot of support, it's made me really appreciate what I have in a more positive light. I'm mega appreciative of the people who took the time to say how EOSHD has helped them over the years and that they want it to continue. So that's what we'll do! EOSHD is back. Read the full blog post here

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work. Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa. After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts The PowerGrade At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do. Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT. The LUTs Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form. One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped. With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0. Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on. Comparisons Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Looking at recent posts objectively, it is always the same users who end a perfectly good discussion on this forum with toxic bullshit. I am coming after you. It is a cull. It isn't about politics. It's about values! To protect a community I love... I have no choice. To be clear, it is none of my business which way you vote. What matters is behaviour, character, values. If you've been a good contributor here and kind to people you get to stay. If not, then you are going to be asked to leave and I will pursue people who return under a different name. This is purely because there are now far too many posts being trashed and too much arguing driven by people with the wrong values which I despise. I am going to use this week to draw up a list of people who strongly align themselves with Trump's politics of America First. And I will be getting rid of the lot of you. Yes you can say it's a political purge but I prefer to think of it as purely about values and about protecting users who DO contribute positively to the forum. If these idiots are allowed to get away with bringing Trump idolising bullshit into this community then all our work will be for nothing and Russia with their fake-user farms will have won too, because I am 99% sure at least a few of the idiots are completely made-up shill users whose role is to divide us politically and weaken our online communities. At a time when we must pull together as a camera-community, as filmmaking industry, even as a country, indeed as a world - to get through tough economic times ahead - dumb arguments which ignore factual data are a waste of time. What has happened to the world in recent weeks is stressful enough and I personally do not need to hear from certain people in every thread. I will not be providing a platform for Red cap wearing idiots who haven't contributed a single shot or image to this forum. I get that EOSHD has a big US readership, in fact the US contribution to my site is the largest in the world and I want to keep as many of you as possible and not lose any friends who just happen to disagree with me on politics. But if you are going to be a shill for Trump's politics or somebody who is a complete shit-stirrer and troll, then I will no longer be turning a blind eye to it and the cull starts now... Have fun on your way out.

We shot this as a two man crew over two weeks in Georgia. Was a whirlwind shoot driving up mountains to track down nomadic sheep herders and trying to get access to shoot in Orthodox churches and dance clubs. This is what we came up with.. would love to hear what everyone thinks.. we took a different direction on this piece than we normally do.

Stuck at home like many, so I made my daughter the actor and my wife the grip and script supervisor What have you all been up to during these strange times?

The small hole is actually to reduce the amount of material required, thus saving 0.23 cents/unit on manufacturing costs. It's the compromise they made in order to afford the 24p license.

"Pocket 4K footage is precisely transformed to match the color science of the Arri Alexa, without compromise. This is achieved without artifacts, while introducing a smooth, organic rolloff." For the better part of the last year, I've been working to map the color of P4K BMDFilm to match my Alexa's LogC, as measured under sunlight and halogen. To do this, I wrote an interpolation program in C++ that can accept an enormous amount of data (~40k samples per camera), and interpolate smooth internal contours, or 'waves' between them. Exposure compensation conversions were made with the same interpolation engine (transforms replicating sensor color response with variant exposure). Another significant element of the project was to recreate Arri's Rec709 to maintain the entirety of recorded LogC gamut, in a film-derived envelope (for the display variations). This was particularly difficult, as the correct RGB primary behavior needed to be exactly replicated within contiguous 709, but smoothly diverge to HDR-like handling of far gamut (where Arri's Rec709 ends). This new envelope (EC Gen.4) is particularly impressive, and I may release it for the Arri, as it is significantly preferable to normal Arri Rec709. P4Ka PDF Emotive Color

So i said i'd post some stills, these are basically ungraded. This frame is in a sequence with car lights, i like the tonality of this very subdued moment. Shot 12bit to manage shadow tonality. From a different point above. All shot on a 50mm M Summicron probably wide open. I think i hit the saturation slider here in Resolve. But this had car rolling over camera. It's a 21mm CV lens and i see some CA aberrations from the lens that i would deal with in post. But i'd never let a car run over a Red! shot on an 85mm APO off a monopod. Nice tonality again and it's day light from windows with some small panel lights bouncing and filling in A reverse of the above. Some fun shots. I think the true benefit of something like the fp is the speed at which you can see something and grab it. Using it just with an SSD plugged in and manual M lenses gives a more spontaneous feel. Now most of the film will be shot on Red, in controlled conditions with a crew and that's the right approach for multiple dialogue scenes and careful blocking. But the fp has it's place and i may hand it too someone and just say grab stuff. cheers Paul

Here's a little video that I put together for those green chair shots.

i feel like im starting to get the hang of this filmmaking thing, for the first time, with the project im doing right now i dunno how i couldve gotten this far without andrew, eoshd, and all u guys on this board helping me, and answering my stupid questions it means a lot i just want u all 2 kno ? thank you

Is amazing. I love it. Never going back to RED unless I’m forced to by a client. Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

Well, its been a while and its changed quite a bit.... But this is your official 7 day countdown for pre-orders opening on 12/12/19. As the festive season is approaching then in true advent calendar style, open this thread every day for more stuff. PBC Tease 1.mp4

I finally released my last feature in streaming. It's now on Amazon's Prime Video here: https://www.amazon.com/dp/B07ZHRZ782 It's a Drama/vengance/thiller type I little bit of history with this. I started to shot this film in the end of 2013 (yes almost 7 years). It took almost 3 years in production. It was shot with a couple of Nikons DSLRs and Super 16mm film. Since it's first screening in the Mar Del Plata International Film Festival in 2016, the film was going around thru some festivals and other screenings. It finally got a theatrical release locally (Argentina) in march this year. It's preaty hard to get distribution to some "kind" of movies. As you can see, this is a very looong process when you are a "newcomer" in the business, but you just to keep pushing. I still have in plan try to reach some other platforms. Only time will tell.

AFX is the long overdue focus control expansion option for our PBC system for BM Pocket4K/6K cameras. With AFX and its included handheld remote you can control manual focus of MFT/EF lenses but also operate our newly created Single and Continuous AF modes for the camera. These new AF-S/C modes are made possible by the AFX’s integral ToF sensor which constantly measures object distance from the camera. As well as allowing you to control focus using the thumbstick and AF-S/C switching, the handheld remote also enables you to map any of the camera controls such as ISO/Aperture/WB etc to five of its hardware switches as well as being able to toggle Record Start/Stop from one of its two finger trigger buttons. All communication between the AFX, the handheld controller, the PBC and the camera are performed wirelessly and, as with the PBC, the AFX runs from its own internal battery or USB. The AFX will be priced at €199 (plus the cost of the PBC for new adopters) and pre-orders begin next month. Here are some basic examples of the AFX in manual focus, Single and Continuous AF modes. In AF-S mode, current focus is held until you press the trigger button so is equivalent to half shutter press/Back Focus Button on a regular (D)SLR or mirrorless. More to follow as the pre-order date approaches.

Yep, it's not EOSHD that's the problem it's me! I need to get my enthusiasm back. It's been a tough time. Thanks for the comments guys, it is helping me figure things out a lot.

Here are some frame grabs from my first feature length film Bad Decisions. I started on the GH4, then shot some scenes on the GH5. I will finish this next year with the S5 and S1H if COVID-19 doesn't turn into COVID-20. 😬 I'm probably going to go straight to Amazon Prime. My budget thus far has been $10K and I have another $3K or so for the last two scenes. As so many of you know, no ifs, ands or buts about it; filmmaking is fucking hard! This is probably why this is my last one. I've been discouraged so many times that I had pretty much decided to delete the whole film and just quit altogether. But looking at these grabs, and knowing that I lit that, I blocked that, I wrote that, I shot that and I directed that gives me the courage to complete what I've started. It would be nice if I break even, but even if I don't, I can say that "Hey, I did that!" And boy I didn't do that alone! I had so much help from friends, family and complete strangers that it's too much to even count! They were angels, there just when I needed them, and for not a moment longer, There was one scene, that I was shooting straight guerrilla style. I needed to shoot on three city blocks at night, and I had to light it, and there was a gun scene that kinda made me nervous for the safety of the cast and crew. We have no permit process in my city, so I went to the police department, and explained what I was doing that night, and they were like "Ok". As soon as it got dark around cast and crew call time was at 6pm. We went to the neighbors houses and let them know what we were doing. We started blocking, and laying down markers for lights tripods and actors. It got dark at 9pm, and we started shooting. We were shooting in moving cars, had special effects, and every scene was lit. We even faked a window getting shot out. We wrapped that scene at 5am the next day, right before the sun came up. Do you know for the entire time we were shooting, not a single car drove up any block visible? It's like we rented 100 homes, paid everyone to stay inside and blocked off the area for a 1/4 mile radius! God was most definitely on my side that day, and it was one of the best scenes in the entire film!

This thread details the teardown process, modifications made and some important findings: http://c.tieba.baidu.com/p/6848700307?pn=1 He replaced the two thermal pads that did not fully cover the CPU with a dollop of thermal paste and noticed significantly better and more even heat dissipation. Most important finding: despite the temperature drop and improved heat dissipation, 8K/4K HQ still cut off at 20min mark, suggesting a firmware limit is also in place.

I'd prefer if they released a dedicated cinema camera instead. It's easy to forget that Fuji has over a half century of experience making motion picture stocks. They were Kodak's main competition. Their Vivida daylight stocks were gorgeous. Deep rich colors and solid velvety blacks with warm lovely skin tones. Sadly, they no longer produce film stock, but bringing that look and feel to a digital cinema camera would be an amazing coda to that legacy. I also think that Fuji's ergonomic sense work translate very well to a video camera. They have a charming analog feel to all their cameras, which is something that is sorely missing from most low cost video cameras today.

In light of the recent arguments on EOSHD I thought it'd be cool to think about how awesome it is to be a filmmaker/videographer in 2019 going into 2020. We don't have to settle for crappy 8 bit anymore on anything less than $5000, we even have multiple cameras that shoot compressed raw and/or ProRes for less than $2.5K! We have lenses from 3rd party makers that not only don't suck but are better in some cases. Wireless monitoring and follow focuses are affordable now!? What!? Our options for post are incredible, too - We have Final Cut and Resolve that are rock solid and Adobe... Adobe sometimes doesn't crash now! ? Frame.io and Vimeo review help make working remotely way less frustrating We get to bash Canon while shooting on Fuji/Sony/Nikon/Blackmagic instead of bashing them because we have no other choice And on top of that all we have places like here where we get to talk about it all and get help and share our sometimes very strong opinions ? I hope you guys see my sarcasm where I sprinkled it in. I encourage you to go ahead and post what you're grateful for:

I remember @Emanuel raising the possibility of using Micro Four Thirds glass on Fuji cameras. Well I asked RAF Camera to make a prototype for EOSHD and here it is. So in past year I have been experimenting with a lot of M43 glass on the Super 35mm sensor of the Fuji X series cameras. We see beyond the usual 2x crop image circle! Here's what I found: - X-T4 has a Micro Four Thirds 2x crop mode in the menus. So you can use anything on that, basically. - The adapter doesn't have any electronics capabilities (maybe later?) so I have only been trying manual focus lenses - Voigtlander super fast F0.95 primes look lovely on a Fuji! - Some M43 lenses even cover the entire Super 35mm sensor - X-H1 is 1.7x crop in 4K so that works well, as it is closer to the 1.86x crop of the GH2 or multi-aspect sensor Panasonic bodies - The affordable Meike cinema lenses work brilliantly as these are all Super 35mm lenses just different mounts (they come in Fuji X-mount versions and Micro Four Thirds, with same optics for both) - SLR Magic stuff very tasty with it especially on the X-T4 in 2x crop mode - Focus to infinity is fine (sometimes slightly over even) So I am wondering, how much interest would there be in an EOSHD branded adapter for Fuji X cameras, that enables you to use Micro Four Thirds glass? This is the only adapter in the world of this type. I have been wondering how many of you have both Micro Four Thirds mount glass and Fuji cameras, maybe you switched but didn't sell all your GH5 lenses? Maybe you are just curious to turn your X-T4 into a GH6? Or interested to discover the unique images made from one of your exotic Micro Four Thirds mount lens on an X-H2S? Also rather than buy separate lenses for Fuji and Panasonic you can use one set on both systems (as in Meike 25mm T2.2 for instance!) If there is enough interest in the adapter I'll put RAF on notice and finally start that Indiegogo up!

some stills from a new short i dp’d. Still ungraded, some still need to be cropped a bit.

Another year over and what a shit one it was, to be quite frank about it. We all deserve a bit of peace and happiness at Christmas after this, to get our spirits up so that's my hope for all of you - have a good one, and cheers for your EOSHD-ing all year through thick and thin, keep the passion and let's keep our heads above water! And I hope all your front rooms look as great as this...

I am indeed! I meant to thank bloggers (including Andrew specifically) for bringing the issue of overheating up so much. The pressure about the timer nonsense forced Canon to change the way the camera monitors temperatures, which is the reason the mod works at all.

I'd like to hear from Tilta as well as Canon. If my fridge doesn't cool the camera externally what does their fan do differently? Canon said officially: "Use an external fan to dissipate heat" Well I used an external fridge to dissipate heat and it made no fucking difference.

Let's get this thing started then. Here's my entry. All hand held and in natural light (except for one shot, no points for guessing which one) Filmed in less than an hour, paid for by a beaming little face when the finished project was ready to watch.

We shot this over a few days in Canada on the Panasonic S1 and Mavic pro 2. Honestly I can't be happier with the S1. Having shot on the A7iii and the A7sii for the past years the S1 is quite an advance in image quality. There is so much latitude in post and the dynamic range is really great in comparison.

I'm afraid the only one looking like an idiot is the person who claims to have opened a factory after he got a tour at a plant that has been running for years. Couldn't invent it. Who needs comedians when we have trump?

4000 very clean, barely any noise at all. 12,800 is fine. Better than the A7S II 25,600 is ok. If all camera reviews had to wait for the A7S III, you would not be getting any reviews at all.

Can't speak for Ed but I'm fine thanks mate, just been a bit busy writing some code to contribute further.

Blackmagic Micro Cinema Camera Super Guide and Why it Still Matters Today The Blackmagic Micro Cinema Camera was released in 2012. At the rate that cameras are being announced these days, that’s a century ago in the consumer/prosumer world. The camera was released with very little fanfare as it didn’t have a monitor and was marketed as a great companion to drones, head cams, dash cams, sport cams, etc. Some people rigged it up, but for the most part it wasn’t exactly the most popular camera at the time. Though I keep speaking in past tense, this camera is still available to buy today - though with the Pocket 4k and 6k on the market - it’s very unlikely anybody is buying them. As we enter the most competitive market ever for the low/mid tier videographer and filmmaker, I am here to tell why this small unassuming - and rather ancient by todays standards - camera is special and why it could fit well with some of you. This guide is meant to be a fun way to explore a hidden gem, not to cause a spec war, fanboy war, or any kind of mean spirited debate. It is just an opinion of one person, but something that I have been thinking about doing for awhile. Lets get into. Brief History The Blackmagic Micro Cinema Camera shares the same sensor as it’s older cousin, the Blackmagic Pocket Cinema Camera. A camera that truly revolutionized the filmmaking world, by giving filmmakers that didn’t have the cash to buy expensive cinema gear a camera that had an amazing cinematic and filmic quality to it. Something that wasn’t found in DSLRs at the time with not only the film look, but also specs. The camera could record internal RAW at a price point that was and still is unheard of. But the camera suffered from many issues. The screen was garbage, there was a lot FPN issues, and most notably the battery life was straight up horrible. Batteries would last around 20 minutes and often times much less. The Blackmagic Micro Cinema Camera shares the same sensor as the original pocket. Its’ a sensor created by Fairchild Imaging, with a sensor called the CIS1910F. Fairchild are a company based out of San Jose, CA. They have created several sensors for Blackmagic, but I believe the new sensors of the Pocket 4k/6k are now Sony sensors. The sensor is important in this guide, because thats where the special sauce lies. Blackmagic Micro Differences to Pocket The Blackmagic at first glance seems like a stripped down original Blackmagic pocket. The thing is, it actually cleaned up quite a bit inside the hood. The micro received a new more modern processor, allowing it to clean up some FPN issues and improved rolling shutter. Though not a low light beast, it handles things generally better all the way around compared to the Pocket. When using a monitor, accessing the menus though tedious with its button placement, is much more responsive - where the pocket was a lag fest. Here is where we get to the good stuff. The micro cinema camera on paper and at first glance seems like a bit of a letdown. No monitor? No cold shoe? No handle? Canon Batteries? But, thats because of how Blackmagic marketed it. They didn’t market it like how Red or Zcam do it, which is a modular camera with a build your own adventure way to build it. They didn't even really offer accessories for it. But that is how it needs to be looked at. You get a brain and you need to add accessories, there is no way around it. But building around it is not as daunting as most people make it seem and once you take the step, you really unlock something special. Whats the Point of This and What Makes this Camera Special? I am going to use some overused/misused terminology here to explain how the footage looks and what makes it special. In a current era where modern sensors show every single pore and are mostly made by Sony (with insane modern feats) - there is an organic look about the early Blackmagic cameras (BMMCC, BMPCC, BMCC) that is special and has a very film like look to it, which is what Blackmagic set out to achieve and emulate. This is going back to Fairchild and what they were able to achieve. The look that is ever so popular with almost every young filmmaker and over used on almost every filmmakers youtube titles - which is a ”cinematic or film look”. Yeah, I know, you want to argue its lighting and lenses and actual cinematography skills that achieves that. You are right. But there are still more tangible attributes besides that which can affect the way a video looks. Color science, DR, a soft look, and motion cadence are 4 keys to getting that look. If you can nail all of those, you get a rather easy filmic/cinematic look out the box. And the Blackmagic micro has all of those and is really the last Blackmagic camera to ever use one of those organic sensors that Fairchild brewed up. It’s also the last and only Blackmagic camera that you are able to buy today that has one of those most special sensors every created for its cheap price and accessibility. . It is a hidden gem and footage from the camera are often confused for cameras way out of its league. It’s a look that modern mirrorless cameras don’t often have, at least not without heavy film grain, pro mist filters, vintage glass, added motion blur, etc. What makes this camera special is not on the spec sheet, because 1080p isn’t going to making you excited. It’s not on the paper that will make you go “wow”. It’s simply with the footage. You can throw all the specs you want. The footage of this camera and the fact that it’s still available today new and very cheap used, is the reason for this entire guide. Keys To Rigging You need a cage and an external monitor. There is no way around this. If you don’t purchase or have those, there is no point exploring further. Remember, like I briefly mentioned above - don’t think drone cam or sports cam - think modular RAW capable cinema cam. Smallrig and 8sinn both make cages for it, I have the smallrig and don’t see why you would need anything else. Take your pick with monitor, that is a personal choice, but I prefer something with Sony style NPF batteries. If you only shoot RAW with this camera (which is what I do) - then you can basically set your settings and forget them. I would leave your ISO at 800 and manage your light with your lens aperture and variable ND Filter. There is no need to go into any menus, other than to possibly reformat your memory card. If you do that, you avoid the headache which is the awkward placement on the menu buttons. If you shoot pro-res and you want to constantly change settings (ISO, WB, etc) then you will need to either get used to the buttons or buy a second hand “One Little Remote”. Which is a little add on module that can help you change your cameras settings without menu diving. For battery, you can use canon batteries for about an hour/hour half before it dies. Or choose the best option, which is to buy the NPF bridge (https://www.starvingartist101.com) which allows you to simply attach NPF style batteries to the camera. With this option you can get around 4 hours of battery life on 1 charge or even longer if you opt for the larger style NPF batteries. A monitor most people already have. And if you shoot RAW, which is kind of what makes this camera special and what I recommend using, then you don’t need to menu dive or you can simply use the one little remote. And if you use NPF batteries you now have a cinema camera that doesn’t require v-mount batteries and can shoot RAW video for about 4 hours. All in an insanely small package with amazing footage. I think thats what gets lost with this camera is that people complain about having to rig it up - but a lot of the add ons are either pretty cheap or you already have. The NPF bridge is around 30 bucks. Cage from smallrig is around $80. The monitor you prob already have. You really don’t need the one little remote if you shoot RAW or get used to the menus. Memory Cards If there is one legit complaint, its that newer sandisks memory cards do not work with this camera. Here is the scoop: “Please note that we have discovered an issue with the newer revision of the Sandisk Extreme Pro UHS-I SDXC 95 MB/s cards that begin with the product prefix SDSDXXG. These cards do not work with the following products: 1. Pocket Cinema Camera 2. Micro Cinema Camera 3. Video Assist 4. Video Assist 4K We believe that these new cards have the V30 rating on them. Currently, only Sandisk Extreme Pro UHS-I SDXC 95 MB/s cards that begin with the product prefix SDSDXP are compatible.” Though that sucks, good news is that if you have a sandisk pre 2018, it should work. Also there are non sandisk cards that do work. I have tested this one for example: https://www.amazon.com/gp/product/B00X1406EC/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1 and it works fine and with RAW. It is still something that you should be aware of. I got lucky and all my sandisks work. Speedbooster There is a dedicated speedbooster for this camera in Nikon or Canon variant. Its called Nikon G to BMPCC or Canon EF to BMPCC. There is a “T” version that has minor improvements, especially to the felt material inside. There are other speedboosters for micro four thirds that will work as well. Viltrox speedboosters also work. The difference is that the specific BMPCC version gives you a 0.58x vs x0.71 or higher crop factor. Resolution Let us now address the elephant in the room. This camera does not shoot 4k. If you want a camera that shoots 4k, this is not it, simple as that. But, if you are a person that cares more about the image quality than the resolution, you won’t be disappointed. But lets say you really do want 4k, well, there is another hidden gem that takes this camera one step further. Inside Davinci Resolve is a feature called “superscale” which upscales footage beautifully. And scaled micro cinema footage to UHD/4K looks fantastic. See Rob Ellis' beautiful video on this: Also even if you need 4k for certain projects, this camera should still be in your arsenal. It’s cheap enough where you can have it along side something like a pocket 4k/6k. Again, the footage speaks for itself. IR Cut and Moire I highly recommend using an IR Cut filter with this camera as there is some IR pollution that can affect your image if you dont use one. You can find some for as cheap as 20-30 bucks. There are also some moire filters, like the RAWLITE OLPF, that does IR CUT and reduces moire at the same time. You install this over the sensor and you dont have to worry about using filters, but it's costly. I don’t have too much of an issue with moire - so for most a simple IR Cut filter could be enough. Where to Buy You can still buy these new today. But you can score amazing kits on ebay, craigslist, etc. You can often find one with a one little remote, cage, and even memory cards for under $700. Some will even include a monitor. You can legit get a full kit for $1,000 - including every thing you need to shoot and rig it up. Conclusion (TL;DR) I made this post because I am a junky of sorts. I buy all the new cameras, fall into the hype traps, and have severe GAS. Every camera I have used lately has left me with a “meh” feeling. Except the micro. Specs can be great, some have amazing autofucus or great color. Some have shit color and shit bitrates. Some are great but the lens system and adapting to it are a pain. And some are plain beautiful but are really expensive. The micro has a rare balance of amazing filmic quality, a lens mount that most of us on here are well aware of at this point, fantastic battery life of around 4 hours with NPF batteries, compact size, legit RAW (not BRAW) to internal SD cards instead of expensive cfast or having an SSD hanging from your camera and its cheap. Ridiculously cheap if you buy used. It also has that old blackmagic special look so many of us fell in love with back in the day and in my opinion is lacking today. It is a hidden treasure in the filmmaking world that is still available new at many retailers. I created this to share and possibly open eyes to what is an amazing camera this is and probably the last of its breed. As we enter the resolution wars with sharper, high res videos, we will slowly be leaving behind that soft organic look. If you like shooting older cameras with vintage glass to get that "look" then you can think of this camera the same way. You do it for the look, not for the specs. Bonus: Footage!!! Here is some great content that I believe shows off this camera and what is capable of doing (All the footage from his reel at the start of this video are from the micro)

Matching different cylinders glass from different anamorphic scope is equivalent of a cylindrical Galilean telescope running backwards, finding a match with different systems that meet the afocal condition. Here are few prototypes I put together and some sample shots. I hope you like, thanks! .

New gear is great but if you have nothing to shoot what is the point? I think that sums up the sentiment we've all been through this past year and a half. It's been brutal for a lot of us independent pros. I sold a lot of cine gear and lost a lot of money in the process. Seriously considered leaving the industry as well. Fortunately for me, business has picked up again and that's really all it takes to get excited about shooting. Because for me its really all about shooting, gear is just means to an end. Too much gear can also be a buzzkill. I saw a great video the other day shot with just a G7 and a macro lens. I'm a strong believer in limitations spark creativity. Not just in filmmaking but all creative areas. Its a hard motto to live by these days within a gear-driven industry. Speaking of apple and tech GAS, I had to resist the urge for the third year in a row to get the "pro" model. My phone died so I did cop the iPhone 13 but went with the mini. Love the form factor and my phone will remain just that a phone. Photos & videos shot with it will remain on social media. No ProRes on smartphone for me, oh well. Also thinking about getting the iPad mini, it feels like a Moleskin notebook. I hate big tablets, might as well just use a notebook at that point (also just got the M1 MBA). Just waiting to see how the A15 compares to M1 as I would like to do some basic editing on it and need HEVC support. Anyways I'd be sad to see this place disappear. I haven't been around since the start but it's been an incredible resource and community, even with all the riffraff and drama. I think we all owe Andrew a big thanks no matter the outcome. I don't always agree with his views but at least he has a freaking opinion unlike 99% of the internet shills. As a primarily Canon shooter I also thank him for being so outspoken on the overheat-gate issue that got us solutions and even got Canon to somewhat address the situation. Who will have the clout & balls to do so if this independent voice disappears? Keep going Andrew, your doing the community/industry a great service by being vocal on matters that matter!

Maybe save that criticism for the Matti Haapoja's and Peter McKinnon's of YouTube and not the guy that does rather dry long form reviews and regularly criticizes the things you think he's trying to sell? I say this as a very vocal critic of the YouTube filmmaking bubble. I don't always agree with Gerald but it's ridiculous to act as though he's looking to maximize clicks and affiliate sales. His videos would be under 10 minutes and feature him pouring coffee (gotta get that pouring sound!), riding a one wheel around, and otherwise pretending to have a far more exciting life than he does, all while talking about how awesome x is and that you should definitely check those affiliate links down below! At least be fair if you're gonna criticize the guy.

It's hard to say it's gone wrong. It's so-called creative destruction. There's simply no need for a mass consumer camera market any more. Every home used to have a camera, be it a compact, a SLR, a Polaroid or whatever. No-one needs those any more because everybody (even the children) has a phone that will take better snaps with fewer skills, in a format that allows instant sharing.

Remember it ? All the usual caveats of "absolutely not its final form" but thought I'd show a (very) rough glimpse of its (very) rough format. Things have been quiet on it publicly because as I said in the very original thread that what was first shown was merely a jumping off point and it pivoted into what is now a very different product. As you should now be able to guess from this image, it is doing something a little different and offers both AF-S and AF-C modes for, lets just say, more than one focus target The purpose of this thread, aside from the update to prove its not slid into Sony A7S-III territory, is to provide little updates on what is happening as we edge towards release of the actual product particularly as the previous thread is a bit defunct in terms of what its final form will now be. I'll put up some video samples soon, although @Andrew Reid has had some over the past month so should be able to vouch for it actually working I won't be getting too much into the detail about whats going on under the hood until later on and I will be doing a blog post with Andrew to provide more insight nearer the time of pre-orders which should be in August. FYI, the cables you can see are powering the PBC and not going to the camera so no camera mod is required ! So, for now, fire away if you have any questions if you have any interest in it but if you can please just keep it to general operational stuff.

Stills from some past F3 projects, all with Leica R's and the 5" Video Assist. Such a remarkable camera: lovely to use, easy to grade, solid in low light, lots of dynamic range...for the money I paid, it's earned its keep 50 times over.

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8.

Yeah. noreply@canoncustomers.com

It is widely known in the camera industry that RED owns a key patent for a cinema cameras featuring compressed RAW. It is also alleged the technology has featured in a number of past legal claims RED have had over rival camera companies. Now third party accessory manufacturer Jinni Tech alleges RED "deceived the US patent office" and filed the critical patent late. Read the full article

A few more for the road. Damn does the F3 grade well.