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On the Sigma Fp it is definitely worth shooting 12bit RAW to a USB C SSD drive, if you want to make full use of the dynamic range. If you don't need to boost the shadows by 3-4 stops, or under expose by 3-4 stops to prioritise a particularly bright part of the frame, the 8bit RAW to SD card offers beautiful results too. Read the full article

Same here! I can't believe it's taken me so long to get one (now two!). Completely revolutionized my entire lens lineup - breathed new life into my most used and even least used lenses. Almost feels like I've doubled my collection.

...and adding a bunch of green tint in post ? But seriously, yeah it's what you see in a lot of promotions, too, where any camera can look good, including an iPhone, if you've got the production design, makeup, location etc etc which really teaches a lesson if you think about it - the camera just needs to give you a clean image and after that it's up to you to captivate an audience. I have to publicly apologize and retract my last post, though, because I'm already back to looking at cinema lenses. Thinking of picking up some SLR Magic hyperprimes to go with either a Z-Cam or MBPCC4K. Just a couple lenses I swear...

Andrew could you upload a short video sequence of Sigma FP DNGs? I want to test it with a new tool I'm working on that converts any raw format to MLV raw video (MLV, from magic lantern as you know). It's called raw2mlv and source code can be found here: https://github.com/ilia3101/LibMLV

Those Sigma lenses are absolutely lovely and a steal. My only complaint is they're a little big but I'm guessing that's because it just uses a different mount than their other versions and is essentially the same exact lens. Fine by me if it means they keep releasing M43 lenses! Most Laowa reviews I've seen have been positive and the images look very nice. I was in kind of the same position, with the Panasonic 7-14 f4. It's a very nice lens, but I hated the inability to put filters on, and just felt uncomfortable with the front of the lens. Those extra stops will be quite welcome, as will the standard lens form factor!

Well... I'm asking Santa for a Nucleus Nano that's for sure! And that's for sure a nice extra incentive.

That's so sick! ??

Well, as those of you who are existing users of 3C will know, the new update rolled out last week and you now have support for wireless focus control of your native and EF adapted lenses using the Nucleus Nano focus wheel. As we have a couple of other things to include shortly that will make up a bigger v2 update, this new update is now called v1.4. 3C is available to buy from the Google Play Store here https://tinyurl.com/3CbyCDATEK And here is a little video of it in action.

I'm less interested than I've ever been in getting a new camera. I'm still curious of what's coming out, and there are times when I'm very much tempted by something, but I expect to get a lot more out of my GH5 before I upgrade. Realistically I think I'll get at least another 3 years out of it before making it my B cam. I've started selling quite a few of my lenses lately. I always felt like I needed a large lens collection, but so many just weren't being used or had things I didn't like about them. I do think I'm going to start building a set of matching primes, likely out of vintage lenses, I've just gotta figure which ones I wanna go with. Getting the most bang for my buck is important. Lighting is something I've found myself investing more and more into. I picked up 3 Godox SL 60w lights, as well as a few smaller lights that I can use in a ton of different ways. I'm also getting ready to get some Glow soft boxes from Adorama. I've used them before and they're so great. One of the best values out there today.

Thanks. It seems like the right way to go. The TZ CAM E2G is nice and has a global shutter. I'm really excited about the next version of the ZcamE2 that has a global shutter. I will make the jump! Cheers.

I’m very interested to know how this thing holds up as a stills camera. Or rather as a hybrid flipping between the two.

You won't be disappointed with the ZcamE2, it's the route I took after having similar cameras to you.

Yeah, this hack saved my life before because Resolve also just sets 24p as project standart which catches blue eyed, quickly aroused, emotional unstable people on the wrong foot, like me... ...

The crop to my eye (not scientific) is about 1.2x or 1.3x crop in full frame mode with EIS activated. You also have an actual 4K Super 35mm crop mode as well (1.5x). You can only enable EIS in MOV 4K mode not Cinema DNG. When I use the Sigma 18-35mm F1.8 in full frame EIS mode, it still vignettes a bit in the corners at 18mm but fine at 35mm. You'd need to crop a bit more in post to get the wide end to look ok.

They are pretty good (particularly the 23mm and 11-23mm) but ridiculously expensive. I have the 18-56mm and even as a used "bargain" it was the better part of £700. £700 for a used f/3.5–5.6 zoom lens. Its a good f/3.5–5.6 zoom lens of course but even so. Sigma have their own APS-C L mounts on the way so I'd definitely hang on to have a look at those before committing. If you are looking for small then I'd recommend going down the M mount route with an adapter as you'll get full frame coverage, fast apertures and very decent prices with the 3rd party brands like Voigtlander and 7Artisans. Manual focus of course but looking at the AF performance on those Benny Hill reboot videos posted further up the thread its not that much of a loss to me

This might be an odd question, but what does this thing fly like in the wind? I shoot most Kiteboarding videos and I don't particularly care much for carrying a drone (had a mavic but sold it as I don't like more things to carry), however there's quite some times where companies want drone shots included because they think it looks "pro". Basically what I'm getting at is whether this thing can fly in say 20knots or so?

I see this thing as like the iPhone camera app in the sky. No raw, or crazy settings or bitrates....just a clean, easy to use product and something that I can keep in my bag all the time. I honestly will be using this more than I ever used my Mavic Pro. But I am in a weird position now only doing YouTube content instead of freelance work.

Its not great, but if anyone wants this, here's a short 4K 12-bit DNG sequence I shot tonight- https://www.dropbox.com/s/3blhq57dr1ql866/A001_014.zip?dl=0

The primary reason I won't jump on this is the bit rate. That's the deal breaker for me personally. If they'd gone up to 100mbps I'd be all over it. 40mbps though is too low; you can't work with the footage much in post at that bit rate and it has to struggle with fast movement/details I imagine. Still it's an exciting look into the future.

The S1R does it tho, not sure how decent it is.

I have an old phone that I use specifically for filmmaking apps. I understand your frustration but there's alternatives out there.

I'll wait 6 months for the "Pro" version that shoots raw and 4k. Till then meh... Chris

Nice! Light is so important. For a start, things would be pretty dark in frame without it! I think I'd be a lighting geek too if I didn't shoot only in available light. The people that do those "how to make this camera from 1987 look like a RED Epic" are always doing it with lighting.

My understanding was that they were pretty good. I have been looking at the 7.5mm F2 and read a bunch of reviews and they seemed ok. I guess do some reading.. Oh, I don't know.. think about those times when you've got the 16mm on and you just want to get in a bit tighter.. but can't take half a step forwards..... and can't crop in post...... and...... yes, makes sense you've got the range pretty well covered. I was just watching a video this morning from DSLR Video Shooter and was reminded that he loves the Sigma 16/1.4. I'm looking at the 7.5mm F2 as a replacement for my 8mm F4 SLR Magic drone lens which works fine but the ergonomics are rubbish as it's a drone lens. The extra couple of stops of exposure wouldn't go astray either for night-time city-scapes.

ehm, ok? There's nothing wrong with the source file. No oversaturation or even clipping in your example. Also in sequence settings. At least in CC2019 the issue with both settings being set should be gone. That's great news. Still not sure about keeping my S1H. Postives: Great color, works perfectly fine in ACES, no clipping issues, great DR and roll-off, IBIS and battery life, ease of use Meh: Mediocre Codec choices which may cause issues, but all good so far Bad: Temporal Noise reduction ruining many shots - barely usable honestly. Even recorded externally to ProRes HQ (tried an Atomos Shogun and Odyssey 7Q+) Pocket 6K: Positives: Organic looking image With grain and no artifacts, good dynamic range, great screen, great codec choice with flexibility and no macro blocking nor banding which is also speedy on older machines Meh: build quality, will put it into a cage anyway Bad: Battery Life, no viewfinder - needs rigging and can't really use it in ACES atm due to clipping issues and color looking - one dimensional and brown? On a yRGB timeline I can fix many issues by myself but it's quite time consuming and the next big project coming up soon will rely on many VFX shots, so ACES would be great - like it has been on my other projects before. On the other hand the temporal noise reduction resulting in ghosting and smearing on the S1H made tracking a nightmare already in another project I'm working on atm. Basically have to do everything manually because the tracker gets confused. Maybe I should just switch back to the GH5 lol

Not bad at all? Phone do 4K60p for years. 2.7K is unacceptable. And no RAW picture. Only JPG. Clearly they do cripple their models like everybody now. Such a let down. Raw and 4K30P and it was an instand buy for me, even for $100 more. And no flat profile. F*** DJI.

I think I'm on a "screw buying new lenses I'm spending money on filters and light modifiers" phase. Layering diffusion, colored lighting and practicals, haze, actually caring about incidental bounce enough to use negative fill... aaaand FINALLY got a black pro mist! Should get to use it out for a talking head shoot on Friday, but so far I'm really liking even just boring test shots.

You see the differences only when resolution is needed. Period.

and at the end of the day, you can always take these two images: and with a few quick adjustments in Resolve, adjust the left one to look like this: not the same, but you could certainly cut them together in the same edit and not shatter the illusion.

Ah gotcha. I'm not really directing this at you but just to anyone in general who isn't aware or wants to learn more, and I'm probably being a 'stickler for accuracy' here but obviously a sensor/camera has no inherent highlight rolloff as the sensor is linear (as close as practically possible with calibration) so highlight rolloff is mostly down to the dynamic range of the sensor, how the image is exposed and how the colourist chooses to roll off the highlights. All typical CMOS sensors will have "hard clipping" though, being linear capture devices. I only say this because I see a few people mention 'highlight rolloff' as part of a log curve or colour science or something when in that respect it is just a by-product of the log curve optimising the dynamic range of the sensor in the container its being stored in. It's still assumed the user will create their own highlight rolloff in grading (I'm speaking just of RAW and log captures, not "profiles" or looks applied in camera intended for display on Rec.709 devices). ARRI for example have a lot of stops above where they recommend middle grey be exposed for - due partly to their very large pixels and the large dynamic range they have - and when a log curve is calculated for mapping that dynamic range from middle grey to 940 (video white in 10bit where they map sensor saturation to in their log curves) you get a very flat curve at the top as it maps that range. When you flatten contrast that much it also appears to desaturate. I've seen some mention they believe ARRI purposely desaturate their highlights, but if they did that in processing before creating RAW files or LogC ProRes clips you wouldn't be able to inverse it correctly into linear for ACES workflows etc because processing like that is non-linear. They possibly do something like that for their LogC to Rec709 LUTs etc but people seem to attribute it to their LogC/RAW files too. For our cameras we map sensor saturation at our "native ISO" to 940 also, but for ISO curve's above we go into "super whites" to make better use of the bit depth available especially since we deal so much with SDI output (10bit) and ProRes 422HQ is common for our customers (10bit also). ARRI says ProRes 444 (12bit) is the minimum for LogC because they don't use the full range available. We may change that in the future but the caveat would also be you would need to use 12bit for best results. In theory you could expose a 10 stop camera/sensor so that you place middle grey at the second bottom stop, giving you 8 stops to create a very gentle highlight rolloff. You would just have VERY little range for the shadows. ? So long story short, the question I would suggest people ask is 'what is the dynamic range like compared to other cameras' as that will really tell you what kind of highlight roll off YOU (the user) can create for your preference with how you like to expose given the amount of shadow information you like to retain, tolerance for noise, etc.

Nice! .........and drive it to the store to buy all the Meike lenses!

Thanks Chris, I have been rocking the GH2, GH3, GH4 and now the GH5. It is the end of the line for me with the GH line. I really learned allot and I have lots of footage I love. There are a few exciting camera's out and coming out. GH5 with the 10 bit was a big plus over 8 bit. I want something with great color science like the Blackmagic URSA Mini Pro 4.6K G2 but also with a small form factor. The Z CAM E-2 4K looks nice. For me the dream specs would good color science, 10 bit, 120 fps 4k, small form factor, global shutter, Pro Res Raw or HQ with MFT mount. I have invested and built up a collection of vintage glass in MFT so I'm rocking this formate for a while. With all that said, I still think my best footage came off my hacked GH2

More like others are still trying to catch up while Sony is in a very comfortable lead with high profit margin on their cameras, 4K60P is not important for majority (99%?) of user tbh, sales have proven that 4K30p is enough for most user, no point to add extra cost (R&D, material, size) for heat related stuff on 4K60P. Anyway I do miss Samsung, they definitely give Japanese manufacturer some whoop ass. @androidlad You can probably start your own Sony alpha rumor site, the current SAR is a fucking joke

At least I get to keep my money in my pocket on this one. I'd love the improvements but not worth the cost to upgrade by any stretch. No these are not the same (OLPF is for anti-aliasing, ND is for cutting light). The variable part is a cool concept though that I've never heard of. I never really had any problems with moire/aliasing on the A73 unless I was shooting high frame rate HD so maybe this means it would have cleaner slow motion by being more aggressive, but turn off when shooting 4K or stills so it's even more detail than before? I'm just hoping...

You just proved his whole point ?

Whoah...hang on there you two. You are doing forums wrong if you agree to agree. Splitting hairs, clinging on to a semantic rock and repelling all boarders...that is what it is all about. Now, lets get this back on course and start trading petty insults.

I'm also going to keep reminding myself that this is firmware 1.0, bc as I'm going through and editing what I shot this morning, I'm getting a bunch of DNG clips where, maybe every 10 frames, a frame is off by like 10 frames, so the whole clips keeps jumping all over the place. Fixable by combing through frame by frame and renaming them all, but a serious pain in the ass.

Your positives about the S1H are everything I would want in a camera. Your negatives, which I have yet to encounter, should be fixed in a firmware update as they seem to be directly tied to VLOG, which is a positive since its something that could be fixed, similar to the GH5. With that said, you have brought up a valid concern - but you have brought it up over and over and over, to the point where we get it, but we are not Panasonic - you should be voicing this to them at this point in order to actually get it fixed. If you have already and they are aware, then you should give them time to fix it. There has yet to be a first real firmware out yet to even see if its addressed. To be clear, I have no issues at all with you voicing concerns that need to be fixed, nothing will get fixed if we are all silent. But you made your point and now you are just stating the same thing over and over again, in this forum, on facebook, on review sites, etc. I am not sure what you want out of it. Are you hoping Panasonic read and fix it? If so, why not just contact them? Lastly, I disagree with your notion of the pocket 6k or any of these mirrorless cameras, including the S1H, having an "organic" image. An organic image to me, would be an original Blackmagic pocket, Blackmagic micro, Blackmagic cinema 2.5. Those actually used a Fairchild sensor and had a nice organic look to it. You didn't need to add grain to those those cameras to make them look organic, it was organic out the box.