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I continue to explore F-Log grading with RCM without LUT. I think I'm getting better results (colors, highlights roll off). F-log is very good; Fuji LUTs are not so good. I'm more excited about the definitive release of Resolve 16.1 than the XT3 firmware update.

Every time the NX1 gets mentioned, I return.

Yeah,...for me the Lumix S1H, a 10bit camera with great internal CODECs, no overheating and no recording limits and almost 6k raw? For $4,000,....is the most exciting camera I have seen in years. They just need to fix that one glaring problem with their color science and nasty blue channel clipping problem. I already have an S1 and now the S1H is on my radar as a replacement.

Also for the first time it has PDAF and some type of software IBIS. Plus Venice mojo and higher dynamic range. Some big updates there. It will also be significantly less money than the C500 II, so I say it's competitive and will sell really well.

I've heard the peelers you need for those are just generic ones from Lidl wrapped in Waitrose packaging.

I use it daily. It is fantastic. It is on my P4K and GH5(s) much of the time.

Obstructionist asshole. Obstructing asshole. An Osshole. You're welcome.

The GH4 obviously isn't a great low light camera, but it's weakness there has always been overblown. If you're relying on only available light you'll run into problems, but anyone should be able to get fine results doing even minimal lighting. $7 dollar clamp lights with CFL bulbs or $25 LED lights from one of the many Chinese manufacturers will go a long ways in lighting a "low light" scene. Even in 2019 the GH4 is more than capable for that kind of work. My friend's production house still uses the GH4 for most of their work, opting to rent if necessary. I still occasionally work with one when helping him out. If the bulk of my work wasn't event related I'd have bought one, but ibis is a huge help for my work. What lenses do you have? The Panasonic 25mm f/1.7 is really cheap new or used. There's also a lot of fast vintage glass out there: you can get the Minolta Rokkor-X 50mm f/1.7 for well under $50, or the 50mm f/1.4 for around $50-75. I am just getting my feet wet in some narrative work and I love my Minolta primes; they have such great character. Just lovely glass. Tl;dr: rock n roll with that GH4 girl!

I did look it up, and for those interested this is a great place to read about it with links to sources: https://www.provideocoalition.com/can-4k-4-2-0-8-bit-become-1080p-4-4-4-10-bit-does-it-matter/ What it comes down to (besides the math and all) is that it's always best to shoot in the highest format your camera offers, and downsample later in post if needed. I think we all know and agree on this. My question has to do with Canon and their 1080p internal downsampling algorithms, that seem to make it soft on several of their cameras. In this case, is shooting 4K YCC422 10bit on the C300MKII and converting to 2K/1080p in post better than shooting in 2K/1080p RGB444 12bit? I will assume shooting in 2K/1080p RGB444 12bit should be better. Just as I assume the 2K/1080p RGB444 12bit from the C300MKII should be better than shooting 4K YCC420 8bit on the C200 and converting to 2K/1080p 444 8-10bit in post (in theory per the above) .

Fuji didn't get the memo, that 24p adds a lot of cost to the camera. They just introduced their entry level camera. 6K to 4K downsampling, 23.98p, 24p, 25p, 30p, all without a crop it seems. 699$ including kit lens. No 120p Full HD slow mo though. It's said, that will come early 2020 with an update.

There will be a major feature update to follow, be patient 😉

I disagree. The future is 360 VR and 3D, and depending on the potato, it can have multiple eyes on all sides!!

Got a used G80 for 500usd and the OG BMPCC is under 500usd nowadays so no

Not that it matters to anyone, but my brother’s and I launched into video production back in 1985 when my dad brought home a Sears VHS camcorder. How he did that on a blue collar paycheck I’ll never know. What did we do with this awesome blessing? Produced wrastlin’ videos. Hundreds of them. Story arcs, reoccurring character fueds, the whole bit. My role was the interviewer “Mystical Marvin,” and I modeled the character after Mean Gene —with a little bit of Koko B. Ware and The Million Dollar Man for my occasional wrastlin’ appearances. Good times. So RIP, Harvey, owner, executive producer, and camera supplier of the LBWF! Still talking about you all these years later.

You might want to experiment with your AF settings.

I've already posted Alex Proyas' Youtube channel in the Youtube channel thread, but I reckon this latest development deserves its own shout out. Will be very interesting to watch this unfold. It also seems apparent he's going to be talking a lot about cameras, Blackmagic in particular.

Not to knock Aputure, cause they clearly make incredible lights, but you can get Neewer or YONGNUO lights in the $25 range that have a CRI greater than 90. I think the YONGNUO YN-300 lights I have are in the 94 to 95 range? The options for affordable, decent lighting in the last 5 years have increased dramatically. Caleb Pike did a video covering like 10 lights under $50 and it's wild what you're able to get these days. Obviously if you're able to afford Aputure they're one of the best choices, but if you can't don't get discouraged, there's tons of options.

Said no daughter of mine ever.

Think about it like this, to get the 200Mbps 1080 file, what happens is: Camera captures a 5K image Camera downscales the 5K image to 1080 Camera compresses 1080 to 200Mbps That's not that different to this workflow: Camera captures a 5K image Camera downscales the 5K image to 4K Camera compresses 4K to 200Mbps Person downscales the 4K to 1080 in post Both of these image pipelines start with 5K, both are limited to broadly similar levels of compression. We know that a 200Mbps 4K image won't be as great at 100% as a 200Mbps 1080 image at 100%, but when you downscale the 4K to 1080, it takes 4 pixels from the 4K image to make 1 pixel in the 1080 image, so the amount of data per 1080 pixel is broadly the same. There's also the point of diminishing returns with this stuff - try encoding a h264 file at something decent and then try at double or triple that bitrate and see what differences there are. You may find they're less than you think.

It sounds like they need a “profile” of the sensor to “tune” BRAW for the camera and to have RAW sensor data. Hence, also why we are probably seeing a Nikon hardware upgrade to enable it. Or so I gathered from BMs product announcement video when he was talking about support for EVA1 and Canon C300mkii. I really, really wish and hope we see something like this come to GH5(S). Would be such a nice package. But I’m guessing we won’t see it until GH6 because it has so be designed for it from the get go. I would happily pay a few hundred dollars to Panasonic to send my camera in for cleaning and to have it upgrades to have this capability. Would breathe a bit more life into the models. Having the hassle of a external recorder for ProRes 422 HQ is really not worth it. Getting BRAW...totally worth it. The new 5” Video Assist HDR is the perfect match. Plus you get a great audio recorder too! Not to mention being able to record to the excellent and cheap T5 SSD.

Honestly, I think the Canon C500 Mk2 is a better choice. Great AF, Anamorphic support, similar DR, better highlight roll off, smaller, larger LCD, touch screen, switchable lens mounts. Barring some crazy breakthrough... which I'm always good with, one will find it's way into my waiting arms.

This sentence is rich with things to ponder... EOSHD forums are The Pub, but now I hear there's a couch recliner?? and that it's possible to leave here as a better adjusted member of society??? I guess you learn something every day!

I found that video not very impressive to sell a 10k camera , it could have been shoot a A7iii, the colors and the DR look very similar from what I got from the A7iii I had. Since I switched to a ursa G2 I realized that sony not only have issue with colors, but also with contrast, the skin color range have a lot more of contrast on sony camera, that create a harsh impression of sharpness and make the structures of the facial features more visible, that rarely faltering to anyone. I get the trend/push for full frame, I like the look, but in restricted professional use it is more of an issue than a bonus, It s much harder to keep things in focus, you need to close more your aperture, so then you either need more light or push your iso....the autofocus will help in some case but still, when it jump focus your take is ruined, I found a subject going slightly in and out of focus less disturbing than a jumpy autofocus. I find those mid-range full frame pro camera odd, for super high end production why not ( but then you go for a venice/C700/Alexa LF) but for a small crew I have more doubts.

It looks like they really hit it out of the park with this one. Really excited to see what the XH2 is going to be

They MUST have the focus zoom check available DURING recording. They MUST have some kind of usable output via HDMI DURING recording of opengate mode for focus check. PLEASE!

I wouldn't have them if they paid me. Useless with a matte box, focus gear moves as focus shifts, so no follow focus works. And last but not least horrendous image quality.

I checked BH Photo and it is still $2499, maybe we will see a price drop tomorrow - first day of IBC. Seems like a good move for Blackmagic to make though I don't think they needed to lower the pock to $1036 to sell it, but still great news for those how were considering purchasing either one.

OMG this is AMAZING! Best thing I have seen a long while!

Damn it Sony!!!! Why do you have to inflict the XDCA back on us once again??? Bet that means the stock camera won't do timecode either 😞

how can i say it, what would we be without honesty 😎

The telephoto camera all have smaller sensors, no OIS in some cases and slower aperture lenses than the wide lens on the iphone. This applies to all android phones as well. What this means is that you need to shoot at higher shutter speeds and that combined with the smaller sensor introduces a lot more noise (especially in low light), almost negating the benefit of telephoto lens due to heaver Noise Reduction. I still question the benefit of these telephoto lenses although at least the new iphone's telephoto camera now has a faster lens.

So in terms of hybrid cameras - and including the BMPCC4K even though it isn't a hybrid camera - is the a7 III still tops when it comes to dynamic range? Purely dynamic range. Not colors, not ergonomics, not soul, not flame-proof-ness. Just DR. I've read Sony a7 III with slog 2 has close to 14 stops of DR. Is the BMPCC4K able to compete / beat it when shooting in RAW? (New BMRAW firmware was just released, BTW). Will Z6 beat it once it gets ability to shoot in RAW via hdmi out? (I am reluctant to spend $1,000 getting a recorder, battery and SSD card for it). What's the DR of the Panasonic S1 cameras like? Another site said that it had 12.2 stops when shooting HLG at ISO 400. I think V Log is a paid firmware update coming down the road, right? (Hopefully it won't be dependent upon the US Postal Service for delivery). ALSO: I thought someone on this forum posted a few months back that the 8-bit codec of the a7 III actually helped increase dynamic range when compared to 10-bit codecs. Was I dreaming? Was I on drugs? Was my mind being controlled by @mercer cat??? (P.S. I know that Sony cameras - much like my wardrobe choices - have many serious flaws. No need to comment on either of those things here.)

Not sure how much glamming up my iPhone 6 footage can take. But at least I have the neat “blackmist” permanent scratches on the lens. So at least it will be very filmic

Sennheiser XSW-D kits on limited (IBC2019 duration?) sale over @ CVP: ~ https://cvp.com/catalogue/tag/senxsddds19?utm_source=mailshot&utm_medium=email&utm_campaign=email Didn't know Saramonic was doing a thingie... Also... this guy 😂 ~ https://www.kickstarter.com/projects/117828565/smartmike-revolutionary-wireless-mic-for-content-creators

another option that you may have not thought about. They have different capsules including hypercardioid. I assembled one of their other microphones for recording vocals and instrument and the quality is quiet something https://microphone-parts.com/products/sdc-microphone-kit?variant=9351388790844

hmm, I'm not sure my rig will ever be that heavy that i will need roller chain to lift it. i think i'll report this as spam on a chain as opposed to spam in a can

I think one of the biggest problems we face when talking to other film-makers is that we underestimate how differently other people might shoot compared to the way we do. I don't know if the OP has mentioned what kind of films they make in other threads, but even such (quite sensible) suggestions of lighting and audio might not apply if they were doing extreme sports, underwater shooting, natural light shooting, etc. I get that almost everyone will spend a lot of time recording someone talking (audio equipment) and will also spend a lot of time recording someone sitting in one place (lighting) but that's not everyone. You'd assume that someone would know which equipment they would use and things they wouldn't, but someone that is asking for equipment recommendations on forums without specifying what they shoot may very well not know these things. I'm sure that every now and then we all speak to someone who says they're getting started in photography and got a Canon with a prime lens because that's what someone else said they should get and now they're asking us why they can't pinch-zoom like on their phone - so you can't assume such things reliably I think!

First suggestion: DO NOT BUY CANON!!! But if you can't do the 1st suggestion, then my 2nd suggestion is: Buy a cheap C100 mk1 with DPAF from eBay (which is even cheaper than the mk2!), as you don't need greater than 1080 or high FPS. Then just wait for Canon to get its thumb out of its ass, and release something decent and affordable. (unlikely!) Or swap over to Sony/Panasonic/BMD/Z Cam. If you need need NEED 4K then just rent a C200 / C300mk2 (or heck, buy a C500 mk1 and an external recorder, they're starting to become very cheap now!) Or even rent a BMD UMP / FS7 / FS5 / EVA1 / etc

I always love your ambitious posts and plans, Kaylee! I wouldn’t even attempt something like this at my level but I always believe you’ll pull it off. Are you using your 5D3 for this or is it part of the iPhone project you’re working on?

screenshot from a film I am now editing. Halfway the hike in Austria the SSD from my Ninja V was full, so I stored new footage on SD card. In Premiere CC I edit both and Ninja files are faster to render than H265 from card....

And, I've said this before in another thread (changed for the above argument): Here is the problem with that argument, and many people have made that same argument.... in one version or another. So you are are saying Canon has "done their market research, they will know what their customers are doing" and the end product of all that research is to exclude 24p The problem with that statement is that companies like Sony, Panasonic, Fuji, Blackmagic also have market research teams and pros telling them what the people want.... why is it that they include 24p??? See the thing is.... Sony, Panasonic, Fuji, Blackmagic, etc. are not even number 1 in this segment.... so that doesn't mean that they don't know what they are doing or don't know how to be number 1, its more along the lines that they should be more hungry to be number 1 and they will do anything to get to number 1, hence they will include 24p.

Yeah if anything this is looking good for A7S3 release. Sony had to give FS line a substantial overhaul before introducing a lower-tier alpha bombshell.

Starting with the A7III they have all had significantly better colour.

For y'all in Germany out there... at Saturn : e.g. (Had a price alarm set on Geizhals.eu for it) --- lol, how is it, that everytime I post some deal involving the 10-25mm they make it "unavailable" shortly after... how convenient

I''m firmly in the camp of more DR, better ISO performance, built-in ND than more MP or 8K for the GH6. A derivative of the industrial STARVIS sensor above would be good in something like the G9 successor. I mean, the GH5 was doing open gate 5K in 2017. Just give us a global shutter sensor then remove the mechanical shutter and add a built-in ND mechanism. Include better noise performance, their next gen IBIS tech, 14-stops DR, and FULL VLOG and varicam color science to match with the S1H.

I can't really see where there's a problem

I wanna keep this on track, and will be adding other channels as I find them and hope others do too, but this is today's example of what frustrates me these days about a YouTube. (see attached) You know when the "influencers" all got their free gear because they all literally post their "reviews" at the same time. I'm not sure if it's because there's some kind of embargo or if everyone just rushes to release theirs first, but when you see everyone posting theirs at the same time it: 1. Hits you over the head that they all got the gear for free. 2. Tells you they probably rushed to make the review, which isn't very helpful from an editorial or quality stand point. What I'm trying to say, and I'm not sure if I'm succeeding, is try to appreciate and actively support those that post genuine content that helps educate and inform. While I was a bit critical of Caleb Pike's EOS R coverage, he's someone that I appreciate and respect because he buys most of the stuff he reviews, and continues to put out educational stuff, proving that you can be successful without becoming a shill. Anyway, rant over! 😂

I don't know about the A7iii but my A7sii could not touch the DR of the 13stop BMCC, D750 or even the 12stop XC10 and 5Dmkiii raw. So I doubt the A7iii could match a BMPC4K. At least I haven't seen any footage that points to it being able to. Would love it if it could. Maybe then I could justify it's imo to high price.

I always considered D4Darious as a DIY, low-budget, it's-not-the-gear-that-matters guy, but I'm afraid he also took the bait.