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The inclusion of this in the specs is a strong indicator of BS. 7-8 stops of stablisation would defy physics.

Apple should make a FCPX Lite for the iPad that allows you to preview footage, mark, cut, trim, favorite, and keyword footage and then bring it into FCPX on Mac with a few clicks and the iPad within a couple feet of the desktop Mac. Like a seamless project airdrop. It would make categorizing and find your selects in the field much easier when its fresh.

Yeah, and then at the product announcement you read all the *** *8K at 30fps: Timelapse mode rendering only *4k120: 2.3x crop, AF disabled, 2 seconds recording limit, converted to 30fps only * 7-8 stops IBIS: when combined with 1.8x EIS crop, AF available $8995 That's being said, if they finally give us clean 4k60, no crop, full sensor read out, no binning or skipping, and not BS crippling, I'll order it right away at $3-4k. Hopefully with some sort of articulated screen and not the size of brick.

With the cameras that have been launched in the past 18 months and those that seemingly will be in the next 6 months there is definitely a sense of a plateau being reached. I think more refined and defined straight out of camera looks could become the saviour of productivity to get everyone out of the quicksand of trying to do everything in post. For some context, look at how rich and deep this looks from 1962 and I don't think its beyond the wit of manufacturers to be able to bring us proper AI replication of these looks in camera to use 58 years later. I know Fuji do it to a certain extent but its still got an emphasis on being a starting point instead of them being bold and saying "No, this is it, this is a precise simulation of this film stock including the grain, no tweaking allowed, now get on with it". There is too much caution on all sides in terms of deferring decisions that I think just drains creativity and productivity, for me at least. And with also addressing that in mind, I'm going back to editing on Lightworks.

I might just sell everything, buy a GFX100, turn the internet off and call it a day.

I call this rumour legit as african lottery hahaha Especially coming from canonrumours.

Yeah my guess is 8K TimeLapse like Nikon introduced some time ago.. Yeah in Bastille. I had planned to go but something came up. I don't regret now with these new rumoured products! My next camera will have IBIS, that much is for sure..

If I can’t get Telstar out of my head by the close of play I know where to find you... (well, I don’t, but I’ll endeavour to find out!) Edit: now I’ve started swaying to and fro...

Fujifilm X-T3 – firmware 3.20 The firmware update Ver.3.20 from Ver.3.10 incorporates the following issues: 1. Enhanced autofocus. * Improving the tracking performance of the eye AF frame, making it easier to attain accurate autofocus on the eyes. * Improving face-detection performance when there are faces of different sizes within the same frame, making it easier to attain accurate autofocus. * Improving autofocus capability on a foreground subject even when there is a mixture of foreground and background subjects within a AF frame, causing the foreground subject to go out of focus, e.g. when shooting flowers against a busy background. 2. Capability to save up to 9,999 pictures in each folder. Until now, the number of pictures that can be saved in a folder on an SD card was limited to 999. This update will raise the limit by ten times to 9,999 pictures. 3. The phenomena below during a movie shooting are fixed. * Focus hunting at the minimum aperture. * A black line can sometimes appear on the bottom of the center. 4. Fix of minor bugs. https://www.fujifilm.com/support/digital_cameras/software/firmware/x/xt3/index.html

You posted it one minute before mine 😂 And yes it sounds more realistic. But maybe if we put aside the 8k and 4k120 specs, everything is real as the fps are the same on the two rumored bodies, maybe these really are the next two R bodies from Canon, each with its own capabilities, price point and usability.

There are now also specs for a Canon R6 on CanonRumors: These look a bit more realistic to me than those of the R5... 8K raw and 4K 120p in a Canon mirrorless body? Sounds too good to be true... Could that even work without a fan considering the S1H has one for 6K recording?

Yeah and thats the thing the XT3 is capable for most stuff. The S1 does win out in low light though by a pretty big margin and IBIS is really nice to have for certain things. The Ursa mini is just a beast image wise, really up there with the best of cameras IMHO. It sucks at anything beyond 800 iso though and doesn't like underexposure much.

Yeah, the FZ2500 is one of my favorite cameras of all time. It even has a button that you can push while recording at 24p and it will go into slow motion. So you can do those cool shots where a guy starts the shot running in normal motion and then you push the button and he will slide into slow motion as long as you hold the button down. Some Super 8 cameras used to do that too. The only downside to the camera IMO is that the lens, albeit really nice, is much too big for the camera body. Here's a stupid test video I did of the 1080p 60p slow motion... The end of the test is the best part but I made the mistake of making the video way too long. It was before I realized that most people only watch a minute of videos or less.

You can easily spend around a grand on a quality set of square ND filters, let alone a mattebox as well I reckon the small extra cost is worth it

I did not know the FZ2500 had a built in ND. Dreaming of having a sweet little ND selector on the GH camera! Please, panny!

@wolf33d 's wait may finally come to an end! 😁 3 long years....

Vlog does have the custom view assist .VLTs...otherwise, I don't see many drawbacks to shooting CineD.

Sharpness at -5 for sure. NR can be a personal preference (some are noise averse and prefer the ease of NR in cam). Though -5 would be the Arri equivalent, from a purist perspective. Indeed, for VLog, 400 is the base. Then it goes to 200 for Cine-D, but this is just the labeling (200 really is 400, in VLog land) Yes; lately I've been recommending the simple rule of thumb to anchor everything around the center of the waveform (leaning higher rather than lower), no matter the profile. This is because all profiles share this middle 'cross point', and diverge from there (with varying contrasts), and 50-60 is generally where midtones should place (in exposure for EC709, not for post placement). The great news is that exposure/luma is about to become a breeze, in roughly a week.

With Cine-D, you'll want to set Saturation to -5, and the rest at default. Also, use ISO 200 (instead of 400; 200 is the electronic equivalent of HLG/VLog's 400). Highlight range (and gamut) are a 1:1 with HLG/VLog, once PRE'd. Here is an overlay of samples clipping (VLog overlayed on Cine-D):

I'm still rooting for the return of the camcorder. If you gave me the baked in look of that Monaco film with a 10x zoom on an APS-C sensor you'd never hear from me again! I had the subscription model of Lightworks a good few years ago but I let it lapse to switch to FCPX when I fully moved over to OSX which they didn't support at the time but I like the simplicity of it so I'm going to give the OSX version a go. Resolve has got so much stuff in thats it like some open world RPG in comparison that I end up getting sidetracked in. Thats why I like LumaFusion on the iPad as its fantastic to do basic cutting on but its let down with lack of ProRes support.

I assume you have specific, recommended settings for CineLikeD? I'm mostly curious how the highlight detail is with CineLikeD compared to vLogL after it's run through your process? If I can find a GH5 at the right price, 1080p will be my mode of choice so it's good to hear that the quality is so good... especially since you can use the cheaper SD cards.

Must be the new Mavic 3 Pro with 35mm sensor.

The 1080p mode on the GH5 is really quite good; if like me, you are happy with a dense 2K image, then 1080p offers the most bitrate saturated options in the camera (no affect on color) Cine-D has a slight bit depth density edge over VLog, while VLog has a slight extreme gamut edge. With 8 bit, Cine-D is decidedly better Great work Parker and Benjamin! Alas, I've got to get the next update out.. Just finished writing one last tool that I believe will be critical for automating camera support, to do the Exp Pres (it is the fourth 'sub-section' of the ECE)

@BTM_Pix that video looks better than anything I've ever shot. I actually find a lot of the newer cameras kinda boring and am much more interested in shooting with something older... maybe even film... or a camcorder. Lol. I spent a while trying to color grade my footage to give it certain looks but now I just add some contrast and saturation. My next purchase is going to be a monitor though... my MacBook Air's screen just isn't cutting it anymore as I start to edit. How do you like Lightworks? Do you use the subscription model or do you own it? I assume you were using Resolve before?

I counted 3, maybe 4 shallow depth of field shots in that entire gorgeous film.

Then cool and thx for checking it out!

I’m buying that EOS R5! Oh, someone pinched me...I’m back in the reality. Im just going to keep my GH5S and hope for a late 2020 announcement of a GH6, perhaps the last MFT camera from Panasonic. Should be good for the next 3 years 🙃

I purchased the N-Log IDT and it is perfect. Everyone should be grading N-Log using this method.

I find these specs utterly laughable: 8k raw? 4k120? hahahahahah Oh, they posted some clarifications: 8K @ 30fps RAW As suggested on Twitter by a reader, this could perhaps be a timelapse feature. Things get messed up in translation and excitement. [email protected] & [email protected] It’s possible that the video features such as this could come with a heavy crop to get the heat down.

Read the article first. He said only the specs in bold were confirmed which is not the case of the 7-8 stops. Also, @crevice, yes codecs and crops remain to be seen, but considering what they have done on the 1DX, and considering 8K and 4K120 that shows it will rock in videos I find it hard to believe that they wouldn’t put at least 10 bit codec. I don’t care about RAW. And in fact a good h265 8bit would be fine when you consider 4K120, that’s just insane. Now, if I was not clear enough in first comment for sure I am not confident in those specs. Definitely sounds too good to be true. Also how could it beat the 1DX which has bigger body and for sure bigger price is a question. But as I said we are allowed to dream..

Canon traditionally released under whelming spec’d cameras and now suddenly has the fastest readout of any sensor, better IBIS than Panasonic and Olympus, and 8K 30p RAW in a mirrorless form factor? Why isn’t that in the C500, their flagship cinema camera?

@mercer The thing I always notice about GHAlex compared to other luts is how it just adds a nice sort of clear separation to the skin tones, in both color and b&w. It just adds a midtone pop that I really like.

I'm just finishing up a project right now, shot on the S1 and GH5, using GHAlex, turned out quite nice. (These are just low res grabs from frame.io)

Here's some Pocket 6K footage.

From a promo I did recently with the GHA color on the interviews, you have to skip in a bit to see them: Funny thing, I was in a meeting a little while back with the Director of a really big TV station in the States and was showing him a video I did using the GHA color, while watching it he turning to me and asked under his breath, "you shoot on Red, right?" I took it as a really big compliment I must say😉

@Sage might have better info on this, but from my experience, the 1080 out of camera vs 4K downscaled to 1080 in post are nearly identical, something very rarely found. I shoot 4K for most projects still as I have the processing capabilities and want to future proof. But if you aren't concerned about it, 1080 is very wonderful out of the GH5. On the advantage side, 1080 out of the GH5 gives 60p in 10 bit, and a more bang for your buck bitrate. I've been using this GHAlex process for quite some time now, and couldn't be happier with it. I feel like it gave the GH5 the soul it was missing.

The communication and wording is super crap. I think once they saw the confusion they should have printed big and make it clear like you said. Btw the table is liked in the spec pdf from the USA web site.

There's a lot of secrecy in Japanese culture but also no such thing as the perfect camera. I believe they play fair. They are multinationals and any wrongdoing would have been discovered by now like Woodford at Olympus and the overstated profits scandal. It's just a little frustrating we have all the features we want spread around different cameras and never in just the one. There's always a cripple hammer somewhere, or a "tech challenge", or a compromise, or just something missing or something taking a wrong path. Maybe patents are the issue, or certainly a big part of it. What is the perfect cam anyway? Well - here is the camera you get if you combine the existing "best" technology from everyone... And let's see who provides it... FF 5.5K RAW (Canon 1DXIII) or Netflix approved 10bit V-LOG (Panasonic S1H)... No crop! Dual Pixel AF (Canon 1DXIII) or Sony A9 standard 4D PDAF (equally good in my view) 5 axis IBIS (Panasonic S1H has the best performing) Cinematic colour science (Alexa... oh they are German, erm... Canon or Leica with Fuji a close second!) Huge 5.5m dot EVF (Panasonic S1H... Who wants an optical one?!) 4K/60p with no crop (Canon 1DXIII)...Second best is 8bit FF 4K60 on Panasonic and 10bit Super 35mm 4K60 on Fuji X-T3) Slow-mo to high quality (Sony, Fuji, Panasonic all good here at 120fps 1080p+ with crisp detail) ProRes RAW... Nikon had a go, but only externally Sexy ergonomics and good menus (Leica SL2) Anamorphic mode (Panasonic and Leica) Mirrorless mount (Sony E-mount is my pick for most adaptable with most lenses) Bonus point for medium format 4K (Fuji GFX 100) Bonus point for value for money (Fuji X-T3) Low light performance (Panasonic S1H) Contribution tally: Panasonic: 7x Fuji: 4x Canon: 3x Sony: 3x Leica: 3x Nikon: 1x Olympus, Pentax on zero, no stand out leading cinematic features. So we must conclude Panasonic gets closest to perfect camera all in one body with the S1H but it drops the ball for AF and not having an E-mount on it but it's a very even spread between top 5. You can argue Leica is only there thanks to SL2, which is damn near a perfect camera in 2020 just lacks Dual Pixel AF and perhaps some form of hinge on the damned screen. Nikon Z6 gets a lot of things right BTW but doesn't stand out on much apart from ProRes RAW with Atomos does it? Still, you can claim it does everything right... no crop, full frame 4K, IBIS, PDAF, good low light, value for money (a ridiculous bargain used), ProRes RAW external, good EVF, good colour science, nice Canon EF adapter from Fringer with great AF in video mode, very adaptable lens mount, even takes an E-mount adapter, good 120fps 1080p and good ergonomics... So it is not always about leading in one or two aspects... It's about not falling down in important ways. Then again, nobody told you lot as interest in Nikon Z6 is about as low as it gets First time I've seen this table. So that settles it then. It is only at 60P DPAF packs up and goes home. They should reword the sentence to :"Dual Pixel AF operates in all modes except for 4K 60/50p and RAW 60/50p" Otherwise you can take it to read it doesn't work in any non-crop 4K mode at all.

Didn't wanna make a new thread for just memes.. ??