Andrew Reid

Ha, yes. I looked into trying to replicate the overall feel of the Kodak CCD in the Digital Bolex or the big-ass Sony CCD in the F35 I looked for weeks and couldn't do it. The old compacts are really terrible for video The CCDs in them did line-skipped 720p at best with the worse codecs known to man. Barley good enough for Facebook! None of them have the CCD look from the cinema cameras like the D16, they all have the Crap Crap Digital look. If you can fine one consumer CCD camera from the past that actually looks cinematic, I'll eat my forum, and you'll win this challenge.

I haven't yet updated my Blackmagic Pocket 4K to BRAW as I wanted to keep hold of Cinema DNG. I respect the BRAWly codec but I am kind of in love with the image I get from CDNG and not just on Blackmagic cameras... It is very filmic. Grain and texture is too often gone on modern, efficient codecs. I want to dive in and see that, it makes me feel like I am dealing with a real analogue image not a digital fake. In fact nothing helps banding in a blue sky more than giving the codec something to do in plain areas like that... Fine grain gives it something to hang onto, and it even helps dither subtle tones together. I had 10bit banding before on the FS5 before Sony did a firmware update... Despite their PR wishy washy meetings with me where they forced some poor old programmers to sit in a room with me, I really don't think they fixed the codec... Rather, they fixed the inter-frame noise reduction. Does the Blackmagic Pocket 4K have inter-frame noise reduction going on in BRAW? If so, this might explain the macro blocking. PS - I understand the legal reasons for Blackmagic not wanting to continue with CDNG and fully support their reasoning behind BRAW and the benefits of a BRAW workflow (although I am perfectly happy with ProRes for fast editing to be honest)... So I can appreciate why it's never coming back, but does the Pocket 4K have the ability to swap firmware versions between new and old or can it only go one way and once you lose CDNG can you never get it back?

Emanuel, you are over stepping the mark a bit here, to be honest. I don't want you harassing actual Blackmagic Design staff on my forum. Also when it comes to creating "official topics" and such like compilations of Blackmagic stuff you are stepping on my toes as moderator... Don't do it. I'd like us to keep the Blackmagic 4K Pocket Cinema Camera in one thread for now and there is no need to start reposting and cutting and pasting content into your own threads.

You don't realise the guy called Mattias Burling ran the Mattias Burling YouTube Channel? I love stuff like this. For me it's B and E that stand out. Was the light different though? It seems on some of the lake shots the sun is behind a cloud. Is the colour difference between A and H on the lake shot really so different, especially on the boat? They are miles apart, one is almost black and white!!

Maximum 2 cheap lenses, can be ones you already own. If you want to use a lens that cost $200 instead of $50 I am fine with that, but no $400+ modern stuff

No, believe me mate, I am doing you a favour. If you want to believe the contents of that video you posted, well it's up to you. It should even be an argument! It shouldn't be personal. I'm just pointing out what are the facts and what is the bullshit. Why get upset about it? The mathematics aren't the issue... It's the clickbait creator extrapolating up from the maths, to say that sensor size doesn't matter. Of course it fucking matters. At the same time, we have thebrothersthre3's comments as proof that misinformation causes damaging beliefs... He literally just said DOF doesn't matter. Find me a cinematographer who agrees with that and I'll find you Elvis sat in a deckchair on Mars. The subject of lighting, set design, acting, do not compete with DOF for attention on a film production. Of course those are bigger priorities for the production as a whole, nobody is arguing against that... But this is a camera forum and we're into cinematography... and it is EXACTLY our job to determine the DOF needed for a shot and lens selection falls to us as well... And if you learn from videos like the above you will be deep in the shit with misconceptions, making wrong gear choices and doing your talent a disservice as well. People need to separate the equivalency mathematics from the end result. Of course, 2x crop sensor needs F0.95 to do F1.9 look on full frame, and 25mm to get a 50mm equiv. field of view. Again, nobody is in disagreement with that. But you need two different lenses. The lenses will have a different look and rendering, different performances. You are talking also about two different sensors, which will also look different, have different dynamic range and different characteristics. You are talking two different image circles, one will look different at the edges to the other. So a test of a medium format or full frame camera stopped down heavily like in that video to match the GH5 2x crop sensor is bunk. For the results shown in that video to be the end of the story, everyone would have to always use a medium format camera at F8 or whatever.... Erm, They don't. You can even use a full frame 85mm F1.2 on medium format. It's impossible to mimic that same look on a different sensor size, even with a Speed Booster like the Kipon Baveyes medium format one for Nikon Z and EOS RF mount... Because for a start, it doesn't mount a full frame lens, only a medium format one, and none of these are F1.2. Don't let these YouTube bastards confuse you @webrunner5

What an obnoxious bird brained bro, the guy in this video Anybody can make a large sensor look like a smaller one by massively stopping down a lens! The harder part is finding glass fast enough for a small sensor to make it look as good as a large sensor and having it render the same. On the GH5 for example, yes you can make it look the same as full frame, but you need F0.95 to get F2 full frame look... Or a Speed Booster. This can all end up relatively expensive. On full frame you can stick a bunch of cheap 50mm F2 lenses on there and immediately for £50 you have a very nice rendering for portraits. In addition, all glass is designed with a specific sensor size in mind... And all lenses render differently, some vastly different. The Kern Switar 26mm F1.1 for instance has a unique look, and only on Micro Four Thirds and Super 16mm. Put it on full frame and it's not usable, the end. Yes, for crop sensors a Speed Booster adapter is great as we know... on this site and forum we were the first people in the world to make use of it en-masse for video... But it does have its limitations for landscape and wide angle shooting where the frame edges need to be sharp at fast apertures. You need to stop right down for the edges. For this, medium format fast primes are a much better choice on something like a GFX 50R. Then also conveniently ignored in the video (ignorance is bliss)... The fastest medium format prime from Fuji right now may be F2, but you can put a shitload of full frame glass on it via an adapter, with no vignetting... and you see into the corners of vintage full frame glass on the larger sensor for the first time in photographic history. Instant new look, it's revelatory. Canon FD 85mm F1.2L on the 50S and 50R is stunning and you CANNOT mimic the same rendering, or even the amount of DOF on a camera with an APS-C or Micro Four Thirds sensor... Speed Booster or no Speed Booster. Fucking clickbait. I hate it. It's creating a deep well of misinformation that takes years to clear up and pushes people into bad decisions and bad misconceptions, all because some twit at Fstoppers wants a few extra bucks in ad revenue. And I hate that clickbait routinely wins the most attention, the most discussion and the most views on YouTube and elsewhere, whereas content creators and actual pro filmmakers are putting quality stuff out there and don't have a fraction of the same attention. If anything is more annoying than a lack of talent, it's a rewarded lack of talent.

I'm waiting for someone to spend $2000 on 10 entries

I think it was indeed designed with that other famous Techart in mind. I love that adapter. It's going to be quite a stack I have going on. E to Z, then M to E AF, then Canon FD to Leica M.... I use Leica M as my universal mount these days. Autofocus finally comes to Canon FD after all these years I can sell my EF lenses now! I have the Zeiss Batis lenses to try on it, the 25mm and 85mm are very nice. So the Minolta autofocus adapters from Sony might be interesting to see if the work. MC-11. What else to try?

I'd agree with that. The EM1X is a great camera but a bit heavy for Vlogging. I was really surprised E-M1 II got such a big firmware update, so long after release. If the AF is as good as you say it is, then you can pick one up used cheaper than a boring old A6400 and have much more fun with it, with much better colour, ergonomics, not to mention that incredible IBIS. I am glad you have a 1D C again. I'd love to see a comparison of images between the 1D C and everything else. I still feel like the hefty MJPEG codec has the most CCD/film like colour going on of all the modern 4K stuff, especially in Canon LOG with a good LUT. Even though the E-M1 II has taken a leap, I am keeping my EM1X though. I don't currently do any vlogging, and having a smaller, lighter pro Canon 1D style camera with great colour and IBIS is really nice. The feel of the body is superb, like a mini 1D C or 1D X II.

Tell me about it bro! I've got enough cameras to open a branch of B&H The Techart adapter has not quite landed yet.... It has however, actually shipped and is somewhere in Europe. Expected delivery date tomorrow Monday 1st July! Once the eagle has landed I'll report back on the EOSHD wire.

Bonus points for people shooting on tape!

Yeah, both things are fine by me. Afterwards, where you explain what you bought, for what price, and so on... It'll be up to the people on the forum and me as a judge, to check whether it is within the spirit of the competition not just the rules. For example, if you find a total bargain but it costs £1000, and you sell the lens for £800, ending up with a fancy camera for £200... I'll score that very highly in the Treasure Hunt category, but maybe there will be a balancing category where people who only spent £100 on a camera body and used a £20 Russian lens but made it look amazing, out numbers your score in the Treasure Hunt. So key is to do well in all categories and be within the spirit of the cheap camera competition, not just to find the best bargain. Also, unless the lens is actually sold, until that happens you'd be outside the rules, always a temptation to hang onto the lens isn't there!! Yeah, the deadly possibility of being morally obliged by all EOSHD forum users to post your camera to the winner is there to stop people getting too spendy!!

Samsung T5 works brilliantly. Very robust. Very fast. Also the older Samsung T3 is a good drive too and maybe cheaper used?

I am enjoying it. The firmware / V-LOG / codec is out in about 2 weeks and is already being tested. Definitely the most feature packed pro mirrorless cameras, more modern tech than the Sony bodies and one the best images you can get. Downsides? It's a big beast of a camera, definitely not 'mirrorless size' by the usual sense of it, definitely more like a DSLR with no mirror. Autofocus cannot be relied on for video and the Sigma MC-21 adapter has been very disappointing so far.

To help our Aussie friends, shipping cost is not included in the $200. So if just the camera is under that limit you're fine, and hopefully you might even have something that cheap lying around on your shelf to take part in with. @Mattias Burling doesn't seem to struggle with price at the other 'end of the earth', that remote Siberian wasteland of Sweden... In fact, he gets his stuff so cheap, I once considered moving the blog there. Mattias will be doing this challenge on a RED Weapon he traded in some bottle caps for.

Fixed!

Guide was written only with NX1 in mind but there are definitely similarities with the NX500. Maybe I should update it soon and do a NX500 section in it?

Watch this and see why small cameras and rigs are important even for Sky TV https://www.newsshooter.com/2019/06/26/the-real-chernobyl-from-commission-to-transmission-in-two-weeks/ You really don't need that blasted external recorder.

You don't need as part of this challenge to import from Japan or Asia, I am sure there are camera stores in Australia!

I'm still not sure you can infringe a patent just by making something which attaches to something else and passes on a signal. That would rule out a lot of stuff, wouldn't it? Anyway, hopefully my Techart E-Z adapter arrives in 2-3 days, before the Nikony lawsuit does!

Z-LOG remains in the camera memory, independent of the card. So if you format the card or use a different one, Z-LOG will still be available in the menus, until you reset the camera.

Shhhhhhh!

I've no idea but certainly interested to try the Sigma MC-11 on the E-mount to Z adapter

We can't all change the rules just to suit the Canadians