Andrew Reid

ah those well known matching colour profiles - PP1, Eterna and Neutral!

The Fringer needs to be used on the X-T3 in phase-detect AF mode with compatible lenses. I don't think the Phoblographer had much luck on the X-Pro 2 as it's a much older AF system especially in video mode where it is particularly useless.

So is the battery meter actually dodgy, or does the battery swell and the contacts pull away from +/- polls in the compartment? Hmm. The mystery deepens.

At least with Fringer adapter for Fuji X mount you can add IS to the X-T3 with Canon IS lenses. It works well. Also the AF is supposed to be amazing.

I have the Crane 2. Doesn't mount on it out of the box, Pocket 4K is too wide. Not sure if adapter plate. Ronin S is twice the weight of Crane 2. Reason I went for the Crane was the lightness and compactness of it. Be curious to see what works and what does. Nice thread.

I have yet to hear a report of the genuine Canon batteries jamming, because I think the cheaper cells in the third party LPs expand under stress or heat generation, wedging the battery housing into some kind of kink in the camera compartment. I definitely recommend investing in some proper Canon batteries and chucking the one that came with it in the bin.

Well the Nikon Z7 is a $3500 pro camera. Does Max really think the people who buy it are going to use it on the default settings out of the box and not even explore the different automatic WB presets which would have fixed Bart Simpson and the other picture styles such as Flat which would give more control of colour in post? It's not a mom & pa's camera. It's a professional mirrorless camera and he's testing it like a bloody iPhone or a point & shoot. It's just an excuse for lazy testing and gettin' it out quick. Sadly he has 100,000s views and the good guys who WAIT do not. That's what happens when you have no editorial control over a network (YouTube) and promote stuff based on FIRST and VIEWING STATS.

Was it a third party LP-E6 battery or a genuine Canon blue label battery?

My Z7 just doesn't do that to skin tones on the default settings. You'd think I'd notice if someone was BART SIMPSON. And anyway, 90% of people do not use the default settings. They set up the camera correctly according to the shot. Give people some credit.

Pinch of salt. You need a bucket my friend. Unless that guy's name is Bart or his liver has given up the ghost, there is no way the Z7 is set up correctly. Again, in the Pocket 4K shot the man with the Apple tampon in his right ear seems off. It's under exposed. I have not watched the video, I will just get annoyed... But can anyone tell me if Max says ANYWHERE in it, what the camera picture profile and white balance settings were, what kind of lighting was used, what the workflow was in post, what the codec settings were or what he did to the Pocket 4K to make it look about a stop darker than the EOS R at ISO 1600? If there is anywhere near that level of basic detail in the video I'll be astonished. I don't care if Max is a nice guy or not, he is misleading as shit with these basic cobbled together test shots. He simply does not deserve that many subscribers on YouTube, based on the quality of his info. But hey, that's YouTube for you! You are Alice. I am Alice. It is always the Mad Hatters YouTube Party. It's eternally 6pm, time to be mislead into buying some shit we don't need.

That's not because of the LCD panel though is it!??!?!?!?!?!?!??!?! It's because there's practically a PC inside processing your recording!

A fan to cool the screen? Are you ok? This doesn't make any sense. Anyway, if it were a tilting screen then the heat source (backlighting) would be away from the body of the camera and would have a lot of nice airflow under it. As a modern LED backlit screen it doesn't create enough heat to need any cooling, so it's a moot point anyway. They are both great, but I think the Pocket 4K has the better video quality. That's not to say that the X-T3 isn't also nice, plus it has brilliant AF tracking, EVF, larger sensor, stills camera body ergonomics that some may prefer, nice bunch of Fuji lenses, so it depends on your preferences really.

Cheers mate! Is there a way to have Auto WB dynamically change in real-time as you shoot? Like on a mirrorless cam or DSLR? Yeah that playback segmenting of clips is a strange decision, or at the least should be optional. It's very confusing as other have mentioned. Firmware update needed!

Yes the menus are fantastic, the general control layout - I did not realise this until today when I finally put it in my hand - is lovely. Much nicer than I expected. Even the polycarbonate plastic construction doesn't bother me. If anything it's good, because it makes for a very lightweight construction. This is a big camera by mirrorless standards but a TINY and light on by pro video standards, let alone cinema RAW proportions. Yes there are baffling decisions going on but a lot of common sense too. I still do not like Blackmagic's launch strategy and initial shipping quantities, it is ridiculous to be tormented for months with a mix of teasing and social media hype - I almost went mad - but believe me it is worth the wait. Again like BTM says, far from perfect, or without quirks - but it is different to anything else I own and a worthy upgrade from the original - in fact it is SIGNIFICANTLY better than that first camera in every way. Something I did not realise until I actually turned up. I am going to have so many words to eat from this thread, I'll probably choke to death.

For the first time ever I've come face to face with the Blackmagic Pocket Cinema Camera 4K and the Blackmagic Pocket Cinema Camera 4K has come face to face with me. It's time to face facts without doing an about-face. Read the full article

It's very strange why I have so many insufferable cum badgers on my own website. It's not like I haven't tried over the last 8 years to get logical info out... Apparently, some will still think the difference between EOS R 4K and other 4K cams is as big as the gap between faux 1080 80D and 4K on the GH5. Stupidity is like death. It's only difficult for the other people.

I am finding it pretty hard to come up with a good alternative to Vimeo. I even thought about opening a second Vimeo account without any DMCA strikes, and moving stuff over to that. Then if that gets a strike in future, cancel it, and move again. Yes it's a pain but might only have to do it every couple of years. Thing is, you never know when something can happen. YouTube is full of ads and community is... erm... yeah. Self-hosting I think could honestly be the way forward, but won't help draw viewers to your work. If it's just to show clients on a web page, then self hosting is fine though. How about this - https://fabrik.io/for/filmmakers "Instant import from Vimeo and YouTube" sounds like a good time-saver to getting started

Which cameras did you compare on your TV with same shot? Please name them. Didn't realise you had an EOS R yet? But is it cinematic? Or just a lot of fatiguing digital pixels fizzing around? What about when the camera moves? How's the motion cadence? Good luck with that 8K TV. I have 20:20 vision and from the sofa viewing distances it offered zero advantage over 4K TV of same size (65"). Even pixel peeped with eyeball up against screen it wasn't even that impressive, no "wow" factor and it isn't gapless, you see quite a lot of black lines between pixels when eyeballing it. This was the latest Samsung 8K TV in a store BTW. You can buy it right now if you're stupid enough! So we can be conditioned to love digital looking 8K 60p as much as 65mm film 24p? There is a difference in style needed between ultra-realism (which works well for documentary, for example) and suspension of disbelief required in narrative films, where you can use all sorts of soft light, dreamy lenses, anamorphic, etc. to serve the script and too much detail can destroy that. Not true. It's not just about colour it's about the luminance channel (green wavelength) giving you a chromatic image which is what largely determines the resolution. It's also about noise levels, micro contrast and digital processing on the LSI side, not just debayering.

Let's see an example of Unsharp mask in Premiere vs wavelet sharpen then...

That Bever is ace.

Problem is Vimeo have us by the balls and they know it. A far call from their earlier years, now they have an aggressive new CEO who wants to purge a bunch of users they 'accuse' of copyright infringement, to clear the company of any risk or legality issues in the prelude to being fattened up and sold to an even larger corporation than the one that already owns them. It stinks. I have never held in such low esteem a company that I depend on for so much. We should start our own Vimeo. And keep big business away from the running of it.

Wow nice info. Didn't know that. I have the 25mm F0.95 Xenon as well, It's a beast. A lot smaller and lighter than a Voigltander 25mm F0.95. Not quite as characterful as the older Schneider 25mm cine lenses but still very dreamy.

Yes absolutely true. When the picture moves, that's where the pixel peeping becomes irrelevant, especially with 4K. It explains so much. - Nikon D5500 looked so cinematic despite such soft 1080p. Lack of digital sharpness, lack of aliasing and little false detail made it calming and immersive to look at. - Canon soft 1080p used to also have false detail, tons of nasties and jaggies, moire, which is BAD. Valid criticism. However in 4K, all those problems are gone and it's soft enough to look cinematic in motion. When you freeze a frame and zoom into 400% like Max on YouTube, yeah it looks like crap - so what. In motion, at 100% full screen it doesn't look like that. - Canon 1D C another good example, it's not the sharpest 4K - you might even call it 3K - but it has a wonderful motion cadence - Sony A6500 - brittle - but you freeze the frame or look at DPReview's chart and go "wow, that's sharp". Meaningless. Listen to Arri instead. They know what they're talking about. Of course it's still helpful to do a review and look at blow-ups of the image, see how detail is, how it is rendered... But the conclusion you draw from that should be different to the obvious. I too am changing the way I do reviews from now on. Obviously you can take a very sharp and detailed 4K camera and make it look softer in post, or especially with lighting changes. That's fine. But if you are shooting "as-is" in natural light and not doing anything in post - just letting that full sharpness off the hook as is most people's tendency - it would be interesting to compare something like an A6500 and EOS R / 1D C on the cinema screen, to see whether all that sharpness on the Sony side would detract from the experience and pull you out of the atmosphere of the shot.

It will be interesting to see if it takes off. 3D has been tried relatively recently and there was a billion dollar marketing effort behind it from at least 10 major corporations, and a presence in every store. The not insubstantial effort failed and customers aren't particularly hot on 3D movies either, instead rather shoehorned into them due to a dominant number of showings. If RED want to seed 3D again, in the high-end smartphone market, and have it be successful, they have their work cut out I think because the smartphone market is so competitive and people are so satisfied with their OLED touting Samsung and Apple monsters. Calling it "Holographic" instead is really more like "we improved the quality" rather than "we revolutionised 3D". The other problem is the difficulties to show the effect online. YouTube videos about the Hydrogen just don't have that wow factor as they're unable to film the effect. In terms of the content, it needs to be easy to shoot holographic content on a regular camera. I am not a huge fan of shooting 3D the proper way, needs a bulky rig and mirror box to be done professionally. Remember those Fuji compacts with two lenses that came out a while ago? I wonder if they'll come back in mirrorless form? Two lens mounts one next to the other. I suppose it would be easier just to rig up two GH5s one next to the other.

The real story is that sharpness in 4K is a bad thing, not a good thing!