Emanuel

I originally read the title as “This Guy Makes Any Camera Shite” and thought my cloud account had been hacked.
I enjoy watching Brandon Li’s stuff, particularly the self shooting ones. Self shooting as in shooting on your own as though someone else is shooting rather than self shooting in the vlogging context.
Tripods basically.

The secret sauce is skill.  
As someone that used to make my living doing travel videography decades ago, this Brandon guy has really honed the judgement it takes to get the shots.  There's so much going on out there in the environment and he's able to omit it, control it, and/or shape it into something impressive.  It's really quite a thing to do.
He could make any camera in manufactured in the last 15 years look similar to this.  In fact, he has.
This guy is a cinematographer that really knows how to chase the light, compose a shot, and also create advantageous serendipity.  Which might sound like a paradox, but it really isn't.  
But, yes, images like this sell cameras.  Okay, buy the camera if you'd like and start the path to making an edit like this.  You can't buy his boots-on-the-ground experience though.  He's casual about it all during his "how-to" segment, but it really is the biggest factor here.

I'd like a dollar for every time he says oppo find...  I believe the more youtube camera reviews i watch, the more cynical i become and the cynical part maybe exponential... 
i did like the intro, for a guy who lives in the country, its nice to see some travel footage. Although the title,  travel film could be "code"  for you, secretly need a new 8k  camera phone. That in turn would probably necessitate a new tv, new computer, and maybe some other peripherals. So for me, probably not going to happen.  Perhaps this new oppo is amazing, and good on them if it is. Personally i cant take a camera phone seriously if it doesn't have a lens cover. Every single lens i have bought except a couple of 2nd hand lens from japan have had lens covers. If  smart phone manufactures cant put a plastic lens cover on it then their not taking their product seriously.
During the into did think to myself one could  do a similar thing with a gimbal and any phone camera or perhaps even an action camera.  Sure enough a gimbal seems to be the secret sauce, oh and add 8k of course and the occasional hand held shot for added realism.  I shouldn't knock the guy, at least he's out and about doing stuff, while i'm content to simply watch it, in my comfortable desk chair..  It was nice of oppo to send him the phone to vlog with, after that my mind boggles at the boat trips, plane trips, bike hire, and i'm thinking at this point his his business financials must be going backwards. 🙃 I did learn a few things from the behind the scenes part, so thanks for that .
PS. Somebody should probably tell the dude,  that you ride bikes,  you don't drive them. It sounds kinda lame to anyone that does actually ride one.
 

Oh, you have met some of my family then?

Oops

So there are indeed some details in the video specs that will be of note to some.
Internal RecordingH.264/H.265/MOV/MPEG-4 AVC 4:2:0 8/10-Bit
5674 x 2988 at 23.98/24.00/25/29.97/47.95/48.00/50/59.94 fps (200 to 300 Mb/s)
5184 x 3888 up to 23.98/24.00/25/29.97 fps (200 Mb/s)
4352 x 3264 up to 47.95/50/59.94 fps (300 Mb/s)
4096 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120 fps (100 to 300 Mb/s)
3840 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120 fps (70 to 300 Mb/s)
1920 x 1080 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120/200/240 fps (16 to 200 Mb/s)
H.264 ALL-Intra/MPEG-4 AVC 4:2:2 10-Bit
4096 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94 fps (400 to 600 Mb/s)
3840 x 2160 at 23.98/24.00/25/29.97/47.95/50/59.94 fps (400 to 600 Mb/s)
1920 x 1080 at 23.98/24.00/25/29.97/47.95/50/59.94/100/120 fps (200 to 400 Mb/s)
Interesting to note that Panasonic have sidestepped the Micro HDMI bleating by just fucking it off altogether.
Although it was playback only on the original anyway.

Well, they just launched the Canon R6V, so I hope Panasonic enjoyed their 20 hours of PR!

This looked and sounded really good until they said there was no IBIS. I suppose this makes sense as they emphasized this is targeted for photographers, but I do hope they release a video focused model that includes IBIS because I would love a genuinely pocketable video camera like this. 

Simply unique :- )

The video was an improvisation test focused on capturing the human face using my modded phone. It wasn’t a planned shoot, just a quick experiment to see how the device performs in real conditions. Unfortunately, many clips were deleted because I didn’t have a tripod and was holding the phone by hand, which made some recordings unstable or unusable.

Ok I'm more interested, now that its got a mft mount. I feel that alone will elevate the litle gopro to next level for a lot of people.  The open gate mode sounds interesting and i would like to pair that with my 24mm sirui anamorphic. No idea how that would turn out but it does sound interesting and then there's 3 other mft lens i own and a whole bunch of vintage glass to play with as well. 
Looks like gopro have a whole range of accessories to buy as well, tailored to fit, for that integrated look. Cant blame them for that i guess and it kinda cuts out the others from getting a slice of the pie...  
 I like the concept so far.. still unsure about the photo and video file types. Apart from saying its 10 bit, there's not much to go on. I just hope theres some flexibility built in and the ai doesn't just burn a lut in 🙄.  Abit pessimistic i know, but i'm not a fan of the default settings from gopro for things like sharpness and saturation. So i'm still not preordering. I'll wait for some initial reviews, and then hopefully wait for some more before i do anything rash...

This is why, for me, there are two likely ways to use it:
1) My small bag full of C-mount and D-mount lenses and possibly attach it to the smallest 5" monitor that I have (which is quite small)
2) Throw it in my bag where it takes up almost no space and attach it to the back of existing short telephoto lenses which now function like long telephoto lenses

There's a realisation I keep hitting in my setups, despite me trying to keep a small kit.  It goes like this:
Start with a small camera body Think about the lenses I'd use with it for that project Think about the shooting style and approach and think about extra rigging and accessories that would require
----<realisation occurs>---- If the setup is going to be that big - why not use a larger body with better features / quality I'm having that realisation with this GoPro.
Not that there's a ton of small bodies with 10-bit recording, which we've all complained about at great length, but just having a camera body with more than 3 buttons and a screen that is larger than a postage stamp etc is actually quite useful.

Matt, that half-cropped head makes it even funnier.
@kye great post! ; )
:- )

I heard this recently and think it's pretty interesting.  I'm not sure if it's the best definition I've read, but it's more practical than other ones, so is useful from that perspective.
“He who works with his hands is a laborer.
He who works with his hands and his head is a craftsman.
He who works with his hands and his head and his heart is an artist.”
- Saint Francis of Assisi
I'm 100% for not gatekeeping.  Even from a practical perspective, saying someone/something is or isn't 'art' doesn't mean anything, and people who like to be critical are really just telling us about themselves, not the thing they're talking about.

There's a colleague in my town that is trying to make "animation" films with 100% generative A.I.  What would Francis conclude about someone working without 'hands' and 'head'?  Or at best, no hands and half their head.
Like Gerald, this colleague is hoping he's able to maintain a financially rewarding YouTube channel. 
It could be that he is jumping on the slop-train.  But, on the other hand, at least he's making a novel effort production-wise to try and pay his bills.
Whereas, my naive thinking is that there's still a chance my documentaries will be, somehow, someway, financially rewarding.  And, even though that's unlikely, making docs is at least creatively fulfilling.

Luc Forsyth likes it, or what he saw at NAB anyway.
This is a setup they had with a broadcast servo-zoom lens on it.

His comments (link with timestamp)
He's worked on the survival show Alone for a few seasons and they use dozens of GoPros, but the footage always looks like it came from a GoPro This new model with a proper lens attached looked like footage from a real camera The broadcast zoom setup (with a phone as a monitor) handled like a proper camera He doesn't use AF when rigging cameras to vehicles etc most of the time so the lack of AF doesn't bother him in that context

Kinda interested on this GoMFT - I still like to take stills and video in concerts, and security is an increasing pain in the ass each show.

But for me an active mount would be much better - just to power the OIS in the lens that have it, and maybe just a CDAF autofocus.

(other option are these new phones with external lens like the Vivo and Oppo ones)

Z6 III vs ZR, you said?
Both are full frame, both use the Z mount, both have subject detection AF for 9 subject types, and both offer internal RAW up to 6K/60p.
The Z6 III has a 24.5MP full-frame sensor, and the ZR also uses a 24.5MP full-frame partially stacked sensor with EXPEED 7. From there, though, the split becomes pretty obvious.
The ZR is the one Nikon has shaped as a compact cinema camera. It gives you internal R3D NE, RED colour science, Log3G10 / REDWideGamutRGB, 32-bit float audio through the internal mic and 3.5mm jack, plus a 4.0-inch screen designed more for actual filming without leaning as heavily on external accessories. Nikon is very clearly positioning it as a compact cinema body.
The Z6 III, on the other hand, is much more complete as a stills camera.
It has a 5.76M-dot EVF, burst shooting up to 120fps, Pre-Release Capture, mechanical and electronic shutter options, and up to 8 stops of stabilisation with Focus Point VR. It is simply the more all-round camera of the two.
Physically, the ZR is noticeably smaller and lighter at around 134 x 80.5 x 49mm and 540g body only, or 630g with battery and card, whereas the Z6 III is larger and heavier at roughly 138.5 x 101.5 x 74mm and 670g body only, or 760g with battery and card.
The viewing setup also says a lot about the intent behind each one.
The Z6 III has an electronic viewfinder and a 3.2-inch vari-angle screen.
The ZR goes the other way with a 4.0-inch rear monitor and is not really being sold as an EVF-centered body at all, but as a video monitoring-first tool.
Audio is another area where the ZR is in a different class, because the 32-bit float recording is a major selling point and still quite unusual in this form factor. The Z6 III has serious enough audio for video work, but that is not one of its defining features.
Even the card slots tell the story. The Z6 III uses CFexpress/XQD plus SD UHS-II, while the ZR uses CFexpress/XQD plus microSD. That alone already says a lot about the difference in philosophy between a photographic hybrid and a compact cinema camera.
The Z6 III is still the more rounded hybrid camera, while the ZR looks much more like a compact cinema body built primarily around video use.
On paper they overlap in some important ways, because both sit in the same broad full-frame Z-mount ecosystem and both are clearly meant to appeal to shooters who care about strong video features, but the intent feels different.
The Z6 III is the camera I’d look at first if the job includes serious stills as well as video, because it gives you the EVF, the more conventional hybrid ergonomics, the stronger photographic identity and a much more all-purpose way of working.
The ZR, by contrast, seems aimed at the person who is leaning far more into filmmaking and wants a smaller cinema-oriented body, RED-style workflow influence, more specialised video tools and a more stripped-back approach that is less about being a do-everything camera and more about being a focused moving-image tool. That is really the core of it.
The Z6 III is the safer all-rounder. The ZR is the more interesting specialist.
So if somebody mainly shoots photo and video in equal measure, I’d say Z6 III. If they are really after a compact cinema camera in Nikon form, then the ZR is the one that makes more sense.

https://www.blackmagicdesign.com/media/release/20260414-01
 
In Portuguese.
 
In conclusion, now in English:
The big leap in Resolve 21 is this: it is no longer just an editor and colour-grading system for video. It now also includes a new Photo page, designed for still photography, with album management, node-based grading, crop and reframe at original resolution, tethered capture with Sony and Canon cameras, support for LUTs and Resolve FX, and collaboration through Blackmagic Cloud.
On the AI side, the package has become much more aggressive. It now includes IntelliSearch to find people, objects, and even words spoken in dialogue, a voice generator from text, CineFocus to recreate depth of field, Face Age Transformer, Face Reshaper, skin-imperfection removal, automatic slate reading with AI Slate ID, UltraSharpen, and Motion Deblur.
In the Cut and Edit pages, the most visible additions are improvements to keyframes and curves, the ability to adjust Fusion effects directly inside those editors, native support for HTML and Lottie graphics, improvements to Text+ and MultiText, and more practical smart bins for filtering footage in the Media Pool.
In colour, VFX, and audio, Resolve 21 adds MultiMaster Trim Manager to generate HDR and SDR versions from the same timeline, Magic Mask render in place, list and layer views in the node editor, and group versions for grades. Fusion gains the Krokodove library, improvements to the macro editor, and an updated USD toolset. Fairlight adds track folders, 6-band clip EQ, EQ and Level Matcher, and Chain FX.
For creators and modern workflows, there are ready-made square and vertical resolutions for social media, direct upload to YouTube, TikTok, Vimeo, and X, support for IntelliScript with Final Draft, import of ATEM Mini ISO projects, and major reinforcement of immersive workflows, including VR180 and VR360, Panomap, ILPD retargeting, MainConcept H.265/MV-HEVC, and foveated rendering for Apple Immersive.
In short, Resolve 21 seems to be three things at once: more useful AI, tighter integration between areas that used to be separate, and a much broader opening toward photography, creators, and immersive content. Blackmagic itself presents this version as a major update, with the new Photo page, dozens of new features, and many usability improvements.
 
This is no small improvement. And who said they were focused only on the SMPTE crowd?! ; ) LOL
Amazing upgrade, kudos to them! : -)

https://www.blackmagicdesign.com/media/release/20260414-01
 
In Portuguese.
 
In conclusion, now in English:
The big leap in Resolve 21 is this: it is no longer just an editor and colour-grading system for video. It now also includes a new Photo page, designed for still photography, with album management, node-based grading, crop and reframe at original resolution, tethered capture with Sony and Canon cameras, support for LUTs and Resolve FX, and collaboration through Blackmagic Cloud.
On the AI side, the package has become much more aggressive. It now includes IntelliSearch to find people, objects, and even words spoken in dialogue, a voice generator from text, CineFocus to recreate depth of field, Face Age Transformer, Face Reshaper, skin-imperfection removal, automatic slate reading with AI Slate ID, UltraSharpen, and Motion Deblur.
In the Cut and Edit pages, the most visible additions are improvements to keyframes and curves, the ability to adjust Fusion effects directly inside those editors, native support for HTML and Lottie graphics, improvements to Text+ and MultiText, and more practical smart bins for filtering footage in the Media Pool.
In colour, VFX, and audio, Resolve 21 adds MultiMaster Trim Manager to generate HDR and SDR versions from the same timeline, Magic Mask render in place, list and layer views in the node editor, and group versions for grades. Fusion gains the Krokodove library, improvements to the macro editor, and an updated USD toolset. Fairlight adds track folders, 6-band clip EQ, EQ and Level Matcher, and Chain FX.
For creators and modern workflows, there are ready-made square and vertical resolutions for social media, direct upload to YouTube, TikTok, Vimeo, and X, support for IntelliScript with Final Draft, import of ATEM Mini ISO projects, and major reinforcement of immersive workflows, including VR180 and VR360, Panomap, ILPD retargeting, MainConcept H.265/MV-HEVC, and foveated rendering for Apple Immersive.
In short, Resolve 21 seems to be three things at once: more useful AI, tighter integration between areas that used to be separate, and a much broader opening toward photography, creators, and immersive content. Blackmagic itself presents this version as a major update, with the new Photo page, dozens of new features, and many usability improvements.
 
This is no small improvement. And who said they were focused only on the SMPTE crowd?! ; ) LOL
Amazing upgrade, kudos to them! : -)

Just curious what advantage the cine versions would bring in your application over the stills versions, particularly for the price bump ?
Are they parfocal or have significant reduction in focus breathing ?
Or are you looking at having wireless motor FIZ control with a Nucleus etc?

Z6 III vs ZR, you said?
Both are full frame, both use the Z mount, both have subject detection AF for 9 subject types, and both offer internal RAW up to 6K/60p.
The Z6 III has a 24.5MP full-frame sensor, and the ZR also uses a 24.5MP full-frame partially stacked sensor with EXPEED 7. From there, though, the split becomes pretty obvious.
The ZR is the one Nikon has shaped as a compact cinema camera. It gives you internal R3D NE, RED colour science, Log3G10 / REDWideGamutRGB, 32-bit float audio through the internal mic and 3.5mm jack, plus a 4.0-inch screen designed more for actual filming without leaning as heavily on external accessories. Nikon is very clearly positioning it as a compact cinema body.
The Z6 III, on the other hand, is much more complete as a stills camera.
It has a 5.76M-dot EVF, burst shooting up to 120fps, Pre-Release Capture, mechanical and electronic shutter options, and up to 8 stops of stabilisation with Focus Point VR. It is simply the more all-round camera of the two.
Physically, the ZR is noticeably smaller and lighter at around 134 x 80.5 x 49mm and 540g body only, or 630g with battery and card, whereas the Z6 III is larger and heavier at roughly 138.5 x 101.5 x 74mm and 670g body only, or 760g with battery and card.
The viewing setup also says a lot about the intent behind each one.
The Z6 III has an electronic viewfinder and a 3.2-inch vari-angle screen.
The ZR goes the other way with a 4.0-inch rear monitor and is not really being sold as an EVF-centered body at all, but as a video monitoring-first tool.
Audio is another area where the ZR is in a different class, because the 32-bit float recording is a major selling point and still quite unusual in this form factor. The Z6 III has serious enough audio for video work, but that is not one of its defining features.
Even the card slots tell the story. The Z6 III uses CFexpress/XQD plus SD UHS-II, while the ZR uses CFexpress/XQD plus microSD. That alone already says a lot about the difference in philosophy between a photographic hybrid and a compact cinema camera.
The Z6 III is still the more rounded hybrid camera, while the ZR looks much more like a compact cinema body built primarily around video use.
On paper they overlap in some important ways, because both sit in the same broad full-frame Z-mount ecosystem and both are clearly meant to appeal to shooters who care about strong video features, but the intent feels different.
The Z6 III is the camera I’d look at first if the job includes serious stills as well as video, because it gives you the EVF, the more conventional hybrid ergonomics, the stronger photographic identity and a much more all-purpose way of working.
The ZR, by contrast, seems aimed at the person who is leaning far more into filmmaking and wants a smaller cinema-oriented body, RED-style workflow influence, more specialised video tools and a more stripped-back approach that is less about being a do-everything camera and more about being a focused moving-image tool. That is really the core of it.
The Z6 III is the safer all-rounder. The ZR is the more interesting specialist.
So if somebody mainly shoots photo and video in equal measure, I’d say Z6 III. If they are really after a compact cinema camera in Nikon form, then the ZR is the one that makes more sense.

Remember what kye wrote about ;- )

I mean, the lens mount makes it very adaptable, but not having auto focus seems like a big deal breaker.