tweak

Peleng is a solid option if you want more vignette, it will vignette more than an Rokinon (or similar) 8mm fisheye lenses, this is due to the type of distortion pattern it has. Peleng has an equidistant distortion which is one of the most common types, the Rokinon has a Sterographic projection which makes things at the edges seem a little less squashed but will also give you a greater FOV than any other typical fisheye when cropped to a Full Frame image with no vignette. Canon 8-15 has another distortion pattern again in its equisolid distortion which gives you a little more FOV in the corners than a Pelengm, as closer to the edge of 180degrees the image is more squashed, but less FOV than a Stereographic projection. I think the most classic look and type of projection is from the 8-15L and it's probably why so many people use it. The Rokinon has a cool projection but if you're going for that true "fisheye" look it tends to look less fishy IMO.

Some info from my old post - https://www.skateboard.com.au/article/20-93527-1/best-fisheye-setup-for-gh/ I have a GH5 and a Zcam E2 these days and an 8mm fisheye with the 0.64x speed booster gives a tiny amount of vignette, but very easy to crop out if desired. Regular speed booster 0.71x will give you no Vig.

i.e. they are a joke ?.

Those rumour sites are a joke.

You won't be disappointed with the ZcamE2, it's the route I took after having similar cameras to you.

This might be an odd question, but what does this thing fly like in the wind? I shoot most Kiteboarding videos and I don't particularly care much for carrying a drone (had a mavic but sold it as I don't like more things to carry), however there's quite some times where companies want drone shots included because they think it looks "pro". Basically what I'm getting at is whether this thing can fly in say 20knots or so?

When new users sign up and the only thing they do is praise/condemn a certain product it always smells a little fishy to me... sure some might be genuine, but I doubt the majority are. Cheers to the real EOSHD forum users out there. ?

So you're telling me the "fix" is to put another piece of cheap plastic in front of my GoPro8 to protect it, when previously I could just replace the glass?... sounds like a step backwards to me. If you don't turn EIS off for afternoon/sunset, your footage is horrible (Hero 7), obviously you can leave it on if you want, same as you can put a protective lens in front of your camera if you want.

Perhaps, although it's not the reason VX got popular at the time (that's something that people waffle on about now more than anything). I'd disagree anyway, in my opinion VX doesn't sound impressive and you can get the same with many mics or filters if you know what you're doing. I also don't think VX highlights or IQ are anything to write home about. I would agree though that fisheye in a 4:3 aspect makes the most sense for the way it is used when following someone doing lines.

I know quite a few who still shoot VX1000/2000/2100 but they are dwindling as well. I know only one person who has a HVX200 and an Extreme Fish personally (although many US skate and Snow movies are shot with this combo). I don't know anyone who still shoots with a DVX100 (at least not here in AUS/Poland). Neither anyone with a PD cam. Honestly I think VX is about the last dwindling "standard" if you could call it that, but it's also getting close to done, even the die hards are switching out to other things as the tech is getting harder and harder to repair and keep functional and also many people/skaters don't see the point in spending all that time on a project to be hardly able to make out a trick. I'd say the only thing still relevant and perhaps making more of a resurgence to a degree is Super 8 and 16mm film (for the richer budget). VX is a thing because it was the first camera to come with a legit fisheye (Century MK1, AKA "deathlens", which was coined after the death-star in star wars haha). So many iconic skate movies were shot on that camera, so it became a standard and then at some point also nostalgia.

It would be an easy sell for the people and pros who actually want/need it. I'm sure DJI know this and they have the tech already so I'd say we are going to see it for sure, it's just a matter of when... I'd also be interested to see whether Gopro tries to fight back or not, I feel like they are on their last legs, but I could also be wrong.

Hero 7 is the glitchiest piece of electronic equipment I've ever purchased, not fit for pro work (all my friends who have it also have the same software issues, some even have other hardware related issues, I hope they have solved these issues for the 8). Hero 8 has no ability to replace the glass in front of the lens... I dunno what you do with your cams, but I use mine for, well... action! So if I scratch that thing I want to replace it! I replaced my Hero7 front 3 times already! This makes the Hero 8 a non-starter in my opinion. @hk908 Yes the stabilisation is rubbish in low light, don't even try it (actually turn it off, or your images will be toast)... it works pretty well in mid day light though. That all said and done, if anyone is listening... DJI cough cough... can you please make a 1inch sensor camera with better IQ and codecs!!! An action cam with the same sensor as the Mavic 2 with a fisheye lens for action sports (prores if possible!) would be incredible!!! I don't even care if it's twice the size. DO IT!!! p.s. Forgot to mention, if I could go back in time I would have bought the DJI action cam. Only thing I wish is that they wouldn't glue the lens in... DJI please let us swap that out if we want!

I probably have a similar amount of footage to you on most occasions. The feature I'm working on now I shot about 3TB of footage over 3 months. Steps I take - I usually try and cull the bad shit from the start, once I transfer to hard drive I kill anything I know I wont use for sure and also try to give every clip a name. Once I'm in the editor I make different timelines for different things, pull the shots I know I might use in there to just check them out and be easily able to see them. If I've done the first step well the footage is already in folders on the hard drive that are pretty self explanatory. The last part is making seperate timelines (if the project is too big) of the edit and then putting them all together in one timeline at the end. I dunno how people usually approach this stuff, but for the things and style I shoot this is the best workflow I can come up with because usually my videos are not narratives.

Sorry I should have elaborated further, it also needs to be in a Canon MILC.

I'm not buying another camera until there's 24K.