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I don't mean to speak for Kye here, but I think you guys may be missing the point with his intentions. Remember Kye hacked apart a GoPro so he could attach an old D-Mount lens for an 8mm movie camera, so I think this second camera is as much about experimenting with a cheaper camera as it is about having a second camera to intercut with his GH5. I'd say go with a P2K or a GH2... or an Alexa Classic.

Great lens. I briefly had it a couple years ago but had to sell it. I've been looking for another good copy ever since. @JordanWright has some great work with it shot on his P4K.

Thanks, I've seen some Varizoom Lanc controllers but I think I just need to bite the bullet and buy the Ursa Hand Grip because that really has the simplicity I'm looking for. That paired with the BMPCC Speedbooster and the Canon 17-55mm seems like a great minimalist handheld set up. The problem with that setup is that the total cost would put me in the P4K price range and I'm unsure if it's a wise investment at that point and I don't know if the total size would be much smaller... OT - Do you know of any good 12-75mm c-mount lenses that cover the S16 sensor of the OG or the P4K crop mode? I have the Cosmicar but it vignettes heavily as I believe it's designed for 1/2in sensors. It was a beautiful little parfocal lens with the EOS-M in ML crop mode though. I'll probably just use my 5D3 for another few years... LOL. Seriously though, I think I can't conceive shooting in anything less than native full frame raw/ProRes. Completely OT - I don't know if I ever thanked you for turning me onto Samyang lenses, but the 50mm 1.4 continues to amaze me on my 5D3... So cheers... for continuing to be one of the most helpful members on this forum!!!

Honestly, I forgot about that controller. I am mechanically minded, but I'd prefer not to tinker with equipment. I've found it becomes about the tinkering instead of the shooting, for me. With that said, I am looking to make the Micro into a tiny "cine-corder" so I would love a right-handed handle that works off of Lanc, with a simple and direct Lanc connector into the port. I'd like it to be able to control record, zoom and one touch AF if I have a native lens attached... most likely the 12-35mm and/or one of their PZ lenses. With that said, I'm still tossing around the idea of selling it and trying out the P4K for the new modes (S16mm and 2:40) ... the free Resolve upgrade ... and your AF controller with the Panny 12-35mm or one of the Canon IS primes... most likely the 24mm.

I was surprised he didn't even mention the S16 crop mode of the P4K but after thinking about it, his post was born from his plan to shoot his next film on S16 film and needing an inconspicuous B-Cam. And although the P4K's image has grown on me, I still prefer the organic, filmic look of the BMPCC and BMMCC and since he is looking for a S16 sized sensor, to intercut with S16mm film, the P4K, even in crop mode, doesn't really fit his criteria. I've contemplated selling my BMMCC and buying the P4K, but there is just something special about that original Fairchild sensor. Plus I am patiently waiting for you to create some kind of ingenious accessory for it.

Click the top one and make sure you have "color managed" selected.

The problem with the GH5s was always the price and lack of IBIS. I could look the other way with the IBIS but the price, even today, is way too high. Panasonic should be selling the GH5/GH5s for $1000/$1500 respectively. They've been out for 3 years now. With that said, I like the look from the GH5s and would choose that today over the P4K if they were priced the same. In fact, I'd probably buy one. As it is, I believe M4/3 will be dead in 2-3 years at these prices. In fact, I wouldn't be surprised if Panasonic chooses an entry level FF camera over releasing a GH6.

Honestly, I think you should revisit your GH5 idea. You can only fight these cameras so much. They are good at what they're good at. If you were using a gimbal and needed the AF, then yeah roll with the a6500 but if you want to go handheld and do movement... the GH5 is the way to go unless you want an Olympus which would be even more steady.

Haha, I don't think I even NEED a 4K side camera... I probably need to be happy with what I have, put my head down and get some work done. Lol. My friend bought a GH5 and I had a chance to mess around with it and I must say it's a fine camera. The IBIS and waveforms are enough to make it a very fun camera to shoot with. Good to know about the Samyangs. I tend to shoot with one lens so maybe the 50mm is enough for me. But you're right about the sharpness. It has an interesting mix of modern sharpness and vintage creaminess. I used to have a few Pentax-M lenses and a couple SMC K versions... the original K lenses are interesting because most of them are identical to the Takumars with the new mount. How does Dual ISO work? That feature has been around for a while but it was my understanding it's at the cost of extra noise... or something that made it impractical. That eos-m video looks great... you really found the secret sauce with that camera. I just watched your Beach Vibes video as well... did you process and upres that in the MLV App or in Resolve? Whatever you did, it looks fantastic!!!

Thanks!!! Now when I can find a new one, with the software, I may have to give it a try. I wish BM would offer a fire sale on the P4K like they did with the OG.

Yeah that is a marginal difference, so if I had to guess, a 3x crop (give or take) sounds about right. That shot is in BRaw, right? Did you notice any more noise in the S16 mode? And finally, will SD cards work in that mode or do you need CFast/SSD?

It may be, but from your calculations, the crop seems too large, but I am not the right person to ask about such things.

Should we expect a Fujian P4K sample shot?

With the original they were at the mercy of the sensor but with the P4K its a specific crop they created, so one would assume they chose the traditional S16mm size... maybe @CaptainHook knows? I find this mode very intriguing because it opens up a slew of lens options that could soften the look of the P4K. I don't know if you've seen any footage from the Alexa S16 mode but it's pretty gorgeous. I appreciate the sentiment. Weirdly enough, I haven't found one sample from the new S16 mode online... I would have thought it would be a pretty big deal since a lot of members at bmcuser were petitioning for that mode since the camera was announced. Also, is the S16 crop mode only in BRaw or is it also available for ProRes? And will regular SDXC cards work in that mode?

Thanks, I asked because the OG Pocket was often referred to as having a S16 sized sensor but the actual crop factor was a touch less at 2.88x so I wasn't sure if BM followed the traditional S16 crop in the P4K or the OG Pocket crop of 2.88x.

I don't think there's a need to wonder, the man who told you not to put too much faith in the estimated salary of professional sports photographers just so happens to be a professional sports photographer.

It really is an amazing camera and although I sometimes think I need an upgrade, I really couldn't be happier. I have the 50mm 1.4 Samyang and for the money, I don't know if there is a nicer 50mm lens around. I think my next lens purchase will be the 24mm but I hear that lens suffers from copy variations so it may take a few tries to find a good copy. Which Samyang lenses do you have? Also do you prefer the 5D2 more than the eos-m? A friend of mine recently bought an eos-m based on your videos. He left 4K and IBIS behind with the change.

You probably made the right move, both times. As far as Canon lenses, I've never used a better lens than a Canon L lens. Their IS lenses are as stable as entry level IBIS and even their earlier USM zooms are hidden gems for next to nothing prices. The same goes for their FL/FD lenses and even their c-mounts are hidden gems. The same goes for Nikkors. Their pre-ai, ai and ai-s lenses are the best value for the money, with an inherent "cinematic" look that can be adapted to anything. They're also marvels of mechanical and optical construction. My ai-s 35mm 1.4 is barely larger than an average 50mm 1.4 and if you compare that to more modern fast 35mm lenses like the Sigma or Samyang, it's pretty incredible the difference in size and weight. Although I said I don't really see the sense in owning EF lenses if their isn't a camera to mount them to, I am still considering cutting down my now modest collection even more with a Canon 24-70mm 2.8 zoom.

This is a completely broad reply to your thoughtful one, but with the release of the 1DXiii, it is pretty amazing what is available for filmmakers from every budget... for less than $400 you can have a used BMPCC, for $799 we have the Z-Cam e2c, for $1300 the P4K (with full Resolve) or the GH5, for $1900 we have FF uncompressed raw with the Sigma, for $1999 you have the Z-Cam E2, then the P6K, the S1H, ZCam 6K and now the 1DXiii. Every filmmaker, at every budget, has an option to make a technically good film with a DSLR/DSLM or small cinema camera.

Does anyone know the exact crop in the super 16 mode? And does anyone know how much battery life you get with the battery grip?

Three years ago, I was all in with EF but now, after my past few sales, I only have the 28mm 1.8 left. I plan on getting an old 28-105mm too as an all purpose crash lens. I may eventually buy an L zoom but if the EF mount is going to die within Canon cameras, I don't see the point in investing too much into their lenses at this point. I'll wait to see where the market settles going forward. With the Komodo using the RF mount, I wonder if that will be a future standard? Of course, for obvious reasons, I'm still adapting, or modifying, my vintage lenses to EF. That lens has such a short focus throw that it makes sense, I guess. I wonder if the Sigma art lenses have so many more to accommodate the different system's focusing methods? Interesting. Have you tested your focus protocol on any Z-Cam cameras yet? They've been threatening that camera for almost two years now. And if they ever follow through with it, I may consider going back to APS-C. The Z6 is an interesting possibility for me... as is the FP. The FP may even be worth a gimbal investment if the footage out in the wild continues in the direction it's going. And the ProRes Raw I've seen from the Z6 is definitely promising and has a slight edge since I'm an FCPX user. Yup, I have no idea why Atomos has not updated their Ninja Star, I would order that tomorrow and a Z6 on Friday. To keep this on topic, do you know if the 1DXiii can output its raw signal? At that price, you may as well add an Atomos recorder for a ProRes Raw option.

The sarcasm didn't go unnoticed. Lol. Weirdly, I never used an EVF when I shot mirrorless and most cameras that have these kind of specs, an EVF is an add on. Anyway, my point was that the entire photography market is a niche market anyway and mirrorless didn't kill the DSLR, the smartphone did. So, at this point it's all about preference. With that said, obviously I agree that DSLRs are dying a slow death and your most recent post from the Canon rep only enforces that. Of course, with their patent filings, you'd think Canon was invested in EF for the next decade or more. Now if my opinion mattered, Canon would release a video centric DSLR (or modular C100iii) with a hybrid OVF/EVF, an EF mount that shot a maximum of 2.5K internal raw with IBIS and DPAF. And why not, throw in an articulated screen. That sucks, I was hoping an updated USM 50mm 1.4 With IS was on the horizon. The mantra, raw video for everybody, sounds great until you're searching for hard drive space to back up your files. I love raw, but it is not for everybody or every production. At least with the 1DXIII, there is a middle codec that the C200 was missing.

While this is mostly true for the sports photographer crowd, it seems to me that Canon pulled a rabbit out of a hat and extended the niche to include C500ii shooters that need/want a B-Cam and indie filmmakers that were raised on Canon DSLRs but are looking for that step up in quality. I see this as being a huge rental camera. I also suspect that Shane Hurlbut, or someone, will shoot a feature film with it. They basically combined the 1DC and 1DX lines. If I were a richer man, I would order that camera tomorrow. But I actually like shooting with a DSLR. Canon's LiveView is like shooting mirrorless anyway with the extra weight a professional camera is supposed to have... with DPAF. I suspect I'll save any money I was planning on investing into a new camera and use it for an extended rental of the 1DXiii, unless of course Canon is ballsy enough to put raw video in the 5DV... a guy can dream...

Thanks for this. I just tried your settings with some of my ML Raw footage and it's VERY promising!. A couple questions though... 1. Do you have Luminance Mapping turned on? 2. With my footage, these settings cause the highlights (mostly in the skin tones) to blow out. Lowering the highlights in the Raw Panel cures this but with additional saturation added, they easily blow out again. Granted, the settings don't really require much more saturation (if any) than the default amount, but do these settings affect your footage in a similar manner?

@paulinventome those shots look gorgeous. What is your post workflow? I think an FP may be in my future if you keep posting more shots like this. Maybe @BTM_Pix will pick up an extra one for me when he heads Japan. Btw, that last shot is insanely good!!!