PannySVHS

5D3 ML Raw vibes! Looking fantastic. Are you still rocking the GH6 plus Arri Log?

Seriously, look at the ridiculousness of this. The JJC LCD hood fits perfectly on my S9. The LCD viewfinder is something I purchased with a used GH2 about 5 years ago. It fits perfectly on the ILS and doesn't really require anything else. That said, I find the LCD bright enough for daytime use. The viewfinder is really the only thing that would really help for focus.
Yes. You can set it to one color or it dynamically decides a color (never seen that before). You'll need to have it on sensitive for it to mean much. I think there might be a steep learning curve if you're not used to manual focus though. I often prefer it. It slows me down and gives me something to do other than being intentional on framing.

10 mins max? I only ever test these things in real world scenarios so no stop watches etc...
30+ Celsius. Usually direct sunlight which must add what, another 10 degrees? Why da fuck did they insist in making these things black?!
Sorry, but it was never going to be that.
I'd still have it today if I could bake in a LUT...
 

Love your thread and your posts! @John Matthews This camera looks exciting. I hope they get rid of the loud beep you have mentioned. The video above is awesome. Cinema verité style with both cameras. No endless blindness with dull gimbal hopping but framing and images to enjoy. No Matti Hoppola or Geraldo Undunino violet led backlit technews basements. I will need to read more about the ils if it allows an external evf, if hdmi is micro or  mini. Thanks for sharing your findings and for the video above.

I only ever pay attention to what is visible when I apply my entire image pipeline, so I didn't know offhand, but I just shot some test clips and viewing them straight out of camera I don't really see aliasing.  I do see some artefacts in the 4x mode that are hard to describe, a bit of noise (and perhaps some processing artefacts on the noise?) but definitely not aliasing, even when I shot hard edges and rotated the camera slowly to try and reveal any aliasing.  The 4x mode is soft, obviously because it's sampling a small area of the sensor and then upscaling it to 4K, so maybe that smooths over things perhaps.
I could do a 8-bit challenge...  maybe we should make it interesting and limit the entries to 720p or something just to add a spin.  I'd be tempted to enter the Charmera.  To say that it's 8-bit is perhaps the understatement of the year!

I may be up for an 8bit challenge! Can I use the 8bit cDNG from the FP? 🤪

Canon EOS-M with Magic Lantern in 1:1 mode. These are the resolutions currently available:
3072 × 1308 2880 × 1226 2560 × 1440 2520 × 1080 2160 × 1620 (doesn't work with a monitor plugged in) 1920 × 1280 Yes, there's a major crop. And yes, it is possible to overload the buffer with the 3K and 2.8K modes when shooting 12-bit. And rolling shutter is pretty terrible. But it's a digital 16mm camera with 1:1 readout that shoots raw. Practically no moire or aliasing. And a beautiful image (one of my favorites right now, bar none). Plus, one developer has been making major updates to the UI and simplifying the menus in the past 2-3 weeks. It's like a whole new camera.

I agree. I had an EOS-M when it was first hacked, sold it, and then broke my own rule and bought it again when Crop Mood hit. Now I have two of them: one built up, and one bare bones. And the developers are improving it all the time -- especially lately. Have you checked out Amit's new builds? They are based on Bilal/Danne's last release so they are seemingly just as stable, if not a little more-so. But the new UI is great, and he seems to be unlocking a new feature every day!

That's really cool! Wish someone would update the 5D3 with that UI!
I see on the GitHub, it says stable build. How stable is it? The only time I ever had an issue with my 5D3 was when I ran the experimental 4K builds or the compressed MLVs. The last nightly build I used worked just as well as any camera I ever purchased. 

That’s so awesome. Amazing to see how far ML has pushed the life of these cameras. 

And…
…selling it.
It’s been a decent stills experience but less so video.
From the stills perspective, it takes nice pics but back to the same old dilemma I always have and that is the best camera I have with me at all times is always going to be my phone and it’s a PITA to carry 2 devices.
On the video side if things, it worked well enough on the gimbal but operating the gimbal as a one man band hybrid shooter is as much a PITA as that ever was so selling the RS4 mini also and replacing both, ie the gimbal and the L10 with a Pocket 4P.
Also, in the static role, overheated in literally no time in the type of environment  I typically work in and at not much difference in size to an S9 with a small lens, which despite not having a fan, is surprisingly durable. More so than my S1Rii’s I *think*.
I have not tested the latter but as my S1Rii’s have overheated in a static role multiple times and my S9 never has…
Anyway, L10, I wanted to really like it, but it’s not cutting it for work purposes (never really expected it to as than as D cam at best) and can’t really be bothered as an EDC and with hindsight I shouldn’t have bothered, but hey, we sometimes need to try to find stuff out.
Anyone want to buy a lightly used L10 in the UK?!

The one thing I have not tried is the e stab, but straight out of the box with zero set up other than a quick balance, on the RS4 mini with the optional tracking module, it worked superbly.
Not even close to anything like overheating, but then so far, I have only really been shooting stills with it.
Start up time must be fine as I have not noticed anything other than it takes a second or so for the zoom to find it’s last setting, either; 28, 50 or 75mm as I have it set.
Battery life excellent. I just came back from a week long trip to Scotland and shot well over 1000 frames and battery still showing 2 bars.

I think this is more "normal" footage that you can shoot with this camera. I share this guys opinion on this release:
 

I know we’re not supposed to talk about action cams, but this action cam is not! Why is no one talking about the Mission 1 Pro ILS? This thing looks so good. Have I bought into the YouTube shill hype? I just sold another camera and a couple of lenses to get it. Is anyone else going to pull the trigger on one?

2x digital zoom was without artefacts right? 4x has to be aliasing extravaganza though!:) I could test it myself. But then, why not ask a GX afficiando like you!:) I still love mine. Got a second one so I carry two sometimes when doing a phototour.
Up for a 2026 8bit challenge btw?:) Would be nice with more than two challengers though of course.:) @kye

I treat the LX as camera for HD delivery. From my experience, it's the best ratio between size, quality, ergonomy and used market prize for good quality HD. GM1 with a 14mm is thicker, more expensive and handheld video turns out jittery very easily due to its tiny body not being equipped with a stab.
I have tested the video side with my slightly taller GM5 and it's not fun to use for video. The stabilized 12 to 32 zoom makes it thicker than I like to for considering it over a GX85. The LX15 has lens stab, which works in 4K as well for holding steady, panning and tilting. HD on it is just too brittle for my taste so I see it as a 4K4HD cam.
My two cents. Nice talking to you again, kye.:) @kye

I treat the LX as camera for HD delivery. From my experience, it's the best ratio between size, quality, ergonomy and used market prize for good quality HD. GM1 with a 14mm is thicker, more expensive and handheld video turns out jittery very easily due to its tiny body not being equipped with a stab.
I have tested the video side with my slightly taller GM5 and it's not fun to use for video. The stabilized 12 to 32 zoom makes it thicker than I like to for considering it over a GX85. The LX15 has lens stab, which works in 4K as well for holding steady, panning and tilting. HD on it is just too brittle for my taste so I see it as a 4K4HD cam.
My two cents. Nice talking to you again, kye.:) @kye

I've shot a no budget feature film (partially) as a DP under similar circumstances last year. we had some permissions here and there to shoot in metros and train stations for a few hours, but mostly it was outside in the busy capital city. 
i'll share a still of it here, if somebody wants to see more stills I can DM a link, but at the moment I think it's best it mainly stays private considering the film is not finished yet. 

i do kind of think best to push back against the idea of total minimalism, or austerity especially in regards to crew. Other than the director and I, we had a 1AD, a PA, a makeup artist, sound guy, a focus puller, and on some days a grip or a gaffer (on the few moments we weren't just relying on available light). our director was someone who was frankly underexperienced and would generally completely abandon our preproduction plans, change the script all the time and was unwilling to listen to anyone else's suggestions other than the actors, which caused some tension from time to time. having these other people on your side to keep you in line can make this experience a lot more pleasant since it's hard to make films, no matter how small the scope is.
this was shot on a largely rigged up BMCC6K with some SLR Magic primes, and mostly on a cine saddle. I guess we we're pretty lucky with not being bothered by strangers while shooting, other than having some random people staring at the camera in a wide shot. 
also the thing with walking around in a medium 2-shot is that it is insanely boring, especially for a visual language. there's a reason that doesn't really happen in WKW's stuff. 

When I was younger I got some idea that all movies were made this way. I don't know where I got that idea but maybe heard something about the methods on TV. I was surprised that, after a long time in the indie film and video art world to then enter the world of the commercial conventional film industry and see the scripts and crew people all the work to make sure things go exactly as planned. (It kind of takes the fun out of it.)
Wan Kar Wai's "look" really comes out of availablism. He was living there and went out and shot it. This was pre-handover Hong Kong where space was limited. The lights, colours and "sets" were already there. The art is in taking what's around you and framing it for a story.

Yeah there's definitely an "I don't care what you're doing" thought process in NYC but I think it's more of a survival instinct than anything else. It's actually quite odd. You can walk by someone, make eye contact and nod or smile and they will completely ignore you. I'd imagine if you lived there you'd get used to it, but it seems like you're alone in a sea of people. But for filmmaking on the sly, that's great.
Without knowing the exact concept (I'm picturing a Before Sunrise kinda thing) I stand by the idea of keeping a small footprint and understanding the POV of the camera in the story. As @Bioskop.Inc said, if you can keep the dialogue minimal, by utilizing the mood and tone of your locations, then all the better. Also make sure to get clean dialogue takes so you can cut to a different take and use the dialogue over it... eventually people will look at you as they pass by. Otherwise stay small and nimble and flexible with your locations. If you can make a scene work on a park bench instead of walking... even better. 

So far, we have:
The French Connection The Day Of The Jackal Escape From Tomorrowland Chubby Rain Woody Allen (Annie Hall, Hannah and Her Sisters, Deconstructing Harry) Lost in Translation I think this is a great list! I know that Sean Baker’s Tangerine was shot this way, but I’d rather not sit through another of his films.
 
I've written a drama short. Two characters, 11 pages, lots of walking around town. I live in Portland and I’ve shot all over town before without ever once being hassled (except by some in a crisis of mental health). But I’m really more interested in seeing what kind of aesthetic choices might even be available to me when balancing that with coverage needs, moving quickly, and not attracting too much attention.
I'm always so envious of New Yorkers for this very reason. You can fill the frame with sidewalk commuters and often no one will even bother to give you a second glance. I can’t think of any other US cities where this is true. 
Lovely screen grabs, Kye. If any of these were publicity stills for a film, I’d want to check it out. Especially the 68mm shots. Great mood and sense of place.

I think that this quote sums up some of the decision-making that I am facing. I could totally go in there and “wing it”, just figuring out my shot as I went. But I want to rely on natural light, which means timing certain shots for certain times of day, and then that raises the question of how much planning I want to put into each scene, and ultimately how the visuals will compliment the story. I’d rather not lean too far into the documentary aesthetic.
After shooting my last five shorts with my C70s, I’m actually thinking about shooting this film on a hacked EOS-M with c-mount lenses. I’ve been collecting them for a while and have three sets of primes, plus some great zooms. I’d personally put the aesthetic available with this (windowed) sensor and these lenses up against anything, I like it that much. I think the reason that no one really wants to do this is because it’s one of the most difficult digital cameras to work with, AND on top of that, the most difficult lenses to work with. But I’ve been tackling the challenges presented by these one by one, and I think I have them pretty well sorted. We shall see!

Current plan is to hide a Deity PR-2 recorder with a lav on each actor and attach a timecode box to the audio input of the camera. Stabilize with a steadybag. Transmit the image wirelessly to a producer and make up artist in a car, along with refreshments for the actors. If I end up working with long zooms, I might give direction over a phone and provide a discrete earbud to each actor so that I could also monitor.

What are you trying to do? As long as you don't have a big rig with lights and a shotgun mic, then you should be good. I've walked around Philly and NYC and see plenty of people shooting video everywhere with gimbals and even tripods sometimes... although I wouldn't recommend that. The key is to look like a tourist and find locations where there aren't many people passing by, or it's so busy, people don't even look twice at you because you look like a tourist. And be prepared to move to a different location if you have to. Philip Bloom, hardly a narrative filmmaker, but his use of super long lenses gives him the freedom to be a little far from the talent. Separation between camera and talent can be a good thing if you're trying to steal shots. 

I was very impressed with the results I saw from various people testing it.  The GH7 sensor is good, the lens in the L10 is also good, and V-LOG and the codecs available are more than enough, so it should be a great combo.
In terms of the lack of IBIS, that's definitely a thing, but if you're able to steady it with almost anything (tripod, gimbal, monopod, even just a large handle of some kind) then it should be pretty stable.

L10 update…
Shot 5x wedding ceremonies plus their day prior & post events exclusively on the L10.
Stills only so far…
The experience and results have been great.
Not S1Rii great or even S9 great (but in isolation more than good enough as a back up camera stepping up to do a job) the latter  of which is supposed to be my back up camera but was in the shop being supposedly fixed…but as it turned out the fix was going to cost more than buying another mint used one, I bought another.
Also one week long family adventure as my sole camera. Also perfect for that.
However, now that I am back with 1.5x S9 camera bodies, I have decided to repurpose the L10 as; personal plus back up plus dedicated gimbal unit.
Bought my 4th gimbal but this time determined to actually use and keep it…my previous issues being a combo of; reliability, weight, too much kit, user ineptitude…but as it’s an RS4 Mini with the tracking unit and L10, it should be a pretty sophisticated and lightweight unit.
Only 3x more jobs that have video this year but at least it will be a good test ahead of 2027 where every job is hybrid.
Should be GH7 level results, albeit with a fixed lens and the lack of IBIS the L10 has removed and improved…
 

I had ruled out the GX9 for some reason, thinking it didn't have IBIS, and then I randomly heard that it did have IBIS and so I got confused about why I had written it off, so hearing about the crop made me wonder if that was potentially the reason.
200Mbps is a great bitrate, especially for HD!  I don't recall hearing about this.
Yes - there's even a thread about it that just started!
 
I haven't looked at it myself yet, but if it's a one-stop solution for film emulation then it seems promising.  I've heard it's pretty slow still, but it's still early days and perhaps optimisations will change that at some point.
For me, and this GX85 Super-16mm film camera project, it was more about the GX85 and me finding a place for it.  I have equipment I like, shooting situations / scenarios I prefer to shoot, and images I like, and the goal is to find combinations that work well.
This project has resulted in me successfully discovering and developing the combination of:
GX85 plus 14mm F2.5 pancake lens at 1x / 2x / 4x digital zoom Shooting street scenes in uncontrolled / available light, hand-held, from waist height Passable S16mm film camera emulation for gritty images with a strong vibe I'm actually really heartened by the GX85 and will be testing how far I can push it in other ways.  Emulating a S16 camera is a lot easier than a S35mm camera, for example, so I'll see how I go with that.  I'm effectively done with the S16 film camera emulation but not done at all with pushing to get the most from the GX85.