PannySVHS

I think I know the reason, why Nikon bought Red. I'm very sure they did it just to piss this guy off. He sounds like someone just cut his mullet off. 😊 I like Mike. But seeing and especially hearing him was hillarious. "I am pissed."😂 He just bought an Epic btw.
 

I think I know the reason, why Nikon bought Red. I'm very sure they did it just to piss this guy off. He sounds like someone just cut his mullet off. 😊 I like Mike. But seeing and especially hearing him was hillarious. "I am pissed."😂 He just bought an Epic btw.
 

I like the formfactor of the Canon XC10/X15. Give it 10bit and a good codec, 4K60, zoom with F2 at the wide and F2.8 at the long end. Voila! I think their launch video really shown off the mojo that camera had. I like really the motion cadence and the rendering of textures. Mojo. 😊 @hyalinejimhad posted a video of his with beautiful colors achieved in Rec709. Anyway, great launch video and a great concept for a S16 cinema camera.
 

Over on Nikon Rumors, a commentator posted this summary:
http://disq.us/p/2y0773n 
 
Doubt it, that would be a big waste of the $$$$ they spent to buy RED. 

Well, I don't need any because I'm not a customer at any point in the near future, but if I was considering buying into the Red ecosystem, I'd like a bit more information from Nikon or "Red" before I made such a big purchase... another press release... a new Red camera with a Nikon badge on it... something to let me know that they're not just going to ingest the IP and scale back their new cinema division.

It's definitely cute, but I think it's probably not good.
I couldn't find any reviews or sample images, so I suspect it might even be a low-res sensor that just upscales to 44M in software.  It's probably the same sensor and firmware as those first generation 40+MP smartphones.  If retro is in, then a bit of blur is part of the style, not a failure of lens design or MTF curves!

Oh, I've imagined all kinds of things for it, but in the spirit of this type of camera itself (i.e. practicality), I don't expect to ever see them realized. I don't think they sell enough units to have multiple models in this space, so I doubt the XF400/XF405 will ever get direct similar-size replacement; the XF605 seems to be the replacement for both the XF405 and the bigger XF705.
Raw and global shutter would probably land flat on their face in terms of attracting the buyers of these types of cameras, who probably would be more interested in better battery life, better stabe, a longer and wider focal range, streaming and broadcast hookups, etc.

I added a "zoomy camera" to my quiver in 2019- the Canon XF405. Basically a bit chubbier version of the soccer-mom sized palmcorders being discussed here, with a top handle/XLR box (which comes off). 1" sensor, 25-380mm lens, C-Log3 was added via firmware about a year after which I was happy about. The XF fills a specific role in my kit and does it well- a small-enough-to-always-bring-it cam for three-point-handheld-with-the-EVF shots that need AF and smooth zooming during the shot, in good light, without a need for massive DR or super shallow DOF, in 4K60 to twin SD cards. Resolution is decent in good light, obviously doesn't match say my S5iiX's 6K-to-4K downscale FF mode, but it does look good cut with the 4K60 from APS-C mode on that camera (which is barely oversampled).
Of course I would love for it to be 10-bit and intraframe, have more external controls, be better in low-light, EVF could definitely be better, etc etc; but I'm happy with it for the $1800 I paid for it used. The XF605 checks some of those boxes for an upgrade but it's bigger than I want and still too expensive. Maybe in a few years when used prices drop.
The HVX/HPX/etc are still so popular with skaters/action-sport folks because they render motion so well (CCD=global shutter), there are workable fisheye adapter options for them, and they're pretty cheap nowadays which is important when your cam is often in physical danger (dropped when filmer falls while follow-filming, or cam gets kicked/hit, etc).

Ha! What a great word! 🙂 

The new 28-200 is roughly the same size and weight as the 20-60mm so it is a lot more balanced to the Fp.

It has a a great range and having the OIS offers an interesting proposition of it turning the Fp into a very compact Cinecorder.
However, it is very, very slow on the long end though, particularly for only 200mm.
Not that ultra shallow depth of field is the be all and end all of course but f7.1 is a bit of a stretch.
Of course the swing to that particular roundabout is that you don't have to worry so much about the camera not having sentient AF !

I had a TM700, it was not all brilliant, fan noise was picked up by the mics, and the codecs were not great with quite a bit of compression artifacts noticeable, but was much better than most other options at that time.  The form factor though is definitely much better than using a photography camera for video.  I moved to a camera because they supported more formats, I wanted 4K but didn't want to drop back to 25P after 50P HD (in PAL land), and no camcorders in that sort of format supported 4K @ modern frame rates, and still don't.
Unfortunately there is no money in camcorders anymore for the likes of Sony or Panasonic to invest in the R&D to go into bringing anything new out in that form factor, the mobile phone killed them off.  The mobile phone has also killed off a lot of point and shoot cameras.
MarkusPix also loves small camcorders for all the reasons discussed here. 
 
 

Here is a collection of 10-bit OMLog400 and HLG files (and a couple of stills) from my OM-1 - https://drive.google.com/drive/folders/1527WMHFXJmDvTGI74QINJQdstgJPhXyt?usp=sharing
All are FHD, using shutter priority ay 1/100s (auto-ISO and auto-aperture), auto WB (with the 'keep warm colors' option on) and C-AF set to a medium central area - so pretty much 'point and shoot' video. Lens was Oly 12-40 F2.8 pro. IBIS was sensor shift only, mostly on the maximum stability '+1' setting (which can cause jerky pans - the standard setting is '0').

That's a cool edit too @Al Dolega.  Nice pacing, good rhythms, nice use of the non-trick shots to break things up, etc.
These more 'percussive' styles of editing remind me of programming break-beats in music production.  You need the right amount of things happening on the rhythm to keep it going, but enough things that are off to keep it interesting and fresh, and enough variety in the whole thing to separate it from everyone else's work.

Well, you fooled me into thinking you didn't struggle.
In my travels I've found there are only a few types of editors:
People that love it and push themselves and put in the hours to create great work People that don't love it, but have somehow found a way (or get pushed by someone else) to grind through the process to get great edits People that don't put in the work and create edits that are good enough / functional / uninspired / plain / blah People that create shit edits People that don't edit and either do 25 minute rambling time wasters, livestreams, or simply don't finish projects at all Cool to hear that you're editing women skaters like men, and especially with someone as skilled as Chynna.  I skated for many years in my youth, both skateboarding and later roller-blading, and I have just enough skill to know how crazy the tricks in that video are.  Especially considering they were all shot in one day, I assume from the title?
If you're someone who likes analysing the work of others and can take tricks from one genre to another, this episode of Parts Unknown is the best editing I've ever seen:
It has every effect I've ever seen in those trendy 'transition-fest' travel videos from the hey-day of Vimeo, but done way better, has transitions I've never seen elsewhere, has editing styles from across the board, and makes all other non-narrative editing look plain and pedestrian, and makes the best of YT creators look like amateur hour at the local craft fair.  Anthony Bourdain was famous for giving editing notes worse than anything the YT comments section contains, and doing it for version after version after version, and I think this might have been the high-water-mark for this type of highly-stylised editing.

I had a guest do that at a wedding a couple of years back. Could not see a thing and totally trashed the shoot!
Lasers, smoke and balloons 🤪

I would say I vacillate between #2 and #3. Maybe an occasional brief flash of #1 when I'm lucky.
Oh no, not at all. We shot this over the summers of 2015, 2016, and 2017- that's where the title comes from. Probably 40-50 shooting days of anywhere from 2-6 hours each day. The curved rail at 2:48, for example, we were there for about three hours, in 90+F July heat. I shot 176 tries, with the landed clip you see in the video being around hour 2 and try 100. But Chy and I are both a bit of compulsive perfectionists and we wanted a following fisheye angle too, so we kept going and only stopped because some guy selling fireworks in the parking lot next to us wandered over and lit an industrial smoke bomb in the middle of the spot because he thought it would give a cool music video vibe 😄 Was kind of a blessing actually as you couldn't even see your hands after that and it forced us to stop.

Wow thanks@PannySVHS! Never thought my stuff would be brought up here.
The S5IIX, to be honest I haven't been shooting much this year so not a ton of time with it yet, but a bit of a mixed bag so far. Love the new AF, the intraframe codecs are nice to have as my stuff has so much motion in it. Other than that it's mostly the same as my S1, which was/is great (other than the AF). On the negative side, my X has had a problem with looseness and glitching in the mic jack since I got it. Wasn't bad at first as I customized my cage to put a little bit of pressure on the plug, which worked for a while, but now it's gotten worse and I have it boxed up to go to Panasonic for repair. I'm not a fan of the new processing for the linear profiles, I shoot entirely in V-Log so it actually doesn't affect me, but... gross, looks like cellphone footage. I'm eagerly awaiting the S1Hii or S1X or whatever comes next, but they'd better fix that processing.
The piece you posted was almost entirely Cine-D, a couple of V-Log L shots from when there was that "hack" to install it on the GH4 for free- and I'm glad I didn't just pony up for the official upgrade, because I couldn't get around banding in the sky (you can really see this in the shot at 0:17, and it's not just YouTube's compression), would have been a waste of money. For post I just used the Leeming Cine-D LUT, and then his "Rich Velvet" Quickie (look) LUT, pulled back a bit. I liked the density and saturation this gave me, reminded me of some HVX200/HPX170 stuff that I'd seen years ago. Past that just some selective Neat-ing and a bit of unsharp mask. I appreciate you noting the detailed/not oversharp look, that's what I've always gone for.
Lenses, for fisheyes the GH4 had a cheap "manybrand" (Samyang/Bower/Rokinon etc) 8mm f3.5, on a 0.64x Metabones BMCC booster that the shutter would crash into if triggered so I had to remember to WB with a different lens. Then on the G85 I had the native-mount manybrand 7.5mm f3.5, much easier to work with, smaller/lighter/cheaper/sharper, but not as wide of a FOV. The booster/8mm shots are the ones with the slight vignetting in the corners. For regular lenses it was about half adapted Minolta MD/MC stuff, no booster as I couldn't find an affordable one that didn't flare/blue dot like crazy, and half Nikkors on a Metabones 0.71x booster. No Panasonic lenses as I couldn't get good results with manual focus or AF.
Thanks @kye, the truth is that I really struggle with editing and rely heavily on beat/music/rhythm for structure and flow. So that means a lot. The B-roll shots are actually a bit sparser in this piece than usual, this is a reaction on my part to so many other video profiles of female rollerbladers often being padded out with too much slo-mo, B-roll, and second/third angles of tricks, usually to cover for a lack of clips of actual tricks. Chynna is arguably the best in the world at this style of skating so I wanted this to be a bit more "all killer no filler"- 35 tricks in 4 minutes- typically the better men in the sport will have about 25-35 tricks in this length, while the aforementioned female pieces have 15-20, plus plenty of slomo of them tying their hair up and putting their skates/helmets on 😄

It would seem a "small" camera doesn't exist without forgoing one of the items listed above. I agree with Matt. It would be the GH5S because IBIS isn't one of the things you listed.

Browsing vintage cameras and some not so vintage cameras like the S1H I searched the comments section to reassure myself of my S1H purchase. 🙂 I recognised a member of our forum and browsed his content finding a variety of awesome lumix material and beautifully filmed skating action. I came around this 8bit masterpiece, filmed with a GH4 and a G85. Awesome stuff! @Al Dolega  So how do you like your S5II so far?:)
Congrats on your awesome content, and the image you got out of the GH4 and G85! What profile did you use, lenes?:) Silly me asking, despite owning great other cameras with modern codecs. But these little cameras are so much fun to play around with and talk about. Still loving my GX85. I like the resolution but lack of oversharpness in this video, also the natural and beautiful color palette. Anyway, some 8bit Mft greatness:
 

I bought a used OM-1 a while ago, and it's slowly turned into my favoured camera for video since then (despite some of its annoyances).
I think part of the reason for that is because it has a very fast readout stacked sensor, with rolling shutter time around 5-7 ms in FHD & UHD, which seems to give a 'solidity' to the video combined with fluid motion handling (I normally shoot at 50p), compared to my G9 with about 12-15 ms rolling shutter.
If my liking of the OM-1 video is due to low rolling shutter then maybe I'm subconsciously sensitive to the picture  distortions created by rolling shutter (including interactions with the IBIS behaviour). But then I'm often filming subjects like trains which readily show up rolling shutter distortions, so maybe that's sensitised me to it?

LX10 in TM700 body with 10bit 422 4K up to 60p would be perfect. @John Matthews I think small sized camcorders were used to be called palmcorders.
So, yes, 10bit palmcorders with 2/3 or 1" sensors, HLG, NDs and with solid manual operating such as focus ring and physical buttons for the essential parameters like iso, aperture, shutter and color temperature.
I still like the size of a HPX171, which is still much smaller than an EX1 and kind of a pretty camera like the legendary DVX100. So will try that one some time. Mike Krumlauf is always fun to listen to. Such an old school guy with a love for cameras and an impressive mullet. 🙂  @Matt Kieley

I was recently considering getting an HPX170 for a project, although I couldn't really justify spending the money. But there are some good videos on youtube demonstrating what handling the footage with modern upscaling and color grading software can do for cameras like it.
It seems the majority people still actively using these cameras are Skate videographers.

Those cameras are a bit too big for me. I'm really hoping for a small 2/3 inch sensor with modern codecs and frame rates. I'd like sub 400g but happy with sub 500g. I'm thinking an enclosed LX10 lens with more reach and a sensor, processor, and battery slapped on the back. Something tells me that it should be possible.

I've seen Gh1 videos which impressed me a big deal color wise. I had posted one a few years ago. But textures were never that appealing to me because of the codec. G6 was so much better in that regard. From cameras i used myself I was the least happy with motion when footage was too sharp as it was with my S1 or when codec was not up to par like on a G6 in lowlight. I love my Bmpcc and Bmmcc for colour and motion.
My Sony PMW F3 looked great, judging from my own test footage and the clips which were still on the card when I bought it.
Ikonoskop is a camera i always wanted to try. The Coney Island video on vimeo impressed very much back then. Colors, motion, plasticity, setting and summer grooves did their thing but colors were really magical. It is not a S16 but a 16mm camera iirc.

I've seen Gh1 videos which impressed me a big deal color wise. I had posted one a few years ago. But textures were never that appealing to me because of the codec. G6 was so much better in that regard. From cameras i used myself I was the least happy with motion when footage was too sharp as it was with my S1 or when codec was not up to par like on a G6 in lowlight. I love my Bmpcc and Bmmcc for colour and motion.
My Sony PMW F3 looked great, judging from my own test footage and the clips which were still on the card when I bought it.
Ikonoskop is a camera i always wanted to try. The Coney Island video on vimeo impressed very much back then. Colors, motion, plasticity, setting and summer grooves did their thing but colors were really magical. It is not a S16 but a 16mm camera iirc.