Phil A

There’s another fella on here with 30+ items for sale. Andrew something…

Cameras are just 18.6% for Canon (printers are 55.2%).
I think Nikon is the most vulnerable in that group you mentioned.

Direct comparison with the new DJI Action 3 from PotatoJet.

Both have their strengths and weaknesses but generally I feel like these are a pretty solid. DJI obviously very aggressive on pricing, which might steal a lot of potential GoPro customers.

I think that 3rd party lenses are a huge draw into a system. For video creation, the Viltrox primes are quite a bit better than the Fujifilm primes at cheaper prices. The same way I think a lot of people like the 3rd party options for zooms like the Tamron 17-70mm f/2.8 Di III-A VC RXD for Sony & Fuji APS-C or the Sigma 28-70mm f/2.8 DG DN that is way smaller and lighter than the 24-70mm from the camera makers.
You could argue that a 2500€ lens from Canon/Sony/Nikon is a lot better than a 999€ 3rd party lens... but then when does it really matter? When has the hint of less sharpness/resolution or the higher artifacts (CA, etc.) actually detracted from the work you produce? 

Now imagine a NX2 with this kind of stabilization...

I still have an iPhone 11 Pro Max but my main gripe is how over-sharpened and brittle the image looks. I don't mind shooting with super deep DoF but it's just not a "thick" image like I get with a mirrorless camera (which are also often artificially sharpened). I watched some reviews of ProRes on YT when the 13 came out but I didn't see a huge difference (I think many people pretended that the codec will make a difference, when it's actually more the processing before that). I'd wish we could deactivate sharpening in FilmicPro even further, like it's possible on Android.
So personally, I'd rather get a less processed image that's smoother/organic than more dynamic range at the cost of it looking hyper digital.

I still have an iPhone 11 Pro Max but my main gripe is how over-sharpened and brittle the image looks. I don't mind shooting with super deep DoF but it's just not a "thick" image like I get with a mirrorless camera (which are also often artificially sharpened). I watched some reviews of ProRes on YT when the 13 came out but I didn't see a huge difference (I think many people pretended that the codec will make a difference, when it's actually more the processing before that). I'd wish we could deactivate sharpening in FilmicPro even further, like it's possible on Android.
So personally, I'd rather get a less processed image that's smoother/organic than more dynamic range at the cost of it looking hyper digital.

I think the one bummer with the A7 IV is the rolling shutter of 27ms when shooting in full frame mode (according to Slashcam's measurement). I really can't buy another camera with such bad rolling shutter performance due to mainly shooting handheld, it's a headache.
Obviously it's good in APS-C mode but who buys a 2750€ camera to then crop in on the sensor all the time, might as well directly buy a good APS-C camera with other advantages.

I'm telling you... people that don't know are completely oblivious... people look at 8 seconds and think thats nothing. But if you are at a wedding or any other event... where candid moments are happening on the micro-second level... those 8 seconds feel like an eternity. 
Those that don't know - I challenge you... you don't need to be a photographer/videographer at the event... but the next time you attend one... just pay attention... find those candid moments and just count... 1 mississippi... 2 mississippi.... all the way to 8 mississippi... then tell us that 8 seconds is nothing.

The worst is stabilizing in post when someone is (not so carefully) walking with the camera. Everything just rhythmically blurring for a fraction of a second. It shows especially when there’s a lot of trees, traffic signs, etc in the frame.

The worst is stabilizing in post when someone is (not so carefully) walking with the camera. Everything just rhythmically blurring for a fraction of a second. It shows especially when there’s a lot of trees, traffic signs, etc in the frame.

Waveform is quite likely only for video function, for stills you probably have to activate the histogram if you want to see that.

Waveform is quite likely only for video function, for stills you probably have to activate the histogram if you want to see that.

Nice shots but.....
Title of video : I Got Arrested in Rome - What Every EU Drone Pilot Needs to Know before flying
1st line of description : I Want to tell you my story on how I got almost arrested in Rome twice even with a drone permit.
Join us next week for my video "I Got Arrested in Madrid" where I detail precisely how I absolutely, positively didn't get arrested in Madrid either. 
The stupid thing about the shamelessly clickbait title is that it is actually an informative video that didn't require it. 
 

I am still amazed at the files coming from the Gh5, no matter it being the L variante of VLog. My S1 is even better.  Fs700 8bit Slog2 is pretty amazing in good light too. We have no reason to complain in the image department.

If you're using Resolve, you can convert from one to the other, so essentially zero difference.
In practical terms, both will be rubbish until you learn to colour grade.

It, both IBIS and IBIS Boost Mode, is very noticeably worse on the X-T4 than on the GH5 so I assume the X-H2s will be worse than the GH5/GH6 from the footage I've seen

Late version of the Minolta 35mm f1.4.



I like it as a middle ground between the 35mm f1.4 Nikon AIS and a more "clinical" lens like a Sigma Art lens or Rokinon.

Hi,
Just wanted to share my latest work which I produced and directed; a music video for Kygo ft. DNCE (Joe Jonas). It’s shot on Arri Mini + Arri Mini LF with Kowa anamorphic glass. I’ve been on this forum since I bought my (now retired) GH4 8 years ago.
Thought some of you might find it interesting ☺️
 
 

For those interested here is a Spec Ad I shot with my colleague Greg Latham last year. A mix of S1/S5 with canon FD primes, the Lumix 24-105 as well as some Sigma 70-200 EF long lens stuff. Still amazed the quality these cameras produces for the price.
 
 

It's not so much a question of accuracy but 10 bit vs. 8 bit and the desire to bypass the operating system, which is the  point of using those Ultrastudio monitors.
There is a separate question, of course, of whether this is overkill but much depends on the destination(s) for these videos. If it's just youtube I'm not sure it's worth the effort; for broadcast or cinema where you have to meet standards then obviously it is. There are examples of successful corporate and youtube videographers who just use their laptops or an uncalibrated monitor and are happy enough with the result, but everyone's priorities and standards are different.

Did you consider one of the "travel screens" like the OLED that Andrew posted about recently? They're 14-ish inch and reasonably thin and light. There are also cheaper IPS options.
I think the main issue for a travel grading screen is that they need to be reasonably color accurate (calibratable) and have uniform brightness. I don't know how well one can find information regarding that without just buying one and trying/measuring yourself.

There's more to a camera than the user interface.
The more posts I read from you the more I wonder if you're just trolling and missing the point on purpose....

Neither is the grip equipment required to support a Classic 😂

No, I'm not interested in cameras that can't shoot the format I want internally.
You won't find measurable differences in quality or usability between ProRes and H264 All-I at the same bitrate, so there are plenty of smaller, cheaper cameras that hit your criteria for a decent codec internally.