spinkscapes

Just so readers can decide themselves how the cameras match together I'll give you a breakdown of the setups: Shot 1 - invitation - Blackmagic Pocket 4K with Voigtlander 25mm f/0.95 (ordinarily shot at f/1.4-2.0); Shot 2 - dress zipping - BMPCC 4K & V 25mm f/0.95; Shot 3 - engagement ring macro - Canon C200 with Canon 100mm f/2.8L with a Rotolight; Shot 4 - bride putting on ring - - BMPCC 4K & V 25mm f/0.95 shot wide open; Shot 5 - bride reflection - BMPCC 4K & V 25mm f/0.95; Shot 6 - groom tie (close up) - Canon C200 with Canon 85mm f1.4L IS; Shot 7 - bride and g

That's the C200 with the 85mm f1.4L IS. Which, as I said, was designated to third camera as we tried out the new toys on Saturday.

ser from Saturday's wedding. The predominant camera is the X-T3 on the gimbal. There's also quite a few shots in there from the Pocket 4K, a couple of from our trusty C200 (taking a back seat to the other cameras) and one from the 5D mkIV. Impressions of the two cameras after two weddings: 1. The X-T3 is the perfect camera for the Zhiyun Crane 2. It is perfectly balanced even before turning the gimbal on. This wedding I used it entirely with my new 18-55mm at the wide end as I wanted the IS. The 2. The Blackmagic Pocket 4K is something else. Utterly magnificent. With

Modern vs retro. Already I love the intuitive menu system and the 5 inch screen of the Pocket 4K. The current data rates on any slow motion 4K footage however....

Just received my Pocket 4K, incidentally the day following receiving my XT-3. Got a wedding to shoot on Saturday so good timing.

What speedbooster did you land on? Don't worry. Answered above.

Then they have to be prepared to lose out big time for sales to Panasonic and Blackmagic.

I much prefer the build of my Micro rather than the build of my GH4.

Weird, after watching the video I decided that the skin tones were way too unnatural and unflattering to me.

Premiere have updated their support for Cinema RAW Lite so I really have little use for a "middle" codec anymore.

Either Sony releases a comparable camera form factor that delivers UHD at 60p or they have conceded that they can't compete with the GH5. Doubt that they will make such a concession.

Probably not the person to ask as: a. I've never shot with the C100; and b. I've always shot the C200 at UHD. I know the "no middle codec" makes the C200 dead in the water for many but I preferred the C200 for a variety of reasons, not least of which: 1. better autofocus; 2. internal RAW; 3. the EVF; 4. the Canon skin tones; and 5. my familiarity with the Canon menu system. I find that the size difference between a HQ Pro-res file and the Cinema RAW lite is negligible and the post-production workflow issues I currently contribute to Adobe's incompetence rather than

I have a C200. Absolutely stunning camera. Didn't even consider the EVA1 or watch any reviews so can't compare.

Much happier using the C200 than I ever was using the FS7, but each to their own.

It's been a while since I've seen such brilliant acting associated with the BBC.

Pound for pound the Canon 5D mkIV has lovely video. Better, IMO, than the Sony offerings as a B-camera. It's just that it is not purpose-built for video, has an intense codec and doesn't have a slow motion UHD option which seems out of place compared to cameras like the Panasonic GH5. Isn't the Ursa Mini Pro (when properly kitted out) a very similar price to the C200?

I am not proposing to keep the original footage for a year. I shoot weddings so I only need to retain the raw footage for 3 months tops. Currently I convert my Blackmagic raw footage via Da Vinci Resolve and archive the rendered compressed video from that. Thus, a 1TB wedding shoot becomes a 50GB archived folder. I think that's pretty manageable to retain for 12 months.

Well I, for one, will be using the raw codec almost exclusively on this camera. Thus I am not really concerned about what you perceive as this camera's biggest weakness.

I need DPAF and want raw, so my decision is made. The Panasonic (on paper) looks good.

Really enjoying some Contax Zeiss on my two NX's. Particularly the CZ 100mm f/2.0 gives a punchy, lovely image.

If you are using an anamorphic on this camera are you able to use the Atomos Ninja Inferno to output 10-bit 6K (4:3) or do you have to use another recorder.

So relevant to a cinematography forum.

Actually used your Lisbon LUT for my wedding video. You'd be good at Cinema Sins.

I really like the look of the old Hawk V-Lite Vintage '74 anamorphics on The Hundred-Foot Journey. In my opinion this is Linus Sandgren's best work as a cinematographer.