Alt Shoo

I’m hoping JVC announces something soon. I’ve actually been holding off on purchasing any new cameras until they reveal their specs. Reason being that I truly enjoy using the GYLS300! Even with the Eva1, which I own, I’m 95 percent of the time using the JVC. I love the ergonomics and I love the IQ.  Come on JVC Kenwood release some information!

I’m hoping JVC announces something soon. I’ve actually been holding off on purchasing any new cameras until they reveal their specs. Reason being that I truly enjoy using the GYLS300! Even with the Eva1, which I own, I’m 95 percent of the time using the JVC. I love the ergonomics and I love the IQ.  Come on JVC Kenwood release some information!

No you were not asked where the footage is. I fully understand that no one has footage outside of Sigma. I merely questioned your otherwise interesting article’s title. As I do not feel an article that claims to be “comprehensive” can be absent of the single most important aspect of any camera... the footage. Also no information of base ISO... or ISOs if it is dual?
It was a simple comment. It was not meant as a personal attack on anyone. And for the record, I’m pleased to see more players come into the video market, as I believe competition is a healthy thing and great for consumers.
Perhaps you will ban me for saying these things? I have noticed of late, that pretty much everything is tolerated by those claiming to be tolerant... unless what is presented is a difference of opinion. That’s where tolerance ends.
 

I tried watching the video and got about 10 minutes in and was bored out of my mind at the strange points the guy was trying to make from off handed comments said at Red rallies or on social media.
Honestly, I’ve only half followed this story but, correct me if I’m wrong, Red is evil because they received a blanket patent regarding some form of internal compressed raw? And people are pissed off because this patent keeps them from being able to buy a cheaper camera that has internal compressed raw?
So filmmakers and content creators are against intellectual property, now?
Re: Apple lawsuit against Red... I find it more likely that Apple is using the court system to test the validity of Red’s Patent because Apple wants to purchase Red. 
Also, why does everybody suddenly need raw video? Hell, most television shows and movies are shot on ProRes.

This is what a $62K setup looks like on a Canon M50.
IMHO by far the most important aspect of that setup was the lens.
Buy lenses, not cameras.

Love it! I don't think that it's distracting or flashy at all in the examples you posted, it's very tastefully done, with clear intent. Sure, the second video is very action-packed but it's not because of the aspect ratio changes, but rather the editing itself. Besides, like you said, it's targeting young people who wanna have fun.
(bonus points for it being a polish ad )
I'm just amazed when filmmakers decide to break the rules, do something different and it totally works. 

The Z6 is looking even more tempting! I can’t remember if it has a crop when shooting 4k Full Frame. If it does that sorta defeats the purpose of grabbing a full frame camera. Anyways this looks impressive!
 
 

The Z6 is looking even more tempting! I can’t remember if it has a crop when shooting 4k Full Frame. If it does that sorta defeats the purpose of grabbing a full frame camera. Anyways this looks impressive!
 
 

It does not have a crop most of the time. Has a small 1.1 crop when shooting N-Log.

From a recent creative shoot, frame grab from 1080p 60 fps

Frame grabs from a shoot yesterday, 1080p 120 fps upscale to 4K in Resolve.

The footage looks good to me even with the “awareness” brought to my attention. Idk the pixel peeping thing has become increasingly exaggerated lately. I totally understand that DPs and Pro Videographers may have some concerns about subtle image errors, but it’s also well known in these circles that the vast majority of viewers, even users for that matter, aren’t really concerned. 

I think a lot of people base their dislike about Smartphones if they have an older one., and by older I mean even a 2 year old one. My iPhone XS just kills my iPhone X I had and the X killed the iPhone 8 I had before it. They have been improving at a amazing rate. So unfortunately unless you keep up with the latest and great phone you are Way behind compared to say your friends 40D, because Canon has made nearly Zero gains on their lower end cameras. They used the same sensor for years and years.
The Canon 80D my son had was a big let down output wise. Soft photos and soft videos. The DPAF was nice, but that was about it. A big, fat clunky body to boot.  The EOS M I have has a better output than the 80D had, or no worse I think. Even the CS is better on the EOS M. Not a fan of the modern look they have now on their DSLRs.
But sure if I was going on a vacation of a lifetime a Phone would not be my top choice. Probably a 1" mirrorless camera of some sort, or a m4/3, even the Canon M50. But in some places you probably are Only going to get away shooting with a phone.

It’s not too known that JVC’s now defunct subsidiary company AltaSens created the sensor that is inside the LS300. Maybe JVC designs their own sensor again!

It’s not too known that JVC’s now defunct subsidiary company AltaSens created the sensor that is inside the LS300. Maybe JVC designs their own sensor again!

Please submit your suggestions and remember to make it good!
 
http://pro.jvc.com/survey

I believe that JVC is more aware of the market this time, but wants to be safer with this device. I say that because the brunt of JVC’s market share comes from the ENG side of things, hence the subdued attitude towards the LS300. That was one of the camera’s aspects which made it a sleeper because most cinematographers don’t look to a company like JVC for a cinema specific tool. Then when JVC hampered the LS300 with capture codecs usually meant for deliverables, that put the shade down for more prospective users. The frail feeling body and lackluster monitoring tools didn’t help much either! 
Another aspect of the LS300 that most didn’t understand and seemed to leave a perpetual confusion amongst our peers, is the MFT mount  JVC decided to use with a S35 sensor instead of something more “logical”. Even with all of the data JVC left in their white papers, sadly most couldn’t wrap their heads around it. I’m not sad about JVC using the MFT mount at all because that was an excellent choice, but sad about the reading comprehension our peers lacked and still when that idea was discussed to no end in the simplest of ways, the concept of using an MFT mount with a S35 sensor was just lost on many.
JVC’s marketing was also shabby because they didn’t get this device into the hands that mattered and the few that they did, really didn’t showcase it properly. Then you have the Blooms of the world, who with their ever increasing condescending attitude towards “regular” people, not even showcasing this device properly, which just made potential users look elsewhere. 
With this impending release, JVC has to separate the concept in users mind that this isn’t an ENG camera and that crowd is kind of annoying because I believe they also had a hand in how the device eventually ended up because of the requests made in their groups. On Facebook there are two serious groups devoted to this camera. One being an ENG related group and the other geared towards cinema using the LS300. In the ENG group the things that are requested, while excellent for those types of users, was just plain annoying for cinema type users. I won’t get into the specifics, but I believe that’s what helped to keep the LS300 in this gray area of the market.
Now here’s an opportunity for JVC to appropriately segment their ENG line of cameras, which they have an abundance of, from this Cinema camera they are producing! They need to get it right and this survey is wonderful! I truly believe a Full Frame sensor will be a wonderful choice, S35 is awesome too, but the market is heading towards Full Frame and JVC needs to be a part of this, with the capture codecs serious cinematographers are requesting! While I’m a big supporter of more resolution and all things 8k, I think 6K without any cropping in the “regular used” framerates would be the happy medium. I also think JVC needs to be forward thinking and have internal SSD recording capabilities like the have on their newly released ENG inspired camera the GY-HC500USPCU.
There’s  more that I would like to address, but this post is getting too long and my family is ready to enjoy this Father’s Day with me! 
 

+1 on 1.5x APS-C/Super35 sensors for the M4/3-mount, truly the solution, using established film-stock language, that would provide for smaller and lighter camera/lens systems vs FF, IMHO. M4/3-sensors (aka: ~110-film-size) can then be the "crop" version for that mount system. And, finally, some manufacturer, please...an FZ2000(2500)/RX10-style (read: all-in-one, non-interchangeable wide-to-zoom lens, fully sealed body/lens, body+lens IS) with an M4/3 (or, yes, even an APS-C!) sensor for us run-and-gun nature/wildlife shooters for whom changing lenses in the field is a recipe for disaster! (Sooo close, Panasonic, with the GH5/G9/100-400...sooo close to perfection...too bad about that GH5S omitting IBIS, though, Ha!)
But, hey, I'm just some "lowly" enthusiast who, so far, only volunteers his retiree's time and resources with posts to the eBird/Macaulay Library...
Macaulay Library – A scientific archive for research, education, and conservation, powered by you:
https://www.macaulaylibrary.org/
...so it's unfortunate to read about JVC's (and/or any other manufacturer's) decision to not solicit or investigate (or even filter-out) non-pro/non-paid voices for their imaging/video needs and interests.
Edit: So, how about it, JVC? An MILC M4/3-mount APS-C camera to shake up the marketplace segments?! ...with a global shutter, of course! :D

I filled it out and told them basically....
- ProRes
- Internal ND
- Simple ergonomics, not JVC/Sony camcorder nightmare buttons everywhere and shit menus
- Canon EF mount, with good AF if possible
- Super 35mm or Full frame

I believe that JVC is more aware of the market this time, but wants to be safer with this device. I say that because the brunt of JVC’s market share comes from the ENG side of things, hence the subdued attitude towards the LS300. That was one of the camera’s aspects which made it a sleeper because most cinematographers don’t look to a company like JVC for a cinema specific tool. Then when JVC hampered the LS300 with capture codecs usually meant for deliverables, that put the shade down for more prospective users. The frail feeling body and lackluster monitoring tools didn’t help much either! 
Another aspect of the LS300 that most didn’t understand and seemed to leave a perpetual confusion amongst our peers, is the MFT mount  JVC decided to use with a S35 sensor instead of something more “logical”. Even with all of the data JVC left in their white papers, sadly most couldn’t wrap their heads around it. I’m not sad about JVC using the MFT mount at all because that was an excellent choice, but sad about the reading comprehension our peers lacked and still when that idea was discussed to no end in the simplest of ways, the concept of using an MFT mount with a S35 sensor was just lost on many.
JVC’s marketing was also shabby because they didn’t get this device into the hands that mattered and the few that they did, really didn’t showcase it properly. Then you have the Blooms of the world, who with their ever increasing condescending attitude towards “regular” people, not even showcasing this device properly, which just made potential users look elsewhere. 
With this impending release, JVC has to separate the concept in users mind that this isn’t an ENG camera and that crowd is kind of annoying because I believe they also had a hand in how the device eventually ended up because of the requests made in their groups. On Facebook there are two serious groups devoted to this camera. One being an ENG related group and the other geared towards cinema using the LS300. In the ENG group the things that are requested, while excellent for those types of users, was just plain annoying for cinema type users. I won’t get into the specifics, but I believe that’s what helped to keep the LS300 in this gray area of the market.
Now here’s an opportunity for JVC to appropriately segment their ENG line of cameras, which they have an abundance of, from this Cinema camera they are producing! They need to get it right and this survey is wonderful! I truly believe a Full Frame sensor will be a wonderful choice, S35 is awesome too, but the market is heading towards Full Frame and JVC needs to be a part of this, with the capture codecs serious cinematographers are requesting! While I’m a big supporter of more resolution and all things 8k, I think 6K without any cropping in the “regular used” framerates would be the happy medium. I also think JVC needs to be forward thinking and have internal SSD recording capabilities like the have on their newly released ENG inspired camera the GY-HC500USPCU.
There’s  more that I would like to address, but this post is getting too long and my family is ready to enjoy this Father’s Day with me! 
 

I believe that JVC is more aware of the market this time, but wants to be safer with this device. I say that because the brunt of JVC’s market share comes from the ENG side of things, hence the subdued attitude towards the LS300. That was one of the camera’s aspects which made it a sleeper because most cinematographers don’t look to a company like JVC for a cinema specific tool. Then when JVC hampered the LS300 with capture codecs usually meant for deliverables, that put the shade down for more prospective users. The frail feeling body and lackluster monitoring tools didn’t help much either! 
Another aspect of the LS300 that most didn’t understand and seemed to leave a perpetual confusion amongst our peers, is the MFT mount  JVC decided to use with a S35 sensor instead of something more “logical”. Even with all of the data JVC left in their white papers, sadly most couldn’t wrap their heads around it. I’m not sad about JVC using the MFT mount at all because that was an excellent choice, but sad about the reading comprehension our peers lacked and still when that idea was discussed to no end in the simplest of ways, the concept of using an MFT mount with a S35 sensor was just lost on many.
JVC’s marketing was also shabby because they didn’t get this device into the hands that mattered and the few that they did, really didn’t showcase it properly. Then you have the Blooms of the world, who with their ever increasing condescending attitude towards “regular” people, not even showcasing this device properly, which just made potential users look elsewhere. 
With this impending release, JVC has to separate the concept in users mind that this isn’t an ENG camera and that crowd is kind of annoying because I believe they also had a hand in how the device eventually ended up because of the requests made in their groups. On Facebook there are two serious groups devoted to this camera. One being an ENG related group and the other geared towards cinema using the LS300. In the ENG group the things that are requested, while excellent for those types of users, was just plain annoying for cinema type users. I won’t get into the specifics, but I believe that’s what helped to keep the LS300 in this gray area of the market.
Now here’s an opportunity for JVC to appropriately segment their ENG line of cameras, which they have an abundance of, from this Cinema camera they are producing! They need to get it right and this survey is wonderful! I truly believe a Full Frame sensor will be a wonderful choice, S35 is awesome too, but the market is heading towards Full Frame and JVC needs to be a part of this, with the capture codecs serious cinematographers are requesting! While I’m a big supporter of more resolution and all things 8k, I think 6K without any cropping in the “regular used” framerates would be the happy medium. I also think JVC needs to be forward thinking and have internal SSD recording capabilities like the have on their newly released ENG inspired camera the GY-HC500USPCU.
There’s  more that I would like to address, but this post is getting too long and my family is ready to enjoy this Father’s Day with me! 
 

The only problem I have with full frame anamorphic support is there are no lenses that anyone buying a $4k cinema camera would purchase. You're looking at a minimum of $3k per lens... even for garbage SLR Magic full frame primes. To think the whole set can be had for what they use to ask for a single lens? ... and still I wouldn't buy them.  Honestly,  I wouldn't even take them for free. 
So anamorphic wise what does that leave?... your best current option is perhaps ther Orion optics lenses... so $24k for a set.  Those aren't an option for operators that spend $4k for a body. And don't even think about zooms... they start at $65k... and that lens doesn't even cover full frame. 
And AF with an anamorphic? Sorry nothing exist. If anyone makes a cinema camera with built in Anamorphic zoom, reasonably fast, a nice image, minimum of 10 bit, a editable codec, 14-16 stops dynamic range, clean iso to 6400 and good AF... with a rotating screen... that can use affordable media... Well, they will sell like hotcakes.
And don't tell me they can't make a decent quality anamorphic zoom with AF with clutchable manual option for reasonable money. Anamorphics have been around from the 1920's... It can be done.  And mark my words... the first cinema camera that includes this feature in a practical way will be a big hit. 
I'm astounded that no one has done it yet. Anamorphic is synonymous with cinema.

I chimed in and left my two cents. Full frame, anamorphic support, SDI, color science, etc, etc.
I also insisted that the camera have a shoulder-mounted form factor. I simply do not understand why people have their arms wrapped around the mirrorless style even for dedicated cinema cameras. We have 100+ years of cinema camera design behind us, and none of them looked like a stills camera.
In case you forgot what a real cinema camera looks like:

Funny because there are a lot of “cinematographers” who are purchasing these devices just to document their pets! And truthfully if that is what they want to do, I’m for it!

From the looks of the information in the survey, they are trying to get the camera price around 4 grand and it looks like they are pushing it for this year. Also in the survey there are talks about 6 and 8k resolutions and RAW internally!

Please submit your suggestions and remember to make it good!
 
http://pro.jvc.com/survey