MurtlandPhoto

Anddddd there's the box camera!

This might be the single largest release lineup Blackmagic has ever done. There's like a dozen new pieces of hardware plus DR and firmware updates. Craziness.

It's interesting to see the minuscule amount of hype around this Blackmagic livestream compared to the BMPCC4K in 2018. It's a ghost town here today.

Just now, Anaconda_ said:

m.2 slot under the screen by the looks of things.

Good catch! New EVF too. The body design is looking very similar to the existing Ursa Mini? 

Looks like a user changeable lens mount as well

22 hours ago, SRV1981 said:

2. Favorite outlets that are reputable ?

B&H and Adorama are my most trusted vendors for used stuff. Fun thing about Adorama is that almost all their used stuff on their site is also listed in their eBay store with a “Make offer” option so you’re able to buy things under list price. They’re pretty good about actually accepting offers, too. 

I’ve had very good luck buying and selling with MPB in the past, but you need to reallyyyy stress test stuff from them IMO. I’ve returned a couple items that I didn’t feel were listed correctly. Like, things I bought at “Excellent” that I would characterize as “Poor” or “Acceptable”. Still, there are some great deals there.

Aside from launch day preorders like the BMPCC4K, I buy almost all my cameras used from major retailers. You’d be amazed how many cameras get returned just a couple weeks after launch. Like new condition for 10-15% off. I stress test them quickly just to make sure there isn’t some defect. 

Typically, anything rated 9 or higher from B&H is indistinguishable from brand new.

 

I had the 18-135mm for a bit. It's a very compact and lightweight lens. Good range. Great AF. The weakness is obviously the f/5.6 aperture on the long end. It's fine for outdoors stuff, but I found myself really wishing I had an extra stop of light pretty consistently indoors. On my full frame cams, the 24-105mm f/4 is my workhorse. It strikes the right balance of range, aperture, and performance. I'd imagine the 18-105mm would be a similar experience on APS-C.

2 hours ago, Al Dolega said:

I think reception will all come down to if the price is reasonable and it doesn't feel like they're holding back features on release so they can charge for them later.

100% agree. And, this is further makes a subscription model unlikely IMO. How could they possibly hold back enough features to make a subscription worthwhile, but also not piss of the users? No wayyyyy. 

59 minutes ago, eatstoomuchjam said:

In some ways, this already exists - Atomos are charging to upgrade to AtomOS 11 on older devices.  Some vendors have also included paid firmware features (Panasonic with V-log on the GH5 or ProRes on the S5 II). 

Kinda, sorta, but not really. Those are examples of one-off costs to unlock features permanently within the product, whether it stays with the original owner is sold off. Imagine having to pay monthly to have V-log in your GH5. Or pay Sony monthly to have shutter angle in your FX3. I'm actually OK sometimes paying for a firmware update past a certain point in the development cycle. It's logically how some manufacturers can recoup development costs on older tech they've moved on from. But, a subscription??? No way for me.

I legitimately think that the consumers will eventually abandon any manufacturer that tries this. And, if they all try it together, I see a mass revolt against new models and perhaps even a movement to “older” cameras. 

11 hours ago, kye said:

I agree, but I think there is a distinction here between videos that contain people I know/care-about/etc and people I don't.

If a movie people see has Brad Pitt in it, people probably don't care if it was the real Brad Pitt or an AI version of him, and if they go see a movie they probably don't care if the actors are even real people or AI generated fictional characters.

However, if I watch a video that has anyone I know in it, and it's a depiction of a real-life event then it matters if it was real footage or not.
This might seem to be irrelevant detail, but I think that this means that the following parts of the industry may not be completely gutted:

• Documentaries
• Sports videography
• Engagement/Wedding videography (although some might want a more 'enhanced' version than reality)
• Event videography (birthdays, bar/bat-mitzvah and other religious occasions, etc)
• Corporate videos
• All live-streamed event videography
• News and current affairs TV
• perhaps others?

These are pretty significant percentages of the entire professional moving images industry.  It's easy to start thinking that no-one will pick up a camera professionally any more, but that's just not likely to be the case.  

Even if you're right that people born from now onwards don't have any special relationship with reality (which I don't think will happen for a very long time), the people who are 10 years old now might live for another 100 years and they probably want to continue to want to see real life content, so that will be phased out pretty slowly.

I 100% agree with you. There will always be a place for authentic video and photo capture no matter how good AI gets. Things are about to get disrupted certainly, but it’s not all doom and gloom. Actually, I suspect there to be a bit of a counter-movement to AI shortly after it gets to the levels people are worried about. I see authenticity almost becoming a brand all on its own.

Higher education marketing and communications. Innately human-centric marketing that doesn't have the same corporate hellscape culture of tech, finance, or most consumer goods companies. Colleges and universities are trending towards hiring content teams full-time versus outsourcing work for cost savings, consistency, and efficiency. Even schools that outsource usually have project managers and communications leads internally that maintain the brand message. I've worked in this space my whole career. It's nice here.

8 hours ago, PannySVHS said:

I am still fancying to do shortfilm with a GH3. I want to find out about my minimum regarding image quality for personal narrative work. It seems promising due to its moderate 50mbit codec and a rather robust image without artefacts. I have a GH4 i bought a few months ago. Should be the same as it has a 50mbit option beside the 100 and 200mbit ones. Just have to stay away from the cine profiles to simulate a GH3 well enough.:) Codec from my G6 back then was ok but not as strong as i wished under more harsh conditions, still pretty good for its time and bandwidth. G7 had my favorite HD image, even lovelier than from the GH5, almost as high resolving but a bit more gentle on textures. By a relevant margin better sensor and pipeline than in the G6, same codec though. I still have it but wanna test a adequate minimum data rate. So a simulated GH3 it will be.😊

Just saying in regard to kyes and Emanuels posts above.:)

 

 

FWIW, I found the 50Mbps HD from the GH3 to be far better than the GH4 with the same settings. In general, I found the GH4's HD modes to be very poor compared to its own 4K or the GH3's HD. 

I think the Hollywood machine will largely remain the same. However, this will inspire many, many indie or lower budget productions. I really hope Edwards/Fraser detail how using such small camera package impacted the overall production. I imagine the time savings were immense. And, I imagine the FX3's low light abilities affected how they lit the picture.

1 hour ago, Anaconda_ said:

Shame it uses LPE6 batteries though.

Right but that barrel connection makes using another third party solution like NPF or even V Mount wayyyy easier than before

2 minutes ago, BTM_Pix said:

The reworked Micro Studio Camera then... looks with the new additions that they've accidentally created the box P4K that everyone has been asking for.

My thoughts, too! I'd think any Micro shooter is pretty happy with this new model.

The internals are all fantastic, but I don't understand why they've muddied the waters so much by using the Pocket 6K Pro body. The whole philosophy Grant talked about just screams for it to be a traditional video camera form factor.

...the app seems really cool though!

I'm wondering if they may trickle some of that 12K sensor tech into a cheaper body. Pocket 12K? Or maybe a full frame sensor? Just 4 hours until we find out.

I'm veryyyy excited about this. I'll probably never own one—I'm not at that level. But, it shares enough of the FX line's DNA and is cheap enough that I can see myself renting this for bigger projects. Seems like a real winner.

9 hours ago, newfoundmass said:

I think the argument that the FX3 is better in low light is overblown. It's always nice to have, but 99% of the time you'll never need to film at those higher ISOs.

Hmm yes and no. A lot of FX3 shooters, including myself, only film at the base ISOs to maximize image quality. Very often I'll need to shoot at ISO 12,800 and ND down to get the right exposure indoors. I'm also surprised how often I've found a good excuse to shoot at a super high ISO now that I have the option, too. 

7 minutes ago, SRV1981 said:

1,398 USD

Oh great! I missed that. Definitely a deal there. I’ve seen several projections of $1995 so this is a welcome surprise 

4 minutes ago, SRV1981 said:

 

Looks like an absolute beast. He doesn't list a price here, but he says it's "significantly less money" than the FX30. I may need to pick one up as a C cam.

My vintage zooms hardly come out on shoots with me anymore. They don't have much of a place anymore. They're not as convenient as a modern zoom with AF and they don't have same IQ or character as a vintage prime. They're just sorta meh for me. I do still love my Tokina 28-70mm though.

2 hours ago, IronFilm said:

SAVED! Dpreview now acquired by GearPatrol. Will continue business as usual!

 

https://www.dpreview.com/site-news/8298318614/dpreview-com-looks-forward-to-a-new-chapter-with-gear-patrol 

I have to believe this was only possible because of the outcry of dedicated readers/viewers of DPreview. I'm thrilled by this.