MurtlandPhoto

This is fantastic! The use case I'm scoping out with the GO II is walking tour of a college campus. It will be great to be able to have a single audio source for the on-camera segments and the scripted, voiceover stuff with b-roll. I did something similar a couple years ago with a traditional wireless set. The presenter would meander through talking points making the constant starting and stopping of recording on video a bit of a pain, so having the full recording will be helpful. Super specific use case, but useful for me haha.

I actually think they have one of the best naming conventions in the whole industry. All the cameras are in the E2 generation, but M4 is m43 4K, S6 is s35 6K, F6 is FF 6K, and F8 is FF 8K. Compare that to a7siii, FX3, C70, etc. when trying to judge specs at a glance. Even Blackmagic's convoluted naming at least lets you know what the cameras offer 😅

I actually think they have one of the best naming conventions in the whole industry. All the cameras are in the E2 generation, but M4 is m43 4K, S6 is s35 6K, F6 is FF 6K, and F8 is FF 8K. Compare that to a7siii, FX3, C70, etc. when trying to judge specs at a glance. Even Blackmagic's convoluted naming at least lets you know what the cameras offer 😅

I actually think they have one of the best naming conventions in the whole industry. All the cameras are in the E2 generation, but M4 is m43 4K, S6 is s35 6K, F6 is FF 6K, and F8 is FF 8K. Compare that to a7siii, FX3, C70, etc. when trying to judge specs at a glance. Even Blackmagic's convoluted naming at least lets you know what the cameras offer 😅

I actually think they have one of the best naming conventions in the whole industry. All the cameras are in the E2 generation, but M4 is m43 4K, S6 is s35 6K, F6 is FF 6K, and F8 is FF 8K. Compare that to a7siii, FX3, C70, etc. when trying to judge specs at a glance. Even Blackmagic's convoluted naming at least lets you know what the cameras offer 😅

For thoroughly tested LongGOP that maintains complete functionality with pristine imaging, I would highly recommend LPowell's FlowMotion v2. He really did top notch work there.

Internal NDs, tilt screen, and dual mini XLR make it worth the extra $500 over the 6K. This is probably the perfect camera for them to release right now.

Yes, stand for most mirrorless cameras.
These are not things that are becoming standard for cinema cameras, in part because they can be objectively detrimental. Like I said, if someone wants those things, get a mirrorless camera with them. People seem to think that because of the price point of the Blackmagics that they're supposed to have these things, instead of them being affordable options to five-figure cinema cameras. No one is out here asking why the latest RED or Arri doesn't have amazing PDAF with eye detection or IBIS. These cameras are absolutely no different.

Taking away a major internal feature from the P6K to make your argument doesn't really work, though. For my money, two P6K Pros are worth more than one C70. You may feel differently. Everyone has a different balance they need to reach.

Internal NDs, tilt screen, and dual mini XLR make it worth the extra $500 over the 6K. This is probably the perfect camera for them to release right now.

Internal NDs, tilt screen, and dual mini XLR make it worth the extra $500 over the 6K. This is probably the perfect camera for them to release right now.

For sure. I understand BRAW is a killer and in some cases decision making feature. But DR is such an important feature for the "look" of the camera and I think that is something a lot of people don't discuss enough with the c70. Pocket 6k is great, but it is still using a Sony based sensor that has less DR. Regardless, you are right and for many people a pocket 6k makes more sense for the money. For me, I am a solo shooter on a gimbal who has invested in RF glass shared with my R5. So auto focus and RF are very important for me. But, I still think if you are ok paying more - the sensor, auto focus, and battery life without a need for a grip, could make it worth it. Also, though there is no raw, the CLOG 2 out of the C70 is mind blowing.

Taking away a major internal feature from the P6K to make your argument doesn't really work, though. For my money, two P6K Pros are worth more than one C70. You may feel differently. Everyone has a different balance they need to reach.

Yes!! Not a very pretty camera though lol

I was about to be furious about the Extreme's pricing until he said that there was a separate ISO model. I already begrudgingly sold my Atem Mini Pro when the ISO came out only months later so the thought that they'd add 4 more inputs for only $100 more was giving me flashbacks. The two new models seem very well priced/specced. 
 

Micro four thirds is in a much worse place than it was when the GH5 first came out. We all know how evolutionary, if not revolutionary, it was at launch: internal 10 bit 422 up to 4K30, 8 bit 420 at 4K60, IBIS, flip screen, etc. etc. We were willing to overlook its faults (AF mostly) because it was amazing in so many ways. The unfortunate truth is that other camera systems have completely caught up and overtaken the GH5. Even Panasonic's own full frame S5 presents a way better value proposition. As @newfoundmass highlighted above, the highly influential Youtube segment has largely stepped away from the GH5. I think it will take a complete showstopper camera in order to bring them back. My personal wishlist that I think will do the job:
6K30p and 4K120p 10bit 422 internally, ProRes Raw or BRAW externally, IBIS, Full V-Log, Dual native ISO, GREAT AF, similar build/ergonomics to GH5 but with better battery life.
Additionally, I think they need a few tricks up their sleeves: webcam functionality through USB C, wireless monitor through mobile app, fancy flip screen from S1H.

Update: I’m completely loving the UMP and feel I made the right choice to buy. I’m going to need to sell some stuff to offset the cost, but the value it adds to my kit is extraordinary. Woo!
 

It’s a great deal used right now. I love the larger 1.4 crop S35 sensor. 

Said to myself I wasn't going to buy any new gear in 2021, but couldn't resist on a cheap original Canon C100 yesterday 😀
 

Sometimes you've got to jump on a good deal and it seems like you made a smart move. I'm hoping my purchase of the UMP was made under the same sort of rationalization. Admittedly, as it's out for delivery today I've felt both relief and remorse haha. If I choose to keep it, I'll have to make similar steps to finance it, probably meaning selling my Nocticron and BMPCC4K to at least take a chunk out of the cost. Best of luck to you in the coming year!

Cheers! Good luck with your sales and purchases! I had a week of troubled sleep before making up my mind! 

Sometimes you've got to jump on a good deal and it seems like you made a smart move. I'm hoping my purchase of the UMP was made under the same sort of rationalization. Admittedly, as it's out for delivery today I've felt both relief and remorse haha. If I choose to keep it, I'll have to make similar steps to finance it, probably meaning selling my Nocticron and BMPCC4K to at least take a chunk out of the cost. Best of luck to you in the coming year!

In Premiere, scale to frame size does some calculations to best scale the footage to the timeline resolution, but it is not optimized for doing any sort of keyframe scaling afterwards. Set to frame size is much better for that. It's a confusing thing to explain, but basically if you're going to want to do anything beyond just filling the frame then it's better to use set.
 
 

Original HD footage on UHD timeline. Notice the scale is at 100.

Scale to frame size. Now notice the scale is still at 100.

Set to frame size. Now notice the scale is at 200.
 
Scale vs. set use different methods to interpolate the frame to the desired size. Scale uses a method that sort of locks the picture in and results in poorer quality should you deviate from the initial setting. Set uses a different method that better allows for flexibility of resizing later like for digital zooms and reframing.

Awesome! I'm glad you found the solution you need.

Have loved the Panasonic G6, such a big upgrade from the original Panasonic GH1 which I started this filmmaking journey with (although technically it was my girlfriend's Nikon D90 or my sister's Canon T2i that I borrowed for the first handful of shoots), but in recent years I've been considering an upgrade. First to the Panasonic G7, simply to get 4K, but as the price of the Panasonic G85 kept on coming down on eBay that tempted me instead for the better low light, the live HDMI out, and of course the IBIS! But this is a slippery slope, because as I wait... then the Panasonic G9 got that big 10bit firmware update, and their prices were coming down with time too. (& more firmware updates came out too, such as better AF for the G9, and being a USB webcam for the G9)

Never really seriously considered the Panasonic GH5 or GH4, as they always got the most attention, thus I felt they always kept up the highest prices on the secondhand market, compared to the value that the Panasonic G series offered instead. But I still kept half an eye on the GH4/GH5 sales, just in case. Even considered a few alternative options such as Fujifilm, or for instance the Panasonic S1 that I bid on last week until the price shot up far too high for my tastes. In the end I kept on coming back to Panasonic MFT as offering by far the best value for money. (& the fact I already owned MFT lenses helped too)

However, today I won an action for a Panasonic GH4 for only NZ$417! (less than US$300)
That was a price too good to ignore (but I doubt I'd have bid a penny higher), thus to my surprise I find out I've settled with the old Panasonic GH4 as the upgrade from the G6 I'm going with. Even though I'd like the IBIS / better high ISO / etc of the G85 or G9, it isn't such a bad thing to have settled for this cheap deal of a GH4 because it is just going to be for casual vlogging usage to create simple content for my YouTube channel. 

One very small benefit of going with the Panasonic GH4, is that when the price of the Panasonic G9 finally tumbles down to sub US$300 (right after the Panasonic G12 gets released?), then I'll be able to use the same Panasonic DMW-BLF19 batteries in both! (which wouldn't have been possible if I'd got a G7 or G85)

Now, how many more years until I upgrade my "big camera", the Sony PMW-F3? The F3 is a truly fantastic camera! I still think there isn't a better 1080 camera at this price point (but the world is moving onto 4K). Had it a fair few years, unfortunately the F3's popularity didn't last too long because the Canon C300mk1 got released shortly after and the C300mk1 just *dominated* the low / mid end professional work for that generational cycle. (interesting how the secondhand F3 has seen a bit of renaissance in 2019/2020 thanks to Caleb Pike & others)

Been wanting to do the natural upgrade to a Sony PMW-F5 for a while now, but can't justify it because as a Sound Mixer I don't do a high enough volume of camera work. The FS7/FS5 or even a secondhand FS700R might very well make more sense! (I like for instance all the work done with the FS700R by this guy: https://vimeo.com/paulbates However the FS700 isn't as nicely ergonomic as the FS5! That compact size is fantastic)

Just keeping my eyes open for the right secondhand deal, in absolutely no rush whatsoever. (as I'm still primarily by far a Production Sound Mixer, as what I do day to day)