Anaconda_

Seems like a pretty big difference. Thanks!

At the same price, what's the difference between this LUT and the One LUT? (Aside from light source options) https://www.j-ballard.com/theonelut

Absolutely. Professionally I don't use any camera with IBIS, and personally I haven't filmed anything with my GX80 for about a year. Instead I've been trying out other cameras. See below. The other camera's I've been using are the original BMPCC and EOS-m with Magic Lantern in 1080p. The image from both is great, but transcoding all my ML footage before I can even watch it is a real turn off. That's partly why I bought a ludicrously cheap original BMPCC. Neither of these have IBIS, and I really like the footage from both. However, since I'm on the search for a holiday/family camera the BMPCC isn't ideal because of battery life, bad audio and no stills. EOS-m fits the bill more, but requires transcoding and fairly often crashes when switching from video to photo, then when I get home with 2 weeks worth of footage, it takes an age to transcode it all. With that in mind, IBIS was the least of my worries and I don't feel like I've missed shots because I didn't have IBIS available. Instead of toying around with older cameras, I figure why not just buy something nice and be happy with it for years to come. With a neckstrap / monopod / loupe (or VF on the Fuji) you can get very stable footage with a natural, undisturbing shakiness. For me that's not a problem at all. Regarding space - My philosophy is shoot at the very highest quality you can at the time because harddrives are cheap and will only continue to get cheaper. You can downscale your footage with minimal problems, but upscaling has it's limits. If a client wants a 1080p project, why not shoot it 4k, deliver them 1080p and then say 'oh by the way, I also have this as a 4k video if you'd like it' - under promise, over deliver.

I'm in a very similar position, wanting to upgrade my take everywhere camera from my loved GX80 to something with a mic input at the very least. IBIS is amazing, but I think there are other things in a camera that are more important. (codec, bitrate, etc.) For a few weeks, I've been to-and-fro-ing between the Fuji XT30, XT3 and XH1 (and every now and then the Sigma FP, but I'm pretty sure that's ruled out after a conversation in that thread). XT30 is amazingly cheap at the moment, and similarish in size to the GX80. - But I feel like if I go with that, I'll be pining over it's bigger brother in a couple months. XT3 has the best video specs of the three with 10bit DCI 60p and the best 1080/120p XH1 tops out at 8bit DCI 24p, but it does have IBIS. As for Black Friday deals. I'm not sure if it's the same where you are, but in Europe Fuji has a €200 cashback on many of their cameras. This will last until 5th Jan, so it can give you more time to think about it. I think the worst thing you could do is rush into a decision just because there's a sale. After all, if you're only now upgrading from the 5-year-old g7, this next one will likely need to keep you happy for another 5 years. There will be another sale in January, then an easter sale, then summer sale. @thebrothersthre3 - XT3 can shoot in h264 as well, unless you want DCI60/50p - any other resolution or frame rate is fine for h264

It's on the radar, but aside from IBIS I feel like the XT30 has the upper hand for personal usage... That said, I am to-and-fro-ing between the 3 Fuji's. This week I can get XT30 and kit 15-45 for 600e, which seems too good to be true... or swap the lens out for 35mm f2 for 860e - but then its worth springing the extra for the XT3 35mm f2 for 1222 euros... And so the terrible cycle continues.

I'm so torn between this and X-T3 for family videos, photos and grabcam. My sensible side says XT3 for great photos, AF 60p - but my bigger, more impulsive side is saying FP FP FP FP FP.

Here's my unscientific test - I shot this interview viewing the Leeming LUT in camera, so there is a bias there as that's what I exposed for. In Premiere, I've tried to closely match exposures between the Leeming, BMD Extended Video and Jordan's LUT. Other than Exposure adjustments, all other settings are exactly the same - and Exposure is not a perfect match between them. Extended Video: Leeming: @JordanWright

Thanks @JordanWright - I'll check it out later today

This was announced a few days ago, and I expected people here to get chatting, but since no-one's picked it up... This thing looks really good: - Revolutionary acoustic design – delivers unmatched acoustic transparency and a natural, uncoloured sound similar to a broadcast shotgun mic. - Unique infinitely variable gain control allows you to precisely match the mic's output to your recording device. - Auto-sensing 3.5mm output intelligently switches between TRS and TRRS to accommodate both cameras and mobile devices. - USB output – the VideoMic NTG is also a fully-featured USB mic! - Headphone output for seamless audio monitoring when using the USB output. - Digital switching for high-pass filter, pad, high frequency boost, and safety channel. - dB peak warning light. - Auto-power function switches the mic on/off with your recording device. - In-built rechargeable lithium-ion battery provides 30+ hours of use. - Lightweight (just 94g) and rugged.

hey @ZEEK - can you get realtime preview with correct framing at 2.5k? I'm having a hard time getting it to work. I had it working a few days ago, then tried a few other settings and now can't get everything back in order haha.

It fits well on the Weebill Lab without an offset plate, but you need to counterbalance it. I've used it with the Viltrox booster and 24-105 f4 and the results were really nice. My counterweight was the NPF battery sled with a 970 battery, which was handy because I could shoot like that for hours should I need to. That said, if I were to buy again I wouldn't necessarily go with the Weebill Lab as I've found I quite often need to use some post stabilisation as well to help it out a little.

I do get why you'd want to shoot 1080 in camera, but making 4k footage 1080 in Resolve isn't an extra step at all. If you're sequence is HD, it auto scales to fit, so from a user experience it's exactly the same as working with 1080 material. The difference is in the storage used and possibly the speed of your playback and export.

Here's an ungraded version of PB's video:

In general, I'm not a big fan of Bloom's grading. Sometimes he pulls it off, but I feel he pushes things a little too far a little too often.

I think this is amazing that you're working so hard to bring new features to the camera, and I'm sure many people will love the option. That said, for me personally, I only used the remote live-view on my GX80 for the first time yesterday - had it for like 3 years. However, if you're a 1 man crew setting up for an interview, this could be amazing. You sit int he chair and check focus and framing before the talent are anywhere near. Then you can have this setup in your lap to keep an eye on what the camera's seeing, without making it too obvious that you're checking the camera. - - you can almost pretend that you're just checking to make sure you've covered the topics you need or something haha.

I'm sure it's been asked many times, and I'm sure there's a brilliant reason why - but is there any chance of developing a remote shutter for the stills function within your app? If so, could it fire 24 times a second, we'd have cDNG (without audio) and Braw simultaneously ?

That's worrying, hopefully they'll come with a fix for that, and the mode switching very soon. What's Sigma's track record with updates? It depends what NLE you're using, but you could import them all as still frames, sort by time created and then bring them into your timeline... the odd frame that is in the wrong place can't have been created 10 frames before it was captured... if that makes sense... so maybe that can help you avoid having to rename them all?

The Ursa Mini 4.6k, Ursa Mini Pro and Ursa Mini Pro G2 are all on the list. With the Pro G2, Netflix will accept Braw Q5 or above for compressed and 5:1 for uncompressed - I assume this also applies to Pro G1, but it doesn't look like the camera guideline has been updated and so still refers to DNG. UM 4.6k : https://drive.google.com/file/d/13kLJo96znF6cHVATAqNS17C-Uq37dNSz/view UMP 4.6k G1 : https://drive.google.com/file/d/1by7WMRjNB17SG3A8RSgRibfUz0oEMzgx/view UMP 4.6k G2 : https://drive.google.com/file/d/104u9JPYICXrJcaHaQBZ0FnKk4CqWGdVp/view

@stephen Viltrox EF-M2 v1 on 2.3 working just fine for me after the update.

@Andrew Reid has his.

On the update info it says ; 4K 2.4:1 4096 x 1712 recording in Blackmagic RAW up to 75 fps.

Right and uncropped 1080p Braw too - but then there's the argument that it's no longer raw video... same as uncropped 4k Braw on the 6k camera... fixing the lens distortion in camera will no longer be a raw image. I can't say it enough, I do agree with you, however I don't see BMD implementing lens profiles into this camera.

Copy - paste the effect to all you clips at any given focal length. I agree, it's less than ideal, but doesn't stop it being a run-and-gun lens. You can shoot fast with it, and then fix it up later... isn't post work what this camera's all about anyway? If you need a corrected lens and have no time for editing/grading, perhaps there's a different camera out there that's more suitable to your needs.

Well, if you're shooting stuff that can't be reshot and you need flexibility on location, but you have more time in post. Or what about then you need very wide and tele shots within 10 seconds of each other? What other option is there for MFT users? Sure it's not ideal, but I'm fairly sure 12-100 is the only option, and the downside is 45 seconds of extra time in post.

In theory they could, but in practice I don't see them doing it, especially for Braw recordings. It is something you can very easily fix in post, and is one of the default panels in Resolve, so it's not a huge issue.