Amazeballs

Here you go. How is it compared to Godox and Aputure? The light was at 100% power.
ZOOM0044_TrLR.WAV
Another nice thing about Jinbei is that they send it to you via DHL in 5-7 days and its free. So no need to wait for 1 month as usual. 

Here you go. How is it compared to Godox and Aputure? The light was at 100% power.
ZOOM0044_TrLR.WAV
Another nice thing about Jinbei is that they send it to you via DHL in 5-7 days and its free. So no need to wait for 1 month as usual. 

Here you go. How is it compared to Godox and Aputure? The light was at 100% power.
ZOOM0044_TrLR.WAV
Another nice thing about Jinbei is that they send it to you via DHL in 5-7 days and its free. So no need to wait for 1 month as usual. 

All of this doesnt matter for me if they dont add PDAF. They can go 16k or whatever. I am fine with 4k6010bit internal, but bring me PDAF, built-in ND and more DR. 

I've just got myself a JINBEI EFII-60 from Ali which costs as much as Godox sl60w around 160$, has same 60w power output.. but lighter, quieter and does.. 11000 lux at 1 meter vs 4100 on Godox. And it works from Sony NP-F batteries out of the box ? Waiting for my softbox to arrive to conduct some actual tests. They have 100, 150, 200 watt models as well but they dont support np-f batteries.
Seems like a new value king for me.

All of this doesnt matter for me if they dont add PDAF. They can go 16k or whatever. I am fine with 4k6010bit internal, but bring me PDAF, built-in ND and more DR. 

I've just got myself a JINBEI EFII-60 from Ali which costs as much as Godox sl60w around 160$, has same 60w power output.. but lighter, quieter and does.. 11000 lux at 1 meter vs 4100 on Godox. And it works from Sony NP-F batteries out of the box ? Waiting for my softbox to arrive to conduct some actual tests. They have 100, 150, 200 watt models as well but they dont support np-f batteries.
Seems like a new value king for me.

No, the autofocus will.
Canon users are happily paying $2300 for a 15-35 f/2.8!
Canon RF 24-70 f/2.8 $2,300.....Lumix 24-70 f/2.8 S Pro $2,200 (with better IS)....Sigma 24-70 f/2.8...$1,099!
Canon RF 24-105 f/4 $900.....The Lumix 24-105 S f/4 macro $1300 (doubles as a macro, unlike the RF, has better IS)
Lumix 16-35 S Pro f/4...$1,500 (this one is slightly overpriced)
 
I bet if the Lumix S series cameras had capable PDAF for video then it would have be extremely popular alternative to Sony and Canon.
Canon RF lens prices are outrageous, but people pay to stay in the system because of Dual pixel autofocus.
Panasonic should have taken the hit and used PDAF for at least the S1 and S1H. I think they made a mistake.

The bad is... apparently their Hover 2 campaign only started shipping just now, months after they were supposed to (MAR 2019). Also... basically just a young Chinese company (then again, so was DJI at some point), but reminding more of the cheaper corner, think: Hubsan, Eachine & JJRC. At least they do things differently. But the quality I think might not be quite there. Sample/footage/reviews/time will tell...

So... here it is:
V-Coptr Falcon by Zero Zero

But I bet the menu system is still from 2000. I wounder when they will finally redisgn it? 2030? Make your bets. 

But I bet the menu system is still from 2000. I wounder when they will finally redisgn it? 2030? Make your bets. 

Ahmm.. some LUT ?? dialed around 50% plus my grade. I can share a LUT if you want. 
Movie-117.cube

Same here. I could alfa-beta-zeta test whatever you need If you can make reliable TOF AF without the need to use Tilta.. that would be just crazy. And man.. you would get some orders on that. Fixing GH5 AF wold be a milestone for everyone!

I'm up to something that could yet result in the GH5 not needing to have to use gears and motors either....

Listen Emanuel what is the point of those endless youtube comparisons you are collecting here? They are comparing PHOTO not video most of the time. I dont see any proper video tests. 
For video Xiaomi smartphones are useless cos they dont have their EIS accessible to any 3rd party app (doesnt matter if you root the phone, use TWRP, etc). Good luck trying to get decent video with a stock app. Which means no 24p, no LOG video, always over-sharpened, low bit-rate and etc. I have K20 pro and I cannot record any video even with a gimbal (tried a few) with Filmic.pro cos micro jitters are killing it. You need EIS to make smooth shot if you are walking or anything besides standing in a place (yes, with a phone gimbal). And most of the time 3rd party apps also dont support anything beside phone prime lens. Also keep in mind, that the positioning of those lenses on Xiaomi phones (a line going down on the side) makes it so that so gimbal motor will get in the way for a most of the lenses wide angle for sure. 
They are very good for photos with Gcam yes, but other than that.. not so good.  

Listen Emanuel what is the point of those endless youtube comparisons you are collecting here? They are comparing PHOTO not video most of the time. I dont see any proper video tests. 
For video Xiaomi smartphones are useless cos they dont have their EIS accessible to any 3rd party app (doesnt matter if you root the phone, use TWRP, etc). Good luck trying to get decent video with a stock app. Which means no 24p, no LOG video, always over-sharpened, low bit-rate and etc. I have K20 pro and I cannot record any video even with a gimbal (tried a few) with Filmic.pro cos micro jitters are killing it. You need EIS to make smooth shot if you are walking or anything besides standing in a place (yes, with a phone gimbal). And most of the time 3rd party apps also dont support anything beside phone prime lens. Also keep in mind, that the positioning of those lenses on Xiaomi phones (a line going down on the side) makes it so that so gimbal motor will get in the way for a most of the lenses wide angle for sure. 
They are very good for photos with Gcam yes, but other than that.. not so good.  

yes I am sure, for most models at least
You are so firmly confident in that, don't you want to ask people instead? For me personally it seems more like post spamming but I can simply skip those couple of topics all together. 

Ahmm.. some LUT ?? dialed around 50% plus my grade. I can share a LUT if you want. 
Movie-117.cube

Ahmm.. some LUT ?? dialed around 50% plus my grade. I can share a LUT if you want. 
Movie-117.cube

I continue to edit down videos from my recent trip. I did bring the gimbal with me, but almost have not used it. So all hand-held again. Perfecting my ninja moves though ??

I continue to edit down videos from my recent trip. I did bring the gimbal with me, but almost have not used it. So all hand-held again. Perfecting my ninja moves though ??

I continue to edit down videos from my recent trip. I did bring the gimbal with me, but almost have not used it. So all hand-held again. Perfecting my ninja moves though ??

Figure out how to tell a story. 
Build a tale of high-stakes, conflict, resolution, redemption.  Use whatever toys you have to accomplish that.  Your gear is adequate, but I see that you're fretting so much about the technical.  I can't stress this enough, it really doesn't matter.  Your. Gear. Is. Good. Enough.  That part is done.
Figure out how to tell a story. 
Concentrate ALL your efforts on that.  Don't worry about ProRes vs. DNxHD.  Don't worry about this drone vs. that drone.  Premiere vs. Resolve?  Not really going to matter.  Don't even worry about frame rate.  Pick one you like.  There, you're done with that.  Anymore consideration into these things is a waste of time.  A lot of new filmmakers fall into the trap of putting the majority of their efforts into equipment and specs because it's a somewhat non-creative aspect of the craft and results are objective and easy to understand and control.  Avoid this.  However, do accept that story telling is difficult and messy and highly subjective.  Understand you'll make storytelling decisions that are flawed.  It's part of the challenge.  But you absolutely gotta do it as your main focus.
Figure out how to tell a story. 
Does your protagonist have an antagonist?  Can you frame what they're doing as a "hero's journey?"  What sort of set-backs will they have to struggle through?  Can they overcome those road blocks?  Will you be able to film those moments to tell such a story?  Is there a bit with a dog in it?  These are the things that really matter. 
Also, making bad movies is depressing.  I can't tell you all the corporate projects I've unfortunately done over the years where the singular goal was to put a camera on someone, have them talk to a dry boring interviewer, snag a few b-roll shots on the way out the door, and call it good.  Bah.  That's a recipe for mediocrity.  You could shoot that crap on an ARRI and no one would give two shits except the people that got to play with the ARRI.  And unless your subject is someone like Robin Williams on one of his cocaine benders, it's not going to be interesting.
You want to make a film?  A real film?
Figure out how to tell a story. 
Okay, that rant over.  You asked about DCP.  So, I do a film festival every winter.  We screen 8-bit .mp4's off a laptop at 1080 and they look fricking awesome.  Why?  Because we care about our projection system and have dialed it in with high-end equipment that's well-considered for the theater we use.  Not everyone does this. Properly encoded .mp4's can look beautiful.  Well shot movies made into DCP's can look like crap.  Depends.  It's not the file, it's the system that screens it.  
Here's another anecdote:  I toured my doc around the country this year with an .mp4 exhibition screener as well as a DCP.  The best screening experience I had was with the .mp4 running off a laptop into a consumer projector.  It just so happened the particular auditorium was gorgeous AND had a new projector AND the image it put out looked lovely.  OTOH, I had a screening of my DCP at a well known multi-plex chain that looked awful, even though my DCP looked absolutely fine elsewhere.  Your film is often at the mercy of teenagers running the projection system...and who knows what state that projection system is in. 
Now, the bad thing about .mp4's is that it's such a generic format that inevitably some Boomer will be running a $400 laptop and a cheap-ass projector in a rinky dink film festival that's been set up in the town's abandoned bank lobby...with no window black outs and a complete lack of understanding how to operate the sound system.  BTW, it's a sound systems that's a low-end PA in a room made out of marble.   That sounds oddly specific, right?  It's happened to me twice.  None of your technical stuff matters one bit in that situation.  When you're out in the wild with your screeners, shit happens. 
Finally, you absolutely do not need 4K for exhibition screening. People are too far away from the screen to notice that level of resolution.  4K is great for editing and then downscaling to 1080 for exhibition screening, but 4K for screening?  Only in very specific situations.  I get 4k ProRes screeners for our festival.  I get DCP's as screeners for our festival.  Take a wild guess what I transcode them into for playback on our system... Don't worry so much about the technical.
Figure out how to tell a story

I continue to edit down videos from my recent trip. I did bring the gimbal with me, but almost have not used it. So all hand-held again. Perfecting my ninja moves though ??