JordanWright

Pocket 4k with Metabones XL and Zeiss CP.2 shot in BRAW 5:1 

Damn, nice! Skin tones bang on. 

Pocket 4k with Metabones XL and Zeiss CP.2 shot in BRAW 5:1 

Pocket 4k with Metabones XL and Zeiss CP.2 shot in BRAW 5:1 

Pocket 4k with Metabones XL and Zeiss CP.2 shot in BRAW 5:1 

Pocket 4k with Metabones XL and Zeiss CP.2 shot in BRAW 5:1 

Pocket 4k with Metabones XL and Zeiss CP.2 shot in BRAW 5:1 

A quick peek at one of the expansion options for the PBC.
This one is a focus controller where the focus range of the lens is mapped to one full turn of the control.
Obviously, ignore the electrical tape thats holding it together.
The production version will be using gaffer tape.

There was no change in "highlights" to our log curves or otherwise. The previous manual dynamic range chart was incorrect, and was corrected.
There is also no inherent "highlight rolloff" in digital cameras from the sensor. They are all (mostly) linear capture devices. Same with Alexa, Red, etc. When they all clip in linear, they all clip suddenly/harshly. All of them.
 "Highlight rolloff" is really about total dynamic range, how you expose, and curves (which you can manipulate yourself).
Our log curves are optimized to store data in 10bit SDI and video files so the highlight roll off in our existing log curves is merely a function of optimising the dynamic range to fit in this data range with relation to the "native sensitivity" and desired ISO. The more dynamic range the sensor has the more highlights will roll off in the log curves, the same with Alexa/Red/etc. You want to use your own curves after in grading to create the roll off you want. Expose the sensor so middle grey is lower and leave more dynamic range in the highlights, and you can create a very nice gradual highlight rolloff in grading - with mostly any modern digital camera.
But it's pretty much all down to total dynamic range, exposure, and curves.

Tossing some more love towards my favorite lens Voigtlander 40mm f2. Video grabs from D750

Ive seen a lot of complaints about video AF in this thread, do people actually use AF when shooting video?
I've shot a variety of different projects and not once thought 'I could really do with autofocus right now'.

I blame @kye for this ?

I hate you! 

I also wish screens would get larger. Maybe somewhere in between 3 inches and 5 inches could be an interesting middle group.
I wonder if we could have have 12-bit 4-2-2, since we also have 10-bit 4-2-0. 

Footage does look quite good. I wish we could get a real hollywood DP to review the camera, id take that over any of the click baity YouTubers. 

There is one area that favours good AF and that's when covering live events (festivals, sports etc) where you don't have any kind of control over your subject. You have about 1-2 seconds to capture the moment and nailing focus manually within that time frame is quite difficult (atleast for me). In those cases the difference between a average AF and good AF can be a life saver. So I do think that AF provides value to a camera even though maybe a lot of us never have to use it in controlled situations. 

Ive seen a lot of complaints about video AF in this thread, do people actually use AF when shooting video?
I've shot a variety of different projects and not once thought 'I could really do with autofocus right now'.

What part of $2500 for a full frame 10bit V-LOG shooting camera isn't a bargain? The $2000 or the $500? Oh and it is also a kick ass stills camera with best EVF on the market and Super 35mm 4K 60p like an X-T3, but still isn't a bargain?
An Alexa or RED doesn't have PDAF either! Manual focus for cinema is fine by me... My best lenses are MF. And when you need video AF, keep a cheap second body like an A6400 handy.
It is only the first year. Will get better in terms of native lenses. Until then, you can adapt only... everything.
Well, you will have to criticise everyone in that case because nobody is doing a $2500 full frame camera with global shutter, 4K 120p raw and built in ND... And if they did, it would be by RED and cost $50,000.
WTF? Cinema people shoot selfies now?

Yeah it cost almost nothing on the used market.
Im getting the One Little Remote V4.
I already have a breakout box and the URSA mini handle with start/stop, auto iris and AF through LANC.
With the V4 I will be able to use both.
Looks very nice.

And this is one of those three.
I have quite a few cameras with MFT mount but I've never really bought anything from the mid let alone high end range of native lenses.
Partly because I have lenses that I'd sooner use through adapters but also because I just baulk at the price of them really.
As a consequence my collection mainly consists of cheap secondhand editions of the lower end stuff but while I was away I spotted a cheap used edition of a mid end one, the  Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4, and bought it as I was looking for a fastish (by MFT standards) standard zoom with stabilisation.
As this one has a bit of extra reach on the long end, albeit at the loss of some speed, I thought it made even more sense and I have to say its not bad at all, although it probably distorts more than I would like at the wide end.
For use as an all round travel zoom, particularly with a non stabilised camera like the OG Pocket Cinema Camera that I was using it with here, I think its a keeper.

I very rarely use AF for video. Today I had a 5h run n gun with interviews etc. Didn't use it once. But every now and then it makes sense to use and then it is just lovely. 
It's also great for macro focus pulls in product videos.

And the people left out would still moan anyway!
RED has no PDAF or flippy-tilty screen, are they out of touch with cinema market? Arri?

I just dropped the saturation and I was on that beach with Chief Brody  

 
I'm trying to keep mine down below 3 figures !
I behaved myself in Japan and only bought 3 so thats a start.

I kind of wish that Panasonic would've let go of the mirrorless form factor for this camera. Strictly speaking, there is no good reason to give a purpose-built video camera a mirrorless-style body. It does not really fit with the way people operate cinema cameras. As a hybrid between still and video, OK. But for a dedicated cinema camera, I would've much preferred a LS300/VG900 camcorder-style body. It would make it much easier to accommodate the inevitable PL mount adaptors and pro battery plates. Also, XLR inputs and audio controls.