kye

Not until after judging!

Everyone probably knows this, but I've seen people rig up cine-type cameras before they leave for the shoot and just pull out the whole rig and then can start using it. Obviously you need a decent case and it will take up a bit more room, but it's a way to cut out some time and get a bit more flexibility if you need to.

No idea between those two, but the most important thing about doing colour post-production work is calibrating your monitor, rather than the monitor itself.

So, if I make a few assumptions... Assuming it does multiple frames to not clip due to overexposure, ISO 6 requires 16 frames, ISO 12 requires 8, 24 requires 4, 48 requires 2 and 96 can do it in one. Therefore its base ISO for video will be 100, which isn't anything impressive at all. I have an app for my iPhone that does long exposures by doing many short exposures and averaging them, which seems to be a similar logic to the low ISO via multiple exposures.

Yeah, I agree. Although, personally, I separate out the weaknesses / requirements of the camera into things that I could work on and things I can't (or have chosen not to). For example, if people shoot run-n-gun with the GH5 and get great low-noise footage then I'm very interested in how they do that. If they do that by having great lighting then that doesn't apply to me and how I shoot (I shoot exclusively in available light) but if they've achieved that in post then I will absolutely work my butt off to learn how to do that. So in a way, I will use the best examples of what is possible as 'inspiration' for me to push myself and learn more about the craft. The GH5 is a funny one actually, because for me the GH5 produces absolutely glorious images and so (for the most part) I can just look at the camera as being infinitely good, and if there's issues with my films then it's basically my fault. I know it's not true for low-light shooting (for example) but mostly I push myself super-hard to create magic. It means that I'm basically always disappointed with the results, but it makes me learn at the fastest rate I can, so in that sense it's still worthwhile. Every now and then the factors I've chosen not to control will come together and magic will get recorded to the SD card and it makes me really happy and makes everything worthwhile. I also have a big skew in my approach because I completely accept that my shooting will be far from perfect, but then I work super hard in post to get the best results I can. In this sense I think that tests like this are great for reminding everyone that there are many cameras that produce workable images, and my personal opinion is that if you know what you're doing then you can really elevate your work by colour grading and otherwise manipulating images.

Do you know if there is likely to be a gap in-between the exposures when it's stacking the 16 frames? Ie, can it do a full 360degree shutter. If you have a subject with motion blur then you don't want there to be gaps throughout the blur. This would be especially obvious with light-trails of headlights etc. The 3D models thing is super-cool. The problem with modular cameras is that the modules are flexible but sacrifice overall size compared to integrated designs. Being able to 3D-print an accessory and not having to adhere to the standard sizes for mounts, mount adapters, and the like would be great.

I agree. In my mind, you have to judge a camera by: what it can do in the best of situations (and in the best hands) as this tells you what it is capable of what it typically does in the majority of situations in the hands of people around the same skill level as you and where the limits of its performance are, both in technical aspects as well as usability If you employ a Hollywood crew to shoot the demo reel any camera will look great, but some will be much harder to get good results with than others, and we're all closer to the middle rather than the top end, so we have to be realistic in that way. However, @Mattias Burling gives us an excellent opportunity by doing a blind test - which is to get a view of what each of us sees when we're not looking at the images through our own prejudices. For me this is particularly useful as it reinforced some of my beliefs about myself and gave me a bit more confidence in my own judgement. I also learned more about what I care about in an image and why. When I looked at the images and saw one I liked, instead of saying "oh, I like that because that is from <camera X> and that is a great camera" I had to actually evaluate what I was seeing and pick it apart as to what tangible thing I was seeing was causing my reaction. I noted that I really liked the colours of the EOS-R options, and the creamy rendering of the out of focus areas. I disliked the aliasing or oversharpening on many shots, and in the end it was these factors that lead me to make my selections. Now I am armed with more knowledge about what I like in an image. This is useful because the more I know about what I value in an image the more that I can adapt my equipment, shooting styles, and general approach to maximising those things.

Great shots. Anyone who has been to Japan will also realise you did very well to avoid getting more vending machines in each frame!

Considering the fact it levitates, maybe not! and taking into account the fact the levitation is transmitted to the lens, maybe we can all finally get the fast all-in-one zoom setup we've all been waiting for but didn't want to lug around all that weight.....

Interesting camera. If not for purchase, then perhaps as a direction to what others might emulate in future. The low ISO options were very interesting, for example. The video was cool. I liked that the cage said "ARRI" across the top! I'd also point out that it's a concept video, so this thread might reach a couple of hundred pages before we see a real item

Nice pic. Especially nice colours and contrast My impression of the T* (or early versions of it anyway) was that you can simulate it in post, at least to a certain degree, with the methods in the Tiffen Black Pro Mist simulation thread. Namely, selecting the brighter parts of the image, blurring the heck out of them and then adding them on top. People talk about how it softens the texture of skin and various other things, which can be pretty desirable. Curvature might even be partly simulated in post too, depending on what the optical mechanism is. Maybe I should start a thread.....

I, for one, am looking forward to the BMPCC8K. I just hope it has IBIS. ???

FF equivalent I have the Voigtlander 17.5mm f0.95, which on my GH5 is equivalent to 35mm f1.9.

I do like a 35mm lens. I have chosen a 35mm prime as my default lens, and don't even own a 28mm. I find it's tight enough to focus on a subject but wide enough to still get the environment in the portrait.

What specifically do you mean by 'character'? In my travels I've come to understand that character is made up of a number of elements, including: colour, sharpness, bokeh shape, CA and spherical aberrations (corner performance), diffusion of highlights, and others. I know that some of the CZ magic is said to be in the T* coatings, for example. Some of these things can be simulated in post and others can't. Depending on what your specific preferences are you might be able to get the best of both worlds..

Yeah, we're all in trouble.... I feel like that when my hip flask is empty too... nice shot

I suggest diagnosing the performance issues one step at a time. Start by turning off all grades and fusion and just export video with no audio, and export to a less intensive codec, like Prores HQ for example. If performance is ok, then gradually enable things to see what it is that's slowing you down. If you keep notes then you'll be able to see which things are doing what. You can use the In and Out points in the Deliver tab to only export a small section of the video so you can quickly try different things, maybe a 30s snippet or so. If that initial trial doesn't export at a good level of performance then I'd suggest starting a new timeline and see how that goes. If not, try a new project. If still not then backup your database, re-install DR, then restore your database. If still not, make a fresh install of DR and try that without restoring your database. Good luck!

Yeah. I hit that VP9 / Safari / Chrome thing when I bought my 4k display and wanted to watch 4K content and went down that rabbit hole. Safari also used to restrict going full-screen on an external display because of DRM issues, so I read up about it and it turns out that the other browsers are fine. Now the DRM issue is gone but the 4K one seems to have replaced it. In terms of the colour grading, I did really like the colour from the EOS-R. Somehow Canon manage to make the colours very saturated without them being so in any negative artificial way, which when I grade log footage is deceptively difficult to do. One of the reasons I've kept my 700D is to use as a reference. I haven't done it yet with my GH5 but at some point I should probably setup a test scene and shoot it with both setups, then colour match the GH5 to the 700D and save that as a reference grade. Even if I don't end up using all of the steps (the 700D is likely to be far too contrasty for my tastes, for example) there will be elements of the grade that are desirable, and will translate across other lighting setups and subject matters.

I like the one about the train.

I need a movie.

Now that is one hell of a formula!

Just checked and 4K was available for me. I do know that on OSX I am limited to 1080 by Safari, so maybe your browser is the limiting factor?

Maybe raised by smartphone viewing, but I watched the footage in 4K (by setting it manually in YT) and managed to pick the P4K in 4K twice and the BMMCC for the other option, so I thought it was apparent. I was looking for aliasing and resolution without excessive sharpness.

So.... who is posting first?