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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?

4 actually, but who's counting? I'm sure you can do better!

If Canon is working for you, then go for it! There are more important things than just image. I picked all BM cameras but I own a GH5 because of the IBIS. Shoot with what you have, upgrade when your work is being limited by something and only upgrade to fix the things that are actually causing you issues.

Great test! Thanks for taking the time to pull that together. Camera tests are a lot more work than they appear In a sense I disagree that equipment doesn't matter, but I definitely do agree that the trendy equipment isn't necessarily the one that's right for you. The best thing to do is to choose the image (as well as features etc) that appeals to your own taste. Which can really only be done blind. I found the images to be highly variable - some were lovely and some were awful. The thing that decided it for me was the aliasing and levels of artificial sharpness that made many of the options unappealing. Thanks again.

I wonder how much evolution on AI forum-spam it takes to build Skynet....?

How many people have a fast ~160mm lens (or equivalent) and get a lot of use out of it at the fastest apertures? My reasoning for asking is that I've noticed this is a hole in my lens lineup and I do miss it occasionally but it never seems to be urgent enough to buy anything (and there's nothing cheap & good). My lens lineup for my GH5 is: 8mm F4 (16mm f8 equivalent) 17.5mm F0.95 (35mm F1.9 equivalent) 40mm F1.8 (80mm F3.6 equivalent) 58mm F2 (116mm F4 equivalent) <gap> 70-210mm F4 (140-420mm F8 equivalent) 135mm F2.8 (270mm F5.6 equivalent) My plan is to replace the 8mm F4 with an 7.5mm F2 lens, which would mean I have fast lenses in a ~2x ratio from 16mm to 80mm equivalents, but theres a gap between 40/58mm and 135mm for a fast lens. The GH5 isn't the best in low-light and I do record a bit in pretty sim situations, so it is a thing. I prefer the 40mm (Konica Hexanon) to the 58mm (Helios 44) so halfway is 74mm (because 40mm * 1.85 is 74mm and 74mm * 1.85 is 136mm) so a fast 80mm seems appropriate. I have missed it on a couple of occasions, like when I shot the bull-riders, but not so much as to make me go home and buy something. I'm thinking that options for lineups are either: 8mm, 17.5, 40, <missing 85mm>, 135 which is a 2.2x, 2.3x, 2.1x, 1.6x progression or 8mm, 17.5, 58, 135 which is a 2.2x, 3.3x, 2.3x progression - that 3.3 ratio is a bit much of a gap I think I think my options are: a fast 85mm, but there aren't really any that are good and cheap - even in the Russian line-ups a 135mm with a 0.7x speed booster for a 95mm equivalent (I already own an MD 135mm f2.8 lens and a 0.7x M42 speed booster, so would mean only buying either a lens or SB) a 100mm with a 0.7x speed booster for a 70mm equivalent (I don't own a 100mm lens so would have to buy a m42 one) I could also buy a 0.7x FD speed booster for the 70-210 F4 but it's just too large to carry around 'just in case' If I was doing an overseas trip for example, I'd take the 8, 17.5, 40, and would want something around the gap for situations where I want some reach, but don't want as much as 135mm. A previous trip I took the 8, 17.5 and 58 but missed having something longer, and didn't like the 3.3x gap between the 17.5 and 58mm. On the negative side, I've heard that fast 85mm lenses tend to be heavy too. Thoughts?

Yeah, it does look nice. I also deliberately went for the genuine Canon TC because I wanted to keep a 'pure' optical path to get the best results, and it seems it doesn't disappoint either, which is a good thing as I paid more for the TC than for the lens!! I'll see how it handles when I take it to a game or two. I'm thinking the only remaining item is probably a lens hood - flare is a big deal in these situations.

My Canon FD 70-210 F4, Canon FD 2x TC, and Fotga FD-MFT adapter all arrived, and as luck would have it it's now school holidays and so there aren't any games for a couple of weeks so I'll have to wait to battle-test the new setup. Initial impressions are very nice though! @Mako Sports how's the FS5 replacement going? @BTM_Pix I tried out the rain cover thingy last weekend in the rain and I realised I can't focus with the EVF while looking through the clear plastic on the back. Is there a fix for this? I'm thinking it's probably a matter of cutting a hole in it with some sort of DIY elastic band to fit nicely around the EVF cushion?

Canon FD 70-210mm F4 zoom lens and Canon FD 2x teleconverter test shots.... all shots taken with base ISO and manual WB on GH5. Due to the large range of zoom (both with and without the 2x TC) I moved the tripod when I added the TC) so you can't compare the framing between the sets of shots. Canon FD 70-210 F4 at 70mm f4 (140mm FF equivalent): Canon FD 70-210 F4 at 210mm f4 (420mm FF equivalent): Canon FD 70-210 F4 at 70mm f4 with 2x TC (280mm FF equivalent): Canon FD 70-210 F4 at 70mm f8 with 2x TC (280mm FF equivalent): Canon FD 70-210 F4 at 210mm f4 with 2x TC (840mm FF equivalent): Canon FD 70-210 F4 at 210mm f8 with 2x TC (840mm FF equivalent): Edit: just realised I stuffed up the f8 shots without the TC, so I removed them from the above. Will have to re-do.

I shoot sports - mainly my kids football games. There's a thread on here about sports videography talking about it. I think I'm getting the setup dialled-in.. GH5, 1080p120, Cine-D, monopod, and that lens combo which on the GH5 gives a 280-840mm equivalence. It's pretty big but I'm not moving around that much and having the monopod works pretty well. Plus it's manual focus so I'm supporting the lens while focusing so there's less mechanical strain. The IBIS isn't good enough to get steady shots at the longer end but with 120 fps it's not bad once you conform it to 25p.

If someone manages to get a BM camera that shoots RAW then they'd have to really stuff things up to not be the winner.. even if someone else manages to get 4K!

If anyone happens to have B&W film in their freezer and the chemicals to develop it, it wouldn't be that hard. Someone like that may also have an old camera that would be suitable. All they'd have to do is go to ebay, find something with Buy It Now for less than $200 and a screen capture later and they're off!

My Canon FD 70-210 F4 lens, Canon FD 2x teleconverter and Fotga FD to MFT adapter have all arrived now, and first impressions are wow.. this is a really nice lens. Test pics from it to come.

Jeez, you spent that much? Both my cameras cost less than that. Combined! Without colour grading I'm screwed. However, this is part of getting the best image for the price. If you use a cheap camera and get a great result, who cares if it was the camera or the grading? We're all trying to get the best image for our budgets, even buying multi-thousand dollar camera bodies.

With a GH4 you should be taking in first place!

Try again... "In the past DaVinci Resolve systems were pre built and priced from $200,000 for a 1 GPU based system, to over $800,000 for a 16 GPU top of the line system. Even though this was in line with industry standard practice, it meant professional color correction was way too expensive for most people to afford." Source: https://www.businesswire.com/news/home/20100413006446/en/Blackmagic-Design-Revolutionizes-Color-Correction! To the OP, Resolve is the best choice. Not only is the free version excellent, but over the last few years Resolve has gone from not even being in the picture to being a serious contender for FCPX and PP, with people starting to switch in real quantities. If you search google for Resolve you get ads for Adobe PP - this isn't a coincidence! I use Resolve for my complete end-to-end workflow and it's fully functional, and is the best colour engine you're going to come across (the competitor to Resolve is Baselight, but there's a reason you haven't heard of it...)

There is one thing that matters most in music videos... ideas. Screw everything else if the video isn't original. To that end, here's a great one: People say that there's no market for short films.... wrong. They just have music over the top.

GH5 for under $200? I'll take it!

I've just discovered how to make your normal camera look absolutely brilliant... Dump your footage from this challenge into a directory that also contains clips from your normal camera - then open a file from your normal camera by mistake. The 6K 10-bit H265 file from my GH5 looked absolutely spectacular!!

There's no need to rush. By doing the right things we make consistent progress, which is more than can be said by most

C, E, and I for me. About a third of them looked awful, and lots of the rest looked good in one location or in one way but bad in the other location or in other ways. Realistically the colour can be changed in post and colour differences between cameras can be equalised relatively easily if you're good with some basic controls. Good test! I'm keen to see the results

Excellent! I have two weeks to shoot like crazy and hope I can get lucky on enough shots to compensate for my camera! There's a 'rule' in photography that one image in a thousand is good and one in ten thousand is great, so that means I only need to....... oh crap.

Some really good info here. I watch a lot of YT and especially higher production channels, and at some point they all make a "how I succeeded at YT" video, and the story is always the same. Putting my business consultant hat on, I'd suggest you look at it like a sales pipeline: First step is to convert people that have no idea you exist into people that do know you exist. This is about having a video of yours appear somewhere on the screen. This depends on the mighty algorithm. Second step is to convert people who have seen you exist but haven't watched one of your videos into people that have watched one of your videos. This is about thumbnail and titles. This is where clickbait will help you. Third is to keep people watching your video for as long as possible. The first 'trick' is to hook the viewer in the first few seconds. Studies have been done about how kids can tell if something is authentic or not in something like 7 seconds, so basically you have to be interesting, and you can't fake it. The old trick of showing a clip from the peak of the third act and then "72 hours earlier" can work, but basically lead with the most awesome bit until peoples itchy clicks fingers move away from the "Next" button. This is where clickbait will hurt you - if you promise something in the title and then don't deliver then people will click away. This is why the Casey Neistat videos where he has big news (like the "I'm leaving NYC forever" video) the first thing he says is "Hi... It's not clickbait". The fourth is to get people to interact with your video. More engagement means you come out higher in the mighty algorithm. Likes and comments are great for your video and your channel. The fifth is to get people to watch more videos. This is where the end screen comes in with the "watch more of my videos" comes in, as well as people putting in links in the top-right when they mention things. The sixth is to get people to subscribe. Subscribers are more likely to see the next video you make. That's fancy words for things we already know..... Clickbait titles and thumbnails, keep people engaged, link to other videos, then the almighty "like, comment, subscribe" commandment. Then it's "post often". Then it's monetise. They also talk about balancing regular content with findable content. This is why people vlog and mix in product reviews. If their channel was only product reviews then they'd get hits but less subscribers, and if they only did normal vlog or whatever videos then not many people would find their content. So doing collaborations and reviews and other searchable content is how to find new viewers, and regularly making good content makes those people stick around. A good example is Sara Deitchy who famously got famous by making a parody of Casey Neistat. He did what everyone did, heard about the video, watched it, enjoyed it, but before sharing it he looked at the rest of her channel and saw that she'd made documentary-series and other real high-quality content and only then decided she was worth recommending. It's like threading the needle, you have to do everything right, however, I think that there's ample room on the platform. I was watching YT daily around 2005 and there were a group of YT peeps who got all the views and were all referencing each other, they're all gone, without exception. I suspect that most of the top ranking people from even 2010 or 2015 are probably mostly replaced as well. This is likely the algorithm changing over time, but it means that everyone famous now was new then, so opportunities exist. Oh, and everyone says you have to grind for years before your channel will take off, and even then, no guarantees.

Not off the top of my head, but I think some have spoken about it indirectly before, and an occasional one or two might mention $ figures. My understanding is that for the pros the revenue from ads is so little in comparison to sponsored content that it might as well not even be there. IIRC Levi Allen doesn't even have ads turned on because he feels they will hurt his channel more than they'd help his income. I agree with some of @Video Hummus comments - kids create lots of watch time and their habits would surprise you, watching things you wouldn't expect. There are quite a few YT people making videos about how to make a living from YT, and also articles and other info online about analysis of watching habits etc. I think the info is out there if you're willing to do a little digging.