Video Hummus

Honestly looks like a LUMIX Alpha (DfD edition!)

but with competent IBIS.
Not sure why you would buy this over ZV-1 if it doesn’t have 10-bit vlogl. EM5III seems like a better buy. 

Honestly looks like a LUMIX Alpha (DfD edition!)

but with competent IBIS.
Not sure why you would buy this over ZV-1 if it doesn’t have 10-bit vlogl. EM5III seems like a better buy. 

It was tongue and cheek. In broad terms, up-and-coming filmmakers that don’t mind experimenting with using newer gear and aren’t locked into Canon C cameras or RED.

If anything they have been pushing video quite hard since XT-3.
I really do think, since they added IBIS to the XT series, that the XH series will lean in to video. They’ve already said they want it to do something different, and the XT4 has obviously slotted into what the XH1 offered.
A potential XH2 could have a bigger, chunkier body which adds to ergonomics for video. Add in IBIS, beefy codec, new ASPC sensor, mini XLR, maybe SDI, Fuji colors and Flog. Better AF. Maybe high resolution tilt screen instead of a flip screen. An external monitor is better for sit down head shots or YouTube anyway. You wouldn’t vlog with it. That’s what an XT4 is for now.
Could be a real competitor to C100 or C200 for the hipsters 😏

Global Shutter cameras have always been a compromise, sometimes really serious compromises. 
This is why it is  no surprise that there is only currently just one professional grade cinema in widespread usage: the Sony PMW-F55 (plus the very niche Phantom). 

And you clearly do *not* need a global shutter to be widely successful, ARRI doesn't. 

Thus I don't want small startups with a promising future like Z Cam, to waste their precious limited resources on developing a camera which will be a flop such as their global shutter Z Cam E2-GS

As for the RED Komodo, we all know RED has a very very long history of... should I say "lying"? Let's just say, "over promising"  / being "hyperbolic" / "generously optimistic".

Let's wait until we see Komodo available in stock at retail stores to buy, and has reviews from non-biased / non-censored reviewers. 

I'd stay away from slow 35-70's made by Hanimex, Maginon, Cosina and etc.
The ones with 2.8 starting aperture are optically better in almost every regard.
Nikon, Vivitar and Tokina have such good lenses.
There is also the rare Zeiss Vario-Pancolar 35-70mm 2.7-3.5 which is my personal favorite. It has a prime-like character with superb central sharpness and awesome bokeh. Here is a sample:

Only slow but good 35-70 is Leica's and Minolta's fixed 3.5 or 4.0 versions.
I want to also add the very rare Konica AR 2.8/35-100 varifocal lens to this list. I was able to find one but it needed a repair first. I can't wait to have it back. The only similar lens I can find is Zeiss's Vario Sonnar 2.8/40-120 for Contarex.

Will do; that's a relief!
The challenge with in-cam monitoring (at least on the GH5) is that the interpolation with 17x is the worst I've seen. I remember hearing the S1/H could accept 33x, is that so?
This is an area that I want to spend some time studying once a few things are finished. There is variance; the Alev sensor has been said to be tuned between the photosite dyes, UV/IR filter and color sci to have more consistent results across different light sources (there used to be a blurb on their site about this, the old Classic page). The conversions are inherently light source specific (i.e. sunlight or halogen)
Count me in!

All I want is the perfect camera. All I want is the perfect cameraaaah!

Very Nice @Alt Shoo!
I think it depends on the responses JVC got on their camera survey they sent out a while back.
I suspect people wanted a larger sensor. 10-bit 4:2:2 internal ProRes recording and PDAF.
JVC seems very interested in delivery exactly what people want. Problem is...sometimes what people want is not what they buy. Go figure.

Very Nice @Alt Shoo!
I think it depends on the responses JVC got on their camera survey they sent out a while back.
I suspect people wanted a larger sensor. 10-bit 4:2:2 internal ProRes recording and PDAF.
JVC seems very interested in delivery exactly what people want. Problem is...sometimes what people want is not what they buy. Go figure.

Very Nice @Alt Shoo!
I think it depends on the responses JVC got on their camera survey they sent out a while back.
I suspect people wanted a larger sensor. 10-bit 4:2:2 internal ProRes recording and PDAF.
JVC seems very interested in delivery exactly what people want. Problem is...sometimes what people want is not what they buy. Go figure.

@Anaconda_thank you! I filmed mostly in 4k internally, with some shots externally to a Video Assist 4k in pro res. Some shots were in 2k and 1080 only because I had only one card on me and wanted to maximize the content gathering. 
As of now we are doing a screening tour along the eastern shore of the US. We are talking to major streaming services right now, but nothing is etched in stone. By January we will know our direction in that regard. 
 
The screen grab with the red hat is pro res and the other is the internal dci 4k codec. 

I don’t think it’s a software problem. It’s a hardware one. H.265 or AV1 won’t become mainstream or useable unless there is some serious hardware encoding and decoding acceleration AND for all the major profiles.
FCPX has been overhauled under the hood on using Metal 2. I think we are going to see a major push by Apple for performance improvements and integration with their accelerator cards and maybe future acceleration chips in MacBook Pros (think next gen T3 chip).
It also appears camera companies have chosen HEVC as their next codec of choice future generation cameras...especially since its in Canons new cameras.

Worst thing you could do is bog down your production with footage your computers can’t handle. That causes a ripple effect along the whole production line. If your clients are happy with what you are shooting now, they will be happy with it for 6-12 months until you can have an editing rig that can handle H265 and the RAW that will be coming out of the R5.

I don’t think it’s a software problem. It’s a hardware one. H.265 or AV1 won’t become mainstream or useable unless there is some serious hardware encoding and decoding acceleration AND for all the major profiles.
FCPX has been overhauled under the hood on using Metal 2. I think we are going to see a major push by Apple for performance improvements and integration with their accelerator cards and maybe future acceleration chips in MacBook Pros (think next gen T3 chip).
It also appears camera companies have chosen HEVC as their next codec of choice future generation cameras...especially since its in Canons new cameras.

Things tend to look good when you’ve dropped 10s of thousands of dollars on equipment? I think the GH5S is the best MFT camera because I own it 😁🤣

Great video Dave. I like the review format with examples of using its features for real world stuff. Never stop doing your quirky humor.
I want a Deity Stereo mic that competes with the RODE Stereo Videomic X with an adjustable gain knob, internal long lasting battery, and some of that excellent Deity innovation. Especially if it matches the Videomic X’s surprisingly good isolation and wind capsule.
Stereo audio is a sleeper technology in a mono vlogger mic world.

Looks like a $6000 GoPro action camera at 120p. Mission accomplished!
S1H at $2000 cheaper looks better than any of the footage I’ve seen from the Komodo posted here.
 

Things tend to look good when you’ve dropped 10s of thousands of dollars on equipment? I think the GH5S is the best MFT camera because I own it 😁🤣

Things tend to look good when you’ve dropped 10s of thousands of dollars on equipment? I think the GH5S is the best MFT camera because I own it 😁🤣

Do you blame them? Best thing to do is not use google services. It hurts their bottom line in more than one way.
I’m afraid video is very much part of the future of the Internet even though it is a terribly inefficient way to transmit information.
Google already has a monopoly with video on the internet because:
1) It is extremely capital intensive to store, process, and deliver video to millions sometimes billions of watchers. So newcomers to the video delivery service are chocked out fast.
2) They have smartly integrated google search and YouTube search.
3) They dangled the carrot of monetization to content creators initially and then use any opportunity to optimize their revenue, including just optimizing away your entire channel. You have no control or levers to pull to improve your channel except spending cash for ads. Or resorting to shitty clickbait bullshit soul sucking crap.
4) They negotiated with copyright and license holders to create a de-facto shadow copyright system in an attempt to fix the actually broken copyright system (at least in the US).
 
I think for people that care, it is important if you have a YouTube channel to also take the time and energy to turn your videos into blog posts with links to resources and to your videos on YouTube. This has many benefits such as improved content quality over time and extended SEO to and from your video a and website.

Those aren’t bad specs if they are official. Mainly, REDCODE RAW, 6K, PDAF, and a R mount if it’s closer to $6K price range.

Those aren’t bad specs if they are official. Mainly, REDCODE RAW, 6K, PDAF, and a R mount if it’s closer to $6K price range.

Do the people buying the custom colors even know what the specs are?
Does an NDA notice appear on the packaging and apply as soon as the tape is broken? Like WTH? It’s a little weird.

Hey, one positive about posts like this: Alt right assholes and Nazi sympathizers have no problem exposing themselves. Don’t let the door (or maybe some riot police?) hit you on the way out guys 🙂