MrSMW

They do have the coolest name for a camera though… BLACK MAGIC Just owning one must surely elevate you into the dark arts of video voodoo? If I had one, I wouldn’t have had to have used a black sharpie on my LUMIX logos.

Cube camera à la BS1H maybe? Maybe even a collab with Lumix and they (Pannyboy)focus on hybrids such as the S series?

There are a few cat fights from time to time and a bit of bitch slapping, but generally there isn’t too much BS here. Lumix BS1H aside. They really did not think that one through…

The comments section (of DP) will continue as per the average age of Paw Patrol viewers.

Yes, I have had some decent results from 4k, but limited in the ability to then crop (especially vertical stuff!) and to date, grade, but the latter is more because I was shooting profiles and not log. This year, I am about 70% 6k 30p plus 30% 4k 60p, mainly log, only switching to the Flat profile once it is dark or close to and next year I will ideally be 6k 50 or even 100p which is where I expect the next gen Lumix S1 line will go. If it’s 8k, then even greater scope for the stills but massive video storage issues… 6k I do think would work best for my needs.

The only difference raw would make is the ability to grade the image. The rest is the same. But this was why I was interested in the Nikon Z9 with it’s ability to shoot stills and shoot less storage heavy video, but when I needed both photo and video at the same time, shoot 8k raw for both. 6k 50/60p would do it for me however. I think… I need to rest later this year when I have the time.

I'm thinking more the sub-Hollywood level of productions. Like weddings. One of my 3 cameras is 'gimbal ready' and I shoot it 3 ways: 1. Handheld using the excellent IBIS. 2. On the gimbal for gimbal type stuff. (Very limited) 3. On the gimbal which itself has a quick release plate onto a tripod. This 4D can do the latter 2 ways but is not ideal for the first as it's a bit overkill due to it's size and weight ie, is hardly discrete. But perhaps with some kind of shoulder harness to take the weight, it could... What intrigues me about it is not how it compares to an Arri or really any other cinema camera, but the fact that it has 4 axis stabilisation built in for those times when that is required, full frame 50/60p 6k sensor and built in ND's. My interest is also as has been discussed in other threads, pulling high quality stills from video footage and ideally from full frame 6k or 8k. It kind of ticks a ton of boxes in this regard providing there is no requirement to shoot actual stills from the same unit. In combination with Sigma's excellent compact 28-70mm f2.8 (my workhorse) lens, for us video and smaller real world production types, this is actually a very interesting piece of kit. I would still need something static for ceremonies and speeches and a second 4D in this role would be silly, but for the other 90% of the event, just shooting one camera and then pulling the stills, has massive appeal on a certain level. For me. But horses for courses and all that and it's got sweet FA to do with Black Magic so I'll wind my neck back in 😉

One of my regrets of 2022 was that I did not give the OM-1 enough testing time…but I was mid busiest season ever. Ditto the XH2 a couple of months later. My only real gripe was that OM Systems made the perfect bodies and Panasonic made the pair of compact zooms that would have been my main workhorses. The equivalent Fuji set up would only have been marginally bigger but getting close enough to full-frame S5 size based system, to negate the weight/size savings. The 4/3rds system though, based on the OM-1 and NOT the GH6 could have been interesting…

They already are with the Ronin 4D that now can be had in L Mount but is limited to 5 Panny and 2 Sigma lenses. Intriguing camera actually and surprised it’s not discussed more than it is…

And...they're gone. For the 3rd and final time. 😆 As part of my down-sizing exercise, I have settled on 2x S5ii's and a single S1H. I say 'down-sizing' but the S1H now has a battery grip and the Lumix 70-200mm f4 welded to it. And a monopod because it's freaking heavy at 2959 grams or 6.5 lbs!! However, the sole use of this combo is roaming hybrid during wedding ceremonies and speeches whilst the pair of S5ii's are on tripods doing the longer form static stuff. Outside of C&S, the S1H disappears and it's back to roaming hybrid with the S5ii pair which can be easily handheld. Well the S1H can be handheld, but try holding that lump one handed whilst trying to turn a VND! I used the set up for the first time at a recent 4 day event and it was the FIRST time in 12+ years I felt I had a zero compromise hybrid set up where the tools got out of the way of the creativity. A couple of niggles but they were on me or unavoidable such as the Sigma 16-28 decided to start taking out of focus (right 50% of the frame), stills and video, so I lost the ability to shoot anything wider than 28mm on Day 01. No real biggie. I then dropped one of my S5ii's and bent the new flip out VND holder on Day 03 🤪 And a battery failed also Day 03 mid ceremony. Fortunately I shoot 2 angles on sticks plus my roaming unit so lost just one of the statics. Still comfortably the best results (because or despite of?) of the year to date. The combo was genuinely stellar and just needs a few final tweaks (settings) and then I can get some continuity going which I am looking forward to. Finally. Because it was driving me fucking nuts having to make anything from micro to fundamental changes at or after each and every job for pretty much more than a decade. So goodbye S1R's. I liked the quality of your output but found your controls compared with the S1H and S5's just a bit clunky and decided (finally) that 24mp is indeed the sweet spot. The S5ii's just do everything better except for the hi res stills. Which I'm not too bothered about losing. No further changes until full frame 6k 50/60p and ideally internal VND is a thing without sacrificing IBIS and that will happen when it happens and I will look forward to it, but don't care when.

That place has to be the most shit rumor site to have ever existed. It’s utter trash 😬 Because it might be the only viable full-frame mount available to them? I’m quite intrigued by BRaw and as an existing L Mount user…

But what would they do with it other than strip it and even then, for what? Internal raw and ND's? I think they could already easily do and give us that if they wished. I like the little fellas, the underdogs that punch above their weight, but it can be a struggle sometimes for them to survive, especially when it comes to tech which costs big money to develop and is often hard to protect. I looked closely at BM and their 6k Pro and like Sigma's FP-L, they are 'almost but not enough' cameras to me as in just too compromised for my needs.

A 6k 50/60 m4/3 set up could be quite interesting for this kind of thing…

For this one, not much. But that’s based on current spec so yes, that lack of IBIS and AF makes them a no no for me. I like the image though but stuff like internal ND may come to an S1H successor. ‘May’ as in hope… Probably some kind of internal raw also? So that begs the question that existing L Mount users mostly would not be interested in a BM camera and existing BM users might be pissed off they have to change lens mount if they wish to purchase their next BM camera?

I meant I CAN see a future when I will be doing this all the time. Doh! 🤪

That's my opinion also though my experience with this so far is waaaaay less extensive than yours. Some really great stuff I wouldn't know were frame grabs! I can't really see a future when I WILL be doing this all the time. I was going to flip to the Z9 (and a Z8) and do this partially, but have held off, sticking with L Mount, but definitely waiting on that next gen 6k...and I really hope they go for a highly developed 6 and not a limited 8k approach. The photographer in me would be kind of sad to go this route, but at the same time, from a workflow and a whole load of other logistical and creative perspectives, it makes utter sense.

The S5 is one solid camera. I moved to it from Fuji XT3 as my ‘still cropped 4K 50p’ for the video side of things, but now full frame stills. AF was fairly comparable but I would have given the edge to the XT3. The stills I found were fairly comparable with the Fuji files being marginally ‘nicer’ but the S5 files having a little more to play with. It served me well and was a good intro intro into L Mount and the ONLY reasons I flipped it for the S5ii were; AF, longer recording times and the insurance policy fan. Great camera. Absolute bargain now. Enjoy.

It’s something I have played with before using 4k 50p and have had mixed results and as above, it’s been the shutter speeds that have been the biggest variable, especially if using the 180 degree rule. The other thing that I found was that 4k was borderline OK and of course 6k or 8k would be better (stills resolution/detail/ability to crop etc). One of my next projects (when I have some time) is to shoot some typical scenarios at 4k 60p and 6k 30p (my two current settings) and pull some stills. The 6k is going to be the trickier one with a shutter speed of only 1/50th (shooting NTSC in a PAL region) but I will try some 1/100, 1/200, 1/400, 1/800 etc to see just how much the video blur is compromised. I used to shoot 4k 50p with VND and just crank the shutter into the thousands and thought the result was fine, but then all my productions shot that way were at 50% slo mo. Ultimately, my personal interest as a hybrid wedding shooter is could I go to just shooting video and pulling stills for the entire event? With 4k no. Well I could, but would not as the stills would be too compromised. With 8k I think yes and that was my interest in the Z9. However, I think with Lumix, they may just go 6k 100/120p full frame zero crop with the next gen S1 and that for me could be a sweet spot. Internal ND would then be the icing on the cake 🎂

It doesn’t ‘replace’ a gimbal but can replace a gimbal in certain scenarios. I’m not much of a gimbal kind of guy anyway but still going to be using mine in certain situations where it is quantifiable better such as when you are moving yourself.

I use a 6k timeline and upscale my 4K but then export the finished production as 4k. The amount of 4k is maybe 20-25% but I’m not the techiest of guys when it comes to this kind of thing so go on ‘if it looks right it is right’. I’m guessing this might be why editing these days on my M1 chip MacBook Pro feels like wading through mud? Just ordered a 16 inch M2max version to replace it and a desktop so I can do photo and video on it. Currently doing photo on the desktop and that is always mud wading 🤪

I use a 6k timeline and upscale my 4K but then export the finished production as 4k. The amount of 4k is maybe 20-25% but I’m not the techiest of guys when it comes to this kind of thing so go on ‘if it looks right it is right’.

Other than your weird chroma, I wonder what that entails?

You might not have any need for it so the term is ‘I’ not ‘we’ 😜 I’m really not sure why we don’t have more cameras with internal ND but read it is possibly an IBIS clash ‘thing’? I would like both personally but horses for courses and all that…

Quoting myself, this statement is not entirely true… I did not switch from shooting 4k to 6k ‘just’ for better vertical cropping options in post, but also because I prefer the quality of the 6k files over the 4k. There is a definite ‘quality’ to them that is hard to define and it might be what some refer to as ‘micro contrast’? I still shoot 4k, but only in certain situations where I wish to slow the result to 40% in post. Plus longer stuff as there is a 30 minute limit on the 6k. But I am not shooting it just because I can crop vertical which is more a case of another reason for me to shoot 6k.

I’m not receiving demand for it but jumped on that train ahead of it leaving the station. Rare for me! I switched from 4k to 6k last 2 jobs just so I can re-crop productions from my usual 16:9 to 19:6 for social and shorts.