FHDcrew

I am speechless... this is ML cinema camera series 2.0.
Yes indeed, this deserves every single donation they can raise. It is the very least decent thing we all users can do.
- EAG :- )

That youtube video above is almost unworthy of being posted by a beloved forum member such as Django. "Biggest flaw", what clickbait nonsense. Lowlight on the FX30, as we have noted before, is about one stop less than the modern FF counterparts. So it is a lowlight achiever in S35 terms, better than C300II, than FS7. No mushyness but "grain". Great lowlight camera. No mushyness is a novelty, not many cameras offer in that price range, nor timecode, nor pro reliability and such.
Now, C70 in RAWlight is the overall lowlight cinema champ after the classic Alexa Alev sensor and very close regarding quality of colour rendition, latitude and dynamic range, if I trust the judgement from german testsite slashcam and heresay from dop buddies. Same sensor as C300III. For the money, trust Ironfilm and others, FX30 is not to beat as a pro S35 B or A video cam in the Sony system.

Hey friends, now with the latest built from Bilal and Dannes achievements before let´s get some Raw magic started. Thanks to our friend @ZEEK the latter are well reported, the former has been posted about here by our friend @QuickHitRecord The challenge would be up to us to make up. So what are your suggestions, what kinda challenge could that be? I think there are plenty Magic Lantern lovers and Canon owners. I got a EOS M for 75EU about a year ago and a 5D2 for 150. Still, I have not filmed anything with it yet. I feel pumped to try out my EOS M though with the latest built from Bilal, since even Danne seemed to like it.
Some 50D cats here? Put some dirty fungus M42 Meyer Goerlitz on your cam and give us that Keny Ty look but not in filthy 420 8bit but in gorgeous RAW glory! 5D3 queens and kings? Mercer, you go! Some keywords for our magic fun tour: experimental, 3min narrative, video essay with photographic beauty, cinema verité exitement, locked shots parade..camer
So all camera cats with the love for the some Raw image magic, let´s get our and your jazz on with magic lantern! 🙂

Greetings Fellow Creatives,

This week's new free MP3 music tracks are:

On my Chiptunes 5 page:

"TECHNO PIXEL MONSTER DANCE PARTY"
https://soundimage.org/chiptunes-5/

On my Drama 3 page:

"ON THE TRAIL"
https://soundimage.org/drama-3/

On my Fantasy 12 page:

"DARK QUEST"
https://soundimage.org/fantasy-12/

On my Funny 8 page:

"TECHNO MONSTER DANCE PARTY"
https://soundimage.org/funny-8/

And on my Sci-Fi 12 page:

"GALAXY GRAND PRIX"
https://soundimage.org/sci-fi-12/

Please make sure to check out my higher-quality Ogg music packs which enable you to download all of my tracks at once for all of my most popular genres.

https://soundimage.org/ogg-music-packs-2/

Enjoy, stay safe and keep being creative!  🙂

I just noticed that the Panasonic BS1H has dropped down in price now to merely US$2.3K:
https://www.bhphotovideo.com/c/product/1664826-REG/panasonic_dc_bs1h_lumix_bs1h_full_frame_box_style.html 

This is mostly true.  I subscribed to the 'subtractive' model of editing where you start with all your footage and then remove the parts you don't want, making several passes, and then ending in a slight additive process where I pull in the 'in-between' shots that allow it to be a cohesive edit.  I'm aware there's also the 'additive' model where you just pull in the bits you want and don't bother making passes.  Considering my shooting ratios (the latest project will be 2000 shots / 5h22m likely to go down to something like 240 shots / 12m - either 8:1 or 27:1 depending on how you look at it) and the fact I edit almost completely linearly (in chronological order of filming) I might be better off with an additive process instead.
I've also just found a solution to a major editing challenge, and am gradually working through the process of understanding how I'll include it in my editing style.
If you're not deeply attuned to the subtleties of the image (as I know some people are) then its quite feasible to match footage across cameras, and even do image manipulation in post to emulate various lenses, at least to the extent that it would be visible in an edit where there are no side-by-side comparisons.  The fact that a scene can be edited together from multiple angles that were lit differently and shot with different focal lengths from different distances is a statement about how much we can tolerate in terms of things not matching completely.
I had a transformative experience when I started breaking down edits from award-winning travel show Parts Unknown (as that was what most closely matched the subject matter and shooting style I have).  I discovered a huge number of things, with some key ones being:
Prime (which streams high-quality enough 1080p that grain is nicely rendered) showed clearly that the lenses they used on many episodes aren't even sharp to 1080p resolution, having visible vintage lens aberrations like CA etc They film lots of b-roll in high frame rates and often use it in the edit at normal speed (real life speed) which means it doesn't have a 180-shutter, and yet it still wins awards - even for cinematography Many external shots have digitally clipped skies Most shots are nice but not amazing, and many of them were compositions that I get when I film The colour grading is normally very nice and the image is obviously from high-quality cameras This made me realise that the magic was in their editing.  When I pulled that apart I found all sorts of interesting sequences and especially use of music etc.  But what was most revealing was when I then pulled apart a bunch of edits from "cinematic" travel YouTube channels and discovered that while the images looked better, their editing was so boring that any real comparison was simply useless.  
This was when I realised that camera YouTube had subconsciously taught me that the magic of film-making was 90% image and 10% everything else, and that this philosophy fuels the endless technical debates about how people should spend their yearly $10K investment in camera bodies.  Now I understand that film-making is barely 10% image, and that, to paraphrase a well-known quote, if people are looking at the image quality of your edit then your film is crap. 
When you combine this concept with how much is possible in post, I think people spending dozens/hundreds of hours working to earn money to trying to buy the image they like, and spending dozens/hundreds of hours online talking about cameras without even taking a few hours to learn basic colour grading techniques is just baffling.  It's like buying new shoes every day because you refuse to learn how to tie and untie the laces and the shop does that for you when you buy some.
Absolutely - that's a great way of putting it!
My consideration is now what is 'usable', with the iPhone wide angle low-light performance being one of the only sub-par elements in my setup, and, of course, why IQ is Priority 4.

I got the mark1 version. Looking forward to snap it away with the plastic fantastic!
And looking forward to your findings with the S5II and some moving images as well or stills of the caliber coming from the 300 or 400D you sent to your friends.:) @hyalinejim How does the S5II feel image and grading wise compared to dealing with colour from 5DIII Raw?

Funny you ask... I sold the Z6... had the S5... and went back to Z6 as I'm focused mostly on photography. Bough the Nikon 58mm 1.4G and love this combo for portraits.
I'm thinking about getting a Ninja star but none have shown up on eBay. I'm also thinking of getting another camera dedicated to only video. Possibly a GH5 with v-log or if I can find a cheap S5 for video stuff. Tight budget so not sure.
And yes, I have a camera buying/selling disease.

As a Canon shooter, seeing the phrase cripple hammer in a Sony thread is pure comedy for me 🤣, my how times have changed in the Canon world. 
I have nothing else to add to this thread since I know nothing about Sony cameras and I am quite satisfied with my current Canon setup, but I will be disappointed if Canon does not add the FW features that are in the R6II to the R5 and R7.  Not a big loss, but it would still be disappointing. It would not surprise me if Canon doesn't do a single thing for the R7 due to its price point but the R5 is a different story.
So yes, other than Panasonic who literally throws everything but the kitchen sink into every camera they make, I think all camera manufacturers look at the cost vs reward ratios of effort vs additional sales and at the end of the day that bottom line is what drives their priorities. Quite frequently its us consumers that get left behind. Fortunately camera's are so good on day one these days that most FW updates are nice to haves vs necessities.

They need to hack Sony firmware and make a Magic Torchlight or smth. Lots of ppl would support that in a heartbeat. I would. 

This is true, they are a great value. And I’ve spoke various times about how great the Z6 image is when used with an external recorder. Get a cheap 1080p Prores recorder and get oversampled 10-bit log video. I’m pretty pleased with how the 8 bit internal held up in this piece, however, except at some times I noticed some break-up in the skin due to the 8 bit and the fact that I recorded it in a very flat profile. For the AROLL, I just had a friend hold up a simple 5-in-1 reflector to diffuse the sun.  

Just a solid camera overall. Better colors IMO than the lumix cameras, good auto focus, good 4k codec etc. 
The DR is a stop or two less than the S1, but probably similar to the GH5s. A little bit worse in low light than the S1. 
For me it's kind of like a GH5 with more solid color and auto focus and no need for a speedbooster. Also been using it with a ND filter lens adapter, so been digging that too. Mainly been living with a Sigma 18-35 on it or a Canon L 70-200.
Technically I should aways go for the S1 because of the better DR and low light, but I keep finding myself go for the R7 because of the user experience 

Forum member @essbe mentioned this in another thread, but I think it deserves it's own topic.
Magic Lantern developer theBilalFakhouri is showing compelling evidence that he has figured out how to implement full real-time preview in most raw recording modes across the EOS-M, 100D, 650D, and 700D. Live HDMI output is supported across all recording modes too. Many have found that these are the last two major usability hurdles for these cameras. He is trying to crowdfund £2,214 (about $2750 USD) for the 300 hours he's spent figuring this out before he releases it, and says that he will begin work on full real-time preview on the 5D iii after this campaign gets funded. As of this morning, he's about 2/3 of the way to his goal, but donations have slowed down significantly over the last 24 hours. If you'd like to pitch in, instructions on how to contribute are in the link above.
I haven't used either of my ML-enabled cameras in about three years, but this feels like it could be the final chapter in ML history. I would love to see it succeed and keep some of these cameras out of landfill as well as to provide the next generation of broke filmmakers with a truly affordable 16mm/S16 raw camera.

Did you try adding “Cinematic vs iPhone vs ARRI vs Full Frame smash that like button buy my LUT that I created with ChatGPT should you still buy this vintage one year old camera in 2023” to your search term ?
A lot of stuff gets lost because people are trying to create titles that incorporate the phrases du jour that they hope will get them up the search rankings.
“Avoid these five scams when using the GH6 for stealth van life with otters” etc
From what I’ve seen, the “GH6 vs xyz” is the richest seam to mine as at least you get comparative stuff against known entities like the P4K etc.

Ofcourse! I just did a small friendly comment. I am glad that you didn't gave it more gravity than it should!
These new Nikon cameras (and lenses, depending the lens of course) are for me the best value for money options right now in the mirrorless world.
A lot of friends now use the 24-120mm for all around video with excellent results.

This is all very valid and yes we needed more BROLL for that project. Thankfullly I’m very happy with the AROLL so if AROLL is good and you screw up a bit on BROLL It’s fine 😂 

Looks awesome! Nikon is beat up a lot and so is 8 bit yet I found the image appealing and well done. 

Very good and nice image, but needed some more B roll obviously. Just a couple of kicks and a helmet-wearing. Also the transition between two similar headshots with a different color to the second one is kind of weird. Maybe going super close up (not spaghetti western close up! Just head and shoulders) for the smile-shot in the same shot before the end, would have been more appropriate.
As of the camera, I know a lot of people using Nikon for weddings or simple corporate or other videos. Here, some mkII kits are slightly more expensive than the Canon R8 body(!) and there are continuously rebates or some kind of incredible offer..
They have great priced kits with various lenses, a lot of people choose the 24-120mm and they have it all..
Very tempting..

Nikon Z6, 8-bit internal 4k 24p, Nikon FLAT with iDynamic set to High
 

Nice edit.  Simple, but mostly friction-free.  The dialogue was free-flowing too, so perhaps the subject was relaxed and concise or you made some nice edits.  Either way is a good thing, being able to interview properly is a skill I know I don't have!
 

I do all family oriented photos and videos. The last few months I've mainly been using the Motioncam app on my Pixel 6a to shoot full sensor RAW video @15fps. For photos I've been using my newly acquired Panasonic Lumix GM1. But the love is equally shared with my GX85 and G85.

I gave you a like for your unusual choice @Rinad Amir of camera. Noooot:) But for the Konica 35-100 F2.8 which you might have combined with it, which a I got because of your recommendation. Best direct lens recommendation I got, besides my 8EUR Tokina 25-50 F4 from @andy lee, one of Eoshds lens connoisseurs.
I put my Fs700 to a bit of use for some additional income, in HD 420 mostly. S1 got a little share of that. GX85 my eternal love, awesome beautiful image taker and camera. Sony PMW F3 waiting to get any use:) BMMCC used for some camera enjoyment. 5D2 and 3 to test which one is cooler for raw video and hopefully not collecting dust with the F3. Second FS700 never used, collecting dust. BMPCC og collecting dust. I am a dust collector like my lenes. Don´t start me on lenses:) Still got a G7, Oly Pen EP2 and E-PL1 🙂 
Looking forward to see some (moving) images from your beauties. 🙂 @Ty Harper @majoraxis
Welcome back to the forum @kye 🙂  

Well, I'm assistant editing with ARRI footage.  [name drop!]  
Seriously though, filming our own thing this month with a XPRO2, EM10III, iPhone, and a GH5.  I even used the old Canon 5DII the other day.  All over the map.  I guess you can throw in GoPro and DJI while we're at it.  7 camera manufactures, one project.  Also, all the different lenses we've been using are ridiculous.

Very awesome kit!  The GH2's are so killer for the price!  GH1's as well, you can get them for under $100 if you look hard enough!  Such a nice 1080p image from those older Lumix MFT cams, back when I used a Panasonic G7 as my main camera I always liked the mojo I got from the 1080p image, despite it being pixel binned and a low bitrate it had surprisingly good detail and held up well all things considered.  Would often use it instead of 4k to save filespace, and I always was happy with the results!