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With the new firmware 2.0 update, the Panasonic GH5 becomes the first 5K 10bit H.265 mirrorless camera, and you don't even need an anamorphic lens to join the party. Read the full article

Available now! The new EOSHD 5D Mark III 3.5K RAW Shooter's Guide With the new Magic Lantern experimental build for the 5D Mark III, we have an amazing 3.5K 10bit lossless raw mode with Super 35mm continuous recording. Read the full article

I'll provide some proper downloadable footage soon.

This is why they'll never learn. They can make false promises and unnecessarily cripple their lower end products and they'll never have negative repercussions. I'm not personally blaming you I'm just using you as an example of the reality of the situation. I don't care your opinions about Sony and Panasonic cameras, but those two companies actually listen to the community and rarely hold back features on their lower end products.

Testing all these cameras out against each other - the ursa mini did quite well!! Sony F65 vs Alexa Mini (Arriraw) vs Ursa Mini Pro vs Red Helium vs Red Dragon All shot at their highest resolution! Testing skin tones and motion cadence and highlight handling! Using filmconvert profile kodak 250d, also lowering exposure on it cause it blows out the highlights. SPECIAL THANKS TO: Public Record (for the RED DRAGON) No Frames (Mikko) for the Red Helium Adam Uhl for the Alexa Mini!! And Viewers Like You! WHICH CAMERA IS WHICH?? The results will be posted below. But first! A quick announcement! Shot on Zeiss 100mm standard speed - at T2 - I think. I don't remember. Did I shoot with glimmerglass1 or not - I don't remember. Shot over the course of a month, in a poor scientific matching way on all fronts. No chip chart. No measured distance nor t stop. This test is a mess. Sony F65 - 4k Raw Lite 3:1 Red Helium - 8k 5:1 compressoin Ursa Mini - 4.6k 3:1 compression Alexa Mini - Arriraw 3.2k Red Dragon - 6k 5:1 compression

Yeah crazy how good the ursa mini pro holds up next to a F65 or a Alexa mini, especially as they are dirt cheap in comparison.

+ killer AF! No competition on the market at that price point. Recently shot an art piece on the 1DX II at 4K60 (vs. C300 II which has 10-bit but no 60p) and 8-bit was fine. Most of the shots wouldn't have been possible without DPAF (the alternative would have been a wireless FF and an AC). For those with a $7500 camera budget, especially if one has many Canon lenses, it's a no brainer. Again, the C300 II doesn't do 4K60, the C200 does. If the C200 had been available when we got the 1DXII, we would have gotten the C200 to get 4K60 instead. The most popular camera on this forum right now, the GH5, is a useful tool which creates great images, however it's not in the same league as the C200. Both products are priced fairly for their performance and features.

If only we could speedboost! @Brian Caldwell Internal speedbooster: go!

I will be uploading some of the original ProRes clips and Cinema DNGs. They amount you can push them in post without them falling apart is incredible.

This is taking me back to memory lane, lol I used to underexpose back in the day quite a bit, mostly to protect the highlights, but also because imho on older HDV/HD cameras like the HV30 everything looked much more filmic when underexposed in the Cine gamma mode. I did this on the 550D as well, protected the highlights and underexposed by one stop. I got some pretty unique looking results that way. This was a feature I did on HV30. And this was on the 550D. Of course the subject matter in both is well suited for, well, a murkier look. Haven't found any reason to do that with any recent cameras though, and with Blackmagics I've swinged to the other side and stick to ETTR most of the time.

I did read your list. My reaction has to do with this: The fact that you don't care about which company you buy from, only that your "needs are met," is the reason that big companies can get away with things like false promises and unnecessary crippling of products. Important: I'm not trying to say that big companies are bad or the system is bad. What I AM saying is that it's ultimately not in our self interest as video/film professionals to keep buying from a company like this. If we vote with our wallets, then we can force these companies to listen to us and give us better options. In fact, it's in the best interest of Canon in the long run, too! There are dozens of other cameras that you can use. People have made good livings using cameras that didn't have DPAF or internal raw for decades. You WANT this camera. That's fine. I'm not mad and I don't think you're a bad person or anything, I'm just trying to point out how we can enact change (or not).

16-50 f2-2.8 definitely. When I first using nx1, I expect the fast auto focus tracking in video is working with any samsung lens. but not the case. most lens is not really useful at all for tracking in video. only some new lens works. the 16-50 f2-2.8 is among the best one. Very similar performance to the sony a6300/6500 system. add OIS, 120p full hd. This lens is a perfect mate to nx1.

Here are a few more screengrabs from my film. The first one is with the Canon 24-70mm f/4... And the second is with the Canon 35mm f/2... Haha, in the first one, the actor looks like he is shaking his head that I am posting these grabs... lol.

Yes, going to be good for warp stabiliser. With Dual IS, 5 axis IBIS and Warp, maybe we won't need that £1000 tripod Flowtech 75 after all

NX1's AF was the second best back then, not that further away from Canon's, and still I prefer it from Sony's for video (so in my opinion, it is still the second best!). Samsung was nothing to Canon back then, the smaller players were afraid the most (Olympus, Fuji, Panasonic mainly; Sony was worried, and Nikon would have been doomed). Olympus and Fuji haven't the resources to fight Samsung, Nikon can't compete in the new digital age, and even Panasonic is much smaller than Samsung. Sony is powerful, but Samsung had some amazing R&D breakthroughs, and the capacity to manufacture EVERYTHING you need for a photo/video camera (CPUs, RAMs, lenses, Super AMOLED touch screens, everything). First 28mpxls BSI sensor (A7Rii was the second big sensored BSI actually) etc etc. Samsung just decided that they didn't want to compete on a declining market, and pro video/photography was a long shot. NX1 was too late in the game. It is just a pity that we didn't see a NX1mkII, they did the first version SOOOOO good, without any prior real practical experience. The NX team had some truly talented and passionate people (just check some of their older corporate videos), something that a huge capitalistic and autocratic mega-trust, couldn't allow to exist.

It's more of a marketing thing than a principle... The purity of the camera as an artistic photography tool is tainted when you put modern stuff like video and wifi on it. And the association most 'purist / traditional' photographers make with video is that video is something you do with an iphone, point and shoot, or something you do with a film crew at an extremely high level that has nothing to do with being a lone photographer / artist... So they don't feel it has a place on a traditional photographic tool like the Leica M, and I totally understand that, right tool for the job, etc. However for me it's nice to have on even the most photography focused body... Even if you'd be crazy to pick an M for video over a SL or GH5... It is the convergence of stills and video that is the future for me, more than the segmentation of tools into pro stills cameras and pro video cameras.

Leica removed video from the M10 due to photographers complaining. Old men huh!?

Next to the X-T20 its going to cause some serious doubts on which to buy for those looking to get in at the mid level of the Fujifilm system. Personally I love my X-Pro2 more than the X-T2 I had or the X-T20 I get to use at work. And here I would probably go for the X-T20 since this doesn't have an OVF anyway. But it still is a tasty camera. The good news is that predecessors like the X-T10 and X-E2 costs seriously nothing only a few month after release where I live. Even the flag ships are starting to plummet since Sweden is still hardcore DSLR users. Official release is tomorrow but its all leaked. http://www.fujirumors.com/new-fujifilm-x-g-roadmap-firmware-x-e3-specs-confirmed-release-september-28/ Specs: X-E 3 24.3 million pixels “X-Trans CMOS III” X-Processor Pro 3 type 104 million dots touch panel liquid crystal 4K movie shooting X series first Bluetooth connection compatible “Touch Function” (Japanese name unknown) loaded. You can recall the preset function by flick operation up and down, left and right Size: 121.3 x 73.9 x 42.7 mm Weight: 337 g Color: Black / Silver Kit: Body · XF 18-55 mm lens kit Expected release date: September 28, 2017 Mass store sales price (tax included): Body 123,660 yen, lens kit 166,860 yen Metal hand grip MHG-XE 3 and bottom leather case BLC-XE 3 will also be released on September 28

http://www.newsshooter.com/2017/09/06/sony-unveils-venice-36x24mm-full-frame-digital-motion-picture-camera-system/ "the camera’s lens mount can also be changed to E-mount (lever lock type), which opens up a lot more options for using a wide variety of lenses." Today marks the end of Sony's FZ mount :-( As a Sony F3 owner it makes me a little sad :-/ But I'm not too surprised (& the FS7mk2 was a small hint), as I half expected this day to arrive eventually. This does make Panasonic look even more dumb now, because they didn't announce their EVA1 with a locking MFT mount. (As heck, Sony can put E mount into their highest of high end cameras!!) "The Sony VENICE CineAlta digital motion picture camera system is scheduled to be available in February 2018. No pricing information was given on release." Reckon I'll be able to afford it with what I find down the back of the couch?

But then the comedy would be lost!

Hey Ed, maybe do the test again? Even one scene where everything is constant (except camera) would be good.

Latest rumor (SR2): "The interesting thing will be that is will house the worlds first full frame RGBW backlit stacked sensor. Giving us around 68% better low light performance over the original a7s sensors. It will also be capable of 4K 4:2:2 10bit color and 4K 60p but only at 8bit 4:2:0 full sensor readout. These are the things I am mostly sure of." http://www.sonyalpharumors.com/sr2-some-early-unconfirmed-a7siii-rumors/#disqus_thread Might even see it today.. Nah just a $40K CineAlta

I use FCP X, where tripod mode is available as an option in Inertiacam, but only after the analysis has found little camera movement like pans and tilts. In Resolve 14 it's in >Color >Tracker >Stabilizer >Camera Lock. Does not decide four you if there is too much camera movement, so very shaky shots will turn to RS-like jelly. Other than that (monopod or gimbal used) it will be indistinguishable from a tripod shot.

Nice work. With all of the, deserved, attention to the GH5, it's refreshing to see you testing and reviewing other cameras for us non-GH5 users. This camera continues to amaze me. Without a doubt, purchasing it was the best decision I have made for my filmmaking. I'm sure you go over this in the guide, which I plan on purchasing, but a quick question I hope you'll divulge... is the image, at least, centered in live view? I may buy your guide today and test this build tomorrow if it's centered. Also in your review you mention you have a color live view in 3.5K but it reverts to grey scale when you hit record. Is there any benefit to having grey scale enabled the entire time? Sorry, I assume you go over this in the guide, but just a few questions before I decide to test it this week.

Its also touch screen which in combination with the joystick is probably enough. On my X-Pro the pad is basically just for flipping through menus. They are pared X-T2/Pro-2 and X-T20/XE-3. High end and mid range.

Panasonic GH5 delivered... V-Log on the way.... Only had a brief 5 minutes handling the camera - this thing feels incredible in the hand. Threw on the Olympus 40-150mm 2.8 (which is also an incredible lens), IBIS is great at 150mm. Looking forward to trying out all this groovy stuff on the way.....

Ah fair enough. I also live in an apartment in the CBD! But luckily my GF seems to somewhat put up with all my gear chaos spread everywhere :-D

Wait.... WHAT??? Are they seriously requiring you send in your 5Dmk4 if you want a simple firmware update??? Shocking!! :-o Oh wow, up to a FSmk3 already! ;-) :-D I'm hoping for an a5200, as let's not forget about the little guy! The C300mk2 seemed to pick up a little bit of traction after it got its big price drop. Be weird as hell if the C100mk3 has the missing middle codec the C200 lacks!! lol (but in return of course the C100mk3 will not have raw) I feel you created this "needs" list by looking at the C200 spec sheet then listing what it is on it? (and not including anything that is not on it) When you take that approach it becomes very easy to justify your decision to exclude others! haha

I didn't modify the light. It was modified by sand dunes, sea, clear sky and sun :)))

.OK, I see...My POV: I agree with you but debating ideology doesn't get the shots. Canon cripples its products, yes. That's one of the reasons I lived Canon DSLRs for photography. BUT....Talking about the C200, I just need its features/capabilities "as it is", I never rely on promises or on future "functionality upgrades"...I just want to pay for features I get NOW... Again: Name me some devices meeting my listed needs...Please name me even just one, I will take a closer look...

Oops, I left out that important piece of info. Thanks for asking. Answer: real estate and promos.

Yeah, I get that this camera isn't for everyone, but for those filmmakers interested in narratives... it's a $7000 Alexa. Unbelievable.

Hey Nikkor, it's a suspense thriller about a man who comes home after spending some time in a mental hospital. The familiar people and places begin to dislodge hauntingly, faint memories of his dead girlfriend but the visions seem real and vengeful. It's kind of a mixture between a classic English ghost story and Japanese horror.

Voigtlander 50mm f1.5 in M mount. Not exactly vintage but they sometimes pop up used for $400 or even less.

I really don't see anything that can compete with the GH5. For about $2000 + the cost of a speedbooster you have a incredibly power tool that is mobile AND has excellent in body stabilization. After renting the GH5 and seeing the 400mb codec and not the 5k open-gate...I look at my canon gear with contempt. All except for the 5DMK3 but only due to the magic lantern team.

That's fair. Definitely not a kind of photography I do a lot of. When I dabbled in it I used a Leica rangefinder and would focus through the rangefinder rather than setting hyperfocal distance and compose through the rangefinder. But I decided it wasn't for me. In retrospect, maybe my slow ability to focus hurt. Hyperfocal technique is more instantaneous. @mercer I'm not that into photography but I found the 5D Mark III to be a solid stills camera when I had one. Yes, the Sigma has better image quality at 100 ISO and it's small. Bt that's IT. Everything else about it is much worse. Like crazy worse. And it also has this magenta/green noise that needs to be filtered out in lab color space and sometimes can't be so you really have to be careful. The battery life is awful and shot-to-shot time is the worst I've experienced. If I cared much about photography I'd buy an old MFDB and tech camera lenses.Bbut I don't, and this is the next best thing. If you want it for one thing (hyperfocal street photography, or I'm trying to get into some really abstract stuff–the shots I posted were test images to see how the detail is) it's great for the money. I wouldn't start with one. If you really want to challenge yourself, I'd get a spot meter and shoot slides on an old (like 1960s) SLR without a working on-camera meter. That's how I learned to expose. In the lab, they can change the exposure on C41 when they print it and it has tons more dynamic range. If you want to get really good at photography and exposure (not of people, necessarily, because they move too fast) pick up a manual focus Nikon camera and use an external light meter. Or challenge yourself a bit less and get an old Nikon SLR (the FM2 is great) and use TTL metering. For small stills cameras, the Fujis are really nice.

Great for post stabilizing in 16:9, too.

Thanks for the reply, Ed. I appreciate the input and I don't mean to sound too argumentative, but the slow nature of the Sigma is part of the equation that actually appeals to me. Part of this process is, for me, is to become a more considerate, instinctual filmmaker. By shooting ML Raw with the 5D3, and being a no budget/hobbyist filmmaker, I quickly learned how important it is to take my time and find the shot. Often my shooting days fall together and since I shoot guerilla style, I find I am at the mercy of location conditions more often than not. Since shooting endless footage is not an option, I am forced to slow down and make gut decisions that serve both the story and the photography. Obviously, I am ignorant about still photography... and motion photography as well... lol... but I thought the slower Sigma would force me to find the image and consider composition and light, so I fear the ability to shoot bursts or quickly would be counterproductive for my goal? I do agree ISO 100 is a little of a bummer, but I would most likely get the Sigma 30mm 1.4 kit, so the fast lens would help a little. But maybe your right and there would be too much of a learning curve... Hmm... food for thought, thanks. Btw, I watched that time travel, short film you DP'd... really nice work. Great choice going with the DVX for the "flashback" scenes. Thanks, Mattias... from the photos, the Quattro looks considerably smaller than the 5D3, but definitely something to think about. Obviously, my concern with a Fuji or a Canon is that I'll get out in the world and end up shooting video instead of photos which is why the Quattro sounded so appealing to me. But you guy's are probably right. In that case, I wonder if the M5 would be a smart move since I can easily use the same lenses I use with the 5D3, so lens characteristics and color science will be more similar to what I'm shooting with the 5D3?

Finally, they did it. What took so long?!

Yeah. The DDFX filters that I have are 83mm screw on. I have a matte box for NDs.

Same Ed...I have that forum post bookmarked and check it regularly! Thanks for sharing here..

Every system has uwa. You can use 7-14mm Panasonic or Olympus ...

True. With my current setup I use my Sony 10-18 f/4 and it is certainly wide enough (both for videos and stills). I generally shoot RE interior video at around 20 to 24mm full frame equivalent, so for m43 format I would need (apparently) somewhere around 10 to 12mm lens.

If you zoom in 500% you’ll see its not a real horse, but tiny dots.

1600 is my max, 95% of the time... 3200 in a pinch. Nothing higher though.

The only thing that will sway them is our money. If people don't buy it that will have 1000x more impact than a petition. But, you know this is going to sell well. *sigh*

Eep, I’m not sure exactly what to write. A lot of this is on a case-by-case basis. A few things I’ve found useful for corporate work are: When shooting talking heads, light primarily with an offside 3/4 book light close to camera that serves as both eye light and key and then put some negative fill on the other side of the face just off-camera. That way you can get both soft light and contrast and dial in any skin correction in post or with a promist filter. If you do choose to use a fill light (a hair light, diffused of course, could also help) keep it very soft and from camera direction, not 180º away from the key, to maintain shape. Keep both lights approximately at camera height to avoid raccoon eyes. Overlighting is fine... if you're then removing light–doing the HMI through every window thing or Kino Flo in every corner and then turning off or dimming anything that’s behind the camera so you’re always working with a backlit scene or an offside key. I spoke extensively with Phil Abraham about how he lit the Sopranos and the approach to many interiors was rather DIY. On sets they had huge banks of dozens if not hundreds of 60w incandescent lights above the stage (facing 40º down toward the talent) that functioned as soft backlights and offside keys. Each corner of the room had one pointed toward the middle of the room. Only the lights in front of the camera were turned on. Anything behind the camera was turned off. Of course, there were also practicals and bounce cards for fill. When they turned around, they’d just flip which lights were on and which were off so it was always backlit/side-lit. At least that was the basic approach that was fined tuned with smaller units. That's for the interior sets but you can use the same techniques on locations with high ceilings. You can do the same thing even in a corporate setting even for b roll even when you see the ceilings. Cameras are so sensitive these days and color correction so powerful that lighting with practicals is fine. Say you have a room being lit with overhead fluorescent lights. If you want some shape to the room, just use the switches in the room or flags or trash bags or whatever to turn off or flag off all the lights behind the camera. Then you’ll get the natural light working as a soft offside key. If you want to light talent standing in front of that so that their faces aren't dim, just use the same principles as the book light/negative fill combo (maybe a lone LED heavily diffused and as close to the talent as you can bring it, dimmed down a lot, and then negative fill on the other side just off camera). Bring CTO/CTB and plus and minus green to match the LED to the practical lights. Remember, the softness of the light correlates with its perceived size by the subject. A 4’x4’ light at 4 feet will be as soft as a 1’x1’ light at one foot (though the falloff will be quite different). One good trick to get a DIY book light for interviews is to first take a 1x1 LED panel and diffuse it with a piece of 216. And then gel it to match the color temperature of the space. Set is aside. Then take a c-stand and hang a 4’x4’ piece of diffusion (I like 216 or half grid cloth) and bring that wherever you’d want your book light to be. This will be the front of your “DIY” book light. You can easily hang 4’x4’ diffusion that functions just like a 4’x4’ frame just by keeping cuts of it around rolled up in a trash can or box and then extending the c stand's gobo arm so it's parallel with the floor and raising it up and then hanging the cut of diff from number 2 clamps at the top corners. You’ll have to weigh down the bottom corners with a clamp at each corner, too (number 2 clamps). Then position the LED behind the DIY frame and use barn doors to reduce spill (a true book light would have a tent of flags around it, but that’s slow) and turn it on. Move the light until the LED is just far enough to evenly illuminate the 4’x4’ frame. Then dim the LED to adjust brightness. Quick and easy book light and you can store that all in a small car. Don’t be afraid to use flags and nets. If you’re using soft light, just bring flags. You can dim soft light with solid flags and it won't change the shape too much. Buy lights and play with them. Learn on set, but just shoot stuff for fun whenever you want to try a new technique. For narrative, if not storyboarding then at least defining the axis of action clearly can help. As far in advance as possible. Because this will let you place your key light for most of the scene (in theory). My friend who worked with Deakins described his approach as being too time-intensive to replicate on an indie scale, so I won’t bother describing it. One approach he really liked that can be replicated on a small scale is Elswit’s. He would often have a hard key light or back light 3/4 to camera then carry that with a much softer source that blended into it in terms of color temperature and direction, maybe 45º or less rotated toward camera. So he could get a lot of contrast in a scene and always get an exposure on the face by sort of modifying the Ridley Scott Blade Runner look of using a single source, but then sort of softening that source by using it to motived the fill. Filling from key direction, not from the opposite side. (But still tweaking with bounce boards etc. for the close ups). That also lets you do fewer light changes between set ups if you basically only have one direction where the lights are visible and you can’t point the camera. Then you can use a common technique for exteriors and cheat your close ups by rotating the actors rather than moving the lights. This technique is of course great for day exteriors. Shoot with the sun behind you. Rotate actors a bit so the backlight then becomes an offside key for their CUs. You can use bounce cards etc. too. If there’s not too much wind and you’re shooting really close like CU or XCU or something, you can do the c stand trick to hang a weaker diffusion (251 or something) between the subject and the sun to soften the sun light a bit. Or for overcast days, bounce light using a 4x4 bead board silver side (or silver reflector) to create a subtle offside key and use negative fill camera side, for instance, to shape the key further. Or bring a battery-powered LED with you. Scout. Mirror boards are brighter than 18k HMIs. They’re fairly expensive to buy and heavy as hell, but on an indie budget they’re very affordable. Bounce one of those through a window and move it. Maybe put some diffusion against the window. Easy way to get a cheap big gun in day interiors. But you need to time things up so the sun is in the right approximate place. So always scout the sun path for day exteriors and even interiors if you have time. There are apps like Helios that help. That can save you money. But of course if you’re not set on shooting in one direction or the other you can follow the same principles on the fly. I dunno, that’s about it. Also, when in doubt, diffuse your light. Especially lights behind the camera. I like hard light but if I see more than one hard shadow on a wall I know someone screwed up. One hard light is usually enough, but since so few people use hard light these days it can be cool. Oh, and look for darker walls to shoot against. White walls make lighting so much harder.

Well, perhaps using a "cheap" monitor is the problem. Notice in the nine monitor comparison video that you posted (11.02), the host says that latancy is a problem with lower end monitors. So again I point out, the GH5 with the SmallHD Focus experience no delay/lag. Keep in mind these monitors need to downscale the 4k signal. I suspect this process is what separates the wheat from the chaff.

While I do not use an external recorder with the GH5, I did recently pick up the SmallHD Focus, and I can tell you there is no problem with lag. So perhaps the problem is the external recorder?