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The F3 will only transfer 1080/60 4:2:2 from a single SDI port if you have the 4:4:4 upgrade, because that upgrade also allows the SDI A port to work at 3G instead of 1.5G. The 60p will still be 4:2:2. I use my $1200 F3 with a BMVA I got secondhand for $300. It didn't even require me to update my media, because I was able to use the same SD cards I had in my Blackmagic Pocket. This package gives me great 1080p 4:2:2 at 24, 30, and 60 fps. Along with the great low light performance and excellent color/DR in S-LOG, I've had absolutely nothing to complain about on an image quality level. I know some people who have a poor opinion of the F3, and honestly agree with their reasons. Most of them have either A) shot the F3 without LOG, or B) shot on the internal codec. Safety Not Guaranteed proved that neither is a death sentence with a professional colorist, but the camera really only takes its place as one of the best 1080p sensors when utilizing both LOG and an external recorder. The earlier comparison between the C300, Epic, and F3 demonstrates that gap in image quality quite clearly. 4K can be nice to have in certain scenarios, but I haven't worked with an editor/director yet who didn't prefer a 1080 ProRes workflow. The F3's lower pixel count also helps with rolling shutter and battery life, both of which are superior to the UM4.6K (which I've used and liked). The whole "I'll shoot more if I get better gear" justification is wishful thinking; trust me, I told myself that for several years where I produced very little. Get the cheapest, most modestly specced camera that does what you need and looks nice, then use it until you push up against its limitations. Then assess from there.

Hello! Here is a short film I shot and directed called "It's My Party" (if you couldn't tell from the big pink letters). I just posted it online Monday and I'm looking for feedback. After my last film which was 20 minutes long and about 10 different locations, I wanted to get back to something more simple that focused on character rather than plot. Anyway, if you have a few minutes check it out and let me know what you think. I hope you enjoy it! Mike

I think he is nuts to go handheld for so long that he does (this is his second RED ONE! And we shot an entire film film together for five weeks in Australia, I was doing sound of course with my F4 etc). He does need to take a few painkillers now and then I think. It is heavy on your back! Especially without any full time 1st AC to help you out. But I can't be too much of a hypocrite.... my back is still a little bit fvcked up from 5 weeks of shooting with a mixing bag being carried by me every day. However this 2nd RED ONE is going to mainly live on a tripod, because it only has a CF slot. Thus he'll use the HDD, so it is best it stays on a tripod. And his 1st RED ONE (which he recently upgrade to a SSD) will be his handheld one.

How many DR stop remain at that ISO? 1.5?

I've made this point a few times now elsewhere in other threads/forums, and basically if you're not making money from your camera than you shouldn't get a 4K cinema camera. You should get yourself a 1080 cinema camera, or a 4K stills camera (or heck... even a 1080 one, no shame in shooting with a G6/D750/a7Smk1!). EXCEPTION: if you're a rich hobbyist. Go ahead and buy an URSA Mini Pro! Or whatever. As then things don't have to make any more financial sense to you than the $20K road bike you purchased but only ride down to the coffee shops once a fortnight, or the $20K set of golf clubs you haven't used for the last year. Yeah, Safety Not Guaranteed being shot pre-Slog days kinda squashes many complaints about its internal quality. Sure, it is not as good as the external recordings with slog, but what really matters is the operator/lighting/director/editor/etc!

If you want a 4K cinema camera on a tiny budget, the FS700 is no slouch. When paired with an external recorder, it offers essentially the same image quality as the FS5/FS7. It's not as good an image as the F3 from a noise, DR, and color standpoint, but stands up pretty well regardless--especially with solid lighting. Pass: Pharma All shot on the FS700, and we've gotten into almost a dozen festivals now.

Shot this throw away footage about a month ago. at the time I was all into that Steve Yedlin post and talk about resolution and haliation (is that how you spell it?) Went on a tear looking for a some Tiffen filters from my NX "S" Lenses average price was $100+ for a pro mist black. I scoured until I found a Pro-Mist 3 for $18 on amazon. I was walking past a classic repair shop and found these subjects... I put mega film grain on it trying to match that Yedlin look. All Hand held stuff. and if for some reason you want the 1.8 GB output from resolve (not sure why) its here https://drive.google.com/open?id=0B0mz6D_bQOx7dHRLZzJ4bThCdm8 Next Test I got a Tiffen Ultra Contrast Low Light....

http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html GH4 - In VFR (Variable Frame Rate) shooting mode, there were cases where the image stabilization did not operate when non-Panasonic interchangeable lens is used. This bug has been fixed. H-HS030 - Macro - Dual I.S.2 is available by this firmware update. (in case of the usage of Camera with this function) H-NS043 - Nocticron 42.5 - Dual I.S.2 is available by this firmware update. (in case of the usage of Camera with this function) GH5 - 1. Compatibility with "LUMIX Tether" PC software This new firmware enables GH5 tethered shooting via USB, using “LUMIX Tether" PC software. Users can control the camera by connecting it to a PC via USB. Click here to the LUMIX Tether Download Program 2. Improved auto focus performance - Auto focus performance for subjects with low contrast in photo shooting is improved. - Tracking auto focus performance in video recording is improved. - The customized AF area can be continuously displayed in [Multi AF] and [Custom Multi AF] during live-view. - The AF area in [Multi AF] can be moved to the other edge (side, top or bottom) when it reaches one edge. - The start point of AF lock can be set on the live view screen in advance in [AF Tracking]. - The AF area can be moved while the shutter button is half-pressed or while recording in [Burst Mode], [6K PHOTO] and [4K PHOTO]. 3. Improved performance in [6K PHOTO] and [4K PHOTO] - The waiting time to start the next burst shooting sequence after [6K Burst] and [4K Burst] is shortened to less than half the time. - [Loop Rec] is available in [6K PHOTO]. * Use of Panasonic SD Memory Card with Video Speed Class 90 is recommended for [Loop Rec] of [6K PHOTO]. 4. An additional ALL-Intra Video Recording mode- 4:2:2,10-bit ALL-Intra video recording mode is added to 4K/FHD video recording. * Use of SD Memory Card with Video Speed Class 60 or higher is recommended for 4K ALL-Intra video recording. Operation is confirmed with Panasonic SD Memory Card with Video Speed Class 90. 5. 4K HDR video recording - [HLG] (Hybrid Log Gamma) is added to [Photo Style]. HDR (High Dynamic Range) is a mode to reproduce both bright part and dark part in an image, making it look just as human eyes see. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and you can now choose Hybrid LogGamma (HLG) in [Photo Style]. - A low-bit-rate recording mode 4K HEVC for HLG was added. This enables playback on AV equipment compatible with the HEVC compression format, such as Panasonic 4K HDR TVs. 6. Enhancement of the Anamorphic video recording mode- High-Resolution Anamorphic mode, which enables video recording in 18-mega effective pixels, is added. * Recorded in HEVC - [Anamorphic Desqueeze Display] was added, which lets you view an enlarged image in Cinescope size while recording with 2.0x and 1.33x Anamorphic lens. - [Video Guide Line] is added to display the image in a variety of aspects, such as Cinescope, 16:9 and 1:1 while recording video. This can be used not only in Anamorphic mode but also in other video recording mode. 7. Enhancement of Body I.S. (Image Stabilizer) - [I.S. Lock(video)] is added. This powerfully compensates for handshake when the viewing angle is fixed. - A new handshake correction mode is added, which provides optimum correction when using 2.0x and 1.33x Anamorphic lens. - In VFR (Variable Frame Rate) shooting mode, there were cases where the image stabilization did not operate when non-Panasonic interchangeable lens is used. This bug has been fixed. 8. Correction of white balance setting - When the K (Kelvin) value was changed after adjusting the color temperature with 2-axis white balance compensation, the setting was reset. This bug has been fixed. 9. Improved usability of Time Lapse Shot - The time to finish shooting and the number of recordable pictures are displayed on the stand-by screen. 10. Improved usability of Power Save LVF - Power Save LVF can now be used during all stand-by display options. 11. Wireless functions - The Bluetooth Remote Control function can be used with Image App, which will also be updated at the same timing with the GH5 firmware release. - If the camera has not completed image transmission when it is turned off, it restarts transmission when it is turned on with the [Auto Transfer] function. 12. Other improvements - A rating function using a Fn button is available in Playback Zoom and Multi Playback. - The following functions can be assigned to Fn buttons - [Constant Preview] [6K/4K PHOTO Bulk Saving] [Min. Shtr Speed] [RAW Processing] [Rec/Playback Switch] [Destination Slot] and [Mic Level Adj.]. - The DISP.Button can be locked. - In Relay Rec, there were cases where the video file number was not able to be reset. This bug has been fixed. - In Relay Rec, there were cases where the video file number was reset after formatting the SD Memory Card. This bug has been fixed. - In Backup Rec, there were cases where the file number was not reset even after applying resetting. This bug has been fixed. - The image quality when applying the following settings is improved: Extended low ISO, [i.Dynamic] (Intelligent D-range Control) and Highlight Shadow. Notice for the Change of Specifications

Hello. I'll maker this short but informative. Firstly, I sold my FS5 Raw setup - took a big risk, got a GH5 to replace it. The reason was mostly down to portability. Recently shot an entire paid music video with the GH5 and some stuff on the A6500. I'd never used the GH5 before - it practically just came out the box. Shot in Vlog L. Had an awesome experience. Main Pros IBIS. Much better than the A6500. Invaluable. Speedbooster XL gives a very different look to typical M43. Sigma ART's + XL = win! 1080p 10bit modes are fantastic. Made the A6500 in 1080p look fuzzy and blurry. Body design is one of the best I've experienced. Battery grip definitely gives a steadier feel to handling and definitely gives a higher impression to the client. Big impact. VlogL is fairly easy to get into (coming from Slog). Colours are accurate and lovely when graded. Custom white balance is very quick and easy. Menu system is pretty nice, especially the My Menu bit. Way better than the A6500. Small and powerful enough to put straight onto the Zhiyun Crane and Edelkrone Motion Kit. Battery life is decent (but nowhere near as good as the GH3 - which was ridiculous). EVF nice and large. Again much better than the A6500. Full Size HDMI. Yep. Main Cons (I'm being picky here) CineD skintones - finding it hard to get it where I want. Looks very odd off the bat. I need to work more on this as V-log isn't always the best profile to use. Photo Style options are very lean (compared to Sony). Not a massive deal, but would be nice to have more options. Autofocus is essential for my gimbal stuff. A6500 is excellent here. GH5 before V2 firmware is not. Hopefully this is reliable now. Dynamic range is a bit less and steeper in the rolloff than what I'm used to. Again, need to mess round with things to get it smoother in the grade. I think the record button is in the wrong place. I just use the shutter button anyway. Overall An absolutely outstanding piece of kit. I've only used the camera for one shoot, but using this camera has already made a big impression and is already serving my creative choices to a greater level than the FS5 did. I've not updated the firmware yet, but what Panasonic have give us is an incredibly valuable tool with almost very single feature you could ever ask for, or actually need. With a great emphasis on online video distribution, and video being consumed on smart devices - if that's how you're playing it, I would say you would never need another camera for a very long time. If the Autofocus is reliable in V2, it would relegate my A6500 to just a carry around camera. Got to say, I'm incredibly pleased and looking forward to shooting more. (see below for quick VlogL grade).

Yeah, image quality wise we are not going to see dramatic changes. Sure things can & will improve like rolling shutter, dynamic range, codecs, sensitivity but none of these really hinder our ability to create a compelling image today. The dramatic shifts are going to happen on the computational side like DBounce said. But then again I am of the opinion that if you notice the difference between a shot taken with an Alexa and one with a Canon 2Ti, then the script is bad.

I just bought a used Pana 25 1.4 and besides its stunning imagery, I was very surprised by its manual focus capabilities, which was unexpected to me. This lens was produced back in 2011, but its the best manual focus fly-by-wire native MFT lens that I've used so far and by a great margin. I own 14-140 zoom (3.5-5.6), 42.5 1.7 and 20 1.7. They all are PITA for manual focusing, especially 42.5 1.7 which I would consider otherwise a superb small and affordable lens, but its MF is just so wired - one second very slow, then suddenly blazing fast. Completely unreliable for video and I hate its unpredictable acceleration and speed. Who's genius idea was to setup modern MFT lens behaviour like that? The 25 1.4 has fast smooth MF with close to none acceleration so I can easily pull focus on any shot without any extra effort or shaking my camera. Its reliable and constant. But all other lenses I've tried are plain terrible at that! So I wounder, WHY PANASONIC MAKE THEIR CURRENT LENSES BEHAVE THIS WAY?! And it would be so EASY to correct, just by adding some extra menu setting with a profile for every lens for a) acceleration control (starting from zero) and the lens speed itself. Only two freaking parameters and thats all. That would safe so many people from constant struggle with that MF flybywire bullshit. And now try to explain my why its not done yet? And consider that Panasonic stronghold is video, they are perceived by many as video camera makers, they excel in video.. but, they did not offer any solution in that department for all this years. Unexplainable idiocy. BTW, maybe some hero hacker can modify MFT lenses firmware to change those parameters? That would solve this too. P.S. Well at least now I have one lens with which I can focus comfortably.

That's done using a laser cutter. Makes it easy to dimension everything exactly. I need the top part to be higher, so a longer 1/4 screw could fit in. Thinking I should make it wider so 1/4 things could be mounted on sides, one hole pass-through, another 1/4 threaded. For example, one could mount a boom mic on the side, or a receiver, etc. Any thoughts anyone has here please let 'em fly!

The new HLG gives u pretty good highlight recovery. (From panasonic gh5 fb page)

For now, just looking to solve a problem Here's where I'm at now. I can already think of some improvements. PM your address if you'd like to try it out and give me some feedback. Don't want any money!

You beat me to it! I was also going to suggest a cheap base rig with rails with this one that has adjustable height on the camera platform. Op, you might as well get a cheap rig such as this that additionally gives you rails to attach a matte box or lens hood, a follow focus, etc., if you ever want to use such items. On the other hand, you could also just slide the camera to its most forward position on the Manfrotto 502.

what about this one? https://www.amazon.com/Sevenoak-Universal-Alluminium-Extension-Mirrorless/dp/B01IB7XI98/ref=sr_1_38?s=electronics&ie=UTF8&qid=1506705545&sr=1-38&keywords=sevenoak

An expensive one too... dang. Basically what the Velbon QRA-3 does? https://www.amazon.com/dp/B000923HM2/ -- ah okay, I get it now, so it doesn't require a separate base plate

Well, hopefully now that Saudi Arabia realizes that women, over 30, are capable of driving in the daylight, they will influence Nikon to have a woman photographer in their group photo at a camera event #FStop #TheFisForFemale

An Edelkrone Quick Release One might help, makes the camera sit an inch or so higher up on the plate. I've had the same problem with some of my smaller cameras, plus it's a convenient product. https://www.bhphotovideo.com/c/product/1210400-REG

I can put it on Amazon (where I sell my vlogging mirror, and X3000 attachment). At workshop now, will see what I can cobble together! No obligation for you to buy! It's a problem I've had before too so I'd like to have a solution ready.

Cine 3 with its steeper curve has the best skintones as well. No grade necessary. I had a similar problem as well with fast Nikkors & the speedbooster on the BMPCC. In my case it was due to excessive flaring which caused these casts. Better coating on modern lenses helps...

If you're going to buy either of those, I'd seriously consider the Zacuto DSLR baseplate. It's an older model that is still available on some places like Adorama and I think Amazon, but is right around the price range of the items you have listed and gives you a lot more variety and options in addition to simply raising the camera. https://www.adorama.com/zczdslrb.html?gclid=EAIaIQobChMIgJaly8LK1gIVjlmGCh1j1QNHEAQYASABEgL1ovD_BwE

That is literally what corporations want you to think and believe. Because it keeps them in business. That's not to dismiss the long history of evolution that brought us to this moment when the OP's question becomes completely valid. But it is to say that we could've gotten here much faster if camera corporations hadn't been intentionally crippling their tech. There will always be new scenarios, needs, etc, that require us to revisit the OP's question, but if people can't even see the OP's question as a valid one, then they're likely smoking from an addict's pipe, owned by a pusher named Canon, Sony, or something like that.

Those seem very expensive. Maybe I can build you something. Are you in the U.S.? Optimally, how far above tripod head (clearance) would you want camera to be?

If you use a lot of different application you might want to use Symlink in ur project folders. - since your using FCPX I assume you are on a mac. I don't recall the exact name but I think the software I use was called Symlinker, very easy to setup. It's essentially a folder 'shortcut' that acts as a real folder. Keep 1 master LUTS folder where you store and organize, and symlink it in every programs LUT directory.

Cameras are disposable assets as the technology is in continual development. Having said that if you can't make a good film with what is now available (and available very cheaply) it's not the fault of the equipment......

Strangely, I just started watching some of your shorts on Vimeo a few days ago. Really nice work. As a new 5D3 ML Raw user, your work is definitely inspiring and makes me want to shoot more short films. In fact, that has been the biggest thing I’ve noticed since getting the 5D3... I just want to keep working on projects. I care a lot less about overthinking gear choices since I bought it.

I think the way NZ manages to luckily make this "work" (our government spending as a % of the economy is worse than the USA, creeping close to Greek levels) is: 1) we're a pretty lucky country! Remotely located away from the troubles of the rest of the world (no wars to worry about, or illegal immigrants flooding over our boarders). We're not known for being "the country of milk and honey" for nothing! We have a great climate and country for agriculture. 2) we had massive reforms in the 1980's / early 1990's which helped turn us around (we used to be known as "Fortress New Zealand", as we had such stringent controls. Possibly the worst of any country outside the Soviet Block!) 3) we live "Outside the Asylum" (for now! Though is getting worse): https://offsettingbehaviour.blogspot.com/search/label/fun https://offsettingbehaviour.blogspot.com/2017/09/the-outside-of-asylum.html

Really sounds like the F3 is the right choice for you. Or maybe perhaps a Sony FS700. Or maaaaaybe if feeling really super adventurous and up for it, try to get lucky with a cheap Sony F35. However, if a you never did much while owning a BMMCC then I highly doubt buying an even more expensive camera will radically change that.

The real benefit of the 400Mbit ALL-I over the 150Mbit Long GOP, is that it's much easier to edit, when you are editing at full resolution and not using proxy files, or trans-coding.

Ain’t that the truth. I am in no place to tell someone how to spend their money, god knows I’ve spent a small fortune of my own but as a hobbyist that is also interested in the conveniences of cinema cameras, I cannot rightly say that I could ever justify a $4500 price tag just to have 4K, when the majority of viewers will never see the benefits. In my opinion, if Arri hasn’t felt the need to release a 4K camera, then I don’t see why anybody on here really NEEDS one. So with that being said I feel the OP should get whatever he wants for whatever reason he wants, but I would still suggest either an F3, a C100ii or C300 or I guess an LS300 or FS5 if he really wants a 4K camera. And if he wants one on the cheap then get an LS300 but he should be fully aware of the build quality before just hitting buy it now.

New menu line - Video Guideline.

Ok, this is what I've been waiting for. From what footage I have seen the GH5 > EVA1 + C200. This camera rocks. Load of new firmware now imminent. I am quite excited to see what I can do with it. I just watched a few videos on YouTube of the new firmware... great DR, detail in the shadows is good. Also shadow noise seems a non-issue with this firmware. I am sure it will not be perfect in every way, but this is pretty good from what I can see. Even with YouTube compression, the footage still holds up. Nice work Panasonic! This is a good day for the GH5 faithful and a good day for content creators as a whole. Win Win

i had like... 1.25 hot dogs lol. jas got the lions share mmmmmm.... bacon wrapped prawns....

Thats not what happened but you are correct that the D16 isn't made any more. Will you be going around to all the threads mentioning the fs700, c100, gh4, etc and say the same thing?

I love the D16. I even bought it twice

Nice chickentones

I would disagree with you on the points that Samsung's own store did not sell them and the employees who worked there never heard of NX1. I worked at Samsung's OWN store as a sales associate in London where we have seen the NX1 and got trained on it month before the release of this camera. I was the first person to sell the NX1 on the launch day. I bought the NX1 (display unit) that was being used in the store as training purposes by us and to show customers after the store shut down on December 23rd. I'm still using it and I bought another NX1 just few months ago to use it as backup or B-cam. Used the NX1 last month on a wedding. The footage came out astonishing. I also had the Sony A7S II, but it was resting inside the bag most of the time. Prefer to shoot with the NX1 more.

Here's a series of screen grabs from some video today...critique?!?

It is pretty good but the focus throw is a too short.

A little short film I've literally just released online! Shot on a BMCC and graded with my BozBMDFilm to Rec709 LUT. Download HERE: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/. Hope you like

After a full day with nothing but the DP3Q I must say, despite it being Sigma and a 75mm eq it was quite the street performer. (Pun absolutely intended )

Oh well, CineD is already more than expected when we all bought this camera. I don't think the score is 1-0, it's more like 0-1. So there's no V-Log, but you can't miss what you never had. Thanks again for the time and effort BTM_Pix. You rock!

@DBounce Indeed, very well thought. With the EVA I had in mind something that could connect the lower end of video (let's say GH5) to the higher ones (Varicam). For sure we don't know a thing about what the image of the EVA will look like, so everything is in thin air right now, as we (most) know specs are telling half, or even less, of the truth, and what about the Dual Native ISO? it certainly won't be 800/5000, so what if it is 400/2000? C100 eats 2000ISO for afternoon snack. Not only that, what is going to be the Sony response? I am sure they must have something almost done at this point. They probably laugh at the Pana and Canon announcements. They can offer the world, if they want, the only problem is the recently released FS7markII, that wasn't as groundbreaking as we would like. The Canon has already announced that it is going to be a free upgrade, while Pana announced that the raw upgrade will be a paid one. Some one that cares about raw should consider this as well. It is not silly to complain a bit on forums, some companies have people following the reactions. It won't be strange if Pana includes changeable mounts, and Canon 10bit codec.

Not sure I agree here. Actually, Dalsa and Thompson were in the video megapixel wars before RED existed. Dalsa had its Origin (4k) and Thompson had its Viper (9.2 MP). Exactly. There is no optical problem using any one of the current popular shallow mounts (M4/3, Sony E, Canon EF-M) with S35 sensors. Personally, I don't care about sensor cropping (auto or otherwise). Using an MFT mount (or Sony E or Canon EF-M) doesn't preclude the use of EF lenses (nor any other deep-mount market to which Panasonic would like to pander). It is very simple to start with an MFT mount, and merely provide an smart MFT-to-EF adapter that, after it is locked into place, additionally bolts onto the front of the camera for reinforcement. Said adapter could taper seamlessly and organically from the front of the camera body down the the EF mount, and none of the clueless EF shooters would realize that there is actually an adapter in place. I would guess that they dismissed the MFT option out of hand, because of hubris, laziness, and because solutions such as the organically integrated adapter scenario mentioned above would never occur to them. Some manufactures can actually see past their noses and beyond the immediate "bottom line." Such camera makers seek to make money in the long term and to proudly innovate in their industry while developing loyal, solid customer base. I would agree with you that Panasonic (and Canon and Sony) is not that type of manufacturer. Sadly, with the huge surge of production people in the digital age, many camera buyers seem less sophisticated than those of the pre-digital age , so legions of new digital shooters happily gobble up whatever a huge manufacturer provides.