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I've had this question before, and I think it comes mostly down to compression. Big budgets are shooting ProRes or raw, not low bitrate h264. I haven't watched all of Max's stuff but from what I can tell from experimentation, there is definitely a tradeoff between dynamic range and color information when not shooting raw. I'm a great colorist (from years of dealing with S Log), but after reading/watching Max's take on the negative tradeoffs, I've been experimenting with using more contrasty profiles and have found that for compressed footage, even 10 bit, the image is much more robust by starting off closer to final image in camera. This is more true the higher the compression, and especially the higher the noise. I stopped shooting SLog on my FS5 on 120/240fps all-together, and on dark overcast days pretty much don't use it either because there's so little color in the world to begin with. To me, the real advantage of Log on compressed images is keeping the shadows and highlights from getting macro-blocked together and lost forever. But this definitely comes with the sacrifice of color fidelity. I've also come to realize that 90% of viewers don't care if blacks or whites are clipped, so long as people (skin tones) look great and there's a smooth roll-off.

Yes, it’s very interesting. I think there is a lot of potential to this camera. If I was in the position that I could only have one, I would handily choose the GH5s over the GH5. Not that I ever look at my GH5 and think it’s not great, but I am constantly away of it’s limitations. I will not have my GH5s until next week Wednesday. I am looking forward to this camera.

My new video, filmed mostly with canon XC10.

So... if I switched to youtube, my biggest concern is I feel like I'd never be able to get my videos even close to the right audience or be able to discover other decent filmmakers in the same way. Tips on how to use youtube more like vimeo in that sense? Is there an equivalent to "groups" that I'm not seeing? On youtube I just always feel like the views I get were accidental clicks by people looking for.. you know, bad videos.

I couldn't agree more!! An a7SIII with 24MP would be a phenomenal hybrid shooter and as you said with the new tech I think they would be able to maintain pretty much all of the high ISO goodness of the first two models (which, if I'm not mistaken, still use "old" pre-BSI tech sensors). NAB is not far away, let's see what Sony has in store... :-)

That checks out; When closely matching contrast and saturation between the two, the brighter greens, darker blues, and smoother skin tone from shadow to light really stand out here.

Well they state in the article that he will be appearing at their stand to answer customer questions and share his experience from using their camera... so he is either doing this out of charity or he’s getting something in return. One would naturally assume the latter, as Kinefinity is not a nonprofit organization. Really people, it’s not that far of a reach. I doubt many here can honestly say they would spend all day working as an unpaid rep for any “for-profit” company. Why would they? Hey I like Canon, Panasonic, Sony and many more, and I would happily check out their stand at whatever show... but I’m not working there for free. I sincerely doubt Mr.Bloom would either. He’s probably charging them for use of his name and image in the promotional material also. Do the math.

I can’t speak for Philip Bloom’s personal and professional ethics. I don’t know the man. He seems fairly honest with his reviews. I do know he received the camera about a month ago. And although I don’t know the details of his upcoming appearance at this trade show, I’d prefer to assume the best than the worst. And at this point there’s no indication to assume otherwise. Just my opinion.

Paramount don't think Ex-Machina director's next film, starring Natalie Portman will make any money so they scrapped the cinema release and dumped it for cheap on Netflix's porch like an abandoned baby. https://www.theatlantic.com/entertainment/archive/2018/01/annihilation-paramount-netflix/551810/?utm_source=atlfb These execs are going to be the death of cinema. Good thing is we have great TVs now and HDR Alex Garland is one of the most talented directors and writers working today, loved Ex Machina and it was a huge hit. Intelligent sci-fi is in. Black Mirror on Netflix is popular. Arrival was a hit. Why not this? Apparently Annihilation is a direct to video B-movie in the eyes of these Paramount idiots whose summer schedule consists of a Transformers spin-off called Bumblebee and another Mission Impossible... and practically nothing else.

You guys must be mad high when you watched bright. As the movie was such a let down. I found the idea kinda fun with LOTR thousands years later. It started off ok with the training day kinda vibe. But it went down the drain really fast with the magic wands, magic, weak plot and weak character development. I feel the same about those kingsman movies, I really dont get what people like about it. Its one of the only movies I actually stopped watching because it was that bad.

At the same time, some of the most brilliant movies are considered great because they appeal to everyone at many levels of intelligence. Think of The Godfather, for instance. Cinematography nerds can love Gordon Willis' innovation of using darkness and top-lighting to establish mood in a way that was scary to Hollywood at the time. Writing and story buffs can enjoy every morsel of how Puzo and Coppola adapted the novel to screenplay form. The production design. How many times has Pacino's performance in parts one and two been called "brilliant"? I enjoyed the movie as a kid, as a teen, and now in my middle age just as much, but for different reasons. There are great popcorn moments in The Godfather just as there are deeper things you can think about for a lifetime - what does being an honorable son mean, for instance, or how does capitalism and loyalty corrupt one's ideals? In the same way that using a lot of big words might make you sound smart but won't necessarily mean that you're a great communicator, I think the ultimate brilliance and intellectual challenge of making a film is how to talk about big ideas to a mass audience. Films like The Godfather do that. There may be audiences (albeit smaller ones) for stories that don't try, don't "pander", to people with low intelligence, and that's fine. But let's not confuse being intellectual with quality filmmaking. The flip side of the coin, of course, is the lowest common denominator. The films that do well precisely because they do pander to the audience but don't stand the test of time due to their lack of depth and intellectual rigor. Think of films like Dances With Wolves, which won best picture the same year that Goodfellas came out. Most film buffs, even the dumb ones, have watched and talked about Goodfellas many times in the intervening 25+ years, but time has not been so kind to the other. The studio system, and many such systems guided by groupthink and large investment dollars will often ferret out the most original ideas in favor of safe ones. Which is why we have so many sequels. But the alternative of making pedantic movies for no audience is just as dire for the audience.

I haven't believed in what critics had to say in a very long time. I, generally, look at the overall score of what everyone from regular viewers thought of it and what critics think... If there is an uneven shift, on either side.... I might check it out to see why one side hated it while another side loved it. You have to think that critic's job is to critique.... They have nothing else to do. So, with their vast repository of movies that they have watched... They compare it to stuff like Citizen Kane, Casablanca and the sort... Anything less.... Or not original is a cliché or remake... You can't please these people. I wonder if I filmed dog poo for 90 min., while Morgan Freeman narrates some existential bullshit - it might be universally panned (by critics) as being something truly unique and groundbreaking. As for Bright.... For me.... It has a solid foundation, and there is a lot of anticipation for where it can go in terms of story.... But it just left us a speckle of ice from the tip of the iceberg... Not even the tip of it.... **SPOILERS** I would like to have seen when and where the main orc came from.... His back ground - I mean he is goofy, but he came from a terrible background to become the first Orc Police Officer. What motivated him to do that... Other than the superficial stuff that he says.... What about his tusks.... Never got a clear idea (some visuals would have helped) of why his tusks were sawed down. Now that we know Will Smith is a Bright... What's next? Off to Hogwart's Adult Night School? Now the Dark Lord rising... I really wanted to see this happen... Oh well..? Whatever.

OUCH!!! :-o Phew!!

Who says anywhere that he is getting paid for a review???! That is an awfully large leap to jump to.

Well, you could also say you don’t risk your reputation endorsing a bad product?

If you are in Germany you can order from here: https://www.essentialphoto.co.uk/ OR https://www.amazon.co.uk/PIXAPRO®-Continuous-Interview-Marketing-Registered/dp/B017M0CD14/ref=sr_1_fkmr0_1?ie=UTF8&qid=1517492062&sr=8-1-fkmr0&keywords=pixapro%2B100d%2Bmkii&th=1 I actually found them on amazon.de site also. So there is many options. I think those will be anyway sent from UK.

So they paid PB to rep for them... I think his opinion will be biased at this point. Too bad, I wanted to hear is honest thoughts. Oh, I’m sure he will say that he is nonetheless giving an unbiased report... but we know better. You don’t piss all over the people paying your bills.

Its probably the cheapest working Alexa ever sold, at $7800 for the body only (best offer). With shipping and minimal accessories, there was another 1.5k added on. The seller neglected to mention (or didn't know?) that it had a history of salt water damage (I called Arri about the serial number). What this amounted to is that the SD card slot wasn't working when I received it. I got creative and cleaned the contacts in there, and it worked (the electronics in the cam are water-sealed after all). The upside of this is that it is a very recent model, with only 536 hours on the body. I intend to make a reference quality color conversion for a variety of cameras, with side by sides to document the conversion. And then, I'll probably use it for close ups and 120fps slow motion for a narrative thereafter

Yes, it supposed to be cats or welders.... or welding cats

Just arrived

I had to sell my G7, so to get the most out of my EOS M, I'm sticking to crop mode with c-mount lenses. I've added a Cosmicar 6mm 1.2 and Tokina 12.5-75mm 1.2 lenses to my c-mount lens collection. I tested all of them along with my Meteor 5-1 17-69mm 1 lens from my K3 16mm camera. All are tested wide open. I don't plan on shooting wide open all the time, but I wanted to test sharpness and DOF at wide open apertures. Tokina 12.5-75mmmm at 12.5mm Tokina at 50mm: Meteor 5-1 at 17mm: Meteor at 69mm: Cosmicar 6mm: Cosmicar 8.5mm: Cosmicar 12.5mm: Kern Paillard 26mm: Love this set-up so far.

Meaning an extra unit. Say a person has two wireless, but they know say 10% of the time they'll need three yet don't have the budget for that third one.... then until they can afford a third wireless a Tascam DR10L or Zoom F1 could be a good stop gap measure for them.

Godox sl-200w if you mod the fans. About $400 all in. No battery power though, but 200w and Bowens mount. I have a post on this on dvxuser lighting section with the specific fans used. Without fan mod its a bit loud for interviews for my taste, although you can filter it out using audition. After fan mod it's acceptable. I'm using aputure 300dainly but the godox is 1/3 the price and 80% of the light... Bare @ 1m I measured about 6000lux. With included reflector was about 18,000 lux. Soft box of course much lower, with shower curtain frost can get almost 4k lux, Very similar if not the same light as the pics pros but includes the remote.

I can second the recommendation from @Teemu for the Pixapro 100D mkii. Fantastic light, I've really enjoyed mine. The Godox is a great budget option, but considering that you're after a key light, if you compare the brightness at 1 meter, the Pixapro is more than twice as powerful, putting out 11,000 lux with the included reflector, compared to just 4,100 from the Godox (and 4,600 from the more expensive Aputure 120D) and adding a fresnel attachment can take that brightness up even higher to around 16,000 lux, which is a pretty serious amount of light.

that lens + filter combo looks awesome

I can give a vote for these: I have in my set 4x Pixapro 100D MK II and 1x 200D. Those 100D MK II have the + model also which means those can be powered with V-lock battery. There is optional wireless remote sold separately which I recommend. With one remote I can control all of my units. These have fans but those are really quiet, never had any audio problems even in interview shoots.

Shoot 4k. Use a fader ND. Shoot c-log. Expose to the right. I’ve found the compression is much much better wide open/nearly wide open. Maybe this is the lens, but the f11 stuff I shot came out mushy. It is good for what it is. If it had a 2.8 constant lens, this camera would be a beast.

Goes to show you how much I follow who-does-what anymore. "What We Do" blew me away. It's difficult to do a 2-minute video gag. 90 minutes? One of the best films I've seen in the past ten years. I watched it twice with my kids. One of them has probably watched it three times.

You can record 1376x1030 (4:3) 12-bit lossless continuously on the EOS-M in Movie crop mode no problem (or 14-bit lossless though that may reintroduce focus pixels). In fact you can record any resolution and aspect ratio with magic lantern, the limit is the camera's write speed. You can go even go up to 1440x1078 with the 5x zoom function as mentioned in the first post here (that's different to Movie crop mode) - though I haven't tested that yet. In terms of recording time with 1800x1024 12 bit-lossless, I'm getting between 10 seconds (very worst case) to 1 minute or so. Just tested it again and actually it seems that the amount of contrast in an image affects record times more than anything. If you want better record times in 12 bit, probably best to lower the res to 1792x1008 or so. Also I've just started using another program to convert MLVs to cdng files which has a very nice interface and features: https://ilia3101.github.io/MLV-App/ it was suggested by this youtube user: https://www.youtube.com/watch?v=_yXb2bt8l60 I definitely miss my old BMPCC too. For sure the XC10 is much more ideal for normal HD filming than the EOS-M will ever be, but still the EOS-M isn't too bad for a camera that costs about £100.

https://vimeo.com/208637237 https://vimeo.com/150067275 Mostly handheld, without ibis. Lenses from 12mm to 35mm on the pocket camera.

Not a problem at all if you do it in a way where you're not concerned about the skin being a strange shade of unsaturated orange, and everything else is just very noticeably off. I speak from experience of having simply thrown a teal and orange LUT on footage and I just think it's a shame as the piece is otherwise very nicely put together. It's also hard to judge footage when the colour is uniformly 'off'.

While IBIS is great, I agree with Axel. In my short video life, I always shot with cameras that didn't feature IBIS and that wasn't a problem. Something like this http://cn.aputure.com/V-Rig-MR-V1 is cheap, light and practical to carry around. If I am to do a shot with a long lens, I know I will need a tripod. But to each his own. I just never was someone who filmed with just his hands, always got some kind of support to minimize extra shakiness.

Youtubes copyright system is so awfull though. People claming videos that are not even theres and videos that dont violate copyright laws.

You make a valid point. But then again, as a current GH5 owner, I already know and trust Panasonic. The same can be said for most of the major manufacturers out there. So when I watch a work by someone such as @Neumann Films it's not so much about... is Panasonic a trustworthy manufacturer? Or, are their product reliable? It's more about the footage. And I believe in these cases the footage alone can speaks for itself. We no doubt disagree on this point. But for myself, before parting with several thousands of dollars I need to be convinced that it is cash well spent. I need to know that the product will be reliable and that the company is here to stay, and will stand behind their products. Any service issues must be handled promptly. I'm not staying that this will not be the case with Kinefinity... I'm simply saying, I do not know. If this was a camera I could buy stateside, from one of the major retailer, I would be more adventurous. But buying from a Chinese company and hoping for the best is not really my thing. I could be wrong, but I suspect many here feel as I do. Deny it all you like. But until Kinefinity can convince people such as myself, that have the cash to do business, but choose not to, because of these uncertainties, they will remain nothing more than an interesting oddity.