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Seems interesting. I wish Kinefinity would come out with a pocket camera. If it were cheap enough, I’d definitely give it a try... and maybe a direct competitor for BM would give them a kick in the ass to develop a pocket 2 or lowering the price of the original.

Here’s some (very slightly) graded Eterna footage shot at 120fps. I have a Sony A9 and a6500. I’ve owned an a7S ii and a7R ii. I can get the Sony footage to look this good (color-wise), but it takes a LOT of work, granted I’m no colorist. With the Eterna footage, it’s effortless - literally just a bump in saturation and contrast. The dynamic range may not net quite as good, and the slow motion footage may be slightly more prone to aliasing, but color is far more important to me than those things - I believe color has a much more emotional impact when viewing video. EDIT: Sorry for the double post of that video. I posted it a few days ago but my post was under moderation (just signed up for this forum), and I see now that it’s just been approved (on the previous page).

I am talking specifically about this market, which is quite limited, so we know most things about most things. GH2 "revolution" never happened here. People started caring about Panasonic with the GH4 and on, and there wasn't any mainstream music video clip happened in the GH4 that I know. A lot of people still use Canon 5D iii AND ii, Canon and Sony are huge here. Alexa is a tier of its own, Red is supposedly under Alexa, and it seems to be hurt by these newer cheaper cameras. The above are relevant to this specific market.

You could have mitigated the blown out sky by not backlighting your subject matter. Had you simply turned 90° or 180° you (or had a bounce board) could have brought down your overall exposure and you wouldn't have had such a high contrast ratio. You had golden hour working to your advantage but didn't utilize it. You have to be more selective with your staging when working with cameras that have limited dynamic range. It's about knowing your tools and how best to use them, instead of trying to force them to do something they weren't designed to do and then blaming it. Please note: I'm using you and this post as a springboard for a teachable moment.

It looks amazing to my eyes and I couldn't be more agree with what you say. That's why I'm stocked with Canon, but maybe not for much longer..

If it works, why not. Bit less flexible and it would be better being enclosed but as a solution you can't fault it for battery life

Actually I have much worse experience with dust & DSLRs than I had with mirrorless. Most people don't realize that dust enters the space between the mount and the sensor no matter whether there is a mirror or not. These dust particles will then go on the sensor and in the case of DSLRs can also go to the mirror, the ground glass & the AF sensor. Cleaning the DSLR is NO FUN and very hard to do when not on top of a clean desk. The flange distance has nothing to do with the dust or any harm to the sensor, if anything it makes cleaning it much easier. You can easily spot the dust particles and remove them with the tip of a cleaning cloth in a matter of seconds while hand holding the camera. No way you can do that with the DSLR. This whole argument sounds like it is coming from people with very little experience with both systems. If people actually searched around they would find that this is a myth and actual users report the opposite. Here is an example: https://photographylife.com/mirrorless-vs-dslr "Movement of Air: as the mirror flips up and down, it moves plenty of air inside the camera chamber. And with air, it also moves dust and other debris around, which eventually ends up on the camera sensor. Some people argue that their DSLR cameras are better suited for changing lenses than mirrorless cameras, because there is a mirror between the sensor and the mount. There might be some truth to that. However, what happens with that dust after the mirror moves inside the chamber? All that dust will obviously circulate inside the chamber. In my experience shooting with a number of different mirrorless cameras, I found them to be actually less prone to dust than any of my DSLRs." That is my experience as well and I have been using these systems for years.

6K fullframe raw? Hmm, /me wants

We have an A7III at the office, terribly underwhelmed by it.. aside from the slight body changes, it feels like the same old Sony experience.. emperor's new clothes imo. The EVF hasn't evolved since the II series, same 100mb XAVC-S codec, it's got an AA filter. LCD is a cluttered mess, convoluted menus with no touch support nor gestures. Yellow cast on every mixed lighting shot requiring fixing in post. Cherry on top is is our unit has the bottom blinking pixel issue others have reported. So much for Sony QC! Hence my vote goes to XT2/XH1. For stills, the X-Trans sensor, color science, film simulations & classic dedicated dials/ring control take the lead. For video, the 4K just has some SOOC mojo just like the JPEG engine. XH1: The body/grip enhancements feel great. The new soft shutter & excellent IBIS allow new levels of low shutter speed shots. DCI 4K. 200mbs codec feels solid in post. Eterna is a joy & needs minimum grade. . Top sub-monitor display. Customizable gesture support. Silent movie mode (bypasses aperture ring, dials etc).

Here is a VFX heavy short film I shot on the Samsung NX1 years ago, finally decided to finish it and get it online so here it is! The last scene is the canon T3i all lenses used are the rokinon 24mm f1.4 and Canon 50mm f1.4 Watching in 4k is strongly recommended as YouTube loves compressing things

http://www.kinefinity.com/mavo/ 2 new cameras announced by Kinefinity, Mavo 6k S35 and Mavo LF 6k Fullframe. Seems like they also announced a set of Cine lenses to go with it. Also some talk about a new user interface and an integrated Movcam wireless focus system. Mavo LF Base ISO 1600 and supposed to be cleaner than previous cameras. Cine DNG, ProRes and KineRAW 2.0?

Last year I posted a short highlight reel of Watkins Glen Vintage racing footage. This is an extended cut with no music, only engine sounds. Enjoy: all GH5 with mostly the sir magic 25mm .95 A few wide shots with the Olympus 12mm.

Here is some rather uninteresting video I shot at night with varying ISO ranges so users can do test grades. It's way too cold right now on Ohio to do anything artistic! Most of the footage is in V-Log, but some is in HLG. Video 6 was shot in ISO-4000 even though I said ISO-400. Video also contains 150Mbps 10-bit and 400Mbps 10-bit samples. I've noticed the HLG videos can be pushed past IRE 100 in Premiere Pro CC, so that may be a good format to try and create an HDR H.265 export from premiere. https://drive.google.com/folderview?id=1BPHKWVRXA8ynNSQCCBaLuB9hZ4fxgpB8 Happy Grading.

Ehh you have a Child with Red Hair! No I won't ask LoL.

I don't really like the A7sII very much. They sort of made it too good looking LoL. Doubt I would ever buy one. I like the grungy look. The 3 videos you have above are super nice looking. But to me not Filmic, Cine looking. But it is stuff you really should shoot to document your children, cat LoL, your family. You sort of have an obligation to do that. And that is the look you want to keep down the road forever for them.. That is what they really look like. So I think what you have is perfect to do that. But it is not what I like. It is too good in a way for what I like. But I grew up in a different time, and I like what I remember when I was probably your age. And it was not clean, and perfect, it was Grundy to say the least. The movies I went to did not look 4k. They had grain out the butt. Photos had grain out the butt. But it is was the best there was at the time. And I still like that look. And now you will like this new look, and it will be yours to remember. And there is nothing wrong with that. We all have our thing as they say. And you did good on those videos. Some of the best I have seen for real life stuff. Grats.

Were you doing tatical military training? ?

Maybe they need to switch the second one on then

Since I'm trying to evaluate whether I want to sell all my Sony gear for a Fuji setup, I've been taking a lot of photo/video over the past two weeks (I rented the X-H1 first, then just bought one with the idea that I'd have 30 days to return it). So here are a few clips at various settings and conditions. I'll try to remember what I did for each of these. Sorry the subject matter is almost exclusively my son, but he makes for a good test subject. I'll note the appropriate settings above each video. All these videos are using autofocus. Also, everything here is hand-held using IBIS as the 16-55 does not have IS. The main work I do is in a much more controlled setting, so I can make most any camera with decent image quality work for that (you can see what I do here - YouTube). I also take a ton of candid home-video type stuff, and I don't have the time really to grade each piece of footage I take. A big factor for me is having a camera that looks very good with minimal effort. Astia Film Simulation, AWB, Light grade This is pretty much how Astia looks right out of the camera. I used auto ISO here to see how it would do. Also tried zooming a bit here and there with the 16-55. It actually keeps focus if you don't go crazy with zooms. Nothing at all like the a9 with the 24-70 f/2.8 GM. That thing locks focus and keeps it through the entire zoom range. ~~~~~~~~~~~~~~~~~~~~ Eterna Film Simulation, AWB I graded this to add contrast & saturation, but didn't change color much. It's a tough scene with bright back light (from the door), and I wanted to see how the camera would handle it. The very last shot in this video was with the Sony a9 using the Natural picture setting, and I graded it to match the Fuji footage. There is some 60fps footage in here as well. ~~~~~~~~~~~~~~~~~~~~ Eterna Film Simulation, AWB Again, a pretty tough lighting situation with a lot of back light. This is a very light grade - bit of contrast added back in. ~~~~~~~~~~~~~~~~~~~~ Various Film Simulations, AWB Here I wanted to see how easily I could match different film simulations, and if they had different effects on overall color. I honestly can't remember which ones I used here, but I tried to make them all look roughly the same. I realize this is not something you'd typically do, but I was curious. I also stabilized some of these clips in Resolve to see how well it worked. I'd say in some it didn't work that well, ha.

@BTM_Pix XH1 has double the processing power of XT2. It should be able to handle AF-C @ DR200/400. Hopefully just a firmware fix.

I should have known better that this was going to spark a my camera is better than your debate. Don't get caught up in specs. If you've taken a good shot, its a good shot regardless what camera took it. The horse goes before the cart here. There's nothing inherently better about full frame in the context of good or bad photography. If that were the logic, then simply owning a medium format camera would make you the "best" photographer in the land. At the end of the day crop factor is entirely arbitrary when you speak in terms of talent and message. The differences in field of view to shallow depth of field ratio is physical, but not creatively insurmountable. A lot of clients hear things said about this or that camera, but don't really know or understand the difference between them. All they know is that their buddy had a recent shoot and the photographer used XYZ camera and they liked the result and thought it looked professional to them. What they don't realize (because they are uneducated) is that in the right hands there's a bunch of other cameras that could also deliver this. In other words, it's the photographer not the camera. The camera simply captures the frame. But what is your frame communicating?

The kids just look too red to me. But you are right different strokes. It just seems to me Fuji has taken a wrong turn from back in the days of the Fuji Finepix S2 Pro. Now that was color. This new one looks Digital as hell. But to me after the went from CCD sensors they all went down hill. The Original Olympus E1 was just beautiful also, and it was just like 5.1 MP. Very few new cameras other than Canon, have looked very good to me now. Well the Nikon D750 is great color wise. I guess it is their softness and CS that makes it happen with the Canon's.. Now my A7s is just funky looking to be honest, but I like it. So like you said, different strokes.

Man I am just not seeing what you are seeing Kid. Yeah, the Kids look pretty good I will give you that. On my monitor, yes it is calibrated, it just is muddy looking. No way it looked like that in real life. I know the buildings in the background are mostly gray but they are a drab grey. Not very, hell I don't know the word, exciting looking. Just not my cup of tea. I just am not impressed with this camera other than some B&W stuff I have seen. But I know it is new, people will get better with it.

With the spreading use of gimbals and IBIS, good AF-C has become important. Dual pixel AF is the benchmark.. to put it simply, it can put pro focus pullers to shame! The importance of strong AF-C is even more important on Fuji cams as manual focusing is kind of dodgy with focus by wire lenses. Actually I'd say this is Fuji's biggest setback for video imo.. I actually like performing a good manual rack focus and it's very hard to pull off (no pun intended) with focus by wire even with the best linear focus prime lenses. So AF-C has to be great, ideally, flawless (a la Canon's DPAF).. nobody wants "OK AF-C" for video.. the slightest hunt or misfocus and your shot is ruined. So it's like get it right or leave it out. XT2 with the latest AF-C update was really good. it remains to be seen if XH1 can match it at DR100.. As for the IQ.. the 200mbps codec really seems to make the image hold up better in post than the previous XT2 (100mbps) codec. This is especially true for FLOG where XT2 struggled a bit. Image here is very solid with low noise/macroblocking. There also have been comp tests which confirm this compared to Sony 100mbps XAVC.. Eterna is also a breeze to grade as stated above. Solid AWB & overall color science is definitely Fuji's nicest asset IQ wise. It really shines in mixed light conditions where most other camera brands struggle/fail, while Fuji's seem to nail it every time. This is incredibly time-saving in post workflow..

I can't argue with that. I've had a brief chance to work with one (Zhiyun Crane, can't remember which version) and what I did not like about it was the delayed response to my actions. Surely, one will get used to it quickly, but sometimes it does prevent you from getting the shot. Unfortunately, none of my glasses (besides 20$ Helios) will cover FF sensor, hahahahha. But I do agree their FF line-up has become the most interesting one in the market. Especially with a7 III. But I'll stick to my a6300, like I said - photo and videography is just my hobby. ( :

I find the focus works pretty well. Compared to my A9 it’s not as good, but it keeps up with my 5 year old, which is no simple feat. I’ll also add that I owned an X-T2 briefly and the autofocus on that body did seem more reliable and accurate than my experience so far with the X-H1.

That video is sort of proof that 4k has Really narrowed the gap between cheap stuff, and Oh My God expensive stuff output wise. Sure the iPhone X doesn't have 16 stops of DR, but I certainly didn't see where it was lacking in that video, and you have to put yourself in the vast majority of peoples shoes, they have no clue what the hell DR even is LoL I have the X and it has just about every trick in the book, especially if you use the Filmic Pro App. It has more video stuff than my Note 8. Better specs, but I still sort of like the Note 8 output. It maybe the screen, and the screen size that has more to do with it on the 8 than being "Better". Either way both of my phones are capable of some unheard of output even 3 years ago. I would be damn proud of that video, to most people that is a winner. And what it was taken with just Wow when you think of it. And in your pocket all the time, just a miracle.

Oh that's not my video, I don't have an X-H1 (yet?).

So in order to have working AF, don't use DR400 (or 200), don't use F-Log, and don't use a fixed ISO. And even then the transition is not smooth at all.

Depends on what type of happy ending you mean? But yeah, have a CS1, and a CS3e now! :-D (plus many many more....)

Recently worked with a director (for a long running children's TV show) who gave a call time of 3pm and also expected to start shooting at 3pm..... errr.... what???

Thanks. I've also trimmed up the cold-shoe mount between the xc10 and the GoPro to make it a bit shorter too since I took that pic. I have a *very* accepting partner, and in a sense it's the price for me being happy I have toys to play with and for getting nice home videos

In my experience the A7rii had very good color and shooting with A7riii I find it has improved even more and I am guessing the A7iii as well. The a7s had the worst color of all the A series but the new cameras are miles better. The fact is that with picture profiles you can adjust the colors to your liking, something you can't do with any of the other consumer cameras. Imagine that one of the reasons I am unwilling to leave my Sony is the great color. Take it from an actual user. If you have the GH4 and you find that it does not give you the still performance you need, then my suggestion would be the A7III. It offers amazing quality both in stills and video, very long battery life and AF performance. The GH5/s would be my obvious suggestion but the stills are not much better than with the GH4.

I also believe GH5s is the best choice for professional videographers at this price point at the moment. $2500 is a great price. I might not be the target market since I need/want IBIS and PDAF, but that doesn't change fact that it is an amazing camera. All the footage that I have seen has great colors without any of the typical digital artifacts. Also along with the GH5 they have one of the best 1080p out there. High bitrate intra frame codec, downsampled from 4K with minimal rolling shutter.

Yeah sigmas sound good. With the a7riii I am using AF even more so the native lenses are great, but I also have a bunch of Nikon manual lenses. That is the beauty of the FE mount, you can adapt any full frame lens. For video, you can find excellent MF glass very cheap. Another good choice for video are the slrmagic cine lenses. I consider the 35mm f/1.2 FE @ $300 a bargain. Also, the S35 mode basically doubles your lenses. For example, the tiny loxia 35mm coupled with the clear zoom of A7rii gave me a 35-100mm range at f/2. That is crazy. With A7riii the clear zoom was reduced from 2x to 1.5x but I am not sure about the A7iii.

No worries whatsoever.. after all, clients are paying for skill and experience - not just equipment hire

Sensible stuff I guess. But, personally, I dont think a lot will change. Yes the Sony bodies (especially the A7iii) look great value when compared to their nearest competitors. But you still get bitten by the lenses one way or another - either expensive native lenses or adapters/reduced performance. I suspect the 6Dii and 5D mkiv prices will come down but that is because noone will buy them if they dont rather than they will switch to Sony.

I used a lens to shoot the video (Canon TV-16 25mm 1.4). Everything is shot wide open.

People forget about color profiles all the time. You can't expect different apps to automatically display/read the same colorspace even in embedded ICM profiles, some apps simply don't respect this, rather use a profile that best covers a wider gamma by default. So what you did was force your app, in your case Chrome browser, to match the embedded ICM color profile of the video file, because Chrome was overriding it automatically, prefering a different colorspace instead. Also, don't forget that monitors and TVs all have their own preferred calibrated colorspace too. When you talk about color calibration and conformity, it's not difficult to get in the weeds quickly.

This guy done a reasonable compact shoulder rig without overboarding me went overboard the other day

Since no one seems to have mentioned the G9 yet... Are you in the US??? If so, and if it were possible, I would return the yongnuo flash guns and instead buy Godox flash guns through Adorama, which are listed under their flashpoint brand name. Firstly, i have used (and abused) both yongnuo and Godox / Flashpoint flashguns, and the Godox / Flashpoint brand is FAR MORE durable and dependable than the yongnuo brands. Secondly, if you buy godox flashguns through adorama (under the flashpoint brand name), you get a one-year warranty. If you buy yongnuo flash guns, you generally only get 30-days. Thirdly, if you ever want to use your flash guns in conjunction with bigger strobes, the Godox / flashpoint system has several flavors of bigger strobe lights that are compatible with the same radio transmitter system as their smaller flash guns. I don't believe at this time that yongnuo has larger strobes (i haven't checked in a while), so if you wanted to use yongnuo flash guns in conjunction with larger strobes, you would need to use two different radio systems, which can be a hassle (and a half) to work together. And finally, you can buy the Godox / Flashpoint flash guns with a lithium battery that lasts MUCH longer than AA NiMH batteries. They are so much more convenient that dealing with a bunch of Double A batteries. Yes, the godox / flashpoint flash guns are more expensive than yongnuo, but I really recommend that they are worth the difference.

You not getting an X-H1 then Jon?

@Attila Bakos You are completely wrong - more on monday @Mokara You are on the right way - that were my original thoughts too, one year ago. Very logical and structured way of thinking AND not bad maths...more on monday... Sorry, no much time to spend on this but just got an alert on an article mentionning the NX1...Normally I'm tired to read the SAR-bullshit but now one of the Sony plastic garbage collectors is laughing on Samsung... Quote: /// Samsung has yet no goal to make APS-C or FF Image Sensor for the photo industry. Their focus is on smartphone cameras and automotive industry. Still, their NX1 camera was ahead of times in many areas, pity they did quit. Oh and by the way, back when they had their NX system Samsung was bragging that they would become number 1 in the camera mirrorless camera industry. It didn’t work out well. /// Comparing facts & the economical power of Samsung vs Sony could help avoiding such statements...But there are guys out there who refuse any intellectual challenge...Powered by Sony plastic brain - without any backside mental illumination...Innovative but dumb statements... DISCLAIMER: It's all about self criticism. I've buyed this garbage too, but I've learned out of it...

Yeah I dont think they ever tried to emulate exactly with Acros, velvia, etc. Its more a naming thing with a hint of those stocks character. And I also agree on the less need for post to save skin approach. I gave up dialing down contrast and saturation a long time ago. My philosophy is that someone have spent alot of time and money on the baked in curves. And they are probably a better starting point than what I can get. On fuji I usually pick a look in camera and only do minor luma tweaks in post. Looks great imo.

My shots usually last 10 to 30 seconds. Sometimes I shoot timelapses, but for these tripod is a must. I was afraid to hear this. Gimbals are not for me; since they are an electronic devices, they're more prone to fail than a simple rig / tripod / monopod. Neither am I a huge fan of the results they give - it lacks the authenticity, immersiveness, naturality. From what I've seen, a6500's IBIS is okay for taking photos but it tends to overcompensate during shooting video which results in even more unnatural, mechanic micro shakes. And I did upgrade my camera - I had used a6000 for 2 years and changed it for a6300 in December. ( : Thanks for taking your time.

Well, that was interesting indeed! A short recap. Even thought I quote, I probably mis-heard a few words. 1. Some Bruce Logan wisdom first "maths don't lie" raw>10 bit>8bit "You can't re-light in post" and "now I light exactly like film" "Every modern camera is like a different film stock" In short, - Lighting is always about direction, not volume. Tim Smith, Canon senior advisor admitted that for broadcast you have to shoot raw (yes, specs can be a serious thing), and after been pushed a bit, admitted that people should ask for it and Canon read the blogs and reviews (my guess is, they are waiting the C300mkII to die out, and offer that later) and the more people ask for it, the more the possibilities of it happening (it seems that Japan HQ are holding back the whole decission). EVA is sharper than Canon, and more saturated in the highlights (I am not sure if the second one is better or worst, but Logan mentioned it a few times). Logan concluded that the big advantage for Canon is "flesh tones" and Panasonic their highlights (bright, he said) and night shots (dual ISO, they shot in base and 2500 for both cameras, so both base ISO for EVA!). They are all looking forward for HDR, but not for the two extremes but the little details in between. Eva was 2 years in the making. 95% on their polls didn't care for an EVF (or using third party ones). Similar results for Canon, that is why they have two versions (and gimbals, of course). Bruce Logans doesn't care at all about EVFs (I am with him!)! Ergonomics and usability at the top of the list for both manufacturers, and Logan added the workflow, too. There are more videos on line testing the cameras, ISO, rolling shutter e.t.c

I created an account just to share this. Sorry to bring up an old thread but I had the same problem and found the solution. Hopefully this can help someone else. For me the solution was to go to chrome://flags/ and press Ctrl+F (probably option+F on a mac) and search for Force Color Profile. I changed mine from default to sRGB and now FINALLY my 4k files look like 1080 files. I was getting the same muddy magenta cast to my 4k output files when viewed in chrome. Not anymore.

I just saw this video; this thing is really impressing me right now. It apparently has a telephoto lens option. This might just be worth doing something for

There's a fair bit to shooting, grading, delivering, and displaying HDR properly. Art Adams' write up is the most comprehensive I've seen, and a goldmine for people looking to dig into the topic further. https://www.provideocoalition.com/a-guide-to-shooting-hdr-day-1-what-is-hdr/amp/ Sadly, most viewers simply don't have the display or the desire for proper HDR content, and the majority of "HDR TVs" don't have nearly the display contrast of an OLED or premium LCD. It also doesn't help that there's no universal standard for HDR encoding: HDR10, HDR 10+, Dolby Vision, HLG...it's early, messy days yet, and I doubt we'll see widespread adoption for a few years yet.

sounds like this is just about making raw more stable, compatible with slower cards & eventually higher fps.. which is great.. but i dunno where y'all got 2.5K/5DIV etc excited about?

Yes, but any gains in resolution are only offered by the crop mode with the stuttery greyscale preview - it's off center and quite difficult to follow live action. The normal mode and 3x crop fast preview mode are limited to 1920x1080 AFAIK.