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Amen brother. The 7" formfactor is a joke, yet most monitors and recorders go for 7 and 10". That is fine for an actual director's monitor. But one that you use on-camera? Especially now in this day and age that we use gimbals where we can't necessarily always see the screen of the camera that well, or when said camera is a GH5 that outputs 4K60p 10-bit that you want to capture, it's about time these screensizes started to make sense. I appreciate what Videodevices did with the PIX-E5(H), but if you're looking at the price to get it up and running, it's not so funny anymore. The Blackmagic Design Video Assist 5" was a great little tool and boy have they added functionality with firmware, but it isn't a great 4K grabber. And then we've already ran out of options I believe. Concerning monitors... there are quite a few, like the Feelworld F570 for example, which I guess is great value. But I fail to understand why Aputure and Lilliput aren't giving 5" a real go... they did for 7". To me a 5" monitor makes more sense than a 7" one. And apparently that echoes here in the comments. Then how is it that we've got so little to pick from here? Are we all just mad and there's just too little of a market for 'em... not sure, but it's a shame there isn't much else going on in this space.

I would prefer a 5'' over a 7 inch for anything even remotely run & gun

Finally shot a short film of my own this weekend. Playing with the grade in DaVinci while my wife begins the edit it in her cutting room. EVA1, V-Log, Kowa B&H, Rectilux 3FF-W, Voigtländer 40mm f/2 taking lens.

Storm is coming... SD Card writing speed hack If you are familiar with the ML possibilities, you already know the best RAW capable cameras are those with CF card. The CF Card interface is capable of 70MB/s writing speed with 5D2, 75MB/s with 7D, and 95MB/s with 5D3. 6D / 700D which has SD interface is only capable of 40MB/s, limited by the camera and not the SD card. Now the ML team are pumping up the SD card interface writing speed. It seems like the 40MB/s can be raised up to 70MB/s or even further. That means the 700D will be able to record in 2520x1072 continuously I hope they can make it stable

Forget about a BMPC. It is a thing of the past. A GH5 is s far more advanced for video work it is not even funny. Other than a Ursa of some kind all the rest of BM cameras are sort of a second, third camera people have to play with once in awhile. Sure they have a great output in the right situations, but they are a total pain in the ass to use and rig compared to any GH5. The GH5 is pretty much the latest and greatest thing out there for under 5 grand. You can make a living with one. Buy a Normal camera and then buy a BMPC to play with later. They are a good leaning tool to have to learn how to grade with. Almost everyone on here has had a BMPCC at one time. They are great, yet but compared to a GH5 for normal daily stuff the GH5 is pretty much unbeatable. And it appears the GH5s is even better other than the lack of IBIS. For the same money, heck even less, you can buy a used Panasonic GH4 which tons of people have made tons of great stuff with. Other than 10 bit, 4k 60p they are not that far behind the GH5. Color science is a bit worse on them, but for someone new starting out they are a buy of a lifetime now used.

With more and more cameras providing increased capabilities for recording via their HDMI or SDI ports, the value of external recorders has increased - the GH5 provides 4K 60 422 10bit only via HDMI; the FS5 provides 4K 30P RAW, 4K DCI 120P from RAW, and 240P 2K from RAW; the EVA1 also has increased capabilities like 240P 2k output; and the tiny RX0 provides 10bit 422 4K via HDMI. But we only have 7"-screen recorders, which are absurdly large even for the bigger, but still portable cameras. On the EVA1, for example, the Shogun Inferno looks ridiculous, adding bulk and imbalance, as the attached photo shows. Please, (anyone) give us a 5" recorder with the capabilities of the Shogun Inferno, or even better, a smaller recorder without any screen - the battery life will be better and overheating will be less of a problem. BlackMagic? Convergent Design? Atomos? Video Devices? Sony? C'mon. I actually do not find the Shogun Inferno screen useful even for shooting for HDR - if you go into Atomos HDR mode, the screen becomes very dim and almost impossible to see in bright light. I basically just use the waveform (which is useful, but that does NOT need a 7" screen).

So i heard about the D850 when it came out, and was willing to pull the trigger on it and sell my a6500 and D800 to cover it and as soon as i read what Andrew wrote about it, it confirmed what i was expecting. Fast forward 3months and i did my first little job with it and really liked what it came out of it, i am still trying to figure out how to get the footage from the mavic pro to look cleaner and softer without becoming too mooshy so excuse that part, but the colors straight from the camera are awesome and the detail on the 120fps are amazing coming from an a6500 this is night and day

The workaround in this case as far as I can see thus far is to switch it off Honestly, this isn't about unrealistic expectations or wives or anything else - it just isn't working very well.

Its a bit of a how long is a piece of string question but if you based it purely on this year's Oscars you'd say 'how many does the Alexa have?' which is 14. Purely arbitrary though as, judging from that clip, I'd say you're doing just fine without the other 3

I couldn't agree more with this. I got accused of having 'real problems' a few pages back for actually trying to look at exactly what is going on with it. From everything I've seen, the IBIS on this camera - even taking into account the sensor size - is a long way even from from being 'isn't that great'. Its not about expecting miracles.

Couldn't agree more. I love what I see from the GH5(s) but they still don't have the image those little BMs do. I still want a GH5s for ease and portability and will surely buy one because it is a huge step up from their older GH series. Back to the point though. Every time I'm on a shoot and see the image my Micro produces on my monitor I'm reminded of just how incredible these cheap little boxes are.

IBIS is not a miracle but a tool for shaky hands. We know some of users would like to have a toaster all included, seems unlikely to happen though ;-)

I’d take a BMPCC/BMMCC over a GH5 any day of the week, especially for narrative work. Sure the GH5/s may be an easier solution but at a certain point, getting a great image isn’t necessarily supposed to be easy. But if you want an all in one easy solution, the GH5 will beat the BM cameras every day of the week. But if you want a more cinematic look at half the cost, the Pocket or Micro wins.

Super cool to see this, and hear PTA's thoughts.

I would use 5 inch or even a no screen recorder. Shoot through evf and have a small foot print recorder rather that big, bulky, thing with 2 big batteries that get it the way. Depends on what you are shooting I guess.

I've done some tests today. The camera was set to UHD, 25p, Gamma DR, -5 contrast, -7 sharpness, 16-235, sRGB. I compared different ISOs with and without RGB set to max (1.99). So what I found out: All RGB channels at 1.99 increase exposure by 1 stop (or very, very close to it); Therefore ISO 1600 with RGB at 1.99, is the same exposure as ISO 3200 with RGB at 1; It positively affects the inbuilt noise reduction. Seems like the NR really is triggered by ISO value and not the actual sensor gain; It doesn't have any visible gains in highlights. Here's the test. The password is - rgb . Here you can download the edited test file, if you would like to take a closer look - https://failiem.lv/u/xvgh44ks

Well, this is a lively conversation!! As I see it @markr041 and @webrunner5 are both right with excellent points. The big one for me is that @webrunner5 is right to equate run-and-gun with poor quality, and that is exactly why we need smaller high quality devices. A few points: 1) why shoot run-and-gun? Reason #1 - because some things move very quickly and you need to move quickly to follow them. Exhibit A - kids and any family outing. No pauses, no waiting, no do-overs. Reason #2 - because content is king and most of the world is more than 20m walk from where you can park your equipment truck! You need to get to the places worth shooting - and these are often at the end of long hikes. Reason #3 - because many historically or culturally significant places don't let you in with a tripod - Vatican City wouldn't let me in with a ~25cm tall Gorillapod! And good luck getting into almost anywhere with a camera that looks 'pro'. 2) why do run-and-gun shooters need high-quality equipment? Reason #1 - it's precisely because we don't have control of the environment that we need higher quality recording. If you shoot slowly and in controlled situations you can shoot with a camera with 6 stops of DR in 8-bit. Good luck with that if you're outside and the sun is shining. Part of the reason that camcorders and home videos look so awful is because people used them where the action was, not where the lighting was like a film-set. We need higher DR because the sun shines on things we're filming. We need higher bit-depth because sometimes the sun goes behind a cloud when we're recording and now the exposure is way under and we need to significantly boost the gain to get a sensible exposure. We need higher frame rates because we haven't got the ability to predict what will need to be in slow-motion and what won't. So we would ideally like to film everything in slow motion. Do I need to keep going? :D

Yeah I agree give me, well I will buy one, a 5", with a damn screen, a Atomos Flame actually. Why is so many people in a hurry to shoot video LoL. You have a police warrant out on you?

haha! i still poke my head in here to see what's going on, but I've been cutting a special for HBO since the first of the year that's been keeping me busy. we just delivered it yesterday and am looking forward to finding some time to shoot. In mid-january I was the cinematographer on a short performance piece. EVA1, contax-zeiss 35mm f/1.4 modded with an internal 2x oval aperture. Also, we've been prepping for the release of our latest feature (I didn't direct this one) shot on two GH4s.

Beyond the points early I made of dynamic range and low light, the GH5 also benefits from: IBIS Smaller form factor Mirrorless mount Any one of those could be a very big factor for a person towards purchasing the GH5 instead.

I m actually seriously considering getting a Blackmagic 4k, you can get some for 750£, that stupidly cheap, I shoot a feature with one, motion and colors are fantastic compared to a GH5, its also way smaller than a Ursa mini and media is a lot cheaper. The dynamic range is really not that bad, you can recover a lot of the highlight in post, not something you can really do with the gh5. But yes you need fast glass, but you also need fast glass with a GH5 IMO. Otherwise, yes it s a bit bigger and heavier.

Salim...Not to speak for Don, but he did state the following in his post. Hopefully he can clarify further.

You could also use the free Adobe DNG converter as well, just in case you don't buy into the Adobe subscription plan. https://helpx.adobe.com/photoshop/using/adobe-dng-converter.html Wow, that's a great update!

"Indicative Retail Price: $33,880 USD" "This is Google's cache of http://www.z-cam.com/e2/. It is a snapshot of the page as it appeared on Apr 1, 2018 19:07:56 GMT."

http://webcache.googleusercontent.com/search?q=cache:V0grlvgxkYQJ:www.z-cam.com/e2/+&cd=2&hl=en&ct=clnk&gl=us&client=firefox-b-1-ab Z CAM™ E2 Cinematic Camera 4K @120fps, 10 bit color, H.264 & H.265 (10 bit) 4/3" Sony CMOS sensor, pixel size = 4.63?m Micro Four Thirds lens mount Gigabit Ethernet port for control setting & live streaming iOS app for control setting & live preview 4K @60fps HDMI, SDI (option) Deep Learning Engine built in with SDK Global shutter variant to be available soon Z CAM™ E2 Cinematic Camera What's In The Box? Z CAM™ E2 camera unit Lemo power cable DC D-Tap connector cable AC/DC Power Adapter Unit Power Connection Cables (US, UK, EU) Quick User Guide Protective Carrying Case

Then why are you asking 50 questions then LoL. If you want to learn how to grade buy a BM product. IF you just want to start and go at it Don't buy a BM product. Simple as that. Both ways work. It is your choice on how long you want it to take. If you are great at grading and have hours to shoot, buy a BMPC. You will be the Only one probably on your block to have one. The cheaper, under 2500 dollars BM cameras are hands down the easiest camera to screw up. And in a sense that is a good way to learn how to shoot and grade. But there are times you want to throw the whole damn thing off a bridge and buy a ehh, Canon, god I can't believe I just said that.

the NX1 reimagined. Now "NX1s"

Hopefully Andrew will include some moving shots in his review.

Yep the footage looks great. Most of the time it is the excessive contrast that is problematic. Also another aspect of the dynamic range is not so much the range itself as much as how the highlights (and color) rolloff to clipping. Hard clips with hue shifts are something that you rarely see in cinemas. Sometimes you even have hard clipping in the shadows but that is most often a fault of the processing of a camera and not the sensor. Once you have control of the lights dynamic range of the camera is not important. Even for outdoor scenes where there is a strong light from the sun you can use reflectors to balance the shadows. So I would say if someone wants a cinematic look the best way is to learn how to use light cause even 15 stops won't help In my experience for everyday use with no control of light, I would be happy with 12 stops and no hard clipping.

I'd much prefer to wait for Andrew's input rather than Yuryev's anyway. The guy puts some effort to deviate himself the fact he's always testing Sony tools at first hand in any case.

Looks great!

Yet seeing the tool as demanding on the way you have to approach to deal with it. It is like a marriage. We can't handle a 2nd wife like we did in our 1st round or we risk to still fail no matter our goodwill to work around the task. Workarounds have their own specs from their own. We don't invent them, we need to adapt them. Filmmaking is invariably a workaround, the tool is primary and secondary at the same time; never the shooter though (E :-)

I'm not sure I fully understand, but I like this comment a lot!

We should all ask so. Not all girls can be pretty. We wish. But happens. Somehow different of a lack of character for sure...

There are IBIS and IBIS... But something which puzzles me is the fact when we focus on the cons rather than the pros. We all know there's no perfect world out there, only on forums' wishful thinking lists :X No one is also praising to see our neighbors to always pop up pointing the flaws of our children and be quiet about theirs, isn't it? A bit of equity at least should be mandatory before any forum comment. BTW, no personal agendas of any kind and attacking the deepest bias of our own too...

@Brian Williams That doesn't look good. I think a gimbal is the only solution if you want to be that casual.

I think the BMPCC/BMMCC/BMCC etc are fantastic sensor and storage solutions to base your own custom cinema setup on. Whereas I think the GH5 is a fantastic camera. With the BM stuff, they give you the insides but you have to provide the camera that goes around it, if that makes sense. Both very worthy approaches but both very different and one doesn't negate the other. I look at the BM stuff versus a GH5 like the Sigma Foveon cameras versus something like a Fuji X100F. Both APS-C, both fixed lens but the Fuji canes the Sigma at every turn for low light, speed and functionality but then you look at the RAW images from the Sigma. Thats not to say the GH5 can't make fantastic images because it demonstrably can but just that - like the Sigmas - within a smaller operating window of and with a lot more effort in post the BM stuff can make images that truly shine.

While I would love to have a tiny external 4K recorder (my vote would go for a 4K ninja blade with 3D Lut support) , I think what we all also need is better internal codecs. Cameras have already very good screens, SD cards that can support high bitrate recordings, and a battery. Why make it complicated? There are open source high quality codecs such as Cineform and camera companies should implement them. At least companies that don't have a stake at the professional video market such as Fuji, Nikon or Olympus.

I’m interested to know this too. Have you found any info on the internets? I’m also interested to find out if the crop modes or experimental builds allow for any continuous slow motion. If I could get a constant 60p... or really just 15 seconds... at close to 1080p, I’d be more than happy. But I’d love 72fps if possible.

I have a mix of audio background. I toured with a couple of metal bands (playing guitar) for a few years. I had my own small recording studio in the Uk and then ran this one for a few years .. https://www.lodgerecording.co.uk I have also toured doing live sound on and off. Most of my income is currently from song royalties. My own, my old bands, tracks i wrote or contributed too and i have a growing collection of library music with a couple of publishers. Other than that i still do some producing and mixing freelance. I have never worked on sound for film like you, with film im happier on the camera and or lighting mostly, but also started making shorts and slowly working on a feature idea Checked out your site.. Great stuff, got some nice gear too !

I appreciate your comments, as always. But look at the picture in the first post - that is a pro with a big camera on which is mounted the Shogun, and the guy is not using it to view, let alone focus. It is just being used to record. That picture is from an Atomos sponsored video. Gimbal mounted rigs also do not need big monitors. Big rigs and big monitors do not need to go together. A lot of video involves cameras being mobile while shooting. ENG does not use big monitors either, but ENG uses big cameras. Yet some of the cameras they use can benefit from the quality that only an external recorder provides. The latest advances in AF are going to make manual focusing and manual lenses less desirable for many uses, so big monitors less relevant. But 4K, high bitrates, and HFR are increasingly important and those are features that only, in many cases, external recorders can give us.

not a good lens for vlogging....you should use the kit lens lol

This is silly. Why? Because for those like you who want a big screen, there are big screens already available. What is the point of arguing that you need a big screen? I am sure others like big screens too. But, not everyone is you, or them. I can focus perfectly well on a 5" screen, so can Philip Bloom - there are focus aids for manual focusing, from pixel-level to magnification, to color outlining. In fact I can manual focus well on a 3.2" screen too, with these aids, if the screen is sharp enough. If my post was to advocate banning 7" screens, your pleas would be apt. I am just pleading for another choice for people.

No F ing screen, Get real LoL. Why the hell bother. You pretty much buy one of those to check focus more than anything. No screen, still in the dark on that point. Literally.

That is some encouraging good news.

Spoiled by the accesses to such lovely and cheap lenses and spoiled by the joy it brings me. I recognise i will be a minority but iv never used either a native lens or an auto focus one for either stills or video from when the gh1 first came along. I should add my main income is audio work, although i have made a few music videos and a few other bits for money i wouldnt class myself a 'pro' by a long shot

Been spoiled for years using vintage lenses and adapters/speedboosters. I wouldnt want it any other way. Great lenses and cheap, canon fd, nikon ai etc. But then i dont own an ef lens or a dslr so easy for me to say.

There are few reasons for that. First, different input-output curves can compress different parts of the histogram. For example you can have the same dynamic range from HLG or Slog or even a normal jpeg gamma. Slog3 is also worse than Slog2 because it compresses a huge chunk of the histogram even more. Then you also have the color space. rec709 is a much smaller area than sgammut and in return you get better sampling & tonalities with rec709 that D750 has for the same colors (sky, skin..). Finally, compression (and spatial color undersampling) also affects banding but with the same codec there is not so much of a difference as you get with different color space or gamma. So Slog by itself is not problematic. Even slog with 8bits is fine as long as you don't use the original sgammut. For example, with the slog & 8bits you can get excellent results with no banding if you use a slightly reduced color space such as sgammut3.cine/pro/cinema (which are still much larger than rec709), and boost saturation (without any color clipping of course). The problem is that most Sony users don't know that. Even myself when I first got the A7rII, influenced by all the slog hype I set my camera to slog2/sgammut only to kick myself few weeks later for ruining the footage. Sony has allowed so much flexibility that is great for professionals, but they should have be more careful when explaining all these to the average consumer.

@Snowfun are you having issues preserving quality exporting from Resolve as a ProRes master file? Now this is slightly irrelevant, but I have noticed a lot of the higher end creators use Parallel Uploader on Vimeo... do you or anyone else know if there is a reason. I keep meaning to research it but I have so many other things on my plate, I haven’t gotten around to it. Yeah, I would agree it’s more than slight, but I also think I, or people like us, are the only people that would notice or care. And with the benefits of shooting ProRes instead of Raw on BM cameras, one really needs to weigh if that gain is worth it... especially if you’re an FCPX user. Good points and something worth considering. I went from the BMMCC to the XC10 so I understand why you chose the way you did. But I only tested the 4K on that camera and mostly worked with the 1080p C-Log... so I am not the norm of most of the people on this forum. My opinion with most of this stuff is based on my very specific needs and thoughts. Pretty nice color work, especially considering you didn’t use an IR filter. I attempted to go handheld with the Pocket and the 12-35mm and the 14-45mm and found it possible but limited and probably only works in bare bones setups.

First footage is out.., https://www.newsshooter.com/2018/04/02/kinefinity-mavo-6k-first-footage/