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can we have another page of mention battery, moire/antialiasing, record limit issues please? i was able to shot and edit my first x-t2/x-h1 video and this thread is still running same circles) x-h1 on 0:15-0:50:

I'll see your eggs on a motorbike and raise you fridge's on a pedal bike. Love India...

I’ve been wondering when Sigma would start taking video seriously. I’ve read that the Foveon sensor has some limitations in that regard but with the popularity of their lenses for video, it would seem to be a perfect fit for them. The great thing about the P2 is the price. If you’re even remotely interested in video, you just cannot beat the specs at that price, and this will reflect in the bigger manufacturers numbers. I agree Canon won’t do it, but I also never thought they’d release the C200. And even with that camera’s flaws, 4K Raw in a cinema camera with DPAF, and every other luxury a cinema camera affords is pretty amazing from Canon. Obviously, I don’t know for sure but I would imagine the Ursa’s effect on the market, could have motivated them. Now how the P2 effects the market is to be seen, but I think we will see some great video specs coming from all of the companies in the next couple of years thanks to the release of the P2... it should be some interesting times ahead.

The color science is great, a lot of blackmagic footage online is poorly graded or with a bad color balance. It s good out of the box, with only two main options rec 709 or film if you plan to post produce the shoots, its not like sony where you have a lot of profiles but none are great.

The camera eats the batteries one by one, the one in the body comes first, then it switches to the ones in the grip. When this switch happens, recording stops. The camera won't turn off, you just have to press record again. It's easy to forget, and because the screen is on, it's easy to remain under the impression that your recording is on. Then comes the surprise, and blood pressure rises to 200 in like 1 second.

Egg-cellent photo, Jon....

The problem with the grip is that the body can't switch batteries while recording. This is rarely mentioned even though it can be a real pain in the ass. Imagine you have 5 mins left in the battery inside the body and two fully charged batteries in the grip. You will still be limited to 5 mins of continuous recording, as the recording stops when the currently used battery dies. So you have to keep an eye on that, and in this case remove the battery if you plan a shot longer than 5 mins.

In a similar if far cheaper vein (£140 shipped) is this. I got one last week and its basically a poor man's Terradek Vidiu. Takes HDMI input and sends it out wirelessly (or wired) on its own network or via your existing router and as it just uses standard protocols you can monitor it on whatever device you want be it phone, tablet, laptop or even TV using whatever app you prefer (VLC or whatever). Its also able to be used as a source for tablet based live video production apps such as Terradek's Live:AIR so you can use a couple of them to create a wireless 2 camera live production setup. It can also be used to stream your camera out to YouTube and Facebook etc. They also do a version with a built in 4G cellular modem so you can do that direct if you are away from a wired or wireless internet connection. I'll do a proper thread about it at some point when I've got a minute. https://www.aliexpress.com/item/DHL-Free-Shipping-MPEG-4-H-264-HD-Wireless-wifi-HDMI-Encoder-for-IPTV-Live-Stream/32776561405.html?spm=2114.10010108.100009.3.865320596hVfrL&traffic_analysisId=recommend_2037_null_null_null&scm=1007.13482.95643.0&pvid=aa3aaa46-9a5e-474b-8e6d-3ebc69e07119&tpp=1

To fly maybe not, that would be a really big drone but to install on gimbal, no problem, here is BMMSC with a 3kg + lens on a gimbal.

AF can cause many spoiled gimbal shots, even canon DPAF can mess up your shot at just the crucial moment. You can pre focus and maintain subject distance and get great shots, even with shallow DOF. If you need more leeway, stop down a bit.

Yes, currently THE best quality 4K HDR Bluray is Dunkirk, pure reference quality.

bmcc 2.5k mft mount version will fall even more once bmpcc2 is out. best starter cam for testing out blackmagic color science. put some vmount battery to it and some molltone for shading the monitor and you are set:) I imagine a bmccameras 2.5k with cage and ssd can be found on ebay soon for less than 500usd.

LOL Before or after he had started to review Sony gear more often as he's used to show off nowadays...?! hehe ; ) I don't care, mate. He has already failed to address some other suggestions I even had the patience to ask him to test (Panasonic AF related IIRC) so I already have my judgement for the subject matter. I'll hardly change my opinion on topic. At times, some practices happen because they're competitors. Some other times, it is a way to push some party of our inner circle to be more involved and committed with us... A subtle form for raising the bar? (No one likes to have their work underestimated : D It happens ; )) I am usually very skeptical to take as granted things people make when they keep up appearances. Well, reality goes deeper than them (that is, if my non-native English makes any sense : ) Nice find and argument @Kisaha BTW :-)

I couldn’t agree more. 9 out of 10 times, creativity will trump technology. And although I agree you will have more options with a newer camera, I enjoy the creatively cost effective possibilities that older cameras afford. And some of those cameras can be had for peanuts now. The 1DC and C100 are still fairly expensive but are cheap compared to their original MSRP. A GH2 can be bought for less than $200. These are serious cameras that may not hold up against the best cameras available new today (except for the 1DC... that camera is as good as the best 4K DSLR/DSLM on the market) but they are also amazing tools and anyone on a budget could make an amazing film with one. I’m just using the GH5 as an example, you can insert any camera, but for the same money you can get a near mint condition C100 Mark I with DPAF... I think if I was forced to choose... I’d take the C100. Or if I was really strapped for cash and I had to choose between a GH2 or a GX85... or something similar... I’d take the GH2 everyday of the week. So my point being... there are some great cameras on the used market that are 5 years old and there are some great films shot with those cameras... and I thought this could be a fun place to remember those cameras and draw some attention to those films.

New LUT by a friend of mine. Better skin tones from my previous attempt - Canon C200 - codec Rawlight - lens canon 50mm 1.4 - ISO 800 - ND 6 Picture from my previous attempt: My previous attempt :

Yes. 4K HDR Blu Rays are a significant quality jump compared to regular Blu Rays. And, given my internet speed, 4K streaming content seems about to be as visually excellent as a standard Blu Ray. Does that makes sense? haha

You mention the BTS, so I assume you saw this... but for others, there are some really cool tricks in here and well worth the 20 minutes...

Try ARRI and it will blow you away then. :D But indeed. Blackmagic color science is great. Put a curve after the REC709 over it and you're good.

Which is something that I and plenty of other people find obscene. No company should have a say with what I do on something that I have bought. Or how I want to upgrade my computer that is. https://www.bleepingcomputer.com/news/government/eu-prepares-right-to-repair-legislation-to-fight-short-product-lifespans/ https://www.bleepingcomputer.com/news/government/us-states-considering-legislation-to-introduce-right-to-repair-for-electronics/ https://www.bleepingcomputer.com/news/government/ftc-warranty-void-if-removed-stickers-are-illegal/ "Limiting repair options illegal under 1975 US law The FTC says that such practices are illegal under the Magnuson-Moss Warranty Act, a law that governs consumer product warranties, and which states that no company can put restrictions on the way users choose to repair their products. The law says that companies can't force users to use only certain types of (astronomically-priced) replacement parts, take produces for repair jobs only at certain repair shops, or can't plaster anti-tampering stickers on products to prevent users from repairing their own products."

I had a it for a while when I had a GH4. It's definitely crappy.

Ha! Are you referencing the fact that content originally mastered in 2k is regularly upscaled and then released as 4k? I'm curious about the physical format, not necessarily the content.

Those are empty egg shells..just trying to win some road respect.

That is not the point at all, and it's half the price of what you are posting anyway, 50% less, if people believed that a device such this can replace a proper monitor, then he/she was mistaken and I hope they didn't support the kickstarter campaign, because they are in for a big disappointment. I quote myself "I see it as a backup option, for whatever reason, maybe put a tablet as a directors monitor, maybe you do not have another monitor, maybe for a second camera monitor, maybe you forget your monitor(!) or its batteries, and so on and so forth, and my mobile phone is 2K 600nits IPS 5.7", so I would like to see how it goes!" and the next phone, will have definitely a better screen, and I hope I still be able to use it with the Lukilink. I never saw it as a proper pro field monitor replacement, and I have yet to see any of the Feelworlds as one. (this Feelworld says 460 nits, not even close to a mobile phone, and probably the real value is less than that, and nits are very important, because the first thing you expect from a monitor, is to be seen).

I hear you but not everyone is film making. I'm trying to use my X-series cameras as a b-cam to my C100mk2 for interviews or as a stand-alone when I want a smaller kit. The fact that the X-T2 and X-H1 cannot switch between batteries w/o interrupting the recording is a real bummer, certainly for the interview approach I prefer. This becomes more challenging when doing both stills and video over the course of a working day and batteries have been partially drained in the grip. It's an issue for me and makes the new camera not working it. Interesting. I experienced the flow of battery use the opposite in the X-T2 - grip first. Results in blood pressure are the same however.

Looks very safe, with all those crumple zones.

Native ISO is 800. I treat mine like a cine cam so i'm always aiming to stay at native with fast primes & lighting so i never need to push but i believe it handles higher ISOs fairly good..? i'll have to do some tests just for sake of it.

Easy Jon. May i remind you i have a Sony A73 with the new batteries. My C100 can do 4 to 5 hours on a single charge. So what? I wasn't comparing cameras. My point was simply that the grip on the H1 is mandatory (like it or not) and takes care of issue 1 & 2. As for the moire & aliasing, yes I'm fully aware of it. I've shot super slow-mo with the H1. again if you actually read my post I make it clear the issue is overblown by Max by only contextualising it with the worst case scenario. Not saying the issue doesn't exist or isn't important.

BMD color science has evolved as i believe they were advertising "Color Science 4.0" or something during their launch event. It's worthy to note they use differently sourced sensors on just about every cam & have had color cast issues with certain sensor batches. In the end color science isn't really an issue since BMD users mostly shoot Film/Log or Raw and go nuts in DaVinci which is highly optimized for their cams.

..and it's funny you mention that because that's basically what made me re-purchase mine! stumbled on some old C100 footage and was taken back at how cinematic it looked. i'd sold it shortly after jumping into 4K, thinking i'm done with 1080p. and planning on moving to C200 (before EU prices crushed that dream). in the end though i still deliver most projects in FHD, and of course the great thing about the C100 is it's a 4K sensor downscaling to 1080p. other cameras do that as well but with varying degrees of success. anyways there is just some mojo about the OG C100/C300 sensor imo. what really put it back on my radar was when comparing that old C100 footage with recent footage with the same actors but shot on a Ursa Mini 4.6K (in DCI 2K). couldn't believe it but to my eyes the SOOC C100 footage looked more pleasing than the graded UM4.6K! not trying to say C100 > UM4.6K but those canon skintones never cease to please.. speaking of BMD another old cam that shines was their BMCC 2.5K. 13-stops, superb fine detail, motion etc.. Digital Bolex IQ obviously and such beautiful hardware to go with it (already getting scarce, people are holding on to them!) And of course how could we not mention 1DC & 5D3 Raw! Any others giving filmic mojo on the lowlow?

We do know the price: US$1200, that is significantly cheaper than the MixPre10T. I feel the current F8 is already a keen competitive alternative to the MixPre10T, so if the F8n gets the existing announced improvements plus a handful more then that is enough to make the choice clear cut for an F8n over a MixPre10T. (only because I already find myself hitting the channel limit of 6 inputs of my F4 on a regular basic, and I reckon a 688 is out of the question for me in the next 12 months) I regret buying my RodeLink Filmmakers Kit. Wasn't worth the small savings over just getting Sony UWP-D11 from the start. Have ranted at length before about RodeLinks, and today I'll add another reason: Reason #98 why I don't like RodeLinks: rf spill from them was so bad it interfered with my Sanken CUB-01! (vs my Sony UWP-D11 transmitters had to be almost touching the CUB before I'd notice anything near similar) Fair enough, for you it wasn't that significant. And I agree, it could have been bigger! But there was still enough at NAB to make me excited! :-D

Caught this one recently. The story has been done plenty of time before, but it's a great effort with minimal budget/crew. 5D3 h.264 in cinestyle, going from the comments/bts.

@Axel Fair enough. I did say unless you're eager to learn grading. But yes, you can do nice things with simple grades too, nice one for sharing that video.

I don't think so. I am "struggling with grading skills", but therefore I look forward to getting the BMPCC4k with it's new, improved color science. Because I do love beautiful colors. Take this old Ursa 4k wedding (12 stops DR, shot mostly in 1080 ProRes 60p, basic CC and a popular BM LUT):

@Rinad Amir There's no official footage yet. @tomsemiterrific It's hard to say with this new camera, since there's no official samples, but things look like it's going to be great. That said, if you're struggling with grading skills, I don't think this is the camera for you. Unless you're eager to learn grading. From my understanding, it will need a lot of post processing to get the best out of your image, unless you bake in a LUT. While that's the quickest way to use this camera, in my opinion, it defeats the point in using it in the first place.

I've never used or even seen a BM camera myself but I've seen plenty of videos and they have the highest proportion of "omg this looks good" of any videos from consumer cameras I've seen.

On (missing) AF, gimbals, speedboosters, hyperfocal distance and lens-choices. With Pocket "I" : the screen wasn't good, but it had the best peaking (Kryptonite-green). With shallow depth of field, no problem. sDoF, of course, was only possible with rather fast lenses, because crop factor was almost three. With a slow lens and with he said hyperfocal distance, almost the whole display became green. You wished you could reverse the peaking so that oof-areas were highlighted. Because of the size of the sensor (S16) but nonetheless relatively big pixels, it was sometimes hard to focus. Unfortunately, this hasn't changed. Yes, the sensor is bigger, the crop factor is just below two, but the pixels are smaller. And since hyperfocal distance works where the circle of confusion (that's us, the BMPCC fan group!) is smaller than the dimensions of the smallest picture elements, you only get HFD with very wide lenses with very narrow apertures. HFD means absolute depth of field, fix-focus. I certainly like the idea, but not everybody will. For tripod and handheld shots (we definitely, absolutely need at least a basic rig-stabilization, never believe because it's comfortable to hold it will be okay!) we need to practice manual focussing (P4k display, if sufficient, if not with external monitor). On a bright sunny day like today I'd strictly use HFD on a gimbal. Otherwise we'd need something like the Crane 2's follow focus and learn to operate that. This was something I dreamed about ever since I learned about steadicams. Have a big box of RC servos and miniature rig parts from my DIY efforts (originals were ridiculously expensive). Then again, with the existence of gimbals we stumbled into a trap. Do I really need to constantly move the camera in the Z-axis? No, I even don't consider these shots particularly cinematic any more. Whatever that means. It's time to revisit old threads on filmlook and adjust our understanding of it in 2018.

Speaking of the 5D2. This company Lucid did a lot of really nice work with that camera. It is crazy what that camera can do with such small files. I know the DP got into using filters to raise the black level to eliminate noise. I think the 5D2 was sharper, but also had problems aliasing and moire. I don't know much about the color either, but I still think the images are so beautiful.

I am... this... close... to maybe buying one. I know the Mark II is a more versatile camera... but there’s just something about the original.

I think the thing that astounds me is that for a standalone 5 inch daylight viewable external monitor from a company like SmallHD you are looking at a price not too dissimilar from the price of the entire camera! But along with including LUT previews, you also get the added benefit of baking in LUTS. The OS of the blackmagics is second to none. The touchscreens are like what you would find on a smartphone. The same cannot be said of Sony's or Fuji's top-end cameras which leave a lot to be desired. Canon and Panasonic get it right, though. That's some kind of value. Really makes you think about what the profit margins are for companies like SmallHD and the bigger players in the industry.

In the late 80s, I was in a junk shop that had bought up a load of stock of a music shop that had gone bust and he had at least a dozen Sequential Circuits Pro One synths stacked up. At the time analogue synths were gathering dust on the shelves of music shops everywhere and particularly mono synths but I always liked the Pro One so as he was selling them for £70 each I bought one for me and one for my mate as I knew he'd fancy having one at that price. Obviously as I was buying two, I got the price down to £50 each. The shopkeeper was trying to get me to buy 10 of them and said I could have them for £400 for the lot. I passed because a) I didn't have that kind of money on me (or in the bank!) b) I couldn't have fitted them in the car and c) who the hell would I ever sell the other 8 too? Just checked eBay now and well..... When I was a youth, we all started off using our Dad's Zenith Es or Praktica MTL3s (they loved those eastern bloc cameras!) then when it was time to get our own everyone went Japanese and the Pentax ME Super was hugely popular at the time. Looking on eBay, I think that might be the best route in to hoover up some bargains as there are loads of them for sale that include a couple of lenses into the bargain. If your GF begins to worry about the lens collection growing, I always find its a good idea to have this photograph to hand for perspective on just how restrained you're actually being. I'm in the queue for one. I was seriously considering a GH5 and then the GH5s threw a spanner in the works and had me going round in circles about choosing between them. The unexpectedly low price of the P2 means that by the time it comes out I can probably get that and a used GH5 for roughly the price of the GH5s on its own. Canon could release that camera you want tomorrow but you know they won't! The real dark horses for me in the next few years could be Sigma as they've filed a patent for what would amount to a Foveon sensor for video. That would be something genuinely different and they have their own lens lineup (as well as expertise in everyone else's AF) to marry it to.

Tascam DR10L, or something similar? Maybe you do need Timecode then? Or at least use PluralEyes, or something similar built into your NLE already.

New real video from the FS5 II minus the new PP and the black ND dial. Shot in Slog2 RAW, recorded on the Shogun Inferno using ProRes HQ, graded in Resolve Studio. Is a test of the $298 Sony DT 55-300mm lens.

E M1 II 4K video shot in French Alps:

Still use my GH2 as a B camera all the time and yeah...always pleasantly surprised at the picture quality from an 8 year old camera that's worth about $5 at this point. C100 is still killer, too.

Oscars to both of yous ??

Light bulbs over your head? That sounds like a smart idea...

Yeah, their thread about the new BMPCC4K was quite interesting I'd love to be at that Hydrogen launch event to see how the forum's collective persona translates into the real world when they actually meet Brian, erm, I mean Jim. I'd especially be interested in knowing what he thinks of it. I mean, he must know its a bit 'unusual' for grown adults to react to what are often negative statements with such fervour? Even Steve Jobs would be saying "OK, lets tone this down a notch lads"