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This. You'll generally find that those making the most noise about gear make very little themselves of any worth to anybody.

The video was shot with a single GH5 (with a little A6500 in there) in 10 hours, edited, graded and effects done in 4 days (by me). The new album (last I heard) was at No.7 in the official UK chart. I'm a big fan of what Panasonic has done with this camera. That said, the shining star of this video is the band.

I’m not sure I can agree with the absolute claim of “not useable” because...well I use them all the time in pretty bright situations. Yes in some situations the glare makes it impossible but I can make it work the vast majority of the time. https://www.flickr.com/gp/johnbrawley/10XBcm Here’s an operator making do on a shoot in colombia. And here’s a shot on a recent rig Yeah it could be brighter. But it’s not unuesable if you want a camera that’s small and compact. Or it functions well enough as your camera function screen once you fit an external monitor that better suits your needs. JB

I think the pocket 4k is intended to deliver professional level quality, which it will. But given it's priced at $1300 and had been marketed at vloggers, I don't think it's being marketed for the traditional/typical professional. Think about how they have emphasized the pocket 4k's microphones, which no traditional professional would use. While the camera can definitely work for a cheap studio set up, I think it can really capture market share from Panasonic and Sony prosumers, and that's a really big market. I've been really confused by people pitching the pocket 4k as a vlogging camera. But I think I'm starting to understand the idea. Personally, I don't really watch YouTube. So I thought it was basically just people like Logan Paul making light of suicide or PewDiePie being anti semitic. However, I then thought about stuff that I've seen some of my past girlfriend watch. There are a lot of fashion and make-up vloggers who really need incredibly high quality images even though they are basically running the channel on their own. Same thing for food and travel vloggers. No one wants to travel to the Rift Valley, Grand Canyon, Colosseum or Great Wall and capture anything less than the best. The price tag along with things like the low light capability mean that semi professionals, who might have more knowledge about fashion or travel than video, can capture incredible video even if they don't know how to or have the ability to light their scene. I'd bet that they could make great user of the baked in lut capabilities as well. I'm not trying to suggest that prosumer vloggers are the primary target audience of the pocket 4k. But I do think that using an HDMI port and also the USB-C connection make the camera accessible to users from a big market that companies like BM don't typically get to tap into. I'm really excited not just for the camera itself, but also to see who uses it and what they produce. If travel vloggers start using the pocket 4k, I might actually start going to their channels instead of watching national geographic reruns. (Though YouTube could certainly improve it's codec) Just my 2 cents. I understand that there are good reasons to prefer SDI over HDMI.

There are plenty of ways to get HDMI out to a wireless viewable form on a tablet or phone. BM also provide full documentation to enable developers to create their own apps for remote control. So, with this camera at least, these aren't issues.

True, unless you measure the effects of NR only using a black and white chart. ?‍♂️

I can’t speak for what Olympus will or won’t do. But they certainly have heard from me about moving in that direction. They genuinely want to do better video, and they need to up their game and then some if they want to truely challenge Panny. JB

I haven't carefully read every post in this thread, but everyone keeps incorrectly referring to the document in the first post as a "patent", when it is in fact only a published patent application. Patent applications aren't officially issued patents, and normally haven't even been reviewed by an examiner when they are published.

One of the most insightful non-technical things I've ever learnt is that you hire crew to make you look good. And if you're hired as crew, your job is to make the boss look good. That's it -- your technical specialty and how good you are at it is just the barrier to entry, your actual job is to make the producer/director/whoever-your-boss-is look like they know what they're doing by hiring you and not someone else. So as crew, if the client is around you should know better than to have your phone out on set. If it's urgent, let someone know and walk off set. I mean how does anyone make it as regular crew anywhere unless they have a sense for what's appropriate or not appropriate on set? And if you're a producer hiring people you can't trust to have that kind of sense, then you need to hire better people, full stop. The buck stops with the person holding the cash. That's Shane Hurlbut, and Christian Bale spent quite a bit of time apologising for that outburst. Regardless of what crew did or didn't do, Bale's reaction was deeply unprofessional and has no place in any workplace. **edit** Removed some unnecessary snark.

Hey Glenn, G7 even fits better. Just the buttons are worse regarding size and clicking. Colors are great to grade. And it works well at iso 1600 in lowlight, better than G6 at 800.

@GregormannschaftHey, if m43 coverage is good enough, you could get a b4 2/3 lens with internal doubler, powering the servozoom with an external battery. Jon, don´t react to negative pms or public messages. They are not worth to be read twice. Enjoy doing your work, just like we do watching it. Mark, I find your last remarks not inspiring nor supporting to do filmwork.

More stills from the same short that I posted about earlier. EVA1. Kowa BH 2x anamorphic, Voigtlander 40mm f2 EF mount taking lens. This grade is a first pass I did for the HD proxies my wife will use to cut the film.

I'd be willing to bet that fans of The Damned wouldn't notice a difference in the GH5 and an Alexa. Except maybe that <1% of cinephiles.

Andrew, I hope you'll respond to this as well as let us set up an ongoing NX1 users forum (not just one reflecting on the past nor the hopes for the future and an NX2, and I would buy one tomorrow. Since there's no tech support line to call, I hope to answer some questions about odd things that have happened. I've been using my NX1 for four years and love it. Here are my top three questions. Question 1 is: "Why would the luminance "bounce" on this shot?" Question 2: "Has anyone had their NX1 go green on a night shoot?" https://vimeo.com/152670688 . Question 3: "Do you find that the NX1 will override your settings in video if it feels the shot is overexposed?" This happened on a shoot we did of a woman in open shade with bright wall behind her. The NX1 stopped down (though not in AUTO ISO) to compensate for all the white. So, I feel like I'm married to Marilyn Monroe. The NX1 is stellar in so many situations (unparalled auto focus performance in the video below, but once a year it goes a little nuts. NX1 goes green_SAM_0053_160121.mp4 Thanks - Fletch Nx1 Bouncing Luminance.mov

I'm not even using a camera, using a microphone, and I'd like this too please! Exactly! ARRI ALEXA is designed with a crew in mind, while the AMIRA is configured differently in a number of smaller and bigger ways so that going solo (or with a very small crew) is at least an *option*.

FWIW I do frequently see Amiras being used in that same NFL role at larger football (the real type ) events here in Europe. Its always single operator with assistant very much in the role of general helper (though his exact beverage dispensing duties remains unclear) and shooting what you would probably describe as cinematic ENG for want of a better description. CinENG as I'll now call it!

If you're doing newsshooter doco style shooting (I.e. Zero or minimal lights, and mostly just locked off tripod shots) then sure AMIRA / F55 / etc are just perfectly fine to use solo, and many many people do so.

Leica R's - both brilliant and one of the two best longlife solution if they are in optimal condition ... but be careful with adapters Leica R to M43 - from three of Chinese origin that I had, no one doesn't completely focus to infinity! The same story with Leica R to Canon EF (and than to speedbooster EF/m43)... Even first version of Metabones isn't perfect... I don't know about second, I sold Leica R lenses just to, out of curiosity, invest on further lens testing... Now I'd keep them.

like this ? http://documents.blackmagicdesign.com/Developer/Camera/20180406-ed2af6/BlackmagicCameraControl.pdf jb

But they're *not* one person crews, they're part of a larger production! Involving many many people. Not sure how this disagrees with my point that it is a bit of a stretch to make an AMIRA be a one man solo shooter.

I think SDI is "too professional" for the market Blackmagic is in. Unless you need external recorders, a lot of monitors in the lower-tier are HDMI only. I don't know how feasible it is to offer both connection types, but I think HDMI is more in-line with the average $1300 camera user. For pro use, that's a different story. Hopefully the full-size is a good compromise and offers decent durability.

Would you buy the Ninja V despite the fact that it's heavier and more expensive than the smallHD Focus (yeah, I know, only 800 nits, but it works well in bright sunlight) and that you couldn't record anything bigger than 1080 through the Pocket 4k's HDMI (see one of Anacondas Q/A)? I wouldn't. Bought - let me count quickly - 3 external monitors before - won't sell this one! Zacuto built a viewfinder loupe for the old Pocket, I hope they do for this new "Batcam" (your name). You'd need no rig with one - perfect 3-point stabilization (though on the long run it's more comfortable for me if the right grip is in a 45° angle). This time I will not use a shoulder rig.I am already thinking about the right-arm-only "exoskeleton" isometric contractor. Imagine your right arm was in a sling made of rubber (problem with just a sling is that it will slip). To extend the arm to the position in which you can hold the camera, you'd need to use some force. And concentration. Left hand cradles the lens and pulls focus. Should be as lightweight and easy as possible. Any ideas/suggestions? Let's build this together!

Did you read the article or just look at the first picture?? I mean I would want crew myself and certainly not disputing you. The article by arri just states that it was designed for solo operation. If this gentlemans beard can handle the weight for an entire nfl game, I know yours can!

I was agreeing with you I don't think I would last 3 minutes!

I'm in the third week of a feature film being shot with an AMIRA, I'd say it is a massive massive stretch to think of the AMIRA as a one man crew kind of camera (though it is closer to that than any other ARRI digital camera). We have a three person camera crew for this. (& three person lighting crew, continuity person, AD, wardrobe, MIA & assistant, etc etc) The FS7 however is very much on the small side of "big cameras", and can easily be operated solo. However, I've also worked on shoots with a FS7 which had a five person camera department.

I remember thinking Christian Bale’s outburst sounded perfectly justified. He was the only side that was talking/shouting any sense from what could be heard. ‘I was looking at the light’ implies Hurlbut was too busy and impatient to give the actor any consideration or much courtesy of space (sounded like it was not for the first time). Bale was playing an intense character in a poor film directed by a terrible director. Any actor of worth would want to protect their space for themselves when put into situations where their presence of mind has to be totally focused into a character, especially when trying to maintain a continuity of intensity throughout a scene that has a break or pause in shooting due to an adjustment of a lamp. This was apparently a hugely inappropriate moment for the DP to break the scene for the actor, Bale was right to complain. Hurlbut should have been sensitive to what was happening and been able to voice why he felt justified in breaking the scene to correct a technical issue...he didn’t, at least not to Bale’s satisfaction. Even on the bigger budget projects I’ve experienced , I’ve noticed basic set etiquette such as avoiding actors eyelines during rehearsal and shooting often gets overlooked...sometimes a bite back from an actor can make the crew appreciate how fucking hard it can sometimes be to do their work with a million and one distractions and disruptions. But as soon as an actor voices any complaint, then they can get labelled as ‘difficult’. Their job is to make their job look easy, that’s why they get the big bucks. More crew members should take acting classes to get a taste of what is to be expected in front of the lens, it’s a real eye opener and can massively help understand and empathise with an actors needs sometimes. IMHO Phones that are not being carried by production or hair+makeup/ art dept (for continuity stills) should be smashed with a hammer - If found making noise or (just as bad) someone checking Facebook in front of the director during takes. It’s disrespectful to not at least hide any phone use on a set. It’s like any creative workplace, the best work can often easily be compromised by distraction. Ive noticed that commercials/ music videos that may be shot non-sync often breeds more phone use, since the more relaxed attitude to crew noise levels can breed other behaviour that normally would be frowned upon if shooting sync and having constant calls for quiet. If your fellow crew members (or director) are happy about using phones on a set...at least give your actors/performers a break from seeing or hearing them when they are trying to prepare or execute a performance. It is simple respect.

I guess I agree with you then!

That would be amazing. After that the only thing that needs to be addressed with E-M5III is the audio preamps.

@Zak Forsman Nice framing. I love the symmetry and art direction in the two shot. The fact that he’s drinking wine and she’s drinking a beer says a lot. Obviously, there is a lot going on in that scene... she has a plate of food and his hands may or may not be tied under the table... either way, it’s a good shot. I also really like the final shot of her dead center in the frame. She seems so confidently demented with that smirk on her face... good stuff.

Any chance of persuading Olympus to include 24p Raw video in the E-M5 III? Even ProRes Raw at 1080p or 2K would be pretty epic with their superior IBIS.

I’m surprised it took so long for someone to say this looks like trash. I could not disagree more. This looks like the future to me. Friedkin is more in tune with the future and how media will be produced than any prosumer on this site. Grab a camera and tell a story, that is the future. Unsane is a good example as is that Amazon Prime movie called The Break In. Those people made a small fortune on a found footage movie shot on an iPhone. Sure Friedkin cashed in on his legacy and he probably could have used a better camera, but this is just a sign of things to come. Did it look great, no not really, but I was more interested in the circus side show element than the artifacts or overly saturated image. That camera has horrible preamps, but it was good enough for me to hear and get freaked out by the Latin or Aramaic or whatever the Devil’s official language is. In some ways, I think it’s better to have a shite image than a decent one. When you compare a good, prosumer image from the GH5 or a7sii... or whatever to an Alexa or Red, they pale in comparison... they look good but off. When you look at an image from a crap camera, there is no comparison whatsoever, so it doesn’t even matter.

I sort of agree with this. However, the guy doesn't give a rip about IQ, he just went for it. He's obviously a capable director based on his legacy, but obviously he's also a shit shooter. So then, considering all that, what's more important? That he did it or that he did it poorly? Look, I shot and edited a PBS thing a year ago. Didn't write/direct. It looked pretty good ... but it was also as boring as a month old turd. I'd rather watch whatever tacky melodramatic silliness William Friedkin decided to make than rewatch any of the episodes featuring my work. These are the existential musings for many filmmakers. Do you get in your own way by adhering to the demanding technical strictures of the craft, or do you just not care so much and get 'er done, focusing on more important things like storytelling? (or in Bill's case here, an apparent trashy cash grab, coasting on his notoriety) It's not easy for many of us, but just deciding to be creative however you can is honestly the best way forward.

"Itchiness" is only relative! If you have a beard then go clean shaven it feels damn weird and itchy like mad! But then after a while that too passes.

The video looks really great, and to be shot and finished by a single person in such a short time is quite an achievement. But the image still looks "digital" to me, which is mostly the main problem with ANYTHING but ARRI, under artificial lighting. My question is, for such a professional project (and I know how cash trapped labels are these days), isn't there an additional 700 quid for the overall budget, to rent an ALEXA Mini (includes set of primes, MB, FF, Sticks etc) for one day? An AMIRA is even cheaper to rent. Thx.

Agreed. If you're at all into post-processing and grading, the BM cameras are godsend, because they leave all the processing off to your own consideration. That's why they come with Resolve included - and I'd dare say it's way more powerful as a processing tool than any in-camera processors.

"How do you define dynamic range?" is the question that underlies and undermines most of these discussions. We could measure it as the difference between maximum signal and the point at which signal:noise reaches 1:1 (how DXOMark measures RAW still dynamic range). We could decide that 1:1 is too noisy, and that "usable" dynamic range starts at 8:1 meaning 3 fewer stops of dynamic range. We could measure from any signal at all, adding one or more stops of dynamic range relative to the 1:1 reading. We could weight RGB in various ways, perhaps considering the beginning of dynamic range to be when any one channel starts to have signal and then terminating only when all three channnels are saturated (this gives the highest possible rating). The ARRI linked pdf only tested out to 11.75 stops and didn't find dynamic range limitations, if I'm reading it correctly. It didn't test for the limits.

Congrats for working with The Damned, too. Great band.

Excellent. What's more even impressive is the turn around and how it was shot. Please share details of lighting and setup. Thanks in advance.

Excellent work Oliver. I was wondering why one of the ladies was almost left ungraded but it made sense once I finished the clip Other that the colors there was some nice footwork as well. Wish we could keep this as a motto for this forum. It would make this place more pleasant and then we could spend a bit more time discussing actual cinematography

Looking good Oliver

Excellent. I love the Blade Runner influence with the holographic lounge singers.

That's the sole reason I stopped visiting the site too. It smacks of too much bias. They have brands that they glorify, and others they try to run to the ground.

Well, despite this forum’s name, there is an anti-Canon bias running rampant on these pages. But if you go on Instagram, you will see a slew of Canon video users. If you go to trade shows, you will see Canon cameras working the show floor. If you attend weddings, the lion’s share of videographers use Canon. If you follow vlogs, the majority are shot with Canon. Only in forums like this is Canon a bad word. With working professionals, Canon cameras are workhorses. @kye

As the owner of an XC10 I find these topics fascinating. This forum (and most of the internet) completely ridiculed the first two versions of this camera, yet Canon claim they sold more than they were anticipating and the Cinematography Database YT channel seems to run into them on professional sets on a semi-regular basis. This leads me to believe that the internet doesn't understand the design brief and associated tradeoffs of this camera. My impression is that it was designed to capture footage in certain situations (eg, one-operator ENG, B-Roll, BTS, or as a professional GoPro alternative) that was indistinguishable from the footage from larger cameras - which means that we might be seeing shots from it in professional releases and just not know it. If professional film sets can include GoPro footage in feature films then they sure as hell can hide XC10/15 footage. If this is the case then how can anyone on the internet talk with any authority when according to the above they got the first two versions so wrong?

Canon and Nikon have legacy advantage, Olympus/Panasonic have advantage of a well established and very well supported mount, Sony has advantage in sensor tech and huge IP assets in that field. What's gonna be Samsung advantage? Higher framerate? Thats far from enough.

Why stop at the gh series? Just use a phone.

Large camera. Wide lens mount. So I suppose it’s possible if that’s your thing...

Looks like the Micro is already going down in price on the second hand market. I got one for under $700. This is my first test, also my first time shooting Raw. Love this little camera. My Micro and Pocket should compliment each other well.