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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.

hahaha! where are you living?With 150K per year here, you could buy a nice little house on a different Mediterranean island per year! and in Vietnam you could buy a - not that small - village.

I found that prominent shallow depth of field is just effect which has to be used sparingly. Or, at least in movie oriented creation (contrary to photo/portraiture oriented), it is as secondary element deeply subordinated to the logic and content of composition - more often it interrupts and distracts narration than adding to it as amplification of some particular impression. It seems to me that it is tool that go in pair mostly with medium+ to close up shots - or in psychological very specific creative decision (sort of effect of subject alienation)... But I know that I'm not at all original in these remarks - I repeat it just as sign of revolt against shallow depth of field as a priori rule of beauty or quality

^ Nothing wrong in getting volunteers but i suspect your location may help. Here in the west, nobody seems to work for free and students will want at very least an internship. Anyways, this being mainly a small camera forum I'm not surprised at all by the general consensus/bias towards them but to claim "Anything bigger than a dslr is too complex for a solo shooter" is highly innacurate.. I'd like to argue cams like Cx00/FS5/EVA1 are actually less complex then their DSLR/MILC counterparts with proper ergonomics, dedicated buttons & dials, ND filters, bigger LCD, better battery life etc.. once you rig up a DSLR/MILC it can become a lot less intuitive & balanced to operate imo.. ENG cameramen have been operating heavy duty cams single handedly for decades.. a proper shoulder mount kit can go long ways.. Just so happens in most bigger projects requiring higher end cine cams (RED/ARRI), the budget usually allows for a crew. and is mandatory anyways in most narrative work. That said i know several DPs that (occasionally) work fine solo with Ursa Minis, REDs etc.. it really isn't that monumental to set up tripod/slider/lights. and if it's just a product/beauty studio shot they don't necesarily need an AC or even assistant to operate.

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.

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

I think it’s the middle of the night in Vietnam, so we should be safe for a few hours... just don’t mention the word model...??? And I completely agree with you about these one inch cameras. It is more likely some 17 year old kid will pick up one of these cams, shoot crazy shots with the camera duct taped to their car, finish the movie over Christmas break and it be a smash hit at SXSW way before I even finish principal photography on my thoughtful 5D3 Raw film. Oh... I’m so tech impaired... I didn’t know there was a way to upload footage via card on the iPad.

I just import off the SD card direct onto the iPad. Edit in LumaFusion and ftp it to the agency or export direct to YouTube depending on who the end client is. Its really fast editing on it and it has enough tricks (like LUTs) if you need them.

We should probably clear town before the posse arrives but, yeah, I agree with that assessment! Here's my tongue in cheek prediction about these cameras.... There'll be a wave of young filmmakers who pick up cameras like these from the bargain bins and just get out there and make stuff with them. Great stuff. New stuff. With a new aesthetic. Completely uninhibited by sensor size, bit depth and all the other hooha that ties everyone else up in knots. It will be exactly like it was with music when kids picked up the discarded analogue synths and drum machines that everyone had written off while they chased the new digital dragons and they made a whole new type of music with it. And in 10 years time we'll all be on eBay trying to buy back Panasonic LX100s at £2K a pop

It was really just a camera test, but yes... no actors were harmed in the making of this video... I can get one new for around $1000, maybe $850 for gray market. But you’re right, it is a self contained digital S16 cinema camera for run and gun filmmaking. But for a grand... there’s other options. That’s true but I also already have lenses and NDs for my 5D3. So it’s a toss up really.

Just go and re-buy that FZ2500 and get on with it. Hell of a camera for that sort of work and - truth be told - a lot of other stuff too.

@HockeyFan12 bro we're talking $150 / monthly in countries like Vietnam!

Some PAs make that little where I live, too. I've seen $150/day jobs. That doesn't seem so bad just getting started for a PA, though on reality tv PAs get closer to $400/day. I think people take low pay jobs for experience and networking, not the money. That said, I don't get how anyone lives off $150/day without support from family. Living wage is about $100k-$150k/year here, not that I'm necessarily pulling that in myself.

I always use this HDMI cable in the camera so it never comes loose. HDMI LOCK

BM have confirmed the HDMI is 1080p only, at whatever frame rate you're set to film in. So if the camera is recording 4K60p, HDMI is outputting 1080p60. I have a question for anyone who knows about C.Fast. I have the Atomos Star with a 128gb C.Fast card (not 2.0) it's rated 80mb/s write speed. Can I use this in the C.Fast 2.0 slot? If so, in a stretch, what formats/resolutions do you predict I can record. Would it manage 4K Prores 422 or LT at 50p? Am I limited to 1080p25? BM website states 4K prores422 is 73.6mb/s and LT is 51mb/s. If it can handle any kind of 4K, even if it's the lowest possible configuration, it's going to be great to have that card as an in camera backup to get me out of any tight spots... fingers crossed.

Shallow depth of field is a storytelling tool. Some people went overboard with it and most were do to lens tests on YT but for filmmaking... the reasons discussed here have missed the best argument for it for the low budget filmmaker. The beauty of the 5D2, t2i, and other larger sensor cameras that started the DSLR Revolution, wasn’t only that more people had access to inexpensive cameras, it’s that low to no budget filmmakers could shoot with shallow DOF and blur the background. It hid the flaws in amateur sets, and hid the public during guerrilla shooting. For the first time, a no budget filmmaker could take a camera into a restaurant and look like a tourist while they shot a dialogue scene. Sorry... but to say it’s overused, is like saying you don’t like a two shot because most dialogue scenes open with them. And sorry again, but how can anyone find FTWD better than TWD? I like both for different reasons but there really isn’t a comparison in filmmaking, acting and story. Saying one is more ridiculous than the other is an argument that isn’t allowed in a story about the zombie apocalypse. And finally, I agree about the digital look of FTWD compared to TWD... especially when they are on back to back. I love the Alexa, it is the best digital image on the planet... and in my opinion nothing comes close to it. But the S16 on TWD is just in a different league. I was actually curious why? S16 has always looked kinda meh to me, even when done right... but TWD cinematography looks like an epic.

If you had the courage to watch everything of TWD, then spend some more time on the Fear, it is a much better series right now, with real characters, believable action and - almost - an interesting plot (still there are some wtf?! moments script wise, but the original is full of them, and only!). Shallow depth of field is another sentence of the filmic language. One of the latest jobs I did as a focus puller it was a nightmare to pull focus on a C300mkII, and in most movies I have worked, DoP were commonly using 5.6f, and working around there. After 5DmkII, anyone that could afford 30$ to rent a 5DmkII were making videos with a 50mm with the shallowest depth of field possible, and were calling that "art". Something similar is happening now with the "pseudo-bokeh", on mobile phones, which is a great selling point for most companies (I bought a mobile phone with a ultra wide lens as a second lens, instead of a fake bokeh effect, way more useful for me). As I said there are unlimited threads about it, and I am way off topic.

@jonpais With an average salary of $145 for a Vietnamese worker, somehow I feel it is going to be easier to find qualified help. anyways glad it's working out for you down there mate!

well for me personally that's not an option. I like to keep sets at a dead minimum possible. Anybody that isn't vital and hence experienced/trustworthy shouldn't be present imo. Not to get all Christian Bale-ish, but the amount of amateurs/onlookers etc that have slowed down, straight up ruined a take/scene or worst wrecked equipment is catastrophic. I'd rather carry the extra weight, take the extra time with a tiny crew i trust 100% then hire a bunch of help that will be loitering or worst during the day. that's just me though, some people love the god syndrome of a overpopulated set! of course if it's a hobby or indie project, you'll often take anything you can get.. nobody is going to argue that.. they're in a totally different category period! but compared to Alexas it's pretty obvious Arri's marketing them towards a more high-end ENG market: Amira boots up quickly and can be used straight out of the bag by a single user, with no setting up, no rigging and no delays. Sliding dovetails allow the camera to be perfectly shoulder-balanced for comfortable handheld shooting, while the innovative multi-viewfinder combines a high resolution OLED eyepiece with a fold-away LCD monitor that provides both a live view and full access to camera functions. • Quick start-up – ready to shoot • Optimized for the single operator • Sliding dovetails – perfect shoulder balance • Internal ND filters (0.6/1.2/2.1) • OLED eyepiece and fold-away LCD monitor • Multi-channel audio – easy-access controls Not for everyone obviously, but for who can afford them and want that ARRI look handheld (e.g. NFL Films, high-end docus, action/war movie scenes etc) it clearly has it's purpose

jonpais, these videos are not mine

In-camera profile Eterna, Zhiyun Crane 2, some color grading in Adobe Premiere Pro. Fuji lenses: 23,35,56. https://vimeo.com/265565687

I read that sheet when I first ordered my XC10 and I was quite disappointed, but I then went on to read many of the other tests on much more expensive cameras, and I found that many high-end cameras didn't have a huge amount more resolution than the XC10. And then I read the a6300 test and ended up laughing out loud with its many many issues I didn't realise they've since tested the Ursa Mini and GH5s, so I've got some light reading ahead of me For those that haven't read any of these, I highly recommend doing so: https://tech.ebu.ch/camera_reports_tech3335 and for older cameras https://tech.ebu.ch/camera_reports_legacy Tests like these are a good way to cut through the internet BS and brand-loyal-myopia.

Yeah I think almost anyone that shoots personal stuff & really wants to enjoy the process, adopts a style like this. So I wouldn't describe it as a "guerrilla style" cause it implies harsh conditions but more like a banal or casual style @jhnkng Great colors at your site. Especially with your son and the 53years. @HockeyFan12 Just out of curiosity what forums are these?

No. I'm saying Blackmagic is a PRO camera but it also is affordable for the average user. If Blackmagic builds a camera that's TOO high-end, you risk losing a lot of mid-range customers. There aren't a lot of cheap SDI monitors, and the everyday user of this camera will be using HDMI. Sure it's a professional camera, but Blackmagic's greatest strength is making their cameras affordable to the masses. And you have to compromise and build something that both the masses and working professionals agree on.

I've been building up a shopping list for when this comes in the post and I noticed something pretty strange here. The Samsung T5 drive prices are: 500gb - €173 or 1tb - €385 By my math, you save €40, if you just get 2 500gb drives, and that's going to be much easier to manage. You can then also split the costs over time if you need to. Similarly, the WD SSD USBc drives (which are tiny by the way) are priced: 512gb - €169 or 1tb - €355 So you save €15 and get an extra 24gb if you get 2 x 512gb Does that strike you as strange? I always thought if you get the bigger drive, you'd save some money. EDIT: The 250gb T5 is €109 and 256gb WD is €107, so you do save money if you get the 500gb/512gb versions. I wonder why this 'saving' isn't replicated on even further.

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.

@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.

Little lensologist advice needed. I've seen a few videos recently (and yet struggle to find those videos again) which feature some lovely smooth zoom ins to people's faces. I love this style and would love to try and replicate it. Any idea what I'd be looking at buying? Would it only be possible with a par-focal cine lens? Let me know if my description is a little too vague. Basically, think wide shot, that quickly zooms into someones face, smoothly and in focus. Re: everything above. @jonpais For what it's worth, you may have to accept the occasional remark on the internet about a grey haired white man living in an Asian country posting videos of teen girls posing for the camera. The situation is so culturally and historically loaded, however unfair or inaccurate that may be for your individual situation. @markr041 You're being immature. There's no need to label Jon 'sick', and I have no clue how anyone would be shocked (SHOCKED) at Jon's video. You're picking a fight and what you have said and directly insinuated is incredibly insulting towards Jon.

That's true - particularly in the examples above where grain has been added in post, but sometimes that look can be nice! If you want a modern and sharp but still pleasant looking image - with the new SD card overclock module the EOS M can record 2520x1072 raw continuously (using a 3.33x crop from 35mm full frame / approx 16mm size). The module is still very experimental so just waiting a bit longer until hopefully it will be easier to use! That's incredible, thanks so much for doing this and look forward to hearing more about your results! @Nikkor There are no pink dots when recording in lossless 10 or 12 bit raw, but they do still appear in all the other raw formats. In any case this isn't an issue any longer as modern mlv transcoding programs such as MLV App use a focus pixel map to automatically get rid of all the dots (without requiring chroma smoothing), so you won't even know they were ever there. However, the EOS M still can't do 1080p when shooting full sensor raw, it stays at 720p and therefore there's a huge amount of moire. They were looking to find a way around that issue but that didn't seem to go anywhere. Here's the thread about that: https://www.magiclantern.fm/forum/index.php?topic=16608.0 If you're recording full sensor, it's best to shoot regular h264 with the bitrate hack which is 1080p. The moire is still there but it's a bit more controllable. I'm able to set the h264 bitrate at 3x and with a Sandisk 95mb/s it seems stable.

Considering the effort is meant to stifle innovation in their competitors, they don't seem to be doing a good job of that.

testing out x-h1 on a street. a lot of 100fps shots, mixed lighting, handheld, no nle nr. not gonna say much more - thats not why im purchasing a camera): https://youtu.be/4nAobE-xbhs * for 2160p view only

I just bought the X-H1 in Barcelona whilst I'm taking a break, and I am more impressed with it so far than I thought I would be. I'd say it is a genuine alternative to the GH5 and A7 III, given the similar prices of all 3. It does things the Panasonic and Sony don't do as well, or differently enough to make you have a strong personal preference for one or the other. First of all, the small things... You can assign 1/48 shutter for 180 deg to "T" on the shutter mode dial. Instantly go from auto to 1/48 in the blink of an eye. Very useful. The e-ink top-display is very useful and something the GH5 and Sonys lack! One of the bigger things is the quality of the stabilisation. It's insane. I actually think it might even be better than Oly/Pana. Steady handheld shots are almost completely locked-down as if on a tripod. Even walking glides are perfectly doable. Slider-style moves with your arm come out well. This is one area where it is FAR superior to the Sony cameras, and it has a larger sensor than GH5 yet possibly even better 5 axis.... THAT is unique. F-LOG and Eterna seem superb... I am not missing 10bit. Skintones, codec, all very good especially at 200Mbit which is insanely high for an IPB codec. Would be nice to have an ALL-I option but I have a feeling Fuji will do a BIG firmware update in future. The EVF I think is superior to the Panasonic and Sony side. I dare say the AF is better than the GH5 too, though not as good as A7 III / A7R III. The tiny Fuji primes are wonderful, esp. 23mm F2 WR and the 35mm F1.4. It is very responsive... recording start / stop doesn't have any lag or weirdness. I still dislike that movie-mode is on the drive mode lever, it should be a single button press to toggle between movie and stills mode. Firmware? Stills side is stronger than GH5. The mechanical shutter is the best I have ever had in anything. So quiet and dampened. Mega satisfying! Of course, larger sensor than GH5 and better JPEG colours (Fuji film simulations). I wish the further X-T2 style crop in 4K was not a thing... but it's no biggie, and there's Speed Booster for X-Mount. I wish the quality of the 1080/120fps was a little better... but it's a very nice creative tool. Plus you can access it instantly through a func. button. On paper, A7 III and GH5 are better. In reality.... it's game on.

Yeah I have heard thay Sony's cams not only do not correct for it but also force it in the footage on purpose. I guess just to spite all the people that found out how they can get great colors from their Sony cams.

Your "model" videos speak for themselves, as do your insulting comments. I showed them to some students I know, and they were shocked. Get a hold of yourself. I gave you the chance to back out gracefully, I have been a supporter of your video work. As I said, I would have been happy to remove what you found so surprisingly offensive, but you insisted on lashing out publicly. I still think all of these posts should be removed. Please complain to Mr. Reid, as I did. My original comment on the model was based on my belief the subject was indeed a model, and I just found the poses amusingly ridiculous for a professional. When your defense was that the subject was a student, then that brought enlightenment about your defensiveness. since jonpais wants to make personal messages public, let me post what I initially wrote to him (typos included): "the poster you accuse of joining the lens thread to trash your model supposed to be me? The link is dead, but it seems you really took offense, even though it was a criticism of the subject not of your work!. I said: "Nice image as always." That is a complement, and I meant it. I have in fact stayed away from criticizing the truly awful color grades people have posted. Your colors and lighting are very nice, as always. 2. I came to the lens thread for the first time to post a video with an old lens to show what it could do; it followed your post almost immediately. Why in the world would I join the thread just to criticize the "model". I actually found the content - this teen model acting phony - offensive, actually. It was not a criticism of her looks, but her behavior. But so what, the key point of this forum is technique and I said it was great. Why do you care if anyone does not like the model? In any case, your criticism of me and my work and my intentions is way off base. Am I being paranoid, did you really mean to trash me personally, my videos and impugn my motivations? What is going on? What is that link?" To which he replied he had nothing more to say to me. So I then privately told him what I thought of him, based on his behavior and his "student" videos.. And other insulting posts he has made in which others were victims. This is repeated behavior, not a one-off, though I think it is the worst I have ever seen from him or anyone.