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Pro tip when passing through airports, or interacting with cops in general, do not refer to your BOOM pole or your SHOTGUN mic. (but me being me, I've done both of these things)

When this camera arrives there will be no more rain Jon. There'll only be sunshine and nice things for everyone.

Quite surprised to see one of the UK's leading photo/video retailers producing a brand new (and pretty comprehensive) video about the LS300 this late in the game. Its a very decent run through though for anyone who hasn't really taken a detailed look at its array of tricks (and foibles) before. I'd expect to see bundles with this probably around the £3K mark when the Ninja V comes out as the last firmware update gave the LS300 4K60p to external recorders. Used, I've seen them go for £1500-1800. I can't really see it making some sort of miraculous comeback as there are tons of other options out there now compared to when it was released. Having said that, sometimes for certain jobs you just need a camcorder and at the prices they are getting to used there aren't many offering more bang for the buck than this one does. Budget for an EVF though.

I picked up a Helios 44-2 for £5 in a local camera shop... Its battered with large scratches on the elements but delivers a fantastic low contrast image, blooming highlights and good looking flares and outstanding bokeh. for £10 (£5 adapter) it puts many lenses to shame. I paired it with my GH5 & Speedbooster to test it out on a dog walk. All images have been transformed to Rec709 with minor contrast adjustments on some images. (loving the low contrast!)

5-10-18 Update to V2 - Emotive Color component branched into three routes: Main/Soft/Pop - Main/Soft have V1-like luma placement (for brightly exposed footage) - Pop maximizes highlight range (for base ISO darkly exposed footage) - Relaxed Noise Floor (The default no longer requires luma placement for bright exposure, à la V1)

@DBounce We just made a roundup about the 1DX II and 1DC and M50... it’s more on the beginners side, but even though I have my reasons for 1DC I think I agree with Brandon! Although, I did order a M50 and I’m looking forward to using that camera. Justin says it’s the cleanest looking 1080p he’s ever seen on a Canon DSLR. I hope a 90D happens soon with the same sensor and full sensor readout 4K with dual pixel AF!

Good grief, your attitude is pathetic. I've changed camera systems once since 2014 but then I don't use these cameras for work. The Fuji is my personal camera that I use for taking photos of the kids, travel etc. The video function is secondary. For work, we use Arri, Red, BM Ursa Mini Pro, F55 etc. And that's the thing, professionals and filmakers don't get all hung up on one system. Can you categorically say that you have produced better images than anyone using an XT2 because you had 240fps four years ago? It doesn't really matter which camera had 120fps first or that you might have one that does 240fps. To XT-2 owners this is a great, free upgrade. All cameras are different. Does your 240fps camera have Fujifilm colour science? I'll take Fuji colour science and 120fps over something like Sonys or even Samsung's colour science and 240fps. I'll also take Fuji lenses over ANY Sony or Samsung lenses..... Either way though, who cares who did what first. Choose the tool that you like using. Why should anyone care that you had a camera that did 240fps last year if that's not a feature I'm interested or have the need in using. The sum of a camera is all if it's parts, not just one spec. I bet you can't wait for the NX2 so you can brag to us all how far ahead of its time it is.....tell me, when are Samsung releasing the NX2 ? Finally, if Sumsung land is so fantastic what are you doing in the Fuji Land thread anyway. You obviosly have nothing constructive to add. Did you really just come here to gloat?

STRICTLY FORBIDDEN TO REPRINT OR REPRODUCE THE CIRCUIT DIAGRAMS IN PART OR IN WHOLE. YOU HAVE BEEN WARNED!

And I had a 4K shooting phone before Arri had a 4K Alexa........whats the point you're trying to make?

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.

What a contraption. https://***URL removed***/news/1929459569/the-yongnuo-yn43-is-a-micro-four-thirds-smartphone-clip-on-camera-with-canon-lens-mount

If money, cards, and computing power are no problem, I’d totally still go with a 1DXii and just shoot all 4K all the time. Get an iMac Pro and edit in FCPX probably won’t even need to convert the footage to ProRes. But idk. I need to test this. Apple store says you can bring a hard drive and do some test edits there. I’ll bring some MJPG and try it out on the iMac pro. I will say, we shoot all our videos in 4K on the 1DC and I convert everything to ProRes LT on my $1200 MBP and it works fine. Just takes a while to convert

EOSHD: come for the camera discussion, stay for the suffocating toxicity

Maybe you can use it with a counterweight to help balancing, if your gimbal can handle the weight of the camera+counterweight. Moment, which makes lenses for smartphones, sell a counterweight with this purpose: https://www.theverge.com/circuitbreaker/2017/11/21/16686030/moment-lens-dji-osmi-gimbal-official-counterweight-iphone-8-plus

yup.. and by that logic roughly 3X the image quality of Panny/BMPC4K.

It's a tough call depending on your priorities but to me it sounds (and looks) like Fuji has the edge in IQ.. even if Sony has the advantage in low light & AF performance: Video – 4K comparison and analysis Colours are similar to what we saw for the SOOC JPGs. The X-H1 has more dominant green tones with manual white balance and some profiles like Velvia produce really strong saturation, whereas Astia and Provia are more balanced. Some Creative Styles on the Sony such as Autumn leaves and Landscape give you realistic colours with lovely tones, but keep in mind that these profiles are designed for stills and can easily clip highlights in situations with strong contrast. Fortunately, Sony has 10 Picture Profiles that can be entirely customised with settings designed for video. They were inherited from the Cine-Alta professional camcorder series. You can configure them to be smooth with low contrast and saturation – which gives you more leeway for colour grading in post production – or have a nice result straight out of camera. Using them definitely requires some trial and error as they are quite advanced but the results can be very nice indeed. The X-H1 introduces Fujifilm’s first film simulation mode designed for video: Eterna. It has less contrast and saturation so that it is easier to colour grade once again. It is not too dissimilar from the Pro Neg Std profile. For skin tones, the Fuji has a smoother and more uniform rendering whereas the Sony adds more details and subtle tones. However it can also display more highlights if there are some reflections due to sweat or lack of make-up. Eterna, as well as some of the Picture Profiles on the Sony, can already give you a good amount of dynamic range to work with. On the A7 you can control settings such as Black levels and Black Pedestals, whereas the X-H1 gives you highlight and shadow parameters, as well as two dynamic range settings. The most interesting are DR200% and DR400%: combined with ISO 400 or ISO 800 respectively, they allow you to retain more highlight information or open the shadows more significantly than when recording at ISO 200. It does introduce more noise in the dark zones however. On the Sony, the HLG3 gamma retains more highlight information but can’t match what you can obtain with the DR settings on the X-H1. For superior dynamic range and colour grading, there are Log gamma profiles. The A7 III has two: S-Log2 and S-Log3. The latter opens the shadows more but can also produce more noise as a result. The X-H1 has one F-Log profile that gives a good latitude but doesn’t reach the same balance between shadows and highlights that the A7 does. Note that on both cameras, the minimum sensitivity is 800 ISO when using Log curves. Keep in mind that internal recording remains compressed (4:2:0 8-bit) but you can achieve better results via the HDMI output (4:2:2 8-bit). The X-H1 can record at 200Mbps which is double the bitrate of the A7. As a result, the Sony can display more compression artefacts which are especially visible after applying some colour grading.

I first saw The Damned in 1977. Most of us will be amazed its even in colour let alone anything else.

The upside to the F1 is that the 10 pin port doesn't only take their microphones (which aren't exactly stellar lets be honest) but it also takes the EXH6 module which will give you 2 XLR inputs. Thats a big differentiator here. It also acts as a USB audio interface as well which means that you could have better mic inputs to your computer or tablet should you need them. That makes it a very neat modular little system to me that offers more versatility than the Tascam. However..... If all you want is the lav recorder aspect then the Tascam is smaller but crucially also offers the dual level recording function that the Zoom doesn't. That final part could swing it if you are working on your own and trying to work fast.

If you go for a bodyback recorder (I don't even know what that was until now!), as well go with the most optimum one, which is the DR10 series. In some events, when I do camera and we have no sound man, we depend on a couple of those and they have delivered so far. If you ( @mercer ) want to buy the F1, then I am sure it is an amazing piece of equipment. You certainly know better your needs. I wouldn't buy that either, it is trying too hard to be a couple (even three) of things, and it misses in all of them, but it's your money, and your film, and it is very important to be happy with our purchases, a boost in spirit maybe is more important than a boost in sound!

The F1 is fundamentally a bodyback recorder, everything else is a bit gimmicky, and in my eyes the DR10L (or DR10CS) is clearly a better choice as a bodypack recorder. H6. But why buy it when the Zoom F4 is shockingly only one hundred dollars more? Seriously, that is insanely crazy cheap when in context like that!!! wtf, as the F4 and H6 are galaxies apart, as the F4 is so far ahead. You'd almost wonder if they're made by the same company or not... :-P (for sure if they had the "Sound Devices" brand name on them but otherwise the same, you'd find people heaping praise on them!) Or the Tascam DR70D / Marantz PMD706 can be found cheaper, and are much more ergonomically bag friendly (than the H6) for a boom op juggling all the jobs in their department.

Pages 200-499 will be devoted exclusively to discussions about it missing its release date.

As per the other thread, here's a sneak peek

You'd laugh if I told you how easy it was to find that ! I'm not worth suing !

OMG!! How do you get this? Whouhh Impressive!!!

Oh...hello...what do we have here

Always trying to avoid buying their expensive ones you mean

1DC all day baby.

True. Cops are always confusing boom poles for a pack of mentos...

Go for the newer DR60Dmk2 over the old DR40 And if you don't have money for both a field recorder and bodypack recorders, then just get the bodypack recorders (and go for DR10L over F1). As it seems it is better suited for your needs. (and sacrifice a goat on a hilltop at full moon to the gods, in the hope everything will go well, as you're essentially shooting this deaf without monitoring what you're doing)

Just wanted to say awesome video and thanks for posting. Band sounds good. Always nice to have a Captain Sensible sighting. Really feel that those who are noticing the "look" of the camera instead of the the overall video are kind of missing the forest for the trees.

@Inazuma it is highly subjective, of course, I am not in front of my proper monitor, but in everyone of the above scenes I would go with the Sony (I can't even believe I am saying this!). The AF seems better also. In the first one you agree that something's going on, and in the last one with the too much green (that is obvious in other landscape shots in the video as well, and the blue is very different in those cameras, just wasn't sure what was the optimal choice, amd didn't have more time to spend, that is why I didn't comment). Sometimes there is a green overcast, as it is very obvious in the image that says "Face Detection" against the white background. Anyway, thanks for trying to explain, I am more surprised with the improvement of the A7 series to be honest, wasn't trying to say anything bad about the Fuji. I like Fuji very much, since forever, and I want them to survive, but it is hard earned money, and I can't change systems every 2 years. It seems that you realized certain shortcomings of the camera also, and you moved to the A7iii already, and that explains a lot I guess. I am - very slightly - excited about using the A7 in a couple of weeks, something I haven't feel for a Sony since the production company I was working brought the first EX1 camcorders in my country!

I agree, the C200 RawLite is absolutely gorgeous. If you have the money for the media and the storage, you really can’t go wrong with that camera... especially if you have a specific project in mind for it that’s worth putting that little extra into. Btw, I liked the footage you posted the other day from your 1DXii. I have the trial of Red Giant Film and it’s a cool little program.

@Kisaha At the end of the day, it's subjective. But I will comment on each scene to help you understand why I feel the Fuji renders better. This is not the best example because the Fuji has some weird stuff going on here with the levels clipping or something (maybe due to DR400 being used) and also theres some green tones under the eyes. But overall I would choose the Fuji here due to the amount of red showing in the Sony. Even her hair looks red. See how the highlights in the Sony are burnt here while the Fuji maintains a consistent tonal range and colour transitions smoothly. The Fuji shows more warmth (WITHOUT looking orange, which is my complaint with Panasonics). Again note how the transitions between the different colours of her skin are quite smooth on the Fuji compared to the Sony. This one is extra subjective. The Sony has what I believe to be a more accurate representation of the subject. However, the Fuji has quite a filmic response here. More warmth, nicer contrast, less harsh. This is actually an example of an area which bothered me about Fuji rendering. Greens are often too vibrant and if you have a lot of plants/grass in a scene, it can all end up looking like a green mush).

Hello all, I have been in Scotland for a week, what a beautiful country and people and I just want to share some pics and a short video playing with the very cheap 16-50PZ. All auto WB, 0 Sat, -10NR, +1 Contrast and 6ºHue. Video is just 7 seconds in Waverley Station testing autofocus. NX500 Hack NX-KS 140Mbps https://drive.google.com/open?id=107TcnejXJJDhx8RpX4SGEc9lg2OFUe3z All colour in camera, no post.

What a wonderful small combo (camera+lens) and what an amazing nation. Had some great time there, and some of my best friends living in Edinburgh, still. If you get bored of haggis (I liked it!), in Portobello there is the Greek Artisan Pastry, amazing food, get a spanakopita and walk on the beach with a coffee!

But the 9V is delivered through QC, which can boosts the voltage to 9V regardless of whether the source battery is at 4.2V or 3V. It would have been different if we were talking about an actual 9V battery.

In the US you don't have a problem of getting a citation. Its more likely you will get shot

You realize how weird that sounds in 2018?! My 2014 cameras do that. Have fun!

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