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Right, you weren’t specifically referring to the GH5 as much as you were referring to any modern camera with modern conveniences but you have been known to defend the GH5 to no end... which is cool, I do it with my 5D3 as well. It doesn’t much matter anyway, this thread has nowhere to go until some footage is released and some cameras are released into the wild. With that being said, I really do appreciate John Brawley’s contributions to this site. The discussion I had with him the other week regarding his experience on the production of The Resident was insight rarely received from a pro to an aspiring director. And he seemed more than happy to offer it. So maybe it’s a little unnecessary to pick apart the minutiae of every sentence and every word he ever posted on this forum to “win” an argument?

Let me put a point on this: Who gives a shit. Can we please stick to talking about this camera, it's highs, lows, competition, accessories and application. If you feel the need to post about other users, or argue about who said what and under what context, I'm sure most people here would prefer you do so elsewhere. Maybe you can contribute here: Thank you.

It's flown under the radar for video but the Sony 100 megapixel CMOS sensor is doing amazing things over in the Hasselblad camp - 4K RAW to be exact. You can see a great video of that below but first - I present to you the humble Fujifilm GFX 50S. If I told you Fujifilm had a full frame mirrorless camera system to compete with the Sony A7R III, a lot of people would sit up and notice. However the GFX 50S is a medium format camera, and these don't really register on the same radar screen as others. Read the full article

Not that I really care about this argument, but right or wrong... Jon Pais, for dramatic effect, (or melodramatic effect... lol) was quoting Frank Glencairn’s use of the word “sissy” in his article. Obviously he was doing it because he wants to remind the world that the GH5 still exists and that AF and IBIS aren’t just for sissies... they’re for fanboys as well... lol. Is it kind of annoying... yes, but at no point do I think he was using the term, sissy, in a derogatory way. And I don’t think Frank Glencairn meant it that way either when I read the article. This world is getting so politically correct there will be no such thing as comedy in a few years.

In terms of these mics being usable for "real world" situations, I'd be more concerned about handling noise and directionality (isolation of what you're pointing the camera at) than wind noise. Handling noise might be a reason for them being so large - if there was a suspension mechanism in there of some kind. The capsules likely to be in there are quite small so I suspect something interesting is going on in there The reason I'm less worried about wind noise is that I've seen YouTubers (the ultimate "real world" shooters!) put fluff over in-camera microphones with quite amazing results in some cases, so it might be something that can be retrofitted pretty simply. Considering the location they might not get in the way much either.

I haven't heard from the "big" reviewers about the bottom pixel issue either yet it appears pretty widespread. Most of those youtubers at the sony event aren't even videographers. Quite possible they didn't stress the camera under harsh enough conditions. Not to mention the A73 launch was in (winter) february and we're now almost summer. Regardless there are indeed overheating reports on YT. This dude shows shut down at 25mn under 30degC: @kye i'd probably avoid if planning to shoot 4K outdoors in OZ heat!

You seem to be picking fights with everyone since that debacle with someone calling you out rudely a few weeks back, that's all. I can't remember this place ever being as nasty as this and it becomes a slog to read through – it's not only you, though.

Soon :-)

It sounds like you’re threatened by this camera so you’re making sure you point out any and all shortcomings you can. Isn’t sissy a bit emotional ? You’re reaching. Some people will be happy with 10bit 422 as their maximum image quality as long as they have a tilt able screen and autofocus. Most serious image makers know that 12bit raw and 10 bit ProRes for half the price trumps the MILC features you’re desperately trying to remind everyone your precious GH5s has. Mostly because “filmmakers” don’t tend to use those features anyway. I don’t use AF. But I shoot narrative drama. What I need isn’t what others need. For the majority, they will prefer the utility of the form factor, longer battery life, AF and IBIS on the GH5 and will find the bare minimum for serious work 400Mbps codec to be good enough. People who care about image fidelity will likely prefer what a Pocket 2 produces side by side and will also decide that they can work around the shortcomings that pertain to the way they work. The same way others will prefer to work around the shortcomings of a lower bit depth more compressed and sub sampled image because other features are important to them. On board batteries on an Alexa mini on my last show were lasting about 40 mins by the way. I guess you’re calling me a sissy. JB EDIT by the way, I don’t think it’s at all appropriate to use sissy, a word that means effeminate man or homosexual. Maybe you want to change that.

Shot on 2.8 setup:

Sorry for the long shots, I should have filmed more yesterday evening. Movements at the railway in my neighbourhood Oostzaan. Filmed with the combo NX1 + Yashinon 45 f1.4 + Bolex 16/32/1.5x + HCDNA. Graded with the lut from Casey Wilson, The NX1 DC Kodak and Filmconvert.

Did you try using the H1's internal mics for a stereo setup? Alternatively, you could probably use an external stereo mic, something like the Rode NT4. It's got fixed XY stereo, with 9V battery for phantom, and a 3.5mm input that would plug into your H1. An external mic like the NT4 would provide a considerable upgrade to the H1's internal mics. If you placed it quite close you could reduce the gain a little and thereby cut out ambient noise quite well while maintaining a reasonable spread with the cardioid pickup pattern. A little ambient sound can give a sense of place. Either way you'd need a fluffy for the wind of course, and if the day is relatively calm they can work well. Experimenting with careful placement and gain would be key to getting a good result. A decent microphone and careful placement is likely more important than the recording device.

@kye suggested (actually he declared) that his camera's internal mics are doing the job great, maybe he can help you with his approach. The DR70D is a good recorder for the money, for the rest, I couldn't dare to offer any advice. Directionality has nothing to do with wind. None at all actually. Proper wind protection for mics is very expensive, and there is a specific reason for that, a wind problem can completely destroy your takes, and your shooting day, that is why the alright solutions (Rycote Gloucestershire offer the cheapest good wind protection, K-Tek also, but with limited variety) cost probably as much as your whole sound budget. They also offer https://www.youtube.com/watch?v=30P--8lu6nk if you do it the Kye-way. Rode NTG4 or the MKE 600 are good budget directional microphones. Most good brands have some good low cost such mics. AKG, BeyerDynamics, Audio Technica. My advice? Find a friend that does sound, or someone more experienced and invested on it, sound needs a decent budget, to just work. Edit: actually the Video Micro is a surprisingly good performer, but its disadvantage as an on camera mic - it is too wide, is an advantage for recording guitar, as it acts as an cardioid mic (takes more "space"), just get it closer to the guitar. Voice usually needs more directionality, especially outside, and you need directionality to avoid other sound sources.

Thank you bargain hunter. That is a superb price on the adapter, it is £650 new and WEX had it used for £450 I've gone and pulled the trigger on that and we'll see how the Hassy lenses do. Shame it doesn't have AF with these even though it has an electronic interface on the adapter, wonder why they didn't get it to work? I am keeping the H3D-II with it's even larger CCD, as I love using it. The optical viewfinder on that and the snappy AF vs the GFX is like a nice reliable DSLR in early days of mirrorless. Recently found the 100mm F2.2 HC for £600 at MPB's eBay outlet... Usually it is £1200 but this one had no AF and was being sold as spares... Manual focus on it works fine and it's actually quite easy to focus through the H3D-II's viewfinder. On the GFX will be even easier. On the subject of lens adapters, I recently got a TechArt Leica M AF adapter for Sony... Blog post coming soon on that. I am blown away by the AF speed and it works with everything manual, not just Leica M... And it more than halves the minimum focus distance of the Leica M stuff which is usually 1m. I'm impressed.

You never know, you have some pretty amazing production value right in your backyard. Put together the right story and you could have the next best short on the festival circuit. I haven’t seen Sicario but I’ve obviously heard good things.

I didn’t see that, thanks. Hmm... that’s interesting. I can see it though. In some ways the move from the GH5 to P4K is a lateral move... especially if sensor size is a concern. Are you getting enticed by the glory of FF? Honestly, I’m kinda interested to see what Panasonic is planning for the GH5s now that the P4K is coming. I’ve seen some nice stuff from it but for the money alone, the Pocket wins. Now if Panasonic can wrangle up ProRes Raw or something similar, with a lower price... game is on.

Thanks @kye - the post was mostly an attempt to get things back on track, thanks for picking it up. That's my thoughts too, stick some fluff over them and have them as 'usable' mics for those times you need to film a kid's birthday in 4k60p RAW, and don't want to add anything to the body. On the subject of audio, with two separate inputs, I was recently pondering an XLR box like this. It could be a fun way to add more mics that other cameras, even higher end ones, can't actually do. With this you'd techinically have 3 separate phantom power inputs. I regularly film live musicians performing for a camera, I have one on legs with the main vocals and guitar going into that and then the secondary instrument, generally another guitar, going into a Tascam Dr40. With this setup, I could have all 3 sources going into one camera, and separate the stereo input from this box into two mono tracks. Alternatively, it'd be good for interview situations with two subjects. You can mic the interviewer and both subjects with no need to sync anything later. hmmm.

I bet their VR cameras have much much fatter profit margins, even though the number of them they sell would be much lower they might still make more from those sales overall.

We suggest Blackmagic Design to add Super 16 windowed mode to new Pocket 4K camera.

nevermind/ let me put a point on this: @jonpais is a raging jerk. hes deleted my posts and threads. i think he needs some time off from the forum @John Brawley, had a fit over the word "sissy", which infuriates me. in America that isnt "hate speech", you act like he said fa**ot. /thats it

I'm surprised John Brawley still visits this forum given some of the comments on here. That EM 1 mark II video is very impressive given the limited dynamic range of the camera. If 10 stops can get you those kind of images, 13 is a huge step up.

I played around a bit with Resolve and you can get some tools with live feed. But it's not a lite solution. If you manage to find some pixel shaders to do the calculations in youc ould use MPC-HC or similar that supports running pixel shaders.

Also remember if you like Rokinon lenses, the 12mm f/2.2 cine lens comes in the EF-M mount. They have a few of those smaller aps-c lenses. I’ve used the 12 and the 21mm, which I liked for their size and smooth operation. They also have a fast 35mm. So on the M50 with 4K crop, the 3 lenses would give about a 28mm, 50mm, and 85mm FOV respectively... hell, it almost sounds like they were made for the 4K crop of the M50. Haha, just posted something similar. But the good thing about the 1” lenses is that you can get almost new copies for less than 50 each... so depending how serious you want to be with the M50, would determine how much you want to drop on lenses for it.

At $249 on B&H the E1 in 2018 is actually a bit of a steal if you need a really small 4K camera, as like you said the firmware updates greatly improved the camera. When looking at it in that price range, the muddy image and not great color become less of an issue. I know at least one vlogger recently started using it as a webcam.

I read a lot of reviews of the Z Cam E1, and many users were more than satisfied after the various firmware updates and after the price cut. But, considering it was a product by a small little startup, they seemed to have resolved a lot of the issues users had when the product was released. I too feel the Z Cam Z2 could have included a screen and some (more) ports and a SD Card slot. Also, ProRes and RAW. But it does include H264 and H265, and if Sony and Panasonic's implementation of codecs is any indication, than one won't really be missing ProRes (though we could do with RAW). It also seems to have wifi, and I am guessing if it has an App that's even close to @BTM_Pix quality of implementation, it could be a runaway success. Or better still, @BTM_Pix makes a controller for the ZCam E2. That would be a great collaboration.

But that's the thing: they can do all of that while maintaining a small form factor. Really, how much larger would the camera have to be if instead of 3.5mm it had mini XLR, etc.? Again, to arbitrarily handicap it to offer lower quality connections / features because it absolutely has to be this tiny brain just seems silly even if they offer modules, etc. But their most significant release was, in fact, the E1. I get being excited, and I appreciate they're even trying, but again, you seem to be giving them the benefit of the doubt and are dismissive of virtually all criticisms of the camera, criticisms that I think are pretty valid. That, by your own words, people have the wrong idea about what the camera is / is trying to be again shows how hard of a sell this all is, because Z-Cam has done a pretty poor job at explaining that. Going to their website, none of this is explained. It just has specs and a price. And the specs are great, but they mean very little if they don't deliver in other ways. Again, I appreciate your excitement, but going into a thread titled "What we want in the ZCam E2" and explaining away valid thoughts and wants if kinda silly. What then are we supposed to talk about in this thread?

forget about canon

I'm not really worried about what someone calls me. I've sure heard worse. I don't really care what you think of me either, but thanks for taking the time to let me know. I don't wish to derail this thread any more than it already has been. Don't bother reading below if you don't wish to. I accept the way I use a camera isn't the way others use a camera. I love a robust, informed and respectful discussion about features and approaches to workflow. I'm happy to argue the pros and cons till the cows come home and I love being proven wrong. But some users posting here seem to want this argument to be more than that. They are specifically trying to look for contradictory quotes from me for the purposes of muddying the issues being discussed. I'm happy to chat about that too. With regards to use of language, I'm going to respond in kind when I perceive that someone is vilifying someone else with language that absolutely has a problematic past. All I actually did was ask the poster to re-consider the language being used. The poster then argued he didn't use the word in contention. Language is highly subjective and contextual. I merely pointed out that I don't think it's an appropriate way to describe another user of this forum because it's akin to saying you're the equal of someone that's effeminate ( you're the SAME as a woman ) or gay because of how often they change battery. That's what sissy means. You may have thought he meant something else. But I didn't have to look it up to understand he was saying. https://en.wikipedia.org/wiki/Sissy "Sissy (derived from sister), also sissy baby, sissy boy, sissy man, sissy pants, etc., is a pejorative term for a boy or man who does not conform to male gender stereotypes. Generally, sissy implies a lack of courage, strength, athleticism, coordination, testosterone, male libido, and stoic calm, all of which have traditionally been associated with masculinity and considered important to the male role in Western society. A man might also be considered a sissy for being interested in traditionally feminine hobbies or employment (e.g., being fond of fashion), displaying effeminate behavior (e.g., using hair products or displaying limp wrists), being unathletic, or being homosexual." I guess you're OK with that choice of language or you genuinely thought it meant something else by wanting to argue it, but I'm going to call it out if I don't think it's appropriate and invite the poster to edit their post in case they don't realise that some may find it offensive. It's just decent courtesy on a public forum like this. We're not at the pub with your mates. I'm going to go out on a limb here and guess that not a single one of you posting here is a woman. And actually I would love to be surprised if there was someone lurking who wanted to out themselves and weigh in with their views. I don't think you get to decide if it's offensive or not. You can still call me names for pointing out though if you like ? While you may not care about such language because you can take a joke, it's not you that's being vilified. Why do you think women don't post in forums like this ? Because they are out there. They read these forums and choose not to engage because of the boys club that this place can be. Especially when talking about the very kind of issue that makes them not feel comfortable and welcomed in a forum like this. This is not about being PC . It's about us as men calling out language like this because it does matter. You're wrong if you think those who are vilified aren't here lurking and choosing not to post. Maybe it doesn't matter to you, but to those one describes by using this language, it matters a great deal. Maybe you can try asking them. JB EDIT . Oh and by the way, in the ACS, the Australian Cinematographers Guild, female members make up about 10% of the membership and only 2% of the accredited members. I can't think of many other fields where the gender disparity is so high, can you ?

@newfoundmass They produce other cameras besides the E1 and you're right I've never heard of anyone releasing cameras with issues... cough cough. Straight to SSD would be ideal but that isn't in the scope of it's size. You can take GH5 out and shoot 120fps 4K possibly in Prores and Raw? No. These are ideally totally different products for different markets, comparing it to what you think is a good camera (a dslr) and writing it off for not being such is naive, especially when the thing doesn't even exist yet. It's not even on sale... how is it "already a tough sell" hahaha. I'm sure they will sell just fine if they deliver. I think people have the wrong idea about what this camera is supposed to be. As far as I can tell from designer comments it's focus is on multi camera shoots and live streaming, it's not designed primarily to compete as a DSLR although can be rigged out to be more of a cine camera. It's something similar to a BMMCC, which as far as I'm aware sold quite well, thus I don't see the reason for the stigma towards this new design which has many upgrades over a BMMCC (if delivered). I'm just glad someone else is giving it a go and trying to give the market amazing specs at a realistic price, even if they don't deliver everything I'm glad someone is actually trying.

Good summary. I can verify the first two because I did some extensive tests... anyone interested can read about them here (with bonus amusing comments!): No need to convert if YT accepts your file format, every re-encode loses quality - like photocopying a photocopy of a photocopy...

Sir. You used the word in a way that everyone undstands to mean gay or effiminate. JB

I know plenty that feel IBIS is almost as good as a gimbal and therefore can be used in place of a dolly for tracking shots. As as opposed to me in a car tracking someone, the example I gave. Thats two different types of tracking shots. And by the way you said “locked off” shots which I didn’t actually say and is not what I’m talking about IBIS being good at. Keep trying. JB

The Olympus 40-150/2.8 Pro is one hell of a lens!

Hi All, I've decided that I might use unlisted videos on YouTube for distribution of my home videos, but had a couple of attempts and didn't like the quality after YT compressed them, so I've decided to work out the right settings. I've seen various threads on this, but people don't seem to have an answer beyond methods that are the least worst, so I decided to do my own tests. This thread is kind of my public notes on this. Ok, the tests. The test video I have used is some "flowers" (weeds) in my backyard. The video is 3.44 seconds (in order to keep the file sizes manageable) UHD 366Mbps. Bitrates specified below are in Megabits per second, based on the file size divided by the 3.44 second duration. Upload test #1 - No processing 366Mbps - I uploaded the MXF file straight to YT Hypothesis #1 - I'm doing something wrong in Resolve exporting. In the following tests I took the original file into Resolve, put it on a UHD timeline, no edits or grades applied, and exported straight from Resolve in the codec specified. Upload test #2 Prores 422 HQ 963Mbps Upload test #3 Prores 422 Proxy 178Mbps Upload test #4 H 264 20k 92Mbps (20k refers to restricting the Quality to 20000 Kb/s in the export settings) Upload test #5 H 264 10k 92Mbps (10k refers to restricting the Quality to 10000 Kb/s in the export settings) Upload test #6 H 264 5k 92Mbps (5k refers to restricting the Quality to 5000 Kb/s in the export settings) Hypothesis #1 result - The higher quality output files look fine - therefore I'm not fundamentally stuffing things up in exporting from Resolve. Hypothesis #2 - I'm stuffing up my grades somehow. In order to test this I applied a grade which radically brightened and clipped the highlights (and most of the frame), followed by a node that darkened to compensate, followed by the Sharpen Edges OFX plugin, followed by the Glow OFX plugin which I like. Upload test #7 H 264 5k with levels glow sharpen 91Mbps Hypothesis #2 result - also looks fine to me - therefore it's not the Resolve grading engine, or some common OFX plugins I apply. Hypothesis #3: I have always worked on a 1080 timeline and exported 1080 files - maybe that is the cause? In order to test this, I exported at 1080. Upload test #8 H.264 5k with levels glow sharpen 1080 8Mbps (8Mbps! I was very surprised it came out with such a low bitrate - the 5k Quality setting on the UHD version was 92Mbps!) So I started raising the bitrate again.. Upload test #9 H.264 10k with levels glow sharpen 1080 14Mbps Upload test #10 H.264 20k with levels glow sharpen 1080 28Mbps Upload test #11 H.264 40k with levels glow sharpen 1080 54Mbps Considering that all we care about is quality and file size upload time, a good comparison would be between the 4k ~92Mbps files and the 1080 ~92Mbps files. Therefore: Upload test #12 H.264 80k with levels glow sharpen 1080 92Mbps Hypothesis #3 result: Yes, uploading a 1080 file instead of 4k (even with the same file size and duration) yields a worse quality result. That's where I've gotten to tonight. I have another idea to test, so will likely write a part 2, however, I think that's a result of note. Lesson - upload in 4k.

Did I ? FFS, as an afterthought on responding to a post with mostly techo camera geek stuff, I also ASKED the poster if he might want to also reconsider his use of the word sissy. Is that a fit in your books ? Methinks you complain a bit much. Also, I was born in New York and am currently working in Atlanta. I'm as American as you are bucko. In the last 12 months on two different occasions, I've had two of my crew ( a woman in one case and a guy) get into deep doo doo with big studio HR departments for exactly this kind of language. And when I say doo doo I mean fired. In your own interests I simply point this out, if you want to crew on any half way professional show, no matter if you agree or not, you need to be respectful to all. It's a condition of employment. JB

What camera / codec would you say renders adolescent acne the best?

I may not be a fan of how some of the conversation but you do come across as somewhat prententious just for the sake of winning an argument. You sound Petty.

I mean, in the second post of this thread you referred to it selling by the truck load and proceeded to be dismissive of my skepticism and all feature requests people have made in a thread about what features we, as potential customers, want. Then, when engaged in actual discussion you ignored comments, criticism, and concerns, defaulting back to talk of the specs, etc. All the while I've been cordial and appreciative of your enthusiasm for the camera (multiple times no less), only for you to resort to name calling and accusing ME of being a troll? OK.

you know you posted a thread by a banned user right?

I detest your attitude, and I have absolutely no interest in anything youre talking about ? A "condition of employment"??? ??? Are you high? Great, youre American? You should be absolutely ashamed. Dont you have better things to do? Thats my SHOCK – you think this argument is important!!! like your opponent. and now youre fighting me? I feel sorry for you pal ? Why has the word "sissy" been used on The Simpsons so many times? You dont think thats a "respectful" writing room? Dude...