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I'm just editing a little highlight reel from the Berlin Fashion Week last year, and I deeply regret selling my Canon FD 24mm 2.8 lens now. Some of the rendering is really nice, to my eyes at least. I replaced it with the Sony 28mm lens, and that's great, but it is just lacking something. Also used a Tiffen Black Pro Mist 1/4, GFILM settings and Deluts Downtown Alt as a base LUT if you were curious.

Thanks! Hope I can do a tutorial someday. Right now the SD overclock hack is simple enough to use, at least compared to the next phase of development that is being carried out to increase the resolution beyond 2520x1080, which is an extremely complex process. We're hoping it will be possible to overclock the SD card interface even further at some point. With the current overclock hack the write interface runs at 160 mhz (up from 100 mhz natively used by Canon). If the developers find a way of getting the frequency up to 208 mhz (the max UHS-I cards can achieve), then the camera's write speed could increase up to 80mb/s apparently (as opposed to 55mb/s with the current hack). That would make 2520x1320 recording feasible, possibly even 3k recording. In fact I just saw that a new build has been posted enabling 4k recording for the EOS M and 100D. Will test tomorrow but doubt it'll be possible to record longer than a few frames! Here's another really quick test recording 2520x1320 and 2336x1314: @PannySVHS that looks very interesting and would be great if someone could look into reviving that hack. The colours look amazing, must be thanks to that CCD sensor! Unfortunately I have no coding knowledge so wouldn't know how to help. Magic Lantern development on the EOS M has progressed quickly since this thread started and now in crop mode it's become a 16mm camera (thanks to an increase in resolution capabilities) - so the title of this thread is slightly out of date. Maybe I should start a new thread! Of course it's still possible to shoot super 8 at 720p without using any of the experimental builds.

Yeah... well, when you register your Sony camera online, there is some small text in the End User Agreement that says: "Camera user accepts that the word 'simple' is no longer in their vocabulary." You will never see the word "Sony" and the word "Simple" in the same sentence unless it includes the phrase "Why isn't... ?" in it as well. Yeah, I will probably pick up an LA-EA4 (to go along with an LA-EA3) if I move up from the a6500 to the a7 III. I can certainly AFFORD to buy two a7 III (got to have a backup camera) and the Sony lenses for them, but I can't really JUSTIFY it. I am too much like my father was... and I guess I am ok with that.

I am not even interested in the A7S III at this point anymore.

@Alpicat, three of them ccd sensors even, yeah! global shutter included! Unfortunately only a few enthusiasts on this forum are interested in my thread above , which I find astonishing. I love this eos m super 8 thread though! Still, a bit disappointed. Well, no biggie. cheers :)

Unless you are going to use the GH4 with an external recorder (but why? Would be cheaper to skip the external recorder and buy a GH5) then I'd go for the G85 (wellllll.. the GH4's 96fps is another reason, but you get a heavy hit in quality when going from 60fps to 96fps) Can't you by hand enter in the focal length into the Sony camera? Like you can with Panasonics A problem with cheaper cameras is often they don't get as much talent applied to them (as the top notch guys buy more expensive cameras), thus very often in demos of cheap cameras you don't see their full capabilities displayed.

right now the E2 is closer to a phone, at least in terms of internal processing...

I am not sure how / why they'd put 4K 60p internal into the A7S III when they didn't / couldn't with the FS5 II. Same with 10 bit. The A7 III really makes this a head scratcher, in terms of what they can pull out of their hat. I'm guessing that's the delay; one, letting the A7 III sell a ton and two, putting in the extra development time to make it a worthwhile successor. They have to have SOMETHING planned. But what? Some of these ideas people are throwing around sound too fanciful / unrealistic, but at the same time, what else could justify the increase in cost that will inevitably come with it? Improved battery life, less overheating, better colors, and even better low light isn't going to be enough I don't think. The A7 III has made it so that the it's going to need SOMETHING big.

To be fair, its an easy hack for the unlimited record time and the USB powering means you can run it for as long as you have space on the memory card. Or until it goes on fire, which ever happens sooner.

I get why people love the a6500 but at the end of the day these are deal killers for me and why I went with the GH5 and the G85 for my b-cam: The battery life. Unless you set up some kind of external battery the number of batteries you'll eat through on an entire wedding day is ridiculous. This alone is a huge killer for me. The overheating. This scares the hell out of me, as someone that has never, ever had to worry about a camera overheating. Especially if I'm shooting an outdoor wedding on a hot day. It's probably more of a mental thing for me, but still, I like knowing that I'm not going to have to worry about my camera overheating, needing a break, or even shutting off when I really need it. The record limit. Not an issue if you're not shooting long form, however if you are, the recording limit can become a real pain in the but, especially if you're doing any external audio (which, for a wedding, you should for speeches, the actual wedding itself, etc.) Not a total deal killer but it's just a minor thing I'd prefer not to deal with. The rolling shutter. I don't mind a little rolling shutter but the a6xxx cameras have way too much. On a wedding shoot it's probably not a deal breaker, but overall, for me and my work, it's just too much. The 1080p is truly awful. I know a lot of people might not care because they will always shoot in 4K, but I still shoot regularly in 1080p for some projects and in my opinion it's unusable. The color science is not pleasing at all. Probably the worst out of all the major companies in my opinion. The form factor. This is obviously a much more personal issue, but I HATE the form factor. BLAH. Lens selection. It has gotten better, obviously, but still, it's still limited compared to other cameras and they come at a premium. Again though this is getting better. The menu system. Blah! All the other little issues others have raised. Overall I get the appeal of the low light performance and the auto focus. But they aren't enough for me personally to deal with all the other things that drive me nuts about these cameras. The A7iii does a lot to improve upon these issues, thankfully, and I think Sony will inevitably get better with this series of cameras. But right now they aren't for me.

It would be amazing to get the dvx100 hack working. It looks like they were connecting a laptop to the camera and running it from there? I just wouldn't have a clue how to do it! Here's 4k filming with the EOS M at 9fps (4096x2552), it's only possible to shoot 5 frames at a time though. At this resolution, the crop factor becomes 2x (micro four thirds). I don't think it'll ever be feasible to get this to work at 24fps. Even with the extended SD overclock hack writing at 80mb/s, it would only be possible to record a second or two, the data rate is just too high. Don't know if it would be possible to hack this camera with an external recorder and increase the write speed that way, but that's just too much work!

I've recently bought the Sigma 1.4 30mm lens for my A6500. I can't bring myself to do the whole sashay towards the camera or appearing from the bottom of the frame routines to test the AF in what appears to now be the accepted industry standard manner though. What I will say though is that in the brief testing I've done with it on non-catwalk or weightlifting simulation situations, it has thrown a couple of those "no, I'm fine where I am thanks" moments where it just wouldn't catch again that @jonpais saw on his 50mm version.

@Mark Romero 2 Regarding Christian Matte, I believe he is back on Sony, mentioned in a live stream it was too heavy for his style. Back on the a7iii as seemingly every other YouTuber is at the moment. Man have you guys given me stuff to think about. The a6500 / G85 have my attention. I will need to make a chart and figure out which one makes more sense.

Yeah there is plus and minus to doing Anything above normal for sure. But yeah there is some real bargains even in A Mount lenses, and they just about give away excellent Minolta glass. The Beer Can is a good example.

Yes, you can enter focal length by hand in the menus of the a6500, but like most things, it's a pain to so so, even more if you are on a gimbal. Haven't tried doing it on a panasonic, but I would ASSUME that it is easier, just because it seems easier to do everything on a panasonic. I only have ONE adapted AF lens (a Sony A Mount 85mm f/2.8 SAM on an LA-EA1) and I can confirm your suggestion. And this IS a Sony lens on a sony made adapter mounted on to an a6500. Agreed, his stuff is nice. Isn't he using a canon now??? Like a 6D II (aka, The Camera Canon Released So That Everyone Would Buy Sony Cameras) ? FWIW: I asked Brandon Li about using the 1080p on the a6500 and he said as long as you are using a fast lens and a shallow DOF the IQ of the 1080p out of the a6500 is fine. I think the fact that he is on a gimbal 99% of the time and using a lot of movement helps (as long as you don't buy a one-way ticket to Rolling Shutter Town).

Yes it can write to the computer, but I'm not sure if mplayer could play it that way? Anyway, I think the FlashAir solution would be the better one if it works as planned. I will try it out and see.

As far as I can see from the manual (I don't have a GH5), the Tether app has the option to write to the host PC as well as the card? If mplayer can play files while they're still writing as @tupp says then it would be able to do that so wouldn't need playback within the Tether app. It depends on your file but mplayer should at least smooth out the playback even if it does take some time to buffer. Its obviously limited by the nature of it being a wifi device but I'm out of options for getting it out of the camera any other way Yes, I was playing fast and loose with terminology but WebDAV mapped as a drive if you need it. In this application with mplayer we would just access it directly by ip address

So we unfold the optics with mirrorless cameras, and end up folding them in smartphones. I can't keep up

They've missed a trick by not having a music streaming service for us gentlemen of a certain age and calling it Instagramophone

OK, here we go ... My understanding of what the actual setup is going to be is that it is pretty much akin to a photobooth but for slo motion video. (please chime in @18hans if I'm mistaken) I'm guessing its either an art installation or something to help people with their golf swing So, the flow would be as follows : Person enters booth Person presses physical switch to instigate recording After a defined period of time recording is stopped Recorded video is automatically replayed on a screen in the booth To instigate the recording, we are going to need some way of interfacing with that physical switch and putting the camera in record whether thats via wifi or with a shutter release cable and then having a counter and then stopping the recording. Consequently we are going to need some sort of microcontroller to handle the switch, the logic and the camera control, whether thats a Pi or an Arduino or some such. That bit is the easy part. The main issue is in having a way to extract files off the camera whilst still keeping it operative. Going into playback mode over wifi by spoofing being Panasonic's app is a non-starter as it kills the HDMI output. The standard USB mode will stop the camera functionality and just use it as a very expensive SD card reader whilst the Tether app for the GH5 has a few drawbacks It lists 'some limitations' when being used for video (I have no idea what they are but that doesn't sound good It needs a 'real' computer to run it on, which may or may not present budget and/or footprint issues for the application its being used for There is no way within the Tether app to instigate the record start/stop from a physical switch complete with the timer aspect If the budget does allow for a Mac to run it on then it might well be a workable solution as whilst its not possible to create the record start/stop logic inside the Tether app it is possible to create it using something like Keyboard Maestro https://www.keyboardmaestro.com/main/ to record screen macros of the record button being pressed and trigger it from a keyboard or even over midi. Midi might well be the way to do it because there are numerous small controllers and foot switches available off the shelf that could be used to handle the input from the user of the booth. That setup would keep the camera operative whilst it is transferring files back to the Mac. I'm not familiar with mplayer scripting so @tupp can chime in here but my presumption would be that it can be scripted to play the last file in a folder which could then be triggered by a watch folder option on the incoming folder? So, if you've got the budget and the space for the computer and the midi controller then this could be all you need. However..... If you don't or would prefer a smaller and cheaper option, my £40 solution would be to put one of these Toshiba FlashAir wifi SD cards in the camera : Because the camera doesn't know or care that it has these extra capabilities, there is no interruption to the camera operations as it just thinks it is an SD card. Although it serves a similar purpose to the EyeFi cards, its actually a lot more open in terms of what you can do with it and can be used just as if it were a typical network drive. So if you simply put "http://192.168.0.1/DCIM/101_PANA/P1010790.MP4" into mplayer then it will play that file off the camera without the camera being any the wiser or stopping you doing anything. This includes recording another video on the camera at the same time as you are streaming from it by the way ! Obviously, from a programming point of view, this openness makes it easy and fast to come up with custom solutions as it can all be done with standard http commands (it stores its file list on a specific html page on the card for instance for quick retrieval). It also means that you can remotely manipulate files on there to do routine file deletions (or moving to another drive in your network if you use it in Station mode) so it can be left running unattended. It can also run LUA scripts from the card to do even more stuff like being able to ftp in and out of it. Full documentation here : https://www.flashair-developers.com/en/documents/api/ From the control of the camera point of view, if you are using a Pi, then its a small Python script with the GPIO to get the user switch, instigate the camera record out of another GPIO (hack a cheap remote shutter release), timer, stop recording, get the file list html file off the card, extract the last file name and then fire up mplayer to auto play it. This script looks like it would be easily modifiable to get something up and running fairly painlessly https://github.com/baudm/mplayer.py/wiki/Player You could also instigate the record start/stop over wifi to the camera but you would then have to use a small router for the Pi to be able to address both the camera and the FlashAir card. If you do go this route, make sure you get the W-04 version obviously as this has the fastest performance. In summary ( ) the PC/Macro/Midi/Mplayer route would be something that you can get up and running with a USB cable quicker but at quite a big cost expense and footprint wise but the FlashAir route is cheaper, smaller and a bit neater if you can invest the time in the Python/hardware side of it.

They sound like a colourful bunch.

Alright smart ass ?

A 35mm is always a 35mm lens, no matter what camera you ever put it on. People keep on forgetting this fundamental fact. What people tend to be interested about however is FoV equivalence, and yeah a 35mm on a BMPCC4K would be slightly wider FoV than a 70mm on say a 5D or D800

@cantsin that is what I am worried about. I think they should have tried to boost it instead of reducing it. But then again I also have not much knowledge about the subject. When I shoot PHOTO real estate sometimes (not super super high value) I sometimes stopped to bracket stuff because the d750 RAWs are that crazy that if exposure is up to 3 stops over I might even be able to recover a fair bit and it is god enough for the purpose. I wonder how that relates to RAW video on the P4K. I surpose my question is, does the 13 stops relate to jpg oder raw were you have a great amount of data?

I think the general rule is about a 20-30% hit (in theory) when using Bayer sensor over true pixel resolution. I think that means the 1920 Bayer is more like 1440, not 720. The first 4K Red ONE was a 4 K sensor, that in theory was really about 3.2K (with an aggressive OLPF) and never measures on an optical resolution chart more than about 2.7K. So it arguably makes 4K RAW files filled with 2.7K resolution images. We can easily test this on a resolution chart with the pcoket, but moire also complicates where you count resolution from. To my mind the resolution hit of only a 1920 bayer is counter balanced by the substantially increased sharpness of no OLPF. I think it's more fair to say that the UN-OLPF'ED pocket mostly presents an image that really truely is 1920 in feel, with occasional moire (or a lot depending on your shooting style) JB

Yeah I should note, working with prores or RAW definitly saves time in post. As if I would edit GH5 h265 files, it would not be a joy working in post . And in a professional enviroment every minute must be payed, so definitly a money saver in that perspective. And I dont really have that much free time anymore as I am juggling a baby around. So this workflow saves time for me and allows me to have more quality time with my family as well. You cannot put a pricetag on that, Time is the most valuable thing.

Okay maybe the problem was not so much the processing but if you transfer the video completly before processing that would take too much time already. But your idea sounds interesting. So basically you say I should use the file stream and play it back directly? That would be an interesting alternative if the transferrates are high enough and of course if the codec can be streamed. And the the slowing down playback would not be needed anymore because I that case I can just use the video from the GH5 which can slow down internally, so only a normal speed playback would be needed. If @BTM_Pix doesn't find a better solution I will have a look at it.

Congrats on bringing this to life. I'm sure a lot of us suffer from having many "cool" ideas that never get realised, so kudos to you. I'd love to support you with a purchase of a Panasonic unit when the time comes, just point me in the right direction when you are all setup. Question: Does you focus pull function work similar to the GH5's. For me this, and the remote thumbstick control of focus is worth the price of entry as a gimbal shooter. Great stuff mate.

I really don't think I would give up APSC, Face Focus, Eye Focus, Clear Zoom, the best 4K out there, SLog 2, SLog 3, on and on for a Panny G85. Not me. But it is cheaper. Easy to spend your money. All you have to do is go to Jason Lanier's web site. He started out with the Sony A6300, A6500 after he quit using Nikon gear. Made him famous. He uses those and the A7 series cameras now. He is probably the most recognized model, wedding photographer in the world now. And probably one of the most highly paid ones. http://www.jasonlanier.com/

This is how you set it up. https://www.slrlounge.com/how-to-use-sony-steadyshot-with-old-manual-and-adapted-lenses/

It just remembers the last setting so if you don’t change the lens, the last setting is still active.

No it remembers it.

Out of Likes. Yikes!

Do it, shooting with film is the indie hipster thing to do, the brides will flock to you.

So have I. Does it mean in 2018 I am going to go buy a Nikon F and do manual focus, and take the film down to the local drugstore. I really doubt it. I am probably going to buy a Canon 1DX mk II and shoot DPAF till the Cows come home, and charge 5000 bucks to do it. ?

Netflix?? ???

@Dustin 120fps in this camera is seriously bad. If this is a big selling point for you, try to see some footage first before buy. Coincidentally, I watched some clips - shot on a studio with lights - this very morning, and the results were unusable. With less than sufficient light, I have seen terrible stuff. Andrew Reid had posted a high frame rate list of cameras, a while ago, and he expressed a similar opinion.

I'm missing something. Why the non-linear electronic flybywire auto focus lens?

The issue/challenge is the automation aspect though @tupp in that the files need to be accessed from the camera directly without any manual intervention (ie taking the card out to be played in an external player or even using the camera's physical controls to instigate playback). I think I have worked out a sneaky solution to this problem though........ Tune in tomorrow night for details

@Alpicat Thanks for all the updates and videos! At some point, I hope that someone will create a simple tutorial demonstrating how to configure the EOSM with ML to enable these capabilities.

No question, I’d go with the a6500 over the a6300. But also be prepared to have a hard time seeing the LCD screen in daylight if using sLog and be prepared to get an on overheating warning. I can’t say much about the AF because I used old manual focus lenses with it. The 4K is insanely detailed and sharp, especially when downscaled to 1080p. And for me, the color was kinda wonky, but I’m sure a better colorist would do fine with it. With that being said, if you research online, there’s a reason why the lion share of wedding videographers still use Canon cameras. I honestly don’t believe in recommending cameras any more. I’ll discuss my experiences with them based on my limited skill set, but these choices are so personal to individual needs, one really has to decide what specific spec or specs get them hot and bothered and go from there. Whatever your choice, good luck!

Folded optics cellphone. Pretty much what the Light L16 is also. https://***URL removed***/news/6628566824/oppo-announces-5x-optical-zoom-technology-for-smartphone-cameras http://www.uglyhedgehog.com/t-356042-1.html

You could make a smaller sensor with an effectively longer lens (in equivalence terms). Or you could just make the sensor denser, for improved digital zoom; certainly for 1080p shooting. This certainly won't help with low light shooting, but maybe multiple cameras can work together to improve noise reduction. At the longer end parallax differences are less significant.

Unless you go Canon you're likely to find yourself disappointed. (and if you do go Canon.... you'll find yourself disappointed anyway! But for different reasons) Newer Nikons (such as a D500 or D750 etc) have fixed this. (and I find it only a minor nuisance on my D5200 anyway) Being "forced" to always shoot in 4K (without the option for good 1080) is quite unappealing to me. (plus there are the overheating issues with the a6300.... and even some a6500 as well) One word: Monopod (it is a "no rig" approach that allows you run and gun around at events at a fast pace, if that is what you prefer, a monopod is my preferred weapon of choice for weddings)

The 700D, 100D and EOS M are now able to shoot around 2520x1320 in crop mode (previously 1080 was the max vertical resolution). 3k is also possible although liveview doesn't really work at that resolution. Record times are very short as it's only possible to shoot in 14 bit lossless for now. Here's my first successful test with the EOS M recording at 2520x1320 and 2336x1314:

Satin, BPM and Smoque are my favourites.

Hello there! This is my new test with C200. It's handled without any tripod so it's a bit shaky, I've made Color Correction in Adobe Premiere CC 2018 with Magic Bullet and some tweaks in lumetri, with HDR on - shot in Rawlight. Please let me know what do you think about it, in particular in color correction that I've made. Just remember it's just my fourth test in Rawlight and I'm still trying to figure out what to do to make better images. If you have suggestions, tricks etc, let me know them in comments below. Thanks! :-)

I think the most complete review for now, very very nice camera for the price but the dreaded yellow zombie skin tone is very visible for me.

In my opinion you are completely missing the whole point of this blog and the enjoyment of shooting with the mirrorless cameras. Yes for many it is a job and the C200 will be perfect as a workhorse for them. But the great thing about affordable mirrorless cameras is that it gives everyone the opportunity to wrangle a £1000 toy so that it produces images that rival a £8000 workhorse. Shoot something artistic and have fun. And for work, jobs, clients, there's the C200. I am not going to become like C5D, NewShooter, etc. and start aiming the site solely at pros. I get that a lot of pros read EOSHD but they will forever be a minority in the overall audience of 'cat shooters' as you so dismissively put it.