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Nah. It's in the name: it's a cinema camera. Get a RED, get an ARRI and you won't be getting IBIS & silky smooth C-AF either. I liked the GH2/BMPCC days. There was a systematic approach behind the madness. You used to take pride in honing your skills. You were forced to think about what you were doing. Now everyone's striving to have a camera handle like a smartphone, pressing a button and getting spoonfed medium format results or something. If you aren't going to use a cinema camera for cinema style shooting... get something else. 'The right tool for the job' might just be a Canon if what your scenarios need is their DPAF. No shame in that.

or put another way - would you buy a C200 instead of the BMPCC 4k if it was 1/2 the price.........

Yep, as my MiniDisc collection will testify.

I suspect most of the people that said no have not used a Canon camera with DPAF. Having this feature does not mean you have to use it, but on a gimbal it sure helps keep the weight/complexity down.

I completely agree with this. Twice the price for great autofocus is a ripoff. $99-199 is the max that one could charge for that feature. Double the Price should include IBIS, Dual UHS-II cards, Weather-sealing and Double/ Triple the Battery life.

No because I would likely use it with vintage glass

Beautifully put. I am a little fatigued by people nitpicking about a camera that is nothing short of a miracle at that price. In fact, option-wise, it's never been easier to be a filmmaker. I suppose one of the downsides of a forum largely focused on tech is, it becomes a vortex of endless demands and a mindset that the right camera is never in the present, but at a near future, just around the corner.

I'm fairly confident that won't happen. Resolve is included free in the package, it's not a forced addon. It doesn't cost BM a penny to put a license in the box, but they would lose a lot of pennies for every sale they don't include it. I'm sure after a while you can buy the camera on it's own, but only on the second hand market. In fact, you're much more likely to find cheap Resolve licenses from people who have bought two cameras and only need one license. Look at it like this. You go to a store to buy 4 apples and you're given these options: $2 for 4 apples or $3 for 4 apples + two free apples Those extra apples aren't free. Similarly if you argue that 'I already have a Resolve license so don't want the free license, can I have a discount instead?' That's also not going to work. Imagine buying a new camera that uses the same batteries as the camera you've already got. You can't ask the store to take the battery out the box and give you a discount - why would this be any different?

I agree with that statement, but I am a Old Turd. I think young people Have grown up with good, to great AF and they are going to demand it like it or not. I think even Arri, Red is going to have to come up with DPAF or better down the road or their in trouble. You are allowed to turn it off LoL. Heck it is all just Electronics to make AF happen. Nothing mechanical body wise. Sure a new Sensor, but they come up with new ones every 6 months lately anyhow. There is no real reason not to make a 65mm Panavision camera have killer AF.

Final update here: I've purchased a used "Excellent Condition" Sony A6500 from Adorama. Saved a couple hundred bucks from new price. Funnily enough, I bought my current camera, a d5300 refurb from Adorama. With a 30 day return policy I'm going to give it a go. Settling on the 35mm 1.8 OSS Sony and a Lens Adapter for my two Nikon Primes. Should be a fun next couple of weeks!

There where numerous debates in the late 90s about bit depth & sampling frequency in audio. The majority of professional audio engineers today will agree that a 24 bit, 96 khz audio recording is more than enough for music, except sound design applications where you may want to slow down the recording. With a proper parallelism, a musician will get this. A 1080p video will be totally "fine" for every web application just as 16 bit/44khz will be more than enough for an audio track that will end up in Spotify or Soundcloud in a shitty audio codec. But if your client/musician are one of those guys who are considering analog equipment as superior due to it's "warmer" sound, or he is trying to justify a 10000 $ investment in a single rack audio unit which magically adds wonderful harmonics on a poorly mastered track, then don't try to explain anything. Just shoot in 4K and make him happy :).

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.

Hello all. I’m awaiting my isco pre36 in the post, but was surprised to see very little photos of them rigged up (specifically on Sony a7 cams). Andrew has a few nice photos for sure on his mkiii, and I’ve seen others floating around.. but I just wanted to see how others rigged theirs, and what it looked like. I figured I’d start a thread to see what rigs looked like in general (for reference in case it interested anyone.. it’s also just nerd fulfilment). I can start to get the ball rolling, although this is no longer my rig (I sold it the other day). I’m hoping my isco setup will be much more compact, and nicer to look at. So; post up any anamorphic rig you have. Iscorama pre/36/cinegon specifically desirable to me, but any setup welcome!

Its a standalone app that is also available inside the regular one from what I can tell. Doing a bit more digging and it looks like you can upload landscape video but it will appear in the app vertically so you'll have to rotate the phone. This is from Later about it With Instagram being so adamant about it being for vertical video, it remains to be seen whether content formatted for it will get prioritised in their mysterious algorithms. Particularly when it comes to when the ad links are incorporated over time. They initially have different time limits for content dependent on the number of followers so maybe that also will be a way they force people into Anyway, for now, it looks like I can still produce my makeup tutorials in landscape for now then. Phew !

Which is why I said it was a considered leap of faith. Even so, they don't have an unblemished record with new cameras so its still a risk.

Hell the damn thing is in French LoL!

Perhaps the dividing line is cinema versus video ... Most cinema is scripted and staged ... so the camera operator knows the distances near and far and can practice many times the pulls prior to the final shoot. Many follow focus wheels have stops for near and far. And manual focus on a decent 7 inch monitor with good light is very clear, without a need for magnification. When I am following a duck at 30 to 150 yards or a heron jumping and moving while it fishes the inshore of a slough ... all at F2 to F4 ... DPAF with tracking helps. Or when tracking a flying bird that is not at a constant distance and is moving at high speed ... DPAF just sorts it. Or a performer who moves while playing with shallow DOF it is seamless. That unpredictable movement would stress even a seasoned focus puller. Usually if the object is static ... I will zoom in to nail focus and stay in MF for the clip. Nice to have the option ... and if AF is poor it is more of a hinderance than a help. It is why I had the GH5 for a very short time ... just not good enough. So to turn the question a bit ... I would pay more for a 5D4 with no crop and RAW in 4K.

You thought wrong. Youtube tests show it is atrocious. Not so much. For me, the C200 weight and size make it a no go even at 1000$ for what I do. If BM 4K had C200 AF I would get it over any day. Depends on your use. The results of the poll are interesting. Half of the people would. And when you consider that most of the people who said no is because they just use manual focus, this poll shows how much important AF is for people in video and that they are ready to pay for it. This is why so many vloggers pay 6K for the 1DXII, for Full Frame 4K60P with good AF. This is why people like Casey Neistat prefer shitty 1080p quality over amazing GH5 quality. Because AF in video becomes that much useful and important. How many manual focus stills camera sell this day VS AF stills camera? When you consider manual focusing in video is more difficult than in photo, it's not hard to see why manual focusing cameras are dead. Expect 90% of the people who said "no" to this poll to use AF in all their video in 2 years from now.

I have this lens and its AF performance is slightly better than the other small Sigma primes that I have for the A6500 (the 30mm f1.4 and the 60mm f2.8). Having said that, when I was testing it in the kitchen it decided to activate the face detect when it spotted the deep fat fryer. But thats the modern non judgemental way I suppose.

Samsung uses DPAF in their smartphones, so clearly some form of it is available. Granted it’s a smaller sensor, but the performance is snappy, and there is no hunting.

I thought they sorted it with the latest firmware?

Just wanted to say that's a great looking still.. nicely done! It would be great it has the option to crop in or not to. I think that's one of the biggest advantages of having a hybrid camera for video. I'm looking at new cameras and if I end up with the A7III then when combining the 24-105 F4 with the 1.5X crop mode and the 1.5X digital zoom makes that lens a 24-236mm, which is a fantastic walk-around lens.

Sure. That's a mere comparison though. Sound and image don't compare at all as much as hearing and sight are senses of a very different nature. With much distinct limits indeed. See the example between animal species of unrelated kind as far as their sensory system range concerns. Therefore, perception is the main key element then. That's all about that. Fair point anyway, Aaron (E :- )

I wouldn't be able to justify double the price for a single feature because I almost never use autofocus. However, If they released a version for only £100-200 more expensive or if they introduced some sort of upgrade, I might grab that instead for the rare occasion that I would use it.

omg thought this was a joke at first ? crazy times guys

Ah, hadn't gotten around to watching that yet. Pardon me!

I think this post is silly. It's the equivalent of saying that if you want a smartphone that's silly because you could have all the functionality by just buying all of these things: The reason that we wouldn't buy all those other things and prefer a smartphone is that all those other things are way too large to carry around and be practical, plus they're really expensive...... just like cinema cameras are way too large to carry around in many situations, and are really expensive. I get that this might be good advice for you, maybe because your priorities are equally fulfilled by either option, but that's not true for many other people. I voted Yes because if Canon made such a camera I would buy it. However, if the Pocket 2 doesn't have good autofocus then that would be why I'm not buying it. If it had good AF, that would be absolutely killer!

Well the cinema users are using manual lenses, DPAF will not work. DPAF is great for wedding and events and such, but for scripted work nope. Heck they don't need to, a wireless focus operator will give you more control and better results. So no I would not even pay 100€ for it as I am also shooting mostly manual lenses.

+1 4k is not even a capture tech - it's just a sampling rate. '4k' can be HD 8bit 4.2.0 in a 25mbps badly compressed codec up sampled or it can be derived from 8k RAW 4.4.4 16bit. It's not a standard of image quality at all unless you start referencing broadcast standards where resolution, chroma sub sampling, bit depth and data rate are objectified and testable criteria. Thus a client who requests '4k' in image terms is like a client who requests 'hi-fi' sound in audio terms.......

Twice the price? No. $2,000? Yes. I'm really that not obsessed with auto focus.

Have fun and enjoy. Gary Friedman might have some free videos up on youtube about the a6300 / a6500. He often explains the "hidden" features of cameras. https://www.youtube.com/results?search_query=gary+friedman+a6300 Maartech has good videos on "video settings" so you might want to check those out as well. Learn how to set up the Fn menu and the M1 and M2 settings. Without those, you will go crazy. For 4K video, you need a 64GB card.Don't get a 32GB card (or smaller). It won't work. Forgot to mention that. One of the quirks. Welcome to Sony land... I use a Sony SDXC U3 10 95MB/s card (that's what it says on it... heck if I know what it means). If you are ok with manual focus and want to pick up a cheapo minolta lens, look for an LA-EA1 (about $50 used), and then you could put a Minolta AF lens on it and it will read the EXIF data for IBIS on it. Don't confuse Minolta AF lenses with minolta MC or MD lenses, which are older manual focus lenses (nice, but they required different adapters). The placement of the video record button will drive you crazy. There are little clear rubber buttons that you can buy that will stick on to any of your camera buttons. I don't have a link to them. I keep meaning to buy them and put them on the Fn button and the record button. If you are going to be using your Nikon manual lenses, then you want to set 1 of your custom buttons to punching it to confirm focus. As good as the focus peaking is on the a6300 / a6500, I find that punching in is still more accurate for critical focus. The 35mm f/1.8 OSS is supposed to be a good lens. You will probably get a lot of mileage out of it. You might be able to rig up a very lightweight dummy battery to use handheld / on a monopod. It should allow you to shoot longer and (theoretically) help reduce the likelihood of overheating since many people claim that the heat from the internal battery accelerates overheating. Pulling the LCD screen away from the body reportedly helps with overheating. I saw one person who had a rig with a small fan on it. He says it works well. a6500 doesn't have a headphone jack... Here is something to just tease you a bit: A lot of people like the AndyCine monitors. I would avoid the IKAN monitor. It is supposed to be nice but it isn't all that much bigger than the LCD on the a6500. Hope this helps. Despite the quirks, and the naysayers, lots of people use the a6300 / a6500 for videos and they create some really nice stuff. Check out Brandon Li's stuff. Or just search youtube for "a6500 cinematic" and you will come up with lots of nice stuff.

Yeah, on the one hand innovation of course allows for more creativity, because you open up new possibilities. So it's always great to have the option obviously. Just... not a 'lets pay twice the price' kind of option, if what it is is a cinema camera after all.

Please never work in marketing

1- @kye Of course there will be an A7S III 2- I agree with @newfoundmass. I think the issue is technology at this point. Just lookt at the FS5 II and yet it has a smaller sensor. But I am sure it will at least have 4K60p otherwise there is not point as it would be an A7III in worst (less mpx). 3- All things considered, it is safe to assume that the A7S III will be an A7 III with lower res sensor and 4K60P internal. The question remains on the bonuses: 10bit, mpx count, ... 4- @zerocool22 Why? There is no FF camera on the market with 4K60p and a good AF today except the 1DX which cost 2 arms, weight a truck and has poor codecs. The new Black Magic will give you the absolute best image under 4000$ for sure with 4K60p RAW. But at what cost? At the cost of small sensor size (acceptable) and no AF which for me is in the absolute must have feature list for any new video camera. After trying the A7R III on a gimbal I cannot imagine using anymore piece of shit AF like GH5 and so on as a main camera. Still I ordered the BM day one because as I said the image will be superb but for me it cannot be my main camera. Depends on what you film of course!

Yeah but with Gimbals now and Run n Gun doable because of IBIS, I think the Need for a large Cine camera is going the way of the Horse and Buggy. If they come out with ND's in a mirrorless, whether mechanical or electronic, I see no real need for a large camera body anymore for the average person. Sure Hollywood is using the Panavision stuff, but they are over the top, mega money cameras, that in reality you can't even buy.

I don't see how they can sell it for 500 dollars with the BM coming out. And at some time you will be able to buy the 4K BMPCC without the Resolve Dongle. You know that is going to happen, and that it will really be just 995 bucks. The E2 is dead in the water unless you Need a little form factor. And it's not like the BMPCC is Hugh either. Sure it's bigger but..

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!

MP3 I had a conversation with a talent in LA I was directing yesterday (I'm in VT.) The regular question working with remote studios is "how do you want the files?", meaning AIFF, WAV or MP3. I was saying how surprised I was, several years ago, when people I had worked with over dedicated ISDN lines were suddenly sending MP3 files for broadcast. It's amazing how quickly high rate MP3s became common place in broadcast production. So to me, telling them how much of what they hear on radio and TV is MP3 quality.

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.

If you're looking for something where the presence of it was previously only available at the highest end so was also a reasonably good indicator of overall performance but when incorporated into cheap products is not only not a magic bullet but can be completely rendered pointless by the rest of the junk that makes up the product? Got to be the resurrection of valve mic pre-amps for me .

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).

Turns out he went to work for Panasonic themselves...... http://www.dvxuser.com/V6/showthread.php?243166-DVX100-modification-HD-4-4-4-information-request/page2&s=628906553bed12c28f1ced68df216f3d That makes it an even bigger conspiracy theory than the other mob buying him out

I never used proxys and I am running intel i5-4570k, 32GB RAM, gtx1080. about your average joe pc setup. I could do some speed test comparison vs prores. But probably someone already has and will tell you before I can test this.

heard abt this... interesting youtube definitely needs competition my first reaction was, why IGTV? like call letters? lol what is this radio everyone calls instagram insta it should be instaTV ?

Me too. I did street photography for a while as training for holiday snaps (as both are improvisational) but it's a lot of work to put yourself out there, especially when people hassle you in the street. "You can't take my photo - I know my rights!" "Isn't that a security camera in that shop over there pointing at the street?" "uh, I guess" "It's taking photos constantly, all the shops have them. If it was illegal then all those shop owners would go to jail" "Uh, errr,... you can't take my photo - I know my rights!"

Exactly. the implementation here is incredible. When shot properly, the M50 4k is REALLY nice. This entire video was shot on the M50 in 4k (with the exception of the ending which was 1DC)

I watched it on my phone so I only had 1080p option but it still looked good. Don't you have a 5D4? If so, how does the M50 compare in your opinion?

It shows as 4K on my computer on Vimeo. Frame grab is pretty awesome!