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These Koreans have excellent style and posture! I thought the Weebill would be P4K ready, I do not like all these mods to make a very modern and recent gimbal to work. I will be waiting for the official release, but I believe they will have something ready for it very soon. They are also from the same continent (the Weebill bird and the Black Magic company), so they have to figure it out!

Max was a guy doing some basic wedding's videos. He is an ok figure and I believe he is trying to offer some knowledge, but nothing special, and certainly not a completely independent thought. Can't even bother with his videos. Most youtube personas have nothing to do with real life videography, and real life, in general.

Well the Nikon Z7 is a $3500 pro camera. Does Max really think the people who buy it are going to use it on the default settings out of the box and not even explore the different automatic WB presets which would have fixed Bart Simpson and the other picture styles such as Flat which would give more control of colour in post? It's not a mom & pa's camera. It's a professional mirrorless camera and he's testing it like a bloody iPhone or a point & shoot. It's just an excuse for lazy testing and gettin' it out quick. Sadly he has 100,000s views and the good guys who WAIT do not. That's what happens when you have no editorial control over a network (YouTube) and promote stuff based on FIRST and VIEWING STATS.

I'm sure most of the Z7 customers are photographers who rarely record video. And they use factory default settings. Those who want video oriented camera, will not buy Z7, nor EosR. The customers buy these cameras for photography. And very few of the photographers are even heard about Davinci Resolve for example. I was in several Sony Mirrorless/A7/a6xxx Facebook groups, and even after several years the "why my slog2 is so noisy" question is STILL on the table. My point is: we, here on EosHD forums are only the small percentage of the users who actually want to examine 100% of the capabilities from these cameras. Others just use them out of box.

It’s funny the amount of contradictory remarks on this forum. I remember reading more than a few times that users are pleased that companies update their older products, even while new products are in the market. Yet it’s laughable by those sharing that same sentiment because of a fix that took a while to complete. I respect companies, big or small, that can provide continuous support for their users. It shows a level of commitment that creates brand loyalty and quality interactions, which brings better products to the market. These E1’s have been the most incredible supplementary cinema cameras in my tool box and I’m stoked that Z-Cam users still get the support for it!

I continue to watch the unfolding drama about all the new new thangs ... so many choices. Needed better high ISO than my Leica SL so after holding the Z 7 for 5 minutes I ran with it. Here are a few short clips from it at this point: Someone say skin tones ... Dynamic Range .... Color ... Lotta choices ... made mine and not disappointed. YMMV ... pretty sure it will.

I think the REAL fun with the reviews will start with the BRAW firmware coming in. Much smaller file sizes in RAW (12:1), improved low light compared to DNG, much more film-like grain, and I am guessing some minor improvement in dynamic range (mostly due to way the noise in the Last stops may appear).

Our last video made with the X-T3 + 35f2 The color grade is not perfect, but sharpness, DR, and Motion cadence are really great.

Blackmagic puts out an official hardware and configuration guide for every version of Resolve, no better advice than from the people who write the software: https://documents.blackmagicdesign.com/DaVinciResolve/20180407-79c607/DaVinci_Resolve_15_Configuration_Guide.pdf

The 0.58 metabones won't cover the sensor unless the camera is in window mode for the 1080 120fps, so is not usable in UHD or 4K in non windowed mode, to be clear about this. But if you have one from an original pocket it can give you a wider option when windowed. I did try this on my P4K, but I am not advocating others try this themselves ?

Fair points but are you looking for a singe camera to replace your existing one (GH5) as I was certainly not. For me the P4k just adds capability to my existing GH5 setup - 4k60p, high ISO/low light performance, RAW and extra DR. It won't replace my GH5 but the ludicrous low price it is too good a deal to pass on. If it was more money I'd probably hesitate even with more features but I reckon for and EVF, tilting screen , IBS and bigger battery you would be looking at a lot more than double the price.

Sounds like you Need a GH5 or a GH5s. Nothing wrong with that.

My Z7 just doesn't do that to skin tones on the default settings. You'd think I'd notice if someone was BART SIMPSON. And anyway, 90% of people do not use the default settings. They set up the camera correctly according to the shot. Give people some credit.

I agree, it's not good that they still have bugs, but it is excellent that they continue to release updates. I see Z Cam as the polar opposite of a company like Canon: if you want maintenance-free reliability and instant integration into existing workflows, look to the traditional products like Canon's C line. If you want bleeding edge, not-tried-and-true technology that you can experiment with, and provide meaningful feedback on to guide the development of the next generation of products, that's where Z Cam fits in. It's similar to the difference between Linux and Apple. It's entirely possible to have a great experience, reliably using Linux to do real-world work, but you do have to do your own research, and accept more responsibility as an end-user to debug things on your own. And the truth of that situation is that Z Cam will likely never have the market sway that Canon et. al. do, and will never have the resources or vast QA teams to match the big players. But the benefit of the small team is you can have a more personal experience--I mean, you can't just hop on Facebook and provide personal input to the Canon CEO on what features they should include.

I often feel like the critics are asking for BMD to turn the pocket into a camera that they already made, the Ursa Mini.

I would have preferred an XC15 design with the tilt screen. I don't understand why they did not just make it look like a video camera. As it is it looks rather awkward. A rotating grip would have been great to have. A bigger battery would have gone a long way to negate the need for rigging.

No - it should have a MF sensor. FF is not cinematic enough these days.....

For that price, I'd opt for a Varicam LT or RED Raven any day. Hell, with some hunting you can find an Alexa Classic w/high speed license for that money.

The $1K-$10K-$100K theme is a marketing ploy. The $1,000 spot looks amateurish, while the $10,000 spot looks a lot better, yet the $100,000 spot does not add a lot more to the finished product. Offer three different trim levels on automobiles, and most people will buy the middle level. I'm not sure what type of client would spend $100,000 on a commercial, but I'm sure that this company is marketing to clients who are willing, and able to buy a commercial for $10,000.

Partially music video, partially test. Shot on Schneider ES Cinelux 2x | Porst 50mm 1.4 and new prototype lens Vormax 1.33x, paired with Mir 1b 37mm. Camera Sony a6300. setups:

@Dimitris Stasinos I took closer look at this. Dropbox does not re-encode your videos. So you get whatever quality you want, BUT, you have maximum bandwidth of 20 GB free and 200 GB paid, per day, for entire account. Elite Player method for streaming Gdrive videos is bad. Can't do large files and your videos stop streaming arbitrarily due to exceeding an unknown amount of bandwidth. You'll be seeing a lot of this... (edit: actually you won't, the videos will simply not stream.)

"It's a bit like Frankenstein..." (from minute 8:21) LOL : ) @Kisaha You're right, man! : )) We pay we want SOC metamorphosed to SOG : -D

It's true that for stills, a full frame camera is the way to go for me, every time. I have a cheap old Sony A7 that serves me well. I despise the menus and the form factor is not comfortable, logical or sensible but it does take lovely professional raw stills. For video, however, I am so happy with m43 and APS-C sized cameras. Better rolling shutter is a BIG factor in why. Cost is another! The horrendous UI of Sony A7 series cameras is another. I still don't have my Pocket 4K but I anticipate it will be one of my best ever camera investments.

Set "Mismatched resolution files" (in "Input scaling") to "Scale full frame with crop". Or you can set it individually for any clip on timeline: Inspector - Retime and scaling - Scaling - Fill.

Quite interested in the Weebill, it seems it does work with the P4K and some additional weights.. and some strange auto-translation english..

You are right, fast glass on APS-C can produce the FF look. But I have used MFT, APS-C, and full frame cameras to shoot on many different projects. My favorite photos were those taken on full frame, I found myself liking that look a lot.

I have the Crane 2. Doesn't mount on it out of the box, Pocket 4K is too wide. Not sure if adapter plate. Ronin S is twice the weight of Crane 2. Reason I went for the Crane was the lightness and compactness of it. Be curious to see what works and what does. Nice thread.

According to this video from photokina, the Weebill comes with the follow focus and the WiFi streaming thing as standard. This seems like a very hard gimbal to beat for its weight class. In fact, I just placed my order and should receive it around the 14th November.

Never felt him as more than a mere YT's pop thing. Well, I recall my doubts expressed over these same pages. Unfortunately, people respect his stats more than anything else.

722g

BTW as usual, your perspective rocks, my friend ; )

Dji ronin s is "huge and heavy" ( = well, not really, but you get what I mean) and Crane 2 also. Weebill is 300-3000g and 1.3Kg, the next tier is from 4.6 (Crane 3) to 6Kg (next Moza). An example of random new mirrorless full frame reality. The Nikon Z7 is 675gr (including batteries and memory card) and the Nikon Z 24-70mm 4f is 500gr, that is 1.5Kg (lightly rigged). A speedbooster is 170gr, a lens could be from 150gr to a kilo, how much the P4K weights? Can't seem to find that info anywhere but can't be heavier, or mich heavier than the Z7, so we are talking for 2Kg here, so well into the 300-3000gr limits. Now, for people consider rig-ing an EVA or FS5, then yes, buy the bigger one, and good luck holding it for more than a few dozens of seconds!

Many valid point, but he is not doing this test for them because anyway those photographers will buy the z7 anyway because of its photographic qualities and the video in full auto will be plenty enough for them. Where is test is valid, is for hybrid shooters or video shooters who wants to know if the first full frame camera with 4k log and 10 bit is good or not. Because just before that you would have to buy a Canon C700 for more than 30k to get at least 10 bit FF.

The mystery of why Aputure were selling the Lens Regain products off cheap looks to have been solved as they have now released a Version 2 model. From what I can see, the only difference is you can control it from the interface unit as well as the grip and it is now back up to €682 I guess this means that the original won't be coming back in stock in the EU store but its still available in the US store if you want to grab one. As an FYI for anyone looking to shoot handheld with the Pocket 4K who can get hold of a Lens Regain, I have used a cheap DJI Osmo cold shoe adapter bar to mount the Aputure control grip to the camera. (Ignore the small tripod in the shot obviously as it was just used to stand it up for the picture) It makes it a very nice stable little setup and makes holding it at the distance you need to because of the screen far more comfortable. Ergonomically, it works very well too having all the lens control (including the focus memories) in your left hand and the camera control in your right. It is a good halfway house, for me at least, of having more stability and control without having to start rigging it with rails and a follow focus. Incidentally, the lens that is on it is a Tamron 17-50 f2.8, a very underrated and quite lightweight lens which I've had for years and you can pick up used for about £150. On the Lens Regain it becomes f1.8 with more or less a FF equivalent FOV of 24-70mm so it is ideal as general purpose lens anyway but the icing, of course, is the image stabilisation which makes this whole rig really effective for handheld shooting. The only downside is that it isn't exactly silent when it is being focused...

Most (serious) photographers will be shooting RAW so picture settings are irrelevant (apart from WB to ensure ETTR is accurate). Videographers need to get more right in-camera as there is less room for adjustment in post production with compressed codecs

Interesting and BTW I always use the 'overwrite' option in the formatting app as with the quick one I get write errors. It does take a long time to do as well so not ideal if you are in the middle of a shoot and need to rotate cards quickly and obviously no good if you don't have a laptop with you.

I'm not saying it's a bad camera, quite the opposite, but for my line of work I need something else. Things I'd ideally like - 1. I need it to be sealed enough to shoot at a beach (that's where I do my work), exposed fan intake is a big no go. 2. Ibis would help a ton, although I could live without it. 3. I'd like 4:3 mode. 4. Anamorphic de-squeeze if possible. 5. Tilt or flip screen for filming fisheye low down. 6. Form factor I could fit in my existing Aquatech housing if possible (same one I use for 7D, 5D, GH5, EOS elan7e). Those are a few of the things I can think of. I don't even need a 5D styled body, I could live without that part if they added the other things. I'd pay an extra 1000AUD for such features.

The Titla G2X set up looks ideal.......shown with the P4K too!

From those silly/cheap/fake Sony zoom lenses (which work well, with everything corrected in-camera) to Zeiss primes. The most successful cameras these days must be the FS7i and ii though. Most TV series are using those. In the one I am working currently for a major network (doing sound), we have 2x2 FS7ii with the latest Sony 18-110mm. One of the biggest productions here is using C300mkII with the Canon primes, but Sony dominates right now. I have to add that I prefer working with Canon C cameras (ergonomics, menu, skin tones) but most production companies buy Sony.

I decided for GH5S because - it is tested and retested for video - I can buy new and it is 2017-2018 product - I can find LUTs and lot of info ( I bought Leeming LUTs fot the moment) - large video settings possibility for a mixed video/still camera

Here's 5000 ISO

I do! Can not wish for an even better camera soon-ish, though? S35 is something we do for decades l, do not forget. I just express some personal thoughts, I know what the Pocket4K is, and is probably the best deal in video making, ever and I have expressed those views in other posts too.

Ursa is too big! I have expressed my opinion about my most preferred camera, a Canon C100 mini/XC something, with XC15 form factor, EF-M mount and improved ergonomics for 2-3000€, and then Canon released the C200 which is almost a 10.000€ camera, and realized that Canon don't really gets it. While C100 and C300 dominated the market for years, FS5 and FS7 cameras have been the norm in most productions I am working lately, and BM is starting to be relative in productions. After the R release, I do not expect anything of them, and I have to move on with a plan B. So, right now, it is Sony, or BM, and I do not particularly like the FS5 or the Ursa that much to spend 6-8.000€ for one of those. So, I would rather spend 3.000€ to rig a Pocket4K at the moment! I do not like adapters, and m43 sensors, the specific dual ISO - slightly bigger - sensor offsets makes it more appealing for a video camera (I would never use a small megapixel camera for pro photography), but still I would spend double the money for an S35 small video camera. If BM can make an amazing m43 one for 1350€, why not a similar one S35 for 2499 or 2999€??!! Still it would be half the price, and size, of Ursa.

Same. Too many caveats for me.

I will probably buy the camera, but I do too would prefer a more XC-esque design. It is one of the best small video designs lately. The battery too is not sufficient for its intended use, this is a fact and everyone agrees. There are workarounds ofcourse, but those add to size, weight and cost, in peculiar ways. A little critique can lead to better products. On the other hand, the silly comments of not being able to put a flashgun on one, doesn't add credit to their authors.

The GH5s is proof that M43 can match FF for video dynamic range, and also having great video low light. I wonder if it could do like a QuadBayer version of that for higher MP as well as better low light by a similar process (/algorithm) used by the new night mode on the pixel. 8.9/9MP for Video and (4 times that) 36MP for photos. Some Super HDR mode for photos. A lens redesign could help with having higher res photos. One of the weaknesses of M43 was apparently the photographic capabilities of the smaller sensor (and lack of PDAF). If they can address those two, and keep the Size a little smaller, I can see it kicking some big fat FF ass.

Well they had the 4K 24ps audio bug pointed out to them ages ago. So wasn't a lack of a sizeable user base To be fair even the mighty GH5 has an audio sync issue of 3 frames (or was it 6? I forget, something around that size), which still isn't fixed by Panasonic.

Another one from the Canon 28mm 1.8. Say cheese...

That is not what the word "vaporware" means. The Z Cam E2 is already shipping. There are already people with this camera in their hands and shooting with it. That is not vaporware.