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Man this camera is looking like you have to have about 20 extra things to make it work. Hmm, It is moving off my radar screen more and more every day. This is like going back to 1990 stuff. You had to buy a Van just to haul all the stuff you needed.

https://www.proav.co.uk/catalogsearch/result/?q=weebill Standard - Creator - Master Package. I didn't want/need the other stuff in the packages, and like I say, they're not yet available here, so I just bought that standard to use for now and will get the follow focus down the line. Test video will be live here when YouTube are ready: Download the original files here (10gb): https://mega.nz/#F!TA8URCjb!v3AOrZUdFOtpNDmTjI5XUw We're going to do another session tonight, turn the mics down, close the aperture and boost the ISO.

Sorry pals but complaints on IR pollution and vignetting?! Are you kidding me? When we all know there's no OLPF there as so many other cameras?! Use a filter and stop the nonsense please : ) BTW is this the first time you've seen this one here? ; -)

People who shoot 4k on an eos R.

I'll go... when shooting a story context is very important so that the audience can understand where the characters are. Overdoing DOF can work against the story. Ideally, before choosing a lens, one should consider what using that lens is going to convey as relates to the story. Additionally, tracking subjects with shallow DOF can present challenges. I like having options... like everyone else, but given the choice of only one lens... and only shallow vs deeper DOF... for video, I would not favor a very shallow DOF.

I disagree. Kinefinity released the Terra 4K for $4000+ and then Blackmagic turned around and released a BETTER camera (Pocket 4K) for $1295 with more features and better codecs/color science (Blackmagic RAW future update). I wouldn't be surprised once the MAVO LF comes out that Blackmagic is already making a better camera with the same sensor for half the cost. The new BRAW codec makes it possible for Blackmagic to now do higher resolutions such as 6K without the need for heavy storage. The new sensor profiling they do siginificantly reduces Aliasing/Moire as well as Fixed Pattern noise so they can get a significant dynamic range increase over competitors using the same sensor. Kinefinity cameras are too expensive for a small manufacturer, because at that price point you can now buy other well-established camera brands like RED, CANON, and even Blackmagic. On top of that, Ursa Mini Pro is practically a more usable camera for professional production because it matches much closer to the industry standard Arri Alexa and has a very good color science. MAVO LF looks like a really good camera but they need to drop their price to around $8000 to be competitive with other mid-range priced cameras because Kinefinity is not a well-established brand yet. I would be very worried if Blackmagic is also designing a camera with this sensor. Since the Ursa Mini Pro used a custom-designed sensor t hat cost millions of dollars to develop, the camera was priced at $6000. Since this Sony sensor would be "off the shelf," Blackmagic could easily price the camera at $4000 in an UMP body since they don't care about market segmentation.

Vignette is another filmic/cinematic look which in addition to IR pollution is just making this camera more an more attractive!

Wow, this camera... F stoppers review

Someone testing the z6 and seems some test of the zlog. I wouldn't call it a good advertisement for the zlog given the subject. I would really have liked to see what human beings etc and his first samples where completely overexposed etc, I don't know if he used zlog in there.

I've got the Hoya ProNDs 1,3, and 6. I recently switched to the Firecrest 1,3 and 6. Still have the Hoyas though. I use Xumes for quick swapping

Turn IBIS off for sure.

Really, Don, this is a craft and not even a point-and-shoot camera. Very easy to shoot with though. Trust me. The most unique and accessible beauty I've ever date ; ) A pleasure to deal and handle from scratch anyways ; -) Hard to have buyer's remorse.

I don't agree with you on this one not even for a bit other than about barrel distortion, obviously. That one, you can easily correct. So? Wanna facts? P4P is oversharpened. Fact. Not all of us are obsessed with edges but perception. Another fact. MP2 ends to be more cinematic. My opinion, at least.

Not at all. In fact today I bought a smaller bag so I could take this out on a day trip with the family.

I edit and grade in Resolve Studio but often find I have clips I can't get a satisfactory stabilisation result with it so have to export a clip to Premier and do it in WS which I always find does a more effective job. In what ways do you think Resolve is better?

I kinda agree with you, and I kinda disagree with you. As we can look at the BMD vs Kinefinity life cycles for quite a lot further back than just the current generation of cameras. Because they've both been making cameras for a while now. And it does seem like a pattern of Kinefinity releasing a camera, then BMD leap frogging them with a product. However.... don't stop there, but play it forward another step. And you see Kinefinity bring out a product which then springs back and beats BMD. And so on and so on this loop plays out. (with BMD/Kinefinity each releasing products) Thus I'll not at all be surprised if in six months time BMD announces a new camera which looks like it might be able to match up against the Kinefinity Mavo LF but at a lower price? However then it takes another six more months before the BMD product ships and gets it major kinds ironed out. And what has happened during those twelve months? Two things: 1) Mavo LF owners have had a whole year of working and shooting with the Mavo LF, earning money with it and pushing themselves further ahead creatively and professionally 2) Kinefinity has been keeping busy working on their next camera which they then announce, which is better than anything BMD has ever made And so the cycle carries again and again into the future! Another alternative way to look at it is like this: Neither company is "better" than the other. Instead they've taken two different philosophies as to how to make a camera, and cater to two different market niches. Just like RED and ARRI have their points of difference. Kinefinity has taken a compact (smaller even than the smallest RED build) and power efficient (thus you can use BP-U30 batteries!) approach with a modular design (like RED). A very different philosophy to BMD's URSA series of cameras.

@kye This is best accomplished by swapping the luma curve layer mixer structure with the conversion node. This way, black level and gamma may be set ahead of the conversion. Going forward, opt for moderate exposure, so that the luma stage may follow the conversion. Moderate exposure will allow substantial highlight range, while steering clear of the noise floor

I'm also curious about this. I still have my G80 even though I use GH5, GH5s, A6500 in paid shoots. I really like it, it's small and so versatile. I also envy friends and family who bring their lightweight g80 to trips and can just store it anywhere lol

Awesome, thanks! I had a BMMCC for a while and the battery was completely exposed, so I got used to it :D

Where do you get all this info from?!

I think I want one.

But I’m not joking;)

You did that joke before and noone laughed. Read your room.

I think that whatever Nikon decided to do it would have been heavily criticized. If ever they had done a bigger body everybody would have said that either they could not match Sony tech or that the idea about MILC was small size and portability, which was true at least until now. Since Nikon and Canon launch of their new mount with much wider size (more for Nikon), that give the possibility of faster lens, we are hearing that MILC can get you better and faster lens regardless of size. Some part of Nikon PR mess was that they showed up only days/weeks before the Canon EOSR and eventual Pana S1. For example, they got ten times the negativity because of the 1 card slot than the Canon R. While they are giving a much better and robust XQD/CFexpress compared to Canon SD card. For me when you look at the price and size of the Canon 28-70 F2, I am glad they stuck with the 2.8 aperture. Another thing people don't discuss is the 24 vs 28mm starting zoom range. I like the 24-70 because of its flexibility and loosing the 24 is a big compromise. With the higher ISO we can shoot now, for me the f 2.8 is the best compromise, anything lower would warrant a prime lens. In fact this f 2.8 looks at least shorter than todays 24-70 and with the size/weigh gain, you could even carry another camera prime combo easily. That's the promise of the mount. The F4 kit lens (S is considered super for Nikon) being higher resolution than the top of the line older F-mount lens. The z7 already broke the record from the D850 with the 35mm f1.8 lens and by a margin in terms of resolution. That is why Nikon has been defending their 1.8 zoom as real professional primes and not just typical affordable primes for those that could not afford 1.4 primes. These things are more usable at 1.8 than some of the 1.4 primes at 1.8 and even beyond that. They say that their 1.8 lens are more reminiscent of 1.4 primes in capturing the light and I guess it is about the overall sensor plane and not just the center, with less curvature/distortion and I guess vignetting.

They both look like equally bad mobile phone footage. It's easy to make the better camera look like the worst one in the grade by crushing the blacks.

Didn’t we establish that Nikon does not actually use Sony sensors, rather Sony manufactures Nikon designed sensors for Nikon? This is no different than saying Apple is using TSMC’s chips. While TSMC does manufacture the A12, it is clearly Apples design.

There's no space on the door, but the door is easy to take off and there's a latch inside to hold the battery in. This way you can safely use a dummy battery.

Well I may have misspoke regarding the Nikon mirrorless offerings. The Z6 looks pretty dam good to my eyes. The more I see footage from this camera, the more I like it. Needless to say I ordered one with a selection of lenses to replace the Fuji X-T3’s that I returned. I will add a second body if it pans out. From all I have read build quality is top notch on these cameras. The lack of a handgrip with a shutter release bothered me initially, but I can learn to live without it. The new mount seems most impressive. I understand it has the shortest flange distance of any camera on the market. Low light is very good from the footage I have seen thus far. Perhaps besting the Z7. It looks clean up to 5000 ISO, and honestly I never go beyond this for video. I like the colors... yes... why yes, I do like the colors. Ladies and gentlemen, I do believe we have yet another camera manufacturer that is truly committed to taking video seriously?? High ISO footage:

Canon 24-70mm f/4 on the 5D Mark III. Processed through Resolve using its basic Rec709 conversion in the Raw Tab and then some curve adjustments...