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Hey everyone, I am getting tired of bad gimbal reviews. I rarely have time to make them, but trying to do more and more when I can. Here is my honest opinion on the weebill lab.

I want an Irish Wolfhound, to match my own size. But first I'll need to stop living in an office in the downtown CBD! And get somewhere with a lawn. Only three sleeps away if you're on crack. I fixed your typo for you. What are your first two? For me: Facebook, then jwsoundgroup.net I delivered a few pizzas last night. Was very disappointed to discover reality was not what was promised.

Recently got the EVA1 because it’s Christmas and cameras rule the world. Took it out for a spin first time on a major project in Amsterdam and Iceland. My entire kit was a right heavy bugger to carry around, silly me. GH5 came too. But will it service my creativity / ability or is this just a symptom of the camera “want, need” sickness? BRIEF GOOD THINGS - Body is nice overall. I’d look twice ? - 4k image is super lovely. I could marry it. - 2K 120fps better than competing cameras. Doesn’t look like an infected toe. - Codecs. Lots. Same as GH5. Woo. Party! BRIEF BAD THINGS - The LCD makes a good mirror. As a monitor? Get a hammer and smash it. - Switching sensor modes and HFR could make you feel unwell quickly. Slow. - The hand grip moves a bit when locked. Makes you sigh a lot and say “f*****g hell” under your breath. - More user error, but I had my IBIS hands on while shooting. Sort of forgot I’d be back to wobble club. Overall, it was robust and performed well. Images look lovely. Matches GH5 nicely. Looking forward to shooting more and not throwing it in the bin. Extra note - I used the new SWIT 55C as the Monitor which I also want to marry. Great deal! Here’s a photo from the shoot....

This was three days urgent task to imagine story, shot, choose music and compose with other material arround and make birthday gift for one local actress. I had just few her photos and old tv shots from facebook and our or two to shot several additional shots. So, result with wonderful Resolve 15 and by-myself-modified verses of Louis Aragon ... I'd like to see more examples and techniques, so that's maybe separate thread is not redundant? I'm going to tell you a great secret You are time Time is a woman It needs To be fawned over and bowed down to Time like a dress to be undone Time like endless tresses Combed A mirror misted and demisted by breath You are time asleep at dawn when I rise You're time like a knife across my gullet O how I am unable to tell this torment of time unpassing This torment of time halted like blood in blue vessels Far worse than desire forever unmet Than the thirst of the eye when you walk into the room And my knowing not to break the spell Far worse than feeling you a stranger Fleeing Your mind elsewhere and your heart already in a different century My God how words are heavy That's what it's all about then My love beyond pleasure my love out of reach today unattained You swat at my clock temples And if you fail to breathe I suffocate And on my flesh your step waits and comes to rest I'm going to tell you a great secret Every word On my lips is stricken with poverty, begging A trifle for your hands something glowing black below your stare And this is why I say so often that I love you For lack of a crystal clear enough of a phrase you'd place around your neck Don't mind the baseness of my language It is Plain water making that awful noise in the fire I'm going to tell you a great secret I don't know how To speak of the time you seem to be I don't know how to speak of you I make believe Like those who remain so long on the platform in the station Waving their hands after the trains have left The wrist fading out under the new weight of tears I'm going to tell you a great secret I fear you Fear what goes with you to the window in the evening The gestures you make with unsaid words I fear time rapid and slow I fear you I'm going to tell you a great secret Close the doors It's easier to die than to love That's why I take such pains to go on living My love

Thanks for the replies guys. Having some days to have thought about it, I definitely prefer the older OG film look as opposed to the 4K's - I much prefer the highlight roll-off, halation, plus that magic that's so difficult to put into words. And yep Mercer, people do often treat a new piece of gear as if the previous gen was completely terrible. I'd much rather shoot the film now as opposed to have to wait. And maybe next year there's a project that needs that sexy 4k and low-light capability, in which case I'll upgrade then. But for now, I'll use what I have. Thanks!

I learned English thanks to this site (and pornhub too) So I know all about dynamic range and horny milfs looking for a young pizza delivery guy.

I do have the upgrade but not used it yet. The previous one worked really well and only had a couple of minor issues. Overall it was awesome. I started with the first one but didn’t really get to grips with it. Looking to use the new one extensively in the new year.

Indeed... lol. But honestly, I really don't have a dog in this fight with the GS version... the fact that they upped the price while shrinking the sensor size... to what? 1 inch?... Pretty much killed it for me. Happy Holidays!

Other than the Fan and some Buttons, I don't think there is many things that can go wrong with a Cine camera like the FS7. Sounds like a nice deal to me. Not much more than a FS5 to be honest. Check for Hot Pixels though. Only thing that would worry me.

no I just found it on my youtube recommendation list. Technical specs: Blackmagic Pocket Cinema 4k Zhiyun Crane 2 Simga 1.8 18-35 Viltrox Speedbooster ISO 1600

True. Furthermore, EVA1 needs external recorder to shoot RAW. C200 needs external recorder to shoot 10-bit 4:2:2. Going beyond that, C200 has native EF lens support, dual pixel AF, EVF, nice big usable touch LCD. EVA1 has dual native ISO, a higher res 5.7K sensor, better DR. I'd be happy with either tbh hehe..

Where can I find it? Not on the facebook page I think

Merry Christmas and a happy new sensor to you all. Health and hapiness to you and your families!

I'm using the Weebill with a GH5s, .64x Speedbooster and my (manual focus) Contax-Zeiss lenses. You asked how focus works. The focus wheel requires the use of the Focus Servo to manually control the lens. It will not control a native lens through the USB connection. I absolutely love this gimbal and use it in underslung mode more often than not. I think you'll be happy with it. If you want to run with longer lenses like say a Sigma 18-35, you may want to wait for the Crane 3 Lab. This won't hold it reliably.

If you want the "feel" of a big rig, then the simplest way to do that is.... have a big rig. And the easiest practical way to do that is to pop on a V mount battery on the rear (which is useful! Don't need to worry about power for hours and hours), a mattebox (with rails) on the front (which actually can be handy), and monitor in the middle/side. Yes, but..... A glidecam has a completely different feel/language to a "heavy camera" (if it is handheld, easyrig, or shoulder rig, which are each subtly different to each other as well). At least a big beefy 230Wh V mount battery has more practical benefits than weight than a load of lead has. Even a naked F3 can be surprisingly lightweight, compared to a heavy Alexa. Need to add more weight if you want to fully match the mass of the two of them!

Mattius left an amazing video on this: seeing if anyone has tested with the xt-3

Great video.. looks like a LOT of work! Well done! I haven't used Fusion yet, but it's on my list. It can do some truly impressive things if you know what you're doing and put the work in..

That was a scary short. Scary how good it was, and scary what can be done, real and imagined. Super well done.

I like the review, it was short and sweet, damn short! ?

Not sure how to delete this post....

Z cam already released footage of the no sharpening option. Looks really really good imo. Gets rid of that sharpened look the GH5 series always have

To anyone who says "color science is bs:" I'm curious what your definition of color science is. From the CFA, to the amplifier, to the ADC, to the gamma curve and the mathematical algorithm behind it, to the digital denoising and sharpening, to the codec--someone has to design each of those with the end goal of making colors appear on a screen. Some of those components could be the same between cameras or manufacturers. Some are not. Some could be different and produce the same colors. Even if Canon and Nikon RAW files were bit-for-bit identical, that doesn't negate the fact that science and engineering went into designing exactly how those components work together to produce colors. As it turns out, there usually are differences. The very fact that you have to put effort into matching them shows that they weren't identical to begin with. And if color science is negated by being able to "match in post" with color correction, how about this: you can draw a movie in Microsoft Paint, pixel by pixel. There is no technical reason why you can't draw The Avengers by yourself, pixel for pixel, and come up with the exact same final product that was shot on an Arri Alexa. You can even draw it without compression artifacts! Compression is BS! Did you also know that if you give a million monkeys typewriters, they will eventually make Shakespeare? He wasn't a genius at all! The fact that it's technically possible to match in post does not imply equality, whether it's a two minute adjustment or a lifetime of pixel art. Color science is the process of using objective tools to create colors, usually with the goal of making the color subjectively "good." If you do color correction in post, then you are using the software's color science in tandem with the camera's. Of course, saying one camera's color science produces better results is a subjective claim... ...but subjectivity in evaluating results doesn't contradict science at all. If I subjectively want my image to be black and white, I can use a monochrome camera that objectively has no CFA, or apply a desaturation filter that objectively reduces saturation. If you subjectively want an image to look different, you objectively modify components to achieve that goal. The same applies to other scientific topics: If I subjectively want larger tomatoes, I can objectively use my knowledge of genetics to breed larger tomatoes.

Merry Christmas. May you all receive NX1's this year.

No, the camera does not currently have any file transfer capabilities. If BM include it in the future then it can be incorporated. In the meantime, if you want to transfer wirelessly to your phone then you could use a Toshiba FlashAir wifi SD card as the recording medium in the camera. They are rated at 90MB/s so will be fast enough for the more compressed versions of ProRes or for the DNG stills. A browser and transfer functionality for the FlashAir could be incorporated relatively simply if there is a demand for it. I personally think the path of least resistance though is to use the Samsung T5 drive to record on as it can be read by the phone and the transfer speed even on a DNG still versus wifi transfer far outweighs the few moments of a cable swap from camera to phone

That is too shortsighted, I'd recommend the eos16k.com domain name instead.

Yeah people have complained about that on the facebook group. Apparently z cam is putting a no-sharpening mode into a firmware update, as well as an option for less noise reduction. I am not sure whether the firmware update has been released yet to be honest.

Good to hear you're making progress and getting good results Getting an estimated file size seems to be a bit of a challenge, but when you look at how compression works you realise that it's basically trying to guess the future. The bitrate controls in Resolve are based around maximum bitrate, not average bitrate or minimum bitrate. This is important because sometimes the video to be compressed might be very simple and not need much bitrate (eg, a mostly black screen with silhouettes, titles, very little motion, etc) or they could be very difficult and need lots of bitrate (eg, trees moving around in wind and rain) so the bitrate that will actually be used in the video export is dependent on what is in the video, so can't really be estimated accurately beforehand. You will find that if you compress a video to max bitrate of A it comes out as X Mb, but if you then export it with a max bitrate of A/2 the file size is almost certain to be more than X/2 because the video won't have been hitting the A bitrate limit the whole time. In fact, you can sometimes halve the max bitrate and only knock a few percentage off the export file size. This makes sense because sometimes there are big changes in what you see (a straight cut changes every pixel on the screen) but most of the time the changes are very small (people talking and only their faces moving) so most of the time the max bitrate isn't having any effect on the export bitrate at all. There are a few tricks you could do for longer edits though: Export a minute from the middle of a video and then estimate the total size from that Write down what file sizes you're getting with what settings to give a good starting point for future exports (I also include the bitrate in the filename eg "Cool video - 10k") You can also queue up a few exports with different bitrate settings and then hit go and let it render overnight, then choose the one with the right file size I have the same issue, but as I only make short videos I just re-render them. It also helps that for some reason I'm not completely critical of the video until I'm watching the exported video file so I often export, notice mistakes, then tweak and re-export anyway! I have also gotten a feel for which max bitrates I tend to end up using to upload so start with those numbers and tweak from there. I would imagine that you'll like Resolve even more when you get the P4K because the RAW stuff is included (and will be high priority for full support). One of the best things I find in Resolve is that you can adjust any part of the workflow at any time without having to re-render, re-export, or whatever. Half-way through colour grading you can change the edit, fix some sound, then grade a bit more, then change the edit, etc. I know that people often work in passes, doing edit first, then sound, etc, but a lot of my process is just noticing things that bother me and fixing them as I go. If I was round-tripping or had to make-do with the puny colour tools of other packages I think I would feel like I was working neck deep in mud with one arm tied behind my back.