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Both lines are equally exceptional - just matter of taste and actual task which to prefer: milky and smoother Leica R's, or touch sharper and cotrastier Contax's. (And what is more interesting, their color characteristic are so deeply inner, that no matter how long I tried, for me it is impossible to achieve exactly the same character in grading process.) When I say "exceptional", I mean mostly mechanic quality and manual focusing precision. After 20 or so year, there's no rule which is better in that regard. When they were both young, I'd say that in general Leica's are tad better. But, contrary, I'd see more Contax's in well shape than Leica's. Also Contax has 60mm 1:1 macro, Leica R not, but Leica R has beautiful and not so expensive 28-70, while Contax has those exceptional and bulky push-pull zooms. Ah, indeed not to much lucky with zooms for m43 users! But, Vogitlanders for m43 IMO have traits of both character at different f values. (Some sort of m43 Cooks I'd even say.) Voigts rendering is also bit or two cleaner than Leica R and Contax which I had (you always have to calculate and age). In fact, as FF Voigtlanders are competitive both to Leica M and modern Zeiss lenses, it seems that these m43 variants have extremely successful combination of both know-how origin of competitiveness - besides it that actually the same factory Cosina products them and modern Zeiss. Of course, It's easy to understand question and worry about reselling value - but, once I understood that I'm working now, and that nothing better with tasks that I may encounter in near future doesn't need anything "better' or, to be truth, "more impressive to client" ... I choose to invest and keep those wonderful Voigts as best tools for me now. You know, lenses are more as human with character - when you find real one friend, than it's not so nice to think how to resell them later Their 0.95 for movies are better than Leicas and Zeiss 1.4 or 2 with speedbooster. People who point to 0.95 softness just don't use them correctly: there are always curvature to which have to pay attention. Their construction is well thought to achieve completely effective image at one zone of focusing. Better is impossible. Actually they are better than Leica Noctilux. I also conceived that, actually, I didn't like more optics and more complication with adapters. What people maybe often tend to forget is that - f0.95 is really T1.1 in the light gathering, but in depth of field it is not THAT uncontrolled shallow for video. So, having lenses that gather T1 and has depth of field of FF 1.8 value is fantastic and simple not existing in FF lenses world. Sigma Art's with speedbooster and some Milvus may be close - but I had also 18-35 twice and resell them because of sterile-and-oversharpening-undersmoothness in character (although unbeatable as run/gun tools), and Milvus have double price of Voigts. Furthermore, Voigts with, say, GH5 (especially with Sage's lut), mostly diminished importance of GH5s for low light, still keeping stabilization. Shortly - maybe the main point is mine decision: living in afraid and permament recalculation of reselling and re-usage regarding money values, or learn inside-out best tools for my tasks. And I think there's no dilema: Voigts and Pocket and GHx series and probably Olympus or JVC etc. - at the moment produce image so competent that approach maximum level that human eyes can perceive, nothing to say about even more importancy of content, of inner beauty and aesthetic of respectable works. The same goes with Fuji or Sony - but for reason that is needless to repeat, my choice is m43 and Voigtlanders as lenses that IMO squeeze every drop of know-how and a la cameleon exchangeable artistic qualities

This noise is normal for USM and there is no solution. For silent focusing you must have STM or NanoUSM.

I regularly rent the cams you mention (especially FS7 & Ursa Mini) for jobs but ownership wise i'm on a EOS R + C100. I was days away from buying C200 (even had a down payment) and postponed the purchase when the Canon mirrorless rumors heated up. I can confidently say now I will definitely be upgrading to C200 (just waiting for the right time & deal). BTW, here in EU they cost around 7000€, and you can find them for much less second hand when they pop up. I plan on using the combo as such: BTW, nothing wrong with going other routes (GH5+EVA1 / A73+FS5/FS7 / BMP4K+UMP) I'm just a sucker for Canon ergonomics, color science, lenses etc..

There are awesome resources for colour grading and Resolve techniques out there, but they're scattered around the place, and are hard to find. Please post anything awesome you find. (Note: for those that are new to Resolve or colour grading, there are lots of YT "colourists" who have very little actual knowledge. These people provide a steady stream of bad habits, misleading and flat-out wrong information. There are exceptions, but on the whole you should be very suspicious of people selling LUTs and pumping out video after video - most of these people are professional LUT salespeople and/or YouTubers and not professional colourists!) Juan Melara is excellent. If you watch all the below you'll get a sense of how he uses Resolve, especially the Colour Space Transform plugin and which tools in Resolve are designed to work in which colour spaces.

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 post is a preview of my testing of these two cameras. The Canon is shot internal in 4k, while the Nikon is external to the Ninja V. This might seem strange, but this test started out as a color matching test, and later evolved into an AF test. I have long known that the AF on the 1DXMK2 is the best I have used. But it's not until you put it up head to head against it's competitors that you understand just how amazing it is. I can tell you, the AF on the 1DXMK2 is much better than even the C200. It is better than the other EOS cameras. Of course much has been said about the Nikon Z6's video AF. Most have said it is pretty good. Well let me tell you this... watch the test that I am posting. I can promise you nothing was done that anyone could not have managed setup wise. It is a simple test pitting both cameras against each other side by side. Both set to base ISO, F1.8 and shot at 24p with 1/50th shutter speed. The difference in performance is astounding. From what I have seen the EOS R is inferior to the 1DXMK2 in AF. But that said, what isn't? So my takeaway from all of this is the following: Dear Canon, I truly hate you... Why must you gimp your cameras? Leaving out features that we want and need, just so we are forced to buy yet another body to do a single task. Ok, maybe that's a bit much, but I know many most here feel the same way. I'll post more shortly.

Real men don't use proxies. That is Girly stuff. ?

I disagree. Well, I want more power too but this is a given. More resolution is important for use for photo as well and compete with Panasonic S1. Today more and more people get mirorrless to shoot hybrid photo video

This one seems to be about as good of one you can get. Gets lots of likes. Never owned one though myself. Don't buy a Manfrotto one. They just seem to suck as of late. https://www.bhphotovideo.com/c/product/1305532-REG/sirui_sup424sr_carbon_fiber_monopod.html Or this one if you want to have the head with it. https://www.bhphotovideo.com/c/product/1352784-REG/sirui_p426sr_vh10x_10x_carbon_fiber_6.html

From an investment point of view, good manual lenses are a lot safer: there is only metal and glass, no electronic that suddenly becomes obsolete and if they perform perfectly now, they will also perform perfectly 30 years from now, there is a general opinion on them about their outcome and defects, you only have to check the flange distance and they can be adapted to almost any camera, any initial sale tax or seller’s margin has been already absorbed and so on. You could also buy used and resell used. Actually I have done this quite a few times, sometimes even making a profit. Think of this as a free long term rental from yourself, even with a possible small return. I would try to guess about your future needs and what would be of m43 system (since Panasonic went full frame with Leica and Sigma in the joint venture, will there be a gh6 in the future?). Personally I would go the vintage way and try to hunt for the best deals and models (Zeiss ZF, Leica M and R, some Nikon F). And, let’t be honest, how many lenses do you usually need? 3-4 maximum at a time. With old full frame lenses you have plenty of choices without committing yourself to a system. And if you make a mistake, you don’t pay it dearly.

Only if you're shooting raw. I've been filming exclusively in Prores and editing on a 2015 Macbook Pro and it's 10 times faster than trying to edit h264 footage from a consumer GX80.

If Canon had not made silly choice of an extreme crop in 4K, I would have bought the Eos R. It would have been the perfect B-cam. As it is I added a Nikon Z6... which can be made to match pretty darn well.

I skimmed this video and it looks pretty good as an intro to grading in Resolve. I know most of what is mentioned already so it's hard to sit through 2 hours to get a few snippets of new info, but for people unfamiliar with it, this is a well structured and thorough video. Interestingly, the presenter Daria is the same presenter as the dozens of Resolve guides from Goats Eye View that stopped after v12.5. Those were also excellent so it's great to see Daria back again Haven't watched it yet, but if it's anything like the colour grading one it should be really good. In addition to those, here are a few more from BM. The second video is for 3D work and assumes you've watched the first one which explains how Fusion works in 2D. I'm really looking forward to watching these. When they added Fairlight I did a bunch of googling to try and find free guides or tutorials and found almost nothing. I have a background in audio so I figured out how to use it pretty quickly (as would anyone who understands multi-track DAWs) but my impression was that there was a lot more to it because it was hugely expensive previously. Resolve has a media management function that's pretty well hidden that can do cool stuff like move, copy, and transcode media. It can also do those things for all media in the project, only the clips that appear on the timeline, or things like the parts of the clips that are on the timeline plus a specifiable number of seconds on each end of the clip so you have some room to adjust edit points afterwards. I've used this module transcode H264 to low res Prores files for an online/offline editing workflow in the past, so it's really useful.

Hey, I have a clue... I've played with both of these cameras, and I can tell you this, I find the Z much more interesting than the P4K. Besides, do we really need another P4K review? That said there is so much coming out next year that it might be better to sit on the sidelines if you already have usable cameras. I'm really curious to see what Panasonic comes out with to vanquish all the competition. And lets not count out Sony just yet... they have the tech, but do they have the will? I'll wait until the dust settles and then decide. For now I'm more interested in the other elements such as camera movement and lighting. Let's face it any one of these cameras can produce a cinematic image it you nail the other components.

Not really. These cameras are much user friendly. Easier to shoot with one than with any mirrorless camera these days. Boring automated devices fully messed up IMO. P4K seems an old film stills camera centered on ISO & WB controls but for motion picture in hybrid age. HFR or not + shutter at the distance of a button or alike without forgetting the best of the digital world: zebras and focus assist. Not even need for other tools very easy to get from the most intuitive menu I've ever found in a camera and you can set off by default. Set up your lens aperture and that's it. You can even select a LUT of your preference. Import anything you want. Lots of free stuff out there BTW. A breeze, my friend. What else a shooter can ask? Test one Don to begin with ; ) E : -)

A growing number of pros (perhaps even the majority these days) are oblivious to broadcast standards as they shoot solely for web/digital platforms. For those types of shooters, especially one man bands.. the C200 is a very compelling solution. AF is still in stone age on cine cams so that alone can make the difference. Internal 8-bit codec will be fine for corporate interviews with controlled lighting & minor grading. Slap on / rent an atomos for the times you really need that 10-bit 2K DCI. Then when time/budget allows it go RAW for that uncompromised IQ/DR. Or just switch over to RAW for that quick money shot. That's how i used to do it during 5D3 ML days.

The 512GB is 545, that means 775$ off the original price!!??!! CF are still crazy expensive though, and the brilliant choice of BM to support USB-C recording will help a lot of people to test some kind of raw for cheap. This camera just offers too much value for the money. I am wondering how many they have sold already, and how many they have on order status.

I had one on pre-order, and although having never used it - I didn’t go through with the order. This is mostly to do with battery life. I know there are workarounds but I don’t see much point buying a camera with this form factor, just to throw another brick on it. Also I see the screen as a valid issue. If you know that you regularly need to tilt your screen - then the BM isn’t going to work as you’d want. The Z cam is a cool design as it allows you to “create your own camera”. A lot of people who like customisation will welcome that. The BM image is lovely and will be a massive hit for crash cams on big productions. As an indie tool it hits the right spot however as a workhorse, I think the GH5S is a better option.

Just to put some things in perspective. P4K can be used for professionsl work, as it is, and I did. A very demanding 1 day shooting with random Canon batteries (non original), SD card and whatever lenses we had (m43/EF metabones). No problem at all. The monitor is the biggest one ever existed, not even some dedicated video cameras have such a good monitor. I doubt the C200 monitor is any better, and that is a 9000euros camera. People are using terrible NON touch monitors on Sony cameras still, and most 3" cameras in the market are much worst.this is a huge leap ahead. Personally, I bought a SmallHD Focus a year ago, but I had it on one of my other cameras that day. I missed a tilting mechanism at some points (very low angles when on a gimbal). Again, the battery isn't worst than any Sony camera we have used in the past, and Sony were top sellers in mirrorless. There is no camera with better in-camera sound than a dedicated microphone can provide, and this BM has a mini xlr, which no one else offers anyway. This camera offers RAW, but all flavors of prores also. When you buy the Z, you can not use it out of the box, when you buy the Pocket, quite literally you can (if you count the SD card that includes, you do not even need any additional media ?). That is the truth.

Fooling around with HLG. Adjusted curves using a waveform and added some saturation. It definitely seems a bit cleaner then log. Skin tones looked good according to the vectorscopes.

Thank you everyone for your inputs. As build in stabilization is a must I will get a G80/85 I have a pretty decent collection of glass - a couple of Zeiss Vario Sonnar's, complete set of Yashica ML primes , a Sigma 18-38 1,8 , a Samyang 12mm and a Panasonic kit zoom, well - and a speedbooster. These cover all my needs ?

This is some really nice footage, but it is all in Slo Mo, and that tends to mask any problems a camera has. But there is some damn nice output here. I agree if you have extra money this could be worth a look like the PK4. But like the PK4, it needs to be built out, especially it Needs some kind of monitor, not just the Osmo Pocket style LCD it has. But better than nothing.

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.

Bit the bullet and ordered one. Did you get your upgrade yet? This is I think their third or fourth try at this system, so I am thinking the newest model should be about as good as it can get right now compared to the competition. I understand that the gearing on all the new motor driven motion control hardware is also upgraded to prevent any slop that the older hardware had.

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.

Nice job man, I also did a 1 minute short but didn't get it finished in time. I liked the shots of the dude sharpening the axe.

This couldn't have come at a better time as I downloaded R15 over the weekend and started my (super procrastinated) transition from FCPx/Premiere to Resolve. My goal is to complete at least one new tutorial every day. I'm still doing just the basics, but this thread is a bookmark. Thanks Chris

This channel has a bunch of interesting stuff for free: https://www.youtube.com/user/LearnColorGrading/videos

You want the look of a heavier camera, you need to make the camera heavier. Period. The extra weight/mass is what makes bigger cameras look better handheld. Either you're willing to do it for the look or you're not. There's no way to "fake" inertia. Gimbals and steadicams will give you steadier footage with a light camera and eliminate micro-jitter, but it's not the same aesthetic at all. On a recent short, all it took was popping the F3 on a simple shoulder pad, and suddenly beautiful handheld was effortless. I can PM you a link if you're interested.

quite nice with vintage lens (Takumar 50mm)