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I just wanted to quickly pop in here after reading the article. It's not that I disagree with Andrew's words on the A7III, or that it's ranked in the number 2 spot but that you had nothing positive to say about it. Again, it's not that anything you said was necessarily wrong. But how about giving it credit for shaking things up. For being the new de facto for "Entry level" full frame. For not holding back where other camera manufacturers would have. Yes, the Fuji has some of the best video quality but I'd say it's only just 'Slightly' better than the A7III. I have a feeling that a lot of the time you won't notice the difference. It's got the Sony beat with color straight out of the camera but most of us do a little grading anyway so I'm not sure I could fault them for that. But I get it, Fuji deserves the #1 spot and Sony deserves the #2 spot. I agree with that. It's just that it would have been nice if you had mentioned some of it's stronger points: With the A7III, Sony brought highend features like IBIS, 10 FPS, dual card slots, amazing low light performance, amazing auto focus, beautifully detailed 4K video, improved color science, and far better battery life ("Amazing" I should say) to a platform that many people where on the fence about. And I think they also forced Nikon and Cannon to show their hands. Maybe even before they were ready. The A7III showed the camera world that Sony were serious about about being #1. Even if they only made #2. ;-) But yes, you're right, it's a boring looking, utilitarian, working photographer's camera. It's menu's are crap and the screens are average at best and don't flip out and around. But your argument that it doesn't inspire artistic photography... again, I'm not sure I can really fault them for that. Sony has a very subtle, clean, and flare-less design language. And just like the car industry, some people appreciate flare like BMW while others like the subtlety of Audi. I have to say, I do feel inspired by my A7III. It's perfect for me because I do a little of everything. Portrait, landscape, still life, street, plus tons of video. it's small size paired with the right lens, makes the A7III great at all of it. To me, Sony hit a sweet spot with this one. Just enough high end features where it matters and skimping on the features that aren't as good as the competition but are ultimately "good enough" to keep the price down. This is the first camera to tick off all the little camera features that I wanted and it did it in a $2000 body. That works for me. Take my money!

bro, this is the best advice ever, people told this to me, and i resisted, but im so glad i listened: dont start with a feature doc, or a feature feature, or anything like that. start with a SHORT film no longer than 15 min. the amount of storage space you have doesnt matter if your footage is useless garbage. additionally, you may find that an elaborate video timeline taxes your system more than youre used to – be aware of that as well

Regarding the person who produced the video about returning his P4K in favor of his Micro - from a straight shooting experience, he needs to have his head examined We've got a lot of cameras, mostly BM, and a couple of Micros, whose images I love. In fact I wrote at one tome that if BM would take the Micro cinema sensor and put into a real camera body I would buy them for three times their cost. The Micro is the most disfunctional camera you can shoot. A simple menu change takes forever in any environment. Tiny unrecognizable buttons on tiny stripped down senor box - but what a sensor and color science. And it's that way by design. It's supposed to be a drone or special use crash cam for TV/cinema production - not an actual shooters cam. The P4K is the exact reverse of that - perhaps the easiest small camera to use on set or in the field - a brilliant camera as far as shooting goes. And the idea that upressing the Micro footage in Resolve is better than shooting 4K/UHD on the P4K is a real head scratcher. Just spend some time learning how to optimize the image at aquisition and then how to work with the amazingly maleable image to get the look you want. It took very little time shooting and working in post to get the image to look like the original Pocket or Micro etc. You can't make any of the previous BM cameras (except the UMP) look like the P4K but you can easily do the reverse if you want to learn how.

Well, lets wait until the Brexit clown car completes its journey over the edge of the white cliffs of Dover and then see how light hearted I am

Testing the A7iii in anamorphic setup in exterior condition, some quick run and gun test shoots but I m very happy with the result . A7iii ( full frame mode ) + Ninja V + Cinelux ES + Rectilux HCDNA + Russian Primes.

When I was seriously considering the A7III and GH5 and trying to understand the lens options etc, I PM'd with @jonpais about his experiences and he was really helpful and wrote me quite a few long and informative messages. This despite he and I seriously butting heads a few times in the general forum. I don't claim to know him, but I can see that he has a lot to offer - unfortunately other factors got in the way.

Definitely looks like a good option. I am seeing them used under $2000 on ebay. Better internal recording than the C100 and of course better external options. The C100 mk1 and mk2 are better at high ISO's though. Really considering the C100 MK2.

In one hour... https://www.43rumors.com/you-can-follow-the-panasonic-ces-live-stream-at-10am-las-vegas-time/ @BTM_Pix this forum without your hilarious comments would be a boring place : -)

After spending far too many hours in their casinos as a younger man, I can attest that not providing a specific hour for the announcement other than "Las Vegas time" is entirely appropriate and could mean any time in the next few days

Excellent point! @Dan Wake is this your first feature? or are you gearing for a career in post-production? The stats on people who try to make a feature film without first having made several short films are pretty dire - most don't know what they're getting themselves into and the project is never finished.

I own the LowPro 450. But only used it on one trip and have not used it again. Pros: it's well built. It has everything you require I like how you can detach the shoulder harness and make it take smaller footprint for international travel (that's the reason I got it). Cons: It opens from outside not inside. When you hang it from center column of your tripod (which is what I often do). It's off balance and tills in the angle that makes everything inside of the bag easily fall out. It's bulky (but for your needs bulky might be the only option) It has not internal framing to help support the weight for long treks. Otherwise it's a great setup and lowepro sticks with their product. One of my lens bags the zipper broke and they just replaced it. Other options: https://fstopgear.com/products/packs/ajna https://www.shimodadesigns.com/en/explore-40/ https://atlaspacks.com/collections/atlas-packs/products/atlas-athlete-camera-pack If you're in the Bay Area you're welcome to play around with my 450 or buy mine used, if you like.

A7S II + canon FD 35mm 40$ lens. No IBIS, no AF, with Sony colors that people can't live with, no 4K.

You can easily get away with a 3:1 ratio on narrative if you’re prepared, and rehearse. 90 min x 3 = 270 min (3TB of 4k Raw). A 4tb external drive is $99. Get one extra for backing up.

Yeah an original C300 with DPAF is a beast of a camera yet. 2500 bucks on average. All a person needs.

Yeah, +1 for the c100. It really is (still) a fantastic camera. It may not sound as appealing as some of the newer cameras on specs alone but it's one of the easiest you'll ever use. Blue Ruin (2013) was shot on the c300, which shares the same sensor as the c100... and it looks great!

Leslie Chow, from Panasonic Corp.

They said 7th of Jan. one day before the CES show. So they (panny guys) better start trying to find the casino exit ASAP. But your right, could take days, even with a search and rescue team. Oh look, another black jack table.

Good Score on the primes. Can't beat free. BTM_Pix had a great recomendation with the Nikon Series E 70-210mm f/4 I have that lens and love it. Really great for the price. At the top top end of your posted budget, I would look for an AF-D Nikon 80-200mm f/2.8 Push Pull. The original push pull versions can be found really cheap now for how good the optics are.

In Jon's defence, if I had been at the receiving end of some of the snide innuendo that he was subjected to on here then I wouldn't have given a fuck about what I said to those people either. I'd say he actually rose above a lot of it with far more restraint than I and many other people would have done. The hypocrisy of some was laid bare when one of the earlier footage releases from the Pocket 4K featured what in a different era would have been euphamistically referred to as Lolita content. Was this content scorned on this board? Nah, just the technical aspects of it pored over of course. I don't know whether he is banned from here or just choosing to stay away but obviously his posts towards the end of his last period of activity on here would suggest the former. And if not then some of them certainly read as an attempt at assisted banning as does one of his posts on his own blog. There is no doubt Jon was a divisive presence at times - a fact to which he latterly attested and apologised to some posters individually for - but there are a few people who need to think about their role in the toxicity.

LOL.. I'e seen a few versions of that box and having the sensors when it opens detect if there's a hand nearby is great - makes it look like it has real personality! I'm guessing you'll be moving to Resolve after your current project then? ???

please make a short before anything else lol

Most fun to shoot with? I've owned everyone of these cameras on the list except the BMPC. By far the most fun is the X-H1, followed by the Nikon Z6. When I go out to shoot I pick up the X-H1, with a camera bag with Rokinon EF mount lenses, and three EF to F mount adapters: standard adapter, adapter with a throttle variable ND filter, and an adapter with speed booster---and get ready to have a great time shooting. The last thing Sony needs is to go punk. Sony needs to go Mozart, or Brahms--or even Wagner. Anything is better than their devotion to the Zombie apocalypse look.

I don't think the lens gives a rats ass what resolution you are shooting at. It just projects what you want it to see to a Sensor. It can project so many line pairs and that is it. What that is depends on the quality of it. But yeah if your math is correct, ? , than 65mp would be a Stretch no doubt for an old lens. Would be a stretch for a New FF lens to be honest.

Buying a dedicated keyboard or overlay relevant to your NLE is also a great upgrade. Just studying the keys can lead to exploration you might not normally do, and find a quick solution to a nagging problem easily solved by the push of a button or two.

Yeah its just a great camera at a low cost, though they just weren't pushing boundaries with it. The new Nikon offerings make it less special, but it still leading in terms of Photo AF. The XT3 is more of a specialty camera, though it can work as an all in 1 as well. 4 60p 200mbos H265, is something to behold in a $1500 camera.

Here’s the first look as promised: https://www.youtube.com/watch?v=sgGpdbnVbYs

Hi kye, I appreciate the detailed reply! I think my biggest problem with Resolve workflow, is that I don't have the proper time to truly learn and use it. My personal time is limited due to a high pressure fulltime+ job, sigh... I only get to use Resolve sporadically, and often forget what I did during the last session.

There are a lot of variables in what you are looking for but here is a rough guide to storage size per min for common formats. There are a number of calculator apps available for Android and iOS that will give you an exact result for more cameras and codecs but the chart above should be enough to get you in the ballpark but the biggest variable though - and one which no calculator will get you anywhere near a solution for - is the shooting ratio. If you were doing a 10 minute UHD film shot in RAW on the BMPC 4K then it would need 123.6GB of storage (12.36 x 10) but that is if you did it in one take of course. The shooting ratio will vary wildly and make the total storage requirement many times that amount but only you will know what that ratio will be depending on the type of film it is and how you will be shooting it and numerous other different unique factors. Just as an FYI, here are the shooting ratios for some feature films. Aim for Primer but budget closer to Hateful Eight !

People tend to transcode to Prores HQ or DNxHD HQX files as proxy media, often depending on what platform they're on (PCs can't make Prores files IIRC), but my research didn't turn up any differences in quality between the two formats, so use whichever you like. If you want way too much information about proxy formats, here you go.... https://blog.frame.io/2017/02/15/choose-the-right-codec/ https://blog.frame.io/2017/02/13/50-intermediate-codecs-compared/ The second link shows the bitrates of the various codecs and you'll see that Prores HQ and DNxHD HQX are very similar, but note that DNxHD HQ is 8-bit vs DNxHD HQX is 10-bit, and this will likely make a difference so is worth checking if you go the DNxHD route. With all things, when you make a compressed copy of something you only degrade the quality. However with high quality codecs like these the degradation will be minimal and likely not a factor in the end result. As you say, this is about story and storytelling, and I think that the ability to edit with smooth playback will add more to the storytelling than the very slight degradation of the image will detract from it.

Yeah but the XT3 was innovative that is why it got a high ranking. Plus we know Fuji is putting out a body with IBIS within a year or so, will Canon do the same? I just looked at a thread from 2016 where a guy was saying that the 1DX2 is the best on the market, but in a couple years it probably no longer will be relevant. 3 years later and its still one of the best choices on the market. I wasn't saying they were wide, I was saying there are affordable options.

Canon 1DX2 is still the only FF camera that can do 4k60p in early 2019. Fact. Dual Pixel AF is still the most reliable AF for video. Fact. Sony has been maxing out 8-bit 100mb codecs for some years. that's another fact. XT3 doesn't have IBIS. It's the smallest camera of the pack. Still got number 1 position in the ranking. Fact.

Also by the time you add a decent speed booster, follow focus, gimbal, evf & batteries.. you are way way over $2K for essentially a pimped out M4/3 video only camera. not trying to slam the P4K (any form of raw is a blessing) but in the end it may not be as cheap and easy a route as some may think..

Well, there is always something better coming around the corner, I try and not obsess much over that or else you're just chasing the dream. As a working pro my only concern is what tool fits my needs now. I'm invested in a system, and i don't intend on switching everytime the competition drops a newer, better body. When Canon drops that pro body you're talking about well I'll upgrade to it, simple as that. Limitations, i try and work around them, every camera has its strengths & weaknesses. IBIS is neat, however, we got along fine before it and no cine cam even uses it to this day. I'd hardly call it a deal breaker even if its a nice convenience. Canon's smart EIS (using gyroscope & 2 way lens IS com data) is a workable alternative & might even prove to be better in some cases. For stills, i look at the system as a whole: lenses, color science, ergonomics, AF, flash options etc.. that is what is going to get me the picture I want, not a sensor/chart comparison. Yeah Sony sensors are the best, but I still prefer what Fuji & Nikon do with them.. YMMV.

EOS R certainly wins most hated camera of 2018 award! Yet despite it's on paper limitations and for sure poor 4K RS performance, its a camera I very much enjoy shooting with.. and the perfect B-cam to a 5D/1DX/C100/C200. Canon did get a few things right: the only FF MILC with a flip out screen, the FF MILC with the highest bitrate ALL-I codec, the most reliable and smoothest AF in the game. Those 3 things alone should give it some points. The IQ as stated is indeed just cinematic. That word gets thrown around a lot but the reason it applies here is thanks to the thick codec, alongside 1:1 resolution and lack of digital sharpness on default in C-log, paired with the acclaimed Canon color science. Then you have the smaller things: Smart EIS, 3 custom movie modes, custom ring lens control, MF bar (works for me personally), touch & drag AF, MF focus guide, AF override..etc Finally when the Vari ND adapter will become available.. well that could just be a game changer. Now i do understand, none of this makes up for the poor RS or severe crop factor. So yeah dog this camera all you want if those 2 are deal breakers to you. Just wanted to add some perspective as one of the very few owners of this camera around here. And FWIW i do think Fuji, Nikon, BM & Sony have all kicked it out of the park much further than Canon and certainly deserve the praise. Happy NY everyone ?

3 years ago ML was the bee's knees. Now, you can get a raw capable camera for 1300$, speedboost it to reach 1.3X crop factor for less than 2000$, and a camera made for that purpose, not an after thought while you still can officially service it after recording raw. Times, they are a - changin'...

I do not know the others, but came from another winner the NX1. I have the X-T3 since a few weeks and I am really impressed about filming with the Fuji. Only the size and feeling in hands, battery life ... NX1 still winner. The X-T3 produces colourfull footage also when there is less light. I filmed recently at 'Winter Efteling' in the Netherlands, most shots during evening and even night. Very colourfull and even at ISO 6400 good. For (professional) photography I think perfect... for me ;-)

I am quoting just for everyone to re-read this great post. Insta was in my shopping list for Christmas also, but finally I went full DJI (Ronin S/Mavic 2 Pro). People praising the little Osmo camera but Insta is closer to the future than that.

A few of my 2018 winners would be : "Signpost Award" : Insta 360 One X, not for its actual 360 necessarily but for pointing the way to how much that omni-capture can bring to the table in terms of stabilisation and re-framing for regular flat content. I picked one up just before Christmas and whilst its not my first rodeo when it comes to 360 cameras, its the first one that has really delivered on the shoot now frame later concept. Don't get me wrong, it is full of flaws but it is very close to being there for being the first choice leisure/travel/vlogging camera for a lot of people. It doesn't take much imagination to consider the possibilities for other type of film making as well if manufacturers like Pansonic, Fuji, Sony etc were so inclined. "Hannibal Lecter Award" : Fuji for cannibalising sales of its video centric X-H1 by having better video specs on the X-T3. "Bob Marley Award" : Jointly won by Sony for making everyone Wait In Vain for the A7Siii and Blackmagic for the Pocket 4K batteries Jamming. "Horticultural Award" : The Blackmagic Pocket 4K for sprouting more plants than the Chelsea Flower Show in this forum in September.

We're now fancy at www.lens-yclopedia.com . Still the same thing until a good soul shows up with some web skills to adapt the information into an even prettier shape of a website.