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My first short movie 'Winter Efteling 2018-2019'. Filmed with anamorphic lens Bolex Moller 16/32/1.5x. HLG and Eterna in post

That a giant slap on Panasonic's face, JVC and Sharp can show what M43 can really capable off.. So much for M43 is dead according to that Tony guy

Prores RA To reflect the crop factor.

Canon will respond to this with their new Canon MJPEG RAW!

AmateurRes Raw?

First video of the show... the underdog and hidden gem on the CES show flow squeezed between Samsung and Canon... at the SHARP booth. The story is Foxconn is making this camera with SHARP so you know there is some serious money behind it. Ask away as I will directly answer any questions on a future video on our channel. I interviewed Jeremy from Atomos about ProRes raw with Nikon Z6 and that video will come out soon as well. I will also try to do videos about any other requests above or below this video.

Breaking news: Canon responds to the Nikon's move by reducing the 4k crop by a factor of 0.1x. However DPAF will be disabled in this mode.

Levi Allen, who is freelance filmmaker and a solo adventure documentary maker, has made a bunch of high quality films and made a great BTS video talking about production and equipment and various other things. This series is about people walking slack-lines (the alternative to tight-ropes!) and there's some pretty crazy content. Here are the first five episodes, which IMHO are just spectacular: and here is the BTS where he talks about the equipment he used (watch the above before the BTS because it's got heaps of spoilers) Highlights include: Almost everything shot with the Panasonic G7 in Cine-D He got the Sony A6300 for slow-motion and he thought the AF would mean he could ask others for help as second shooters, but the screen was so rubbish in daylight and it kept overheating that it wasn't much use He shot 4K because he wanted to sell it for more A few shots (mainly the time lapses?) were shot on the A7S but because it wasn't 4K it didn't get used much Drone was Phantom 3 Pro in the Natural profile Rode Video Mic Pro for run-n-gun Rode NTG-3 for interviews Kessler crane motorised slider He used MF primes, mainly the Rokinon 35mm MF He used shots from his iPhone because they were needed for the story Other interesting thoughts: He now owns a GH5 and shoots everything in 60p now so he has flexibility to slow things down in post He worked out the profiles to use in his cameras by doing a bunch of camera tests and looking at the output and choosing the settings He hates PP "Premier Pro is garbage" and edits in FCPX, and "if I was working on just films I would probably be editing in Resolve, but because of my internet workflow and things like that I've been editing exclusively in Final Cut and it's made my doc work amazing" He also then gives a commentary of Episode 4 talking about storytelling and creative aspects, production challenges and being a solo shooter and BTS, as well as equipment. There's a ton of great info in there so I'd encourage you to watch the full BTS for more.

Looks like DPR forum now!!! ?

Call them again and say that you are a very active member of the HK forum. Probably your package will be delivered very fast after it.

An example how the Voigtländer Nokton 40 1.2 looks like (complete video is shot wide open): Actually I am pretty impressed by Sony's IBIS. Sure, it is no match to what Oly or Pana achieves, but it is better than people are saying.

Don is one of my/our good fellows here. Just stubborn like hell : D He never shot with one or he would arrive to the same conclusion as I've arrived. Today as for instance. I brought with me literally inside my pocket my GX80 for a family's celebration in a restaurant. Great monochrome output BTW. When arrived to home for the second part, I immediately changed for my fav cam ever: the new P4K. I completely missed how ease is to set up and shoot. A pleasure to be with. The more I shoot the more I regret to not have it a few years earlier. It is a perfect device to me and definitely to everyone who starts shooting with one. @webrunner5 dare yourself to buy one mate and you'll never desire to replace it. Mark my words : -) 4592 x 2584 JPEG shot on GX80 1920 x 1080 grab from ProRes PXY shot on P4K 25fps aka 25p Both straight out of the camera with zero grading. Still room for any doubts? When you come from an intuitive menu like the P4K is to a much complicated BORING menu of these small digital devices you promise to yourself to never underestimate these Aussie goodfellas... LOL

I don't know about the title of this thread anymore though man. The A7SII is 4k with IBIS, it was like the two big features of the camera coming from the original A7S that only had 1080p and no IBIS. I agree with the idea of this thread though I'd be more impressed if it was shot on a GH2 or something.

i was watching him he was one of the first to get a gh5 he had like barely 1000 subscribers

Seriously guys, it is not a big deal, he just doesn't like the camera. @webrunner5 is here for a long time now, definitely not a troll, just has his beliefs and he stays with them. Don't we all? Everything's going to be fine in the end (or not!) !! Just to mention a few negatives to make Don feel better. 1. The plasticky construction doesn't influence much confidence. It may be psychological, but it is a fact. 2. I didn't like the buttons, wheels. ? terrible.. 3. The form factor is "weird" at least. I would prefer something closer to Canon XC. Not convinient at all for - compact - gimbal use. 4. It was scary to do not know what voltage you have really left on your batteries. 5. Batteries! 6. I am trying to downplay it a bit, but I would love the screen to have a hinge, like the newer cameras have (I do not like fully articulated ones, just the up and down kind!). The size and excellent GUI compensates a little, but still..

No they don't.

This is a really surprising by Nikon, as I expected Sony or Panasonic to do this first. Nevertheless the Z6 and Z7 will be the first mirrorless cameras to offer 4K RAW via HDMI to an external recorder - namely the Atomos Ninja V. Read the full article

Not a ton of camera news here but Connor and I just arrived in Vegas and are willing to cover anything that you all find appealing. Let me know in this thread and I’ll try my best to get info.

-5 everything except hue and contrast at 0. For the best straight out of camera look I'd recommend Natural. It has the nicest roll off and colors are pretty accurate. HLG is the best if you are going to edit heavy in post or want the most dynamic range. Cine-D for when you can't use HLG(8 bit recording).

I'd rather use a gimbal or monopod with a long lens like that. For me gimbals are better for getting wide moving shots.

I saved you also. Your welcome. Ungrateful people, wow. And I told you I don't drink. Silly rabbit.

No crop and it's really wonderful to use - I have used it handheld with long vintage lenses and it's worked really well. Enjoy!

This is big news but i think it's worth mentioning that ProRes RAW currently only opens in FCPX. If you are on Adobe, Resolve or PC it's going to be a no go (AFAIK). That is pretty limiting compared to other recent Raw codecs like Canon Raw Light which has native support in FCPX, Resolve & Avid. It's also bit of a shame Nikon couldn't work out to record ProRes Raw internally. They opted for those expensive XQD/CFexpress media cards, why not take advantage of the speed they offer to record high bitrate internally?

There's no crop with just sensor stabilization, even in 4K.

Compressed it is OK, almost evrything is compressed these days. Quality LOSS - aka you cannot recover the original info after de-compression - this is something else (a kind of jpeg!). And it is up to you to accept an "quality loss RAW", which by itself is a contradiction. Myself I accept a "regular" codec with quality loss. This is what I can aquire with my faboulous income (working in IT hardware, photo/video being a hobby). I will NEVER accept a so-called RAW if you lose quality, call it anything but RAW and I may embrace it gladly.

2000 mbps with no change in quality and the best part, you get to keep the 1.8X 4k crop ?

As far as I know there is three types of stabilization for video capture; lens, in-camera, and electronic. Only the electronic one will crop.

Hey folks, I sent this message yesterday to Andrew and afterwards came to my mind to post it here too: "Hey Andrew, maybe you can help. I own a Moller 30 and I am trying to track down further information on it. Also wrote Moller in Germany. My main interest: Basicly everything. What was it used for? What is the mount called? Synchro focus? What was the taking lens? Things like this. If you have an idea where to ask best,please let me know. Thanks!" Any help is appreciated. I do have more specs and information to share, if somebody is interested. cheers,

The blue part looks like a simple Double Gauss prime lens. Maybe Zeiss or Kinoptik. The grey tabs on top and bottom are probably the focusing levers. I can't guess from this schematic how the taking lens and anamorphic lens was synchronized, but if the helicals are cut right, a bridge between the focusing tabs might be able to pull off dual focus in one movement. This is a Totalvision adapter (circa France 1960) that's similar in design and construction: https://www.ebay.com/itm/Totalvision-Anamorphic-Cine-Lens-made-in-france-/113426233375 It was used with a set of four Speed Panchro primes from 40mm to 100mm mechanically linked to the adapter via the focusing lever. I'm guessing that your Moller works similarly. Either way, let's see a lens test!

Slightly off-topic, but the "Film Maker's Kit" doesn't actually look like a bad selection of stuff, if you don't have any of the items already. Any thoughts?

It is nice to see new/old players to bring new ideas! Do we know anything about specs? M43 sensors can be an amazing solution for video cameras, especially now that we know dual ISO is a reality.

I want to see you steal something

I'd have to disagree Construction is fine for a camera at this price level. Absolutely love the control layout which is simply the best and most intuitive I have ever used. Form factor is great and fits on my Ronin-s without a problem and quite how you would fit a 5" screen into an XC10 style body is beyond me - really? As others have said it's form factor is decided by one of it's greatest features which is 5" screen I can see the voltage fine in my batteries both internal and external. Yes it needs batteries and a lot of batteries if you are going to drive a bright 5" screen. What do you suggest as an alternative - bigger batteries so you get an even bigger camera or a smaller screen? A hinged screen would I agree be nice but at what cost in size and price? Until someone does a teardown and we can see the cooling system which may well be for the screen this may be an impossibility without a significant cost and size increase.

I surely share some viewpoints with you. The buttons and wheels are intimidating... LOL I even avoid them going with the touchscreen commands as much as I can, keeping them as new as possible : D Even though not as far as form factor concerns. It is unfair to infer they didn't give their best to design the best hybrid motion picture camera that's what this P4K is. Seems a DSLR with the mirrorless weight. Something RED hasn't offered to us with their DSMC system. No matter their good intentions. What's exactly the beef here? We have an adage which says the issue is where? Trousers or arse?! I told you there is at least one gimbal manufacturer who is able to let you have 1.2 kg of gear to capably stabilize the best form factor out there. BTW I've always dreamed to shoot perfect motion holding a film stills camera in hands instead. That's what I feel with this tool. No other camera has succeeded before. Either 5D II/III/IV (with the exception of ML & 1DC maybe but at expense of how unreliable a hack may end to be or double of the weight and what price when released for the 2nd case) or MFT / APS-C / the most recent FF series by other major players have failed to give you such combo IMO. Without mention the price target ; )

such a great response ?

My first short movie with Fuji X-T3 'Winter Efteling 2018-2019'. Filmed with anamorphic lens Bolex Moller 16/32/1.5x. HLG and Eterna in post

REDCODE is compressed RAW for a dozen years, no one has complained in Hollywood included... Do you? :X

I guess there are a couple of different RAW formats. I know there is Cinema DNG, which I am guessing is just sort of a "collection" of dng images strung together (Why, no, no one has ever confused me for an electrical engineer, why do you ask???) Black Magic has a Black Magic Raw (I think it might be called "BMRAW", although I might just be confusing that with the name of someone who plays hockey for the Rangers). And then there is the ProRes Raw which is - according to the pedia of wiki: ProRes RAW In April of 2018 Apple released ProRes RAW. It is built upon the same technology as other ProRes codecs, but is directly applied to the raw data coming from the sensor, thus delaying the debayering process to the post-production stage. ProRes RAW therefore aims at quality and better colour reproduction, rather than performance. Now, if you happen to have a curious mind - or just way to much time on your hands - you can read up on ProRes Raw from the White Paper that Apple Released (which is good, because black paper makes it much hard to see the ink...) https://www.apple.com/final-cut-pro/docs/Apple_ProRes_RAW_White_Paper.pdf

first i wasnt going to post this, bc this thread started really smart, but its falling fast. @Snowbro turns out there are some good canadians

Everyone needs to do this. Though, the gamma problem with video levels needs to fixed in Atomos.

If its old world and fucked up you're after then look no further than us from the end of March. Bring your own medicine and trade deals with you though.

Here's my top 5 cameras of 2018. Of course we all know "there's no such thing as a 'bad' camera" any more but there is such a thing as a dull, boring rip off. Then there's the stuff that has a shelf life of a few months, that you just know is a stepping stone before the real deal arrives. In many ways 2018 was a good year to keep hold of what you have and wait for the dust to settle. An eventful one for technology, especially in the second half where we saw some glimpses of the future. In 2018 we had six truly great cameras for filmmakers and a few that didn't make my top list like the RX100 VI but which are nevertheless still useful in one way or another. Read the full article

I think there's too many people concerned with defending themselves against the people with big problems and not enough concern for actually fixing those problems in the first place. Then again I live in a country so full of socialist communist lefty hippies that the conservative government used a massacre as an excuse to take away all our guns, and now as a forty-something I live in complete repression with only the fact that neither I, nor anyone else I know well, has been directly impacted by gun violence. Naturally, I'd rather be packing serious heat and going to funerals like all the free countries out there. But maybe that's just me?

Which, to bring it back to the OP's issue with DPReview, is quite telling as everytime I look in the comments on a news story on there he is seemingly one of their respected voices of wisdom. I imagine the escalation potential of internet arguments in a forum where you are all armed must be pretty next level.

Oh I actually like Greece also. Lot of history, beautiful Islands. And Gyro's

Very few people ever have a job they really like. It is pretty much about the money if you have a family to support. Pretty much any job gets boring after awhile. Might as well just pick one that you make a lot of money and go do stuff you enjoy that year on your off time.

The most funny is people who don't have clue what they're talking about speak like an authority. This doesn't happen with expensive gear, obviously. Here's the whole difference : -)

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.

It was almost certainly used with either Cooke Speed Panchro or Kinoptik taking lenses. Probably 40,50,75 and 100mm. All the early European 'Scope (Dyaliscope, Totalvision, CinePanoramic) systems used either one or the other. It's most likely pretty sharp since the glass is so big. Would love to see a test, both at infinity and close focus.

Can't believe they didn't announce the fourth member of this new alliance that is making compatible products for Panasonic and Leica cameras