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@DBounce this looks really cool. Excuse my ignorance with these new fangled gadgets, but I assume you set the marks before hand and the slider hits them? Something like this is really appealing to me. I started as an actor, then screenwriter, but as a poor filmmaker it is often difficult to get actors, at the rates I can afford. With something like this, I could be in my own movie... talk about the ultimate one man band filmmaking. Makes me want to grab a 5D4. Lol. I assume that set up is pretty pricey, though? On another note, I think you have a pretty good screen presence but I’m unsure of your goal. I know you’re a hobbyist, but do you want to make narratives? Family videos? Build a YouTube channel? I mean, what’s your end game? I’ll also add... I still think I prefer your Canon work... particularly the 1DXii and C200. The Fuji videos looked pretty good as well. Nikon... I don’t know. Maybe too early to tell. Anyway, thanks for posting.

I picked a copy of this magazine up at the airport when I was back on the Island this week, primarily because it featured an interesting piece with Jihua Zheng, the co-owner of Kinefinity. As a gentleman of a certain age (and increasingly uncertain age due to my expiring memory) I have to say its very reassuring to pick up an actual paper publication to read equipment reviews and editorial content. Its also reassuring after all the "are they or aren't they being paid for this?" doubts about YouTube reviews in particular to see real unambiguous adverts on a page so you know exactly where the money is coming from. Ditto that what little advertorial content there is in it being clearly labelled across the page as being so. Also, because it isn't created on the hoof on the back of press junkets or off re-cycled press releases it has a bit more diverse content too rather than just feeding the hype of whatever is the flavour of the month. Or flavour of the second in a lot of cases. For me at least, it provides if not a complete alternative then certainly an interesting addition to the deluge of online stuff. And its a far easier medium to consume when you are on a plane and don't have wifi as well Hopefully it will get the support it needs to grow further https://www.promoviemaker.net/index.php/current-issues

Yes. It will be published on the 27th. Of this month. And this year I'll put a bit of an update here later in the week with a couple of pictures and a final run list of its functionality.

Sounds like some really fucked up hidden mode you've discovered on the Alexa there.

So our Edelkrone Motion kit with the new HeadPlus unit arrived. I figured it would be a great chance to have a quick play with it to see how the Nikon Z6 handles on it. I like this smaller form factor for this setup. It keeps it pretty light. I used the 24-70mm F4 on this shoot. The whole systems was very easy to setup and use. I plan to use this setup regualarly. So I will be in a good position to gauge reliability. Anywhoddles... here is the video. Feel free to comment:

I am not sure why we have to do this comparison. The Pocket, is the smallest, lightest and cheaper Cinema camera, that can film your kids play in elementary, or a short film that can be shown to a cinema screen. The amazing thing with this camera is that brought - almost - cine quality to the masses, while you can stick a cheap stabilized m43, be it tele, or all arounder PZ, and do your everyday thing. It is completely unfair to treat this camera like the next hybrid. If you want a good all around camera, you have already one, the NX1, stick the 16-50S on it and go out and gain some money, and for what? for 600-800$? Keep it for a year (and a half!) and then sell it for the same money, probably. If you are searching for a new hybrid system to support, then Z seems like the most complete proposition right now, but seriously, what are the native lenses choices? I am waiting on all those systems until are mature enough, that means at least 5-8 lenses that I really need, and the Pana-Leica-Sigma will be competitive, it is a very interesting alliance, I wouldn't buy anything without seeing what they offer first. If one searches for a cheap cine camera, that can be used for everything, from filming your daughter's birthday, to your sons basketball game, to weddings, music shows, short film, even a feature, B cam/crash cam to the big boys, then P4K is the one and only, it is a steal really, but it is not a full frame hybrid, certainly not!

Haha, Fuji’s Single 8 (I believe it was called) or their failed attempt as an answer to Super 8. I think I have one of those cameras in storage.

For sure i'd go nuts if that were to happen (mini compact Super35 cine cam with 16mm bolex style hand grip design housing extra battery, XT3 sensor, XH1s IBIS & X100s NDs). Made in Japan. Please Fuji! Who knows, they did revive their medium-format system out of thin air..

Fuji used to make very handsome cine cameras. If they did move back into dedicated motion cameras, carried on their retro styling cues of the stills range and put the X-T3 internals in this then I suspect many people would wet their pants. I'd be one of them

Has there been any word when the P4K will be fully released. Admittedly, I haven’t really been following these threads, but out of curiosity I went to BH to see if they had any used ones for sale. To my surprise, they’re still listed as preorder. Seriously?!?! Didn’t the first units start shipping like 4 months ago? I figured new ones at BH would be on backorder but I never thought it would still be listed as preorder. What is going on over at BMD? Aren’t replacement RMA cameras being shipped out regularly but the preorders aren’t filled yet? On a side note that is kinda irrelevant to this discussion... I was looking at some comparison videos between the P4K and GH5s and was surprised to see how well the GH5s held its own against the P4K. The P4K definitely looked better but not by a huge margin and I can see why someone may choose the easier production features of the GH5s over the P4K (although that statement is relative) so then I looked at the current prices of the GH5s and my jaw dropped... the sale price is $2300... is Panasonic nuts? The GH5 is 2 years old and should be selling for $1200 new at this point and on sale for a grand. The GH5s should be at $1700 and $1500 on sale. At this rate, the X-T3 seems like the deal of the year. The P4K would be if one could buy it anywhere.

Actually, that is base task for compositor's seat in studio, being it with Nuke or Fusion - extracting and playing with plans, paralax projections and z-plates in 3D space But, of course, filming and moving on fresh air, dancing with camera instead of sitting in twilight-zone of vfx room, is much better and natural solution!

No need to waste the metal as he can be apparently be brought down by meat substitute alone. After helping whip up a national frenzy after a bakery chain released a vegan version of its sausage roll (like we don't already have enough pressing matters in the UK to dominate public debate) he decided to really show his moral outrage and disgust by eating one on his TV show. After spitting it out (yes on live TV) he is now claiming it is responsible for him being hospitalised. A part of me is hoping that the bakery in question had actually sneakily obtained his DNA (possibly from a bile soaked microphone used during one of his whiney rants) and identified a way to attack his gastrointestinal system to see if they could make actual shit rather than the usual metaphorical shit pour out of his mouth. Many countries come up with creative ways to surrepticiously remove enemies of the state but I suppose it does still speak to a certain type of Britishness to attempt to do it via the medium of baked goods.

So basically the Panasonic rep told him the Panasonic S1 is centered around photographers and the GH line is for video. Sounds like complete BS as they are both hybrid cameras, but its interesting that they are putting out that message. They definitely marketed the GH5S as a video camera. Anyways the exciting thing is that I think the GH6 will really be an interesting camera. It looks like they are pursuing phase detect auto focus on the S1, which makes sense if they genuinely don't care about the video side. Hopefully its being developed for the GH6. The thing is at this point I am pretty happy with what the XT3 offers. One of the advantages of smaller sensors is better stabilization and less processing power. It would be neat to see a really well done multi exposure HDR. Right now the two things that would make me buy another camera are significant dynamic range increase and stabilization.

Well with the 17mm Tokina in FD Mount you could always buy a Lens Turbo ii for FD to Micro4/3. Or search for the Nikon or Olympus version that you could use with your EF speedbooster.

It would not work. You can only adapt lenses to mounts with a shorter flange distance. Canon FD < Canon EF < Nikon F. That's one reason FD lenses tend to be so cheap on the used market: they can't be used on modern Canon cameras. Well technically there are some adapters that use corrective optics to allow FD lenses on EF cameras, but they are generally expensive and reduce the quality considerably.

https://www.google.com/url?q=https://www.youtube.com/watch?v%3DGJ6ASrvWwcw%26feature%3Dyoutu.be&amp;source=gmail&amp;ust=1547484958974000&amp;usg=AFQjCNE2Tb2J2DZSKZodygNgQY6nps3bxw

I have the cheap Edelkrones, and boy, they work. They do just a slight movement, but they fit in my camera bag (at least the slider does) and up my production values significantly. Bigger companies I work for have the bigger Edelkrone's. One problem is that they change machines all the time, in a way you have to buy new every couple of years to stay current with their models (hardware and software). Visit their page @mercer, you will be surprised this is the cheapest one. https://edelkrone.eu/products/sliderone-pro

I stack adapters. All of my Nikon lenses have a "permanent" Nikon F -> Canon EF adapter attached. Stacking cheap adapters can result in more play overall. However, most F/EF adapters can actually be tightened with a flathead screwdriver so there is no added play. (They aren't permanent really, but I haven't taken the adapters off in years) Then, I use a Canon EF to Samsung NX adapter that lives on my NX1. I basically just treat my NX1 as an EF camera now, as @kye suggested. If you regularly switch cameras and lenses, I highly recommend settling on one standard mount and converting everything to that. I've used my same lens set on 5D3, NX1, XT3, Ursa mini, and others. And sometimes on shoots I've used Canon, Rokinon EF or Zeiss ZF lenses alongside mine. So settling on EF as a standard has really made my life easier. Unfortunately, that means that my beautiful Konica and FD mount lenses haven't seen use in a long time.

Why I am not surprised LoL. ?

it's decent just nowhere near what a modern sensor like C200 is capable of

Due to the different flange distances, you can’t go from FD to EF without an adapter with a correction lens inside the adapter. And those correction lenses are usually crap and will do more harm to your image than they’re worth. There is a company called EDMIKA that makes replacement mounts to modify the lens but that can get a little pricey. FD lenses are very cinematic so it may be worth the modification if you already own some good samples. I lucked out and found a 50mm 1.4 that was modified to the Nikon Mount and paid less than most FD 50mm 1.4 lenses go for.

I have had my osmo pocket for a few days now, I bought it for an upcoming vacation to Greece as a fun, easy little pocket camera to film a family vacation video with. I took it with me on several shoots last week just to mess around with it — shot a motion timelapse setting up an interview, BTS b-roll, etc. — and I actually used it for some B-roll shots in a couple small community theater promos I'm working on (black and white, 2.35:1, adding film grain anyway) so the osmo shots actually cut right in without a problem. I really can't overstate the convenience of reaching into my jacket pocket and obtaining a little 4k 60p stabilized camera movement in just a second or two when I feel like it. I can already tell that this is going to be a super useful tool for me — yes, obviously the IQ is not up to stuff compared to a larger camera and gimbal setup, but for quick social media projects it is more than adequate in my opinion, and pretty fun to use.

In the UK, he went from being the editor of the right wing News Of The World tabloid to being the editor of the left wing Daily Mirror tabloid. And as far as I can tell he is simultaneously and equally loathed by both left and right. He truly is Schrodinger's Twat.

The pros maybe quicker, simpler and much cheaper production... but it will also look like a cheaper production. So other than cost, there is no upside. Back in the day I loved AE. I could create some pretty crazy effects with that software. After awhile I focused on using it in subtle ways. Effect that were "there", but never noticed as effects. So naturally I've tried stimulating movement with cropping. It tends to look "off". Even a simple zoom or pan is easily spotted as fake. It doesn't matter if you ease in/out... or add motion blur. The problem is you cannot fake parallax and you cannot fake lens compression. This might have more success with a lightfield camera... but you could buy the motion controller and hire a crew for the price of one of those.

omg ? piers got trolled so hard ? what a fool ????

It really does take a special type of reactionary dickhead to consider a vegan sausage roll as an act of political correctness. And then to articulate that thought out loud.

Haven't thought of it, buying a 18-80, you can put it in everything with an adapter? And what about the electronics and stabilization? @Django I love the cheap CN-E, but it is bogus, at least, to call the 14-30mm expensive (while the Sony 16-35 is more expensive) and the cheap CN-Es are 10.000€ for the 2 (18-80 & 70-200) while in reality they are more an advanced and improved EF version, than real cine lenses. And the MK lenses, have no electronics inside whatsoever, which is sad, and unpractical, at least. These are reasons that Sony dominates the video market these days, offering ultra cheap 18-110mm video optimized lenses that fit ALL their cameras, and while in reality they are worst than the aforementioned lenses, overal they are a best buy choice, matching well their FS cameras.

Cropping in and panning / tilting / Ken Burns-ing is a digital simulation of a fixed position camera movement, like a fluid-head on a tripod. The difference is that you don't get the depth effects of the foreground moving differently to the background. If there's a movement towards or away from the subject then you also get a change in how out-of-focus the background is. Nice work! Those movements are complex and really interesting. I don't know your style or what you're trying to achieve creatively but this could really add to the right project. The key is to practice and get to terms with the feel it creates and then use it on the right projects. It reminds me of this video that was posted recently about hand-holding and camera movements, especially the combining of multiple shots into a single moving shot. Also, films with "one take" like Russian Ark where the film includes all the normal shots of a film like close-ups, mid-shots, wides, etc but does so in a single fluid movement. Obviously this isn't as extreme with your setup, but that is a whole aesthetic and would really contribute to the right projects.

Pretty cool, I've been contemplating getting something similar for timelapses.

I don't think the grade or how the footage is shot represent either camera well, but the technical aspects in terms of sharpness seem about right, although I think those clips are from .mp4 files, which are not as sharp as raw. I find this video more representative, though: But I don't like the +5 sharpening here, either. Anything above 0 looks "digital" to me. Regardless, both cameras are plenty sharp. Super sharp 1080p (sharper than the Alexa's 1080p) vs average 4k. But the difference between the two isn't great. The C100 oversamples in a way that achieves nearly 100 mtf. Bayer's mtf as sampled in the C200 drops to zero at around 70% linear resolution I believe. So at best the C200 has "twice" as much resolution in UHD as the the C100 has at 1080p, not four times as you'd expect by counting pixels. If the C200 had an 8k sensor, that would be another story. There are other differences, however: I prefer the C100's color and its noise pattern, and significantly. But the C200 has much less skew and much better dynamic range. There are major workflow and ergonomic differences. And if your client is demanding 4k footage acquired in 4k, well, only one of the two delivers on that.

PotPlayer. OK, not from a blow up : ) So, I've just checked you have a better H.264 outcome there. This doesn't mean you'll be able to reproduce every situation under different shooting circumstances. As you fairly inferred before, let alone motion to see some H.264 to easily break. This means you're unable to use it for family videos or even professionally?! Sure not, this delivery pattern is the mainstream acquisition standard so far. For some reason a operator is mandatory. A camera doesn't shoot per se, no matter how good auto-this auto-that AF included is : D You'll properly set up your tools accordingly the needs. The whole point I stand is: ProRes Proxy is not unusable and can be better than H.264 as we've already seen samples about. Does this mean it will happen all the course? I'd conclude not all the time. You've already added something useful to the debate. I just don't buy that "pretty terrible" remark from yours. Pretty inaccurate to my book to say the least : ) Unfortunately, all my PXY files are private related. I'd obviously tend to avoid it for narrative and documentary stuff for exhibition as my main playground. Never had my doubts on it. 4K follows the task force. Other than that, PXY 1080p will suffice the family job. Nice to discuss it with you in a civil manner BTW, not possible everyday currently as much as ProRes Proxy files to serve as analogy LOL (E : -)

Ah but the thing is that if Sony has a button that is 1mm out of place for most people that makes it unuseable while Canon (and Nikon) could make a camera that only takes a picture every second time you push the button and that would be neither here nor there! Just merging your two recent threads a bit.

its a canon camera @Snowbro its perfect so true. we couldve saved that bullet for piers

Ran PSNR analysis against the original file. ProRes Proxy avg: 31.52 H264 (same bitrate) avg: 33.79 H264 (<1/10 bitrate) avg: 33.35 H264 (All Intra) avg: 31.73 The H.264 files are all mathematically closer to the original file, in addition to being visually closer. Even the All Intra version!

"Mean IQ Of dpreview Members?" 100. Give or take 5 points.

I suppose that's the issue when it comes to disagreements about music when you have so many guns around. To paraphrase a British comedian on the issue.... You sent us Elvis Presley and we took him to our hearts, we sent you John Lennon and you shot him. Speaking of comedians, I think Chris Rock had a great idea to enable people to still own guns but reduce the number of "heat of the moment" murders by charging $5000 each for the bullets on the basis that you would really have to be mad at someone to waste $5000 on them

Shooting 8K and delivering DVDs!!!

I'd take better quality 4K, i.e better dynamic range, 10bit, HDR, compressed RAW codec over 8K any day. 5 years from now I'll take 8K standard. I think people are under estimating the burden of handling 8K video. With media costs where they are at today, 8K is just stupid in a consumer camera. There are a lot of factors that make a particular scene in a video compelling. Resolution is at the bottom. Yes, I'm aware a 480p video is worst than a 1080p, but there is the law of diminishing returns. From most important to least. 1. Audio 1.5 Composition ? 2. Lighting 3. Dynamic Range 4. Bit rate 5. Bit depth 6. Resolution (1080p and up)

I know.. think about how all the forums are full of angry people demanding 8K cameras! Once you understand that this progression is mainly driven by the tech companies constantly trying to find ways to make you keep buying things, then the rationale becomes clearer

Yep. Honestly my Canons often over heat shooting in direct sun here in AUS on a hot day shooting stock firmware. When I shoot Raw they don't get noticeably any hotter than otherwise and if we are to believe the ML team; less processing with Raw should actually generate less heat. Canon don't include Raw because they don't want to and if we are to seriously believe they can't (and can't do it reliably) but a team of part time hackers can reverse engineer their whole system to do it... I don't know whether I should really support such ignorance. My 2cents.

Yeah the 5D3 and ML Raw shoots continuous 1080p 14bit Raw. Since I shoot narratives, I’ve never recorded super long takes but I have shot upwards of 5 minutes without any hiccups.

on the 5D3 MK3 1080 Raw is stable and doesnt over hear the camera.

Finally, Nocticron did the job: