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@mercer and anyone else, I couldn't get to some woods, but I shot some high contrast spots. As I said before, I don't shoot RAW, so I exposed as I normally would. I hope you can get the info you wanted from this. Total size 1.72gb - https://mega.nz/#F!3Fs0mSSS!0gMCbZYRQ47KKrmY8WN_YQ All shot with Sigma 18-35 f1.8 (set to f4) on the Viltrox booster. All handheld, so excuse the shakiness. The RAW files are 4:1 and the others are ProRes HQ. The last 2 clips are the same shot, from the same position to show the crop when you shoot 1080p RAW. I believe its a 4x crop in RAW and 1.9x in ProRes - With the booster, those crop factors change, but maths isn't my strong suit, so I'll leave it to someone else to work that out.

Just saw this video and thought it would be useful for those with Dual ISO cameras like BMPCC4K, GH5S, etc.. Includes how Dual ISO works, impacts on DR, and how to expose - really great content from John Hess.

Latest Danne thing https://www.magiclantern.fm/forum/index.php?topic=9741.msg208959#msg208959 You need SD hacks turned on, and in the crop menu you have to choose 1x3 mode, 10bit and 2.35 crop Works continuous. Can't really judge the sharpness because the only adapter I have is that crappy chinese speedbooster, but it looks very cinematic. I think the detail level is something around 2.5-2K without binning artifacts you usually get with 2K raw from the 5D.

So I managed to record 2.35:1 on 10bit with 1500x1920 continuous!!! which results in 4500x1920 I have no idea how audio works, will have to look into it. The rolling shutter is bad... Don't have anything to compare to right now. Lol, this little crappy camera is crazy.

I don’t predict the future but sincerely hope mft will continue with innovative products like this one. it’s the best system since the advent of digital and iq difference with ff is more in our brain than in the pictures.

Yes, but since your iris and shutter determine the look of your footage, by strictly using 400 and 3200, you're essentially locking your iris, shutter and ISOs, which will give you very little freedom in how to adjust your exposure - either NDs or lights. Then if you don't have a controlled environment, you're limited to NDs only. I much prefer to use the ISO to help me expose, rather then limit my shots more than they need to be.

Its the gateway aspect of the E mount that appeals. Leaving aside the additional similar options the E mount range offers to Nikon users, having access to the Batis range no longer means you have to get a Sony body to have Zeiss lenses with AF. The adapter itself is only a few mm deep anyway so if you put the EF lens adapter on it its a negligible difference between putting Nikon's FTZ adapter on the camera really. Being able to also use the TechArt PRO opens up a lot of possibilities for fast, affordable and very compact full frame M mount lenses from Voigtlander and 7Artisans (28mm f1.4 and 50mm f1.1 are less than £650 for the PAIR!) and of course gives them AF, again for similar overall footprint than the FTZ adapter. So whilst there is obviously a ton of wonderful Nikon glass out there it is worth bearing in mind that only 4 Nikon lenses will go directly on these cameras without an adapter and it is going to take them a long time before the majority of their most renowned ones are available in the native mount. Funnily enough, despite being so heavily invested in the Nikon system, its actually only the availability of this adapter thats slightly enthused me about buying one of the Z series !

Sounds like this camera will be built like a tank too. Not sure how it will beat the GH5s in terms of low light performance with that 20mp sensor.

I went with Minolta. Canon is cool too but a lot of their popular glass (zooms mostly) aren't really geared for manual focus. I also have a bunch of Fuji glass for auto focus, that'll all have to go if I switch systems tho.

1x3 2.48:1 5760(1920)x2352, wow... https://www.magiclantern.fm/forum/index.php?topic=22818.100

Yeah I had the A6300 last 60 minutes after hacking it. Confident I used it for a play recording and it shut off 25 minutes in. That's when I sold it, never would happen with my Panasonic. Let's see an indoor test or warm climate. Vloggers don't need long record times tho.

In my experience, I lose about 1/3rd of the top of the image which I instead gain in the bottom of the frame. Meaning; what I perceived to be the center of the image in the live view is in actuality 1/3rd lower. If that makes sense.

No I will stand by my statement. Rapid camera cuts like that can even give people seizures. I just don't like that style. Be he has 78,289 subscribers so I guess someone likes it. And all the videos he does are just like it. As to the craftsmanship part, well that is sort of like the most beautiful woman in the world beating the living crap out of me with the best made ball peen hammer in the world. I would still F ing hate it. ?

it looks like you guys are wearing long sleeved shirts, not sure when you guys did this test but it dosen't look terribly hot where you are. if it didn't over heat for you thats great for nz and northern europe i guess. but i reckon the aussie outback sun at the moment might prove more of a challenge. in saying that its safe to assume pretty much all cameras and people would be subject to a bit of heat stress regardless at the moment .its just bloody hot out here

One of the reasons I'm still really interested in shooting Nikon asp-c is because of their lens lineup. They have a lot of smallish, F1.8 primes between 16 and 50mm. They also have that 16-80mm f2.8-4 (which at 50mm is f3.5) and unlike Fuji, have the Tolima 11-16mm f2.8 at a very reasonable price. Other than lenses, I loved the ergonomics and image quality of the d5500. If they're going to do a real upgrade this year then I hope they add good phase detect autofocus in live view, a better rear LCD (oled?), Better preamps (d5500 had garbage) and slightly better OVF (without sacrificing body size). I can take or leave 4k personally.

Well, some people take this stuff a bit more serious than strictly in a geek perspective : -)

That's kind of the challenge isn't it. We see people doing small budget fast turn-around projects like news reporting or micro-docs and doing a great job but these people are often too busy to talk about gear or just don't care about nerdy things, so we don't know what they're using or get their impressions. Also, these people often have a really solid understanding of the fundamentals like exposure and controlling DR with excellent lighting, etc, and so for them most cameras with pro features are really the same because they can get great results with almost anything. We see people doing small budget fast turn-around projects from nerds who like to talk gear, but most of the time they don't do a good job so their output isn't really demonstrating the potential. And finally, we talk to people who are doing higher quality larger budget productions where we could really see what the potential of the equipment is, but things don't air for ages, so even if the person is willing to talk about gear and techniques etc we have to wait ages before the end result is broadcast and we can see things for ourselves (like John Brawley for example). These people are often late adopters too, so they'll wait a year to pick up a camera, then after production it will be another year before the footage sees the light of day. In a sense, the only chances we really have are the amateur YouTubers who have an interest in high-quality film-making to buy the latest gear and talk about it, who have the money from their full-time job to travel and point their camera at interesting things, and who have the time to do more than just slap on a LUT and upload.

Markku Alén won five times (1975-78, 1981* with the mythical Abarth and again twelve years later in 1987 with the older Integrale's brother) the Portuguese major competition. As matter of fact, our rally follows his native 1000 Lakes where he took 6 triumphs and has the 2nd rank along his WRC victories only a year later. Until then, Portugal ranked first. Without mention where he got his 1st important victory in a world class rally ever, to succeed many others in the following dozen years. He was one of my 1st heroes, so it is very nice to see him around and pretty on the spot, buddy! (E : -) * Someone still keeps the wheel he lost in 1981 when he got his 3rd cup, can you imagine?

If you are a Lancia fan like me this video is Hog Heaven LoL. Not sure I would want to be in the passenger seat on these runs. WOW is right.

LOL I wish this community would pay my bills to match the countless responsibilities I have to fill the cup! Time is short. I will tell you something though. One of these days I'll have posted some paid gig shot with this same unit. Count on it : ) When people will probably be hysteric with some other new release over here. That's my cup of tea, takes years to fulfill... : -)

Well, get out and shoot some stuff... you owe it to the community to show me some 1080p ProRes. But I’m sure it’s great... it sounds better, or at least as good as a Red. I’m going to wait and see how a few things pan out before I make my next move, but this is definitely on the list. @Ehetyz makes some amazing films on his UMP, so his endorsement of the P4K has pushed me a little closer, but since at this point, any camera will be a 2nd camera, I wonder if a Micro would make more sense. And then there’s the Ursa Mini 4K with its global shutter. Or a GH5. Or Z-Cam E2. Or X-T3... Just saying there are a lot of options available to us right now. I’m smack dab in the middle of two projects, so I have zero reason to change systems until the summer or next fall by the earliest... maybe BH will have some P4Ks in stock by then... lol... of course by the time BMD has the preorders filled, they may have to offer a price cut because the camera will be 2 years old.?

WOW oh time to remind when... ...kid I was going to the world's famous rally ever: http://www.car-poster-gallery.com/original_raceposter_rallye_portugal_1992_lancia_delta_integrale_poster_12923.html

@mercer I've just read your wondering on 1080p ProRes from this new P4K. It is so good, I don't even feel the need to shoot 4K there, go figure : ) Only private stuff so far, so I'm sorry to not have it for posting online. I don't want you or anyone else now can feel I am patronizing over here but trust me, this is the capture device a camera shooter can be looking for. E : -)

Pretty cool to see people still interested in the Andromeda I actually still have my dvx100 andromeda. Apparently the camera I purchased was used as a c camera on few features back in the day. I never got around using it on an actual production myself but I did shoot some test footage and the image it produced was very impressive. Fun fact, even though it never came to market, a few HVX cameras with an early build did exists and there was one sold on eBay about 8 years back. Unfourtunally, it did not come with the software or special data cable to get it to work...

I think that one of the things that people miss is just how capable the BMPCC4K is for the price. This camera opens up opportunities for content creators because of the features that it offers vs. the price point. With my setup (camera, cage, 1TB T5, extra batteries, etc.) I probably have around $2k in each rig. Lots of people start out with inexpensive gear and move up. Your progression might be something like Sony A6300, then maybe Sony FF (A7 III) or other SLR hybrid camera. Once you have sufficient work (and $), you may transition to more traditional video cameras like C200, FS5, EVA1, etc. These bigger cameras are going to cost $5K -$10K each after you get them rigged out. You may even only have one (big) A cam and then a cheaper B cam due to budget constraints. The BMPCC4K gives you the ability to have an A, B, and maybe even a C cam for roughly the same money as one of the traditional mid-tier cinema cameras, but gives you higher-end features like RAW recording and good dynamic range. I think that many people would be better served with a 2 or 3 cam setup of BMPCC4K's instead of 1 big A cam and a cheaper B cam. I run a 3 cam setup on almost every shoot. Having 3 matched cameras lets you have redundancy, makes matching footage easier, and has many other advantages.

Pretty nice Osmo Pocket footage. The guy Really likes the tower though LoL. I thought this video was pretty damn good. And Man I have Always wanted one of those white Lancia Delta Integrale Evolution II's. Arrrrr.

I hate that F ing video GH3 or not LoL.

@Timotheus Bad iPhone video. Hope it can help. https://drive.google.com/file/d/1jOPTNaDZ4N-7kvtid5l6qOw_QpdFinhy/view?usp=sharing

I agree with you, the micro is very appealing at a lower budget.

Yeah, I know the 1080p out of the P4K is probably pretty darn good but to be frank... I hate adapters now. The idea of using a speedbooster with that camera gives me angina. I’m even switching the mounts on all my lenses to EF via Leitax or Simmod mounts.

The other interesting yet seldom mentioned function it does is having the option to shoot in 1080p I was dragged along to watch Aquaman last week (pro tip, always go and see the 4dX versions of films you'll hate as at least you can enjoy the ride). I watched the credits to the bitter end because I was fascinated by how many people were involved in making it. I've tried without joy to find the figure online but I doubt a guess of 600-700 would be too far off. Sobering in one way but inspirational in another as just getting a 2 minute piece together as a one man band is a big achievement !

I'm going to make an analogy to recording music because it has already been through the democratisation (for want of a better word) process that film making is going through. This is a local band from my town making a half decent album in 1967. Great room, great mics, great mic placement. Because they'd got those aspects so right, it didn't matter anywhere near as much that they had such limited capabilities of a console like this to fix it in the mix. My phone has more recording and mixing capability than they had available there but unless I take that same approach to acquisition then I can tweak away forever without really being able to get anywhere near it. That isn't necessarily about having to have a world class room and world class mics but it does involve approaching the craft of it in the same way but also making an artistic decision about what it is you are trying to capture in the first place. The same is true for image making. I think it is great that we have the colour grading tools available to transform and even potentially rescue footage that you would ideally have shot under more controlled circumstances but I certainly hold with it being something to enhance or finesse a solid base. I actually find one of the Pocket4K's most interesting yet hardly ever discussed features is the ability to record with baked in LUTs as I think creating a virtual film stock and taking the time to learn its response inside out and making those commitments to the final vision when shooting will ultimately yield better and more consistent results over time than the time draining options of noodling around with RAW all day. To offer a parallel to this, for work I have to shoot jpeg with very limited latitude time or manipulation wise to make anything other than minor tweaks. Due to this, I have the same 'film stock' on the multiple cameras I'm using and I'm completely familiar and comfortable with how it will react to the multiple types of lighting that I have to shoot in in terms of colour balance and dynamic range, how far I can underexpose it to boost shutter speed etc so no image that comes off any of them is a surprise or a challenge to get it where it needs to be. As a consequence, images fly in and fly out with no delay, angst, analysis paralysis or regret. By contrast, if you give me a single RAW file, I can fuck about all day with it. Often with inversely proportional benefits.

My lord, I was watching TV at my friend's house and was horrified at how bad an HD tv looked. Turns out he had sharpening all the way up. I turned it all the way down and he comments how it doesn't look sharp anymore. I can't fathom how anyone could think that image looked good before I corrected the sharpening lol. Plus he that no motion blur setting turned on. ?

Can't justify for a c100 in 2018 tho, why not save up a little bit more and go for the eva-1? Price dropped aswell

Of course! The 6400 is not the camera for someone like you. But it doesn't make it a "turkey". It's like a car person saying VW Golf is a turkey because it's not a Porsche. VW sells a lot of Golfs even if they're just front-wheel drive that understeer and are not as much fun for people who love rear-wheel drive cars. That said, I don't love Sony cameras and that's probably what you're referring to. They're good gadget but never feel like a tool you want to use. I have the 6000 and the A7Riii. I'm glad the 6400 kept the old battery and stay true to its size. I think sony understands this market segment well. They are delivering everything a newcomer would want and more. Most importantly you want the camera to work. What that means is, that it takes good videos or photos. Most people people would not care about bit depth, etc. What they want is photos or videos that are in focus. Secondly they want it to work where a phone would not work, like in dark situations etc. This is what this camera is optimize to do. A small little wonder that you can use to take selfies, low light photos and videos and the AF is so good that you're 95% guaranteed to take a photo or video that looks decent. Sony will acquire more new users and some of them might ultimately invest more into the ecosystem of Sony. It's a market win for them.

Well like my car dealership friend used to say, "There is an ass for every seat".

Yeah my son has an 80D. A Really nice overall camera. He has the EF-S 10-22mm, 50mm, a 35-85mm zoom I think, an old one. Pretty much all the average person needs.

I don't think that's the case at all. $2000 for the GH5 two years ago was a steal. And frankly it still is able to do stuff all in one package that no other camera can do on the market in its price range. It's really not fair to compare the A7iii to the GH5 because it can't compete with all of the GH5's features. The A7iii is a great camera but it lacks so many features of the GH5 and isn't a true alternative. If you're only going by sensor size you're missing the bigger point. The A7iii was/is a great value, but it doesn't have all of the film making features that the GH5 and no matter how big of a sensor you have, that's not gonna make up for missing them.

As a GH5 owner, I'm winning all the time. I see people all bitching about newer cameras and I just sit back and relax, I see newer features on cameras that I think might be cool and then I remember how it feels to look at your footage and be reminded of film, to see people grading UMP / RED / Alexa footage and then grade the 10-bit HLG and have it feel the same. To read about 8K and think about how that will be true 4K footage and not feel like somehow your equipment isn't good enough any more. When someone develops a LUT pack to match with the Alexa and have the best colourist on YT (Juan Melara) comment "This is actually really impressive. Top work!" and I know that I can get the Alexa look with any of my footage if I want to. The GH6 could be $1 and have 8K 16-bit RAW with integrated drone and I wouldn't feel bad about my GH5 at all. My only stress now is buying lenses - there are so many and I want to have all of them!

I think Panasonic will keep their MFT GH-line to push out awesome video specs before anyone else (like they did with GH5's 10-bit 4K, and 60fps 4K). Then they'll trickle up to their full-frame cameras a couple of years later. I wouldn't be surprised to see a late 2019 GH6 with 12-bit 4K internal raw (perhaps BM Raw, since it is open), 120 fps 4K, and maybe even a higher resolution like 6k or 8k at 30p. Also, they may just go all in on the video front and throw in the one thing I'm waiting for: an internal variable ND. Please? someone?

I have expressed multiple times here that C200 is in reality a glorified, and overpriced, C100. I have used the 2 cameras extensively, and the C200 is half a step ahead C100, while we wished for it to be 2. If you do not care much about 4K and raw, then the C100mkII is one of the friendliest and straight forward cameras in the industry. If you want/need broadcast codecs and "advanced"(=which are the norn for most manufacturers) features then even the JVC LS300 delivers, for a 3000$ price tag and the ability to shoot brodcast quality 4K/60p (with an Atomos), and you can get FS5ii raw/Ursa mini Pro for cheap, and EVA for less cheap!

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.

Interesting. Maybe they just haven't sold enough of them to end up in the hands of people who don't value them and use them? They're a pretty niche item really, and they don't have the marketing of something like RED where every YouTuber secretly wants to vlog with one.

I keep going to upgrade my GH3, but never do. It has been dropped, dragged along the footpath, rained on. Rubbery bits have fallen off and I’ve gaffer taped them back on, and still the damn thing keeps working for me. In terms of income vs camera cost ratio, I can’t complain. The thing is bullet proof. I’ve been looking at all the new releases, but 2nd hand GH3s are so cheap... 1080p is all I need, and that thing paired with my voigtlander 25mm is just heaven. I also have a GX85. Yeah, it’s okay, but I just know it won’t be around as long as the GH3.

Shooting 4K and downscaling in post is a pretty good way of getting high quality 1080p, and it may record in a higher bitrate too. I have done image quality comparisons of different resolutions given the same file size, and you're normally better off with the higher resolution, so even if the camera shoots the same bitrate for 1080 and 4K, you'd still be better with the 4K file.