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No no no @kaylee.. your style as a film-maker, not as a forum-user ???

Improved intraframe motion prediction Video compression relies on predicting motion between frames. When there’s no change in a pixel, a video codec can save space by referencing it, rather than reproducing it. So improved motion prediction means improved file size and compression quality. Alongside the improved compression standards in H.265, we also find major improvements in motion prediction and compensation. Improved intraframe prediction Video compression also benefits from analyzing “movement” within individual frames, allowing single frames of video to be compressed more efficiently. This can be achieved by essentially describing pixels with a mathematical function rather than actual pixel values. The function takes up less space than pixel data, shrinking file size. However, the codec must support a sufficiently advanced mathematical function for this technique to be truly useful. H.265’s intraframe prediction function is far more detailed than H.264’s, allowing for 33 directions of motion over H.264’s nine directions. Parallel processing H.265 uses tiles and slices which can be decoded independently from the rest of a frame. This means that the decoding process can be split up across multiple parallel process threads, taking advantage of more efficient decoding opportunities on now-standard multi-core processors. With video resolutions getting higher, this kind of improved efficiency is required to decode video at a watchable pace on lower-end hardware. Higher maximum frame size The world is getting higher-res, and H.265 supports that. With H.265, video can be encoded at up to 8K UHD or 8192 pixels × 4320 pixels. Currently, only a handful of cameras can even produce 8K video, and very few monitors can display that kind of resolution. But just as HD is today’s standard, we can expect 4K and eventually 8K to rise to similar prominence eventually.

Yeah, it's nice. I use it sometime, useful to reframe during interview. Gives you a lot of extra room but you must attach a very sharp lens otherwise you gonna loose resolution (something like the Sigma ART 18-35mm f1.8 will do) If my memory serves me well, the 5k mode is h265 whereas all the 4k modes are only in h264. The 5k is 10 bits 420 instead of 10 bits 422 in 4k so it might not be the best option for keying on green screen. 5k is limited to 30p max. I haven't found much downside except the codec that will put most computers under stress. But I use proxy so it doesn't matter much for me.

Welcome to the forum, ZEEK! It's nice to have you here.

For those who are on a tight budget and would like de-noise, de-clip, de-hum, de-click, BH Photo has IZOTOPE RX Elements Audio Restoration and Enhancement Software (Download) on sale for $10 (regularly $130) in the deal zone for 9 more hours. https://www.bhphotovideo.com/c/product/1356812-REG/izotope_10_rxe_rx_elements_audio.html

All the Sony FF cameras have the crop mode which ends up a 1.5 crop, just like their APSC cameras are. That way you can use the E mount lenses on the FF stuff which are called FE lenses. And that works out to be pretty close to s35. And Real Cine cameras are All over the place in what they call s35 if you look at the graph below. So digital cameras wise anything goes for s35. The Canon C100, C300, C500 which by the way all use the same sensor, is one of the Few cameras that are really the old film dimensions in the modern era.

Sure, it is on its way! You should wait next to your mailbox. didn't say it made sense, just that there (almost) is such a thing as an AF 50 0.95 lens or at least it IS possible. You can also AF those super fast lenses on various systems with some AF adapters.

Independent arthouse has several possible routes which character-driven is one of those I feel closer to, as well, the incommunicability as subject... where I think both space and time fit in a very special and particular way (E : -)

I don't know... I only own Resolve and now these $10 plugins. Considering that Resolve includes Fairlight, the $60 for Reaper seems almost outlandish! I say this partly tongue--in-cheek, but the value for money benchmark keeps getting higher and higher

Brusfri is another NR software which is highly affordable that I'd recommend. It is. And besides, you'd assume everyone should have a DAW and NLE already anyway Reaper for instance is so cheap everyone should have it!

BM RAW is not like other cameras RAW as it has a curve built into the data so it's not 'true' RAW in the same way that a still RAW from a Canon, Nikon, Sony etc is.

He said that most productions are shot in 4-5.6f, and that is true, so 2.8f m43 is good for S35 anyway, which is true, and S35 is STILL the industry standard. We shoot some TV shows (which do 16-20% in the ratings, which are very good numbers for our country) with GH5 and 12-100mm and noone have asked for shallower DOF, sometimes I shoot near the defraction numbers to manage to have more things in focus. Also, amateurs usually have the most complaints and needs. A super fast AF camera that sees in the dark and takes pictures and/or videos of little kids running around in dim lighted appartments birthday parties, which is the most difficult situation anyway..

It seems that 5k (via open gate or 6k in photo mode) has less sharpening as result in processing image, at the same time keeping tiny little bit more details (maybe because of different algorithm used in photo and video mode). It also provide more room for stabilizing and, obviously, for framing. But, being 4:2:0 is less great for grading than 4k. Using HLG, of course, still provides usage of great GHa lut.

Do not have the camera yet!

Haha....all's well that ends well !

Use the html file from the post above and select 'Deploy Standard' That will restore the standard colour profile. How big are file sizes on the card for these 9 minute pieces ? Did you format the card in the camera or on a computer ? EDIT>>>> Hang on. I suspect the difference is related to the card. SDXC memory cards will do the continuous recording. SDHC memory cards will break it into 4gig sections. I'm going to take a wild guess that those 9 minute files are 4gig each on the card?

It's much more useful to take a particular film or at least era and talk about how to replicate it. I think the guy who made that video is kind of talking about a lot of nothing. The types looking at how to get cinematic footage are not industry workers. It's not like people are coming into set with a YouTube degree and messings things up.

audience: "OMG THE TRAIN IS RAIDING IN THE THEATER!"

Suspension of disbelief is not necessarily the only way to arrive there. Take a glance on Brecht approach as for instance with his V-effekt: https://en.wikipedia.org/wiki/Distancing_effect

Wow what a disappointment for video! I do have to disagree with some commenters here tough, I don’t think M43 is going anywhere anytime soon. The GH5, 2 years on, still hasn’t been beat. The GH6 will likely set the world on fire again. The Z cam E2 and BMPCC4k are powerhouses. It’s a really great format that just seems to be getting better, very quickly.

I think making something cinematic occurs on every level within film-making. The purely creative elements such as narrative and story structure, layering, complexity, poetry, and world can captivate the viewer and take them to another place. The artistic elements of film-making such as lighting, composition, casting and dramatic performances, wardrobe, art-department, sound design, music, editing and grading etc can create the texture of the world, matching the visual aesthetic with the conceptual elements previously mentioned. The technical elements such as camera movement, 180 degree shutter, etc. The YouTuber "how to be cinematic" focuses on the technical elements because they're easy to talk about, unfortunately the above categories are in descending-order of importance. It's like how most YouTubers fill their vlogs with cinematic b-roll sequences, when instead they should fill them full of interesting and useful content instead

Its a live command so doesn't actually change anything in the camera firmware (hence why you need to save it into C1, C2 etc to get it to persist when you switch the camera off) so I'm curious about this. Are you saying it only records the 9 minute clips when it is using Cinelike D or is it with all profiles? Is it the same length in both HD and 4K or is it that the file sizes are the same size in both and does it vary with compression setting? To restore it, you can either load a normal profile from the C memory or just use the html file here. GX800 TESTER V2.html

Its about time we saw a new Hasselblad vlogging camera though as their last one was released 50 years ago. And people criticise Canon for slow product refreshes. Their solution to getting fluid stabilised shots by making the operator and the camera float was out of this world.

Well apparently the 2 Fuji X-T3's you had are also I guess. Eh didn't Fuji add some things to the X-T2 that it Couldn't do before. How come they weren't in there to start with? Your just acting silly as hell. Every camera I can think of has had firmware upgrades to it. Hell Canon shipped the Canon C200 without even a middle Codec in it. How gay is that!

Thats a fair assessment for whether it is worth the money to you. In fact, i passed on the e2 because i will be using an xt3 on my next project. But thats a similar argument to saying the a7r3 isnt worth more than the a73 because you only need 42 megapixels for specialty purposes. And as @androidlad points out, there are other benefits. If you want prores on an xt3 you are looking at another $500 for an external recorder anyway. I completely see your point though, and agree that if you dont need the extra features, or if you want those beautiful 26mp photos, the xt3 is a better camera for you. The truth is, everything is now a product in development. Most major software companies ate switching to rolling updates and away from major versioning. Tesla rolls out software updates for their cars. Ten years ago it would be unthinkable to have to update your car! Its just how the world works now. The good news is Z cam listens to their buyers and is willing to shape their product to fit evolving needs.

No more than you would need for most other cameras. It uses cheap batteries, and you can use an iphone as a wired or wireless monitor. Most other cameras need like a teradek to do that. A side handle is pretty cheap and you can even use it left handed. Most people considering an e2 would get an external monitor and cage for any camera they got which would puy them at the exact same accessories. Name a cheaper camera--with or without accessories--with an interchangeable lens and 4k 120 at 10 bit. Name one that also has wireless monitoring for cheaper. You could spend $1k on accessories and still it will be cheapest in its class. The gh5s cost more brand new than this does with a side handle and cheap monitor. Maybe none of those features speak to your needs. Thats fair if it is not the best value for you. But the price overall seems good for what you get.

A7III Pros: - better autofocus - better low-light - better dynamic range - lighter body - larger full-frame sensor(for shallower DOF) GH5 Pros: - 10bit 4:2:2 codecs - ALL-I codecs - 4k DCI - anamorphic modes (open gate 5k) - anamorphic de-squeeze - load 4 custom luts for v-log l preview - better IBIS - lighter lenses - 4k 60fps - 1080 180fps - variable frame rates - waveform & vectorscope - smaller m4/3 sensor (deeper DOF for same aperture) - full-size HDMI port - syncro scan - less rolling shutter - fully articulating touchscreen - Lots of factors here and m43 can do a lot with DOF as well. m43 can use a focal reducer which makes it more like a APS-C sensor size in terms of DOF. You are now only one stop away from the same DOF as FF. Shoot f4 comfortably on FF? Well f2.8 is pretty easy to get on m43 even with zoom lenses and can easily match the DOF of FF. This is again such a non issue unless you insist on having razor thin DOF from FF by shooting 50mm f1.2. Optically not the best solution and almost impossible to focus with for serious production work where clients pay you. It honestly only takes a sliver of extra effort to achieve similar DOF on m43. Can't replicate every situation but the importance is much less significant than you think it is. Plus very few Hollywood movies actually use that shallow of DOF. They shoot s35mm (close to APS-C size) and not FF and they tend to stop down their lenses to f4 or f5.6. Extremely easy to match that on m43 and even easier once you add a Speedbooster which essentially makes the GH5 an exact match to s35mm size sensors. On the GH5s using a Speedbooster XL gets you around a 1.2x crop which is half way between APS-C and FF so not a huge difference in terms of DOF. The exelent IBIS, strong codec, robust build quality, great film maker ergonomics, 40k 60p and full size HDMI makes it feel like a more profesional camera then the whole a7 serie. I owned both but choose to keep the GH5 and sell the A7s. Also used the A7s MII allot. I sometimes miss the full frame aspect, but not to much. I don't miss any DR since I think the Slog3 and Slog2 is unusable in the A7 serie for the weak codec. So I actually feel the GH5 has more DR since the robust codec let's you play around with the levels better.

"Z CAM E2 is formally ProRes licensed!" -Kinson Next firmware update will unlock it automatically; in the meantime they posted a method to unlock ProRes manually. Unlike the internal H.265, which is 10 bit 4:2:0, internal ProRes on the E2 has 4:2:2 subsampling.

I wonder how the low light would stack up with a speed booster and some aggressive noise reduction? I mean if you are tearing it down anyway, it would be worth looking into switching to MFT or E mount.