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I respect your opinion and experience here. Much like with cars, it can go fast but still be an ugly car at the end of the day. The classics always have something special about them. I guess I just don't think I value that canon "special sauce" as much as you do for the prices they want for it. I think companies like Fuji and Panasonic are creeping up in this area with competitive products. I also think the "special sauce" is a decade or more of visual bias caused by watching A LOT of media shot on Canon cinema cameras. At the end of the day I think we are all constantly seeking confirmation that we have the best tool because we spent our hard earned money on it. Especially if we spent a lot and feel threatened by newer gear. I just prefer not to feed the canon segmentation machine.

When I end up getting a second camera, I’ll probably want something that shoots in 10bit but honestly... I can’t really tell that much of a difference between it and 8bit half the time... I think it’s psychological. Haha. The only time I can really tell is when the acquisition format is better... ie ProRes. If I’m being truly honest, I think a lot of these new cameras are boring. I think that maybe this generation of camera tech has peaked and anything going forward, in the foreseeable future, just proves the Law of Diminishing Returns.

Nice. No mention if he was filming in 4K or 1080p. 4K is much worse. Have a vlogger use it (it’s got a flip screen right perfectly made for it) have them film in 4K. Whoops it’s got a 1.7x crop that even at 16-35mm will feel close. Have them walk around filming in 4K and you will feel like you are on acid in some whackey fun house mirror room every time they swing the camera to show you something. Take a nice ride on a train, a car, or a bus if you prefer. Film out the window in 4K. Doesn’t matter? Filming some birds in 4K. You track them as you pan with their flight. Enjoy the jello telephone polls, lamp posts, and trees. It matters.

probably why the IBIS on Sony cameras is not very good

There are a couple sort of obvious innovations that have somehow escaped the feature list on most of the current crop of cameras. Things like IBIS that can be locked down when disabled is a big deal, and really adds to the flexibility of the camera. If you think about it, what good is it to be able to disable the camera intelligently moving the sensor, when the other option is just having it flop about inside the camera willie nilly? It just seems a bit silly to have the disable feature without this locking capability. Another obvious, but absent feature is the sensor cover that is present on the new Canon EOS R. It's so nice to not have to worry about dust getting on the sensor when switching lenses. Both these features are things ALL mirrorless cameras should have as standard features.

I love this because it’s so true. I went with Sony for a couple of years (FS7/5, A7s, A7rII) because they seemed to be crushing in specs. But despite all the technical prowess, the 8-bit HD image out of the 5 year old C100 was still way nicer looking. Now I have a mixture of Canon and the GH5, but will probably stick with Canon now that they have a full frame mirrorless line. hoping for a $5000-ish cinema line camera with RF Mount soon as well. Then could be happy for a few years.

It's sort of funny Emanuel that of all the time I have been one here I think you have contributed the least useful information of anyone with endless babbling posts containing just about zero info about anything. And then come back like a little girl does and try to deflect what I said and turn it on to me. You sir are a horses ass. You have turned into an angry person as of late. And yeah Glenn is tired of your Bullshit also. So I, like him, will leave you to your as of late cesspool of useless words and not really loose any sleep because of it. I think this Forum sort of deserves you. Just mindless babble about gear and no care about footage. Sort of becoming DPR.

IBIS absence from GH5s was also explained as solution for protecting most demanding professional customers from image defects. Of course, most demanding professional customers immediately recognized and wholeheartedly congratulated such deeply protection-motivated move.

How about you post the issue and your fix for someone else to find in the future if they encounter it again?

Emanuel I don't want to start a War with you. You are an interesting guy with honest opinions that you are entitled to. Lets just drop it and move on.

Your are just coming across like a F ing used car salesman. Oh don't buy Any new Gimbal, wait for this clunker I have coming to the lot in, well it still at the body shop, it will be here ehh, shit I don't know when just wait, is it Just what you need. "Well what kind of car is it"?, ehh I don't really know, but you really Need it! That is what you are sounding like LoL. It doesn't make a crap if I don't buy anything. You are just pissing around because there is a buck to be made here. People do goofy shit for money. I think you are acting silly and goofy.

Riiiight, because your comment doesn't come off at all like Sony fanboyism. You might have had a case if you were using an A9 series (rest aren't even weather sealed). But the A6300... better than Canon.. for sports really? Cmon. The joke of the LCD rear display with less than 1M px (not even half of EOS R's resolution) requires that monitor on top. Lack of ergonomics means you need that side handle. That camera has worst RS than EOS R (more than double in FHD), overheats after like 15mn, AF nowhere near DPAF, no touchscreen, no IBIS/IS, weak battery life etc.. Yeah what a pro solution over Canon that camera is ? Better not rain during the game.. meanwhile Super Bowl last year: RIP CANON ?

Hey guys! This year instead of just going to the NAMM Show and then back home to Fort Wayne, I decided to be a bit of a tourist! Took my parents with me and went to the filming location of the original Planet of the Apes. (my fathers favorite movie of all time)

New Pocket 4k Update https://www.blackmagicdesign.com/support/readme/878cd30c9aea48b1924f99c741e9af09 Added support for pixel remapping in camera. Added 2:1 monitoring frame guide. Improved media formatting user interface. Improved audio monitoring latency performance. Improved auto focus performance. Improved signal to noise ratio performance of camera internal microphone. Improved power efficiency for improved battery life. Improved 3.5mm audio input selection interface. Improved AV sync performance. Fixed an issue where time and date is not updated on camera when connected to the Blackmagic Camera Setup utility. Fixed an issue where the 3.5mm audio input level is 6dB lower than expected. Fixed an auto focusing issue with Lumix 20mm f/1.7 lens. Fixed an issue where some USB-C external SSDs were not detected when connected before camera is powered up. Fixed an issue where some batteries might shut off earlier than expected. Fixed an issue where low battery indicator is not displayed appropriately. Fixed an issue with camera not being detected by host computer when connected to certain USB ports. Updated dynamic range and ISO chart in user manual.

I will agree on that front. Full frame is to a large extent... overrated. However, it does have benefits when shooting in low light conditions. I think it's nice to have the options anyway. On a positive note, it's clear what Panasonic need to do to take the lead. Fix AF and add that dam flippy screen. If they do those two things, the S-Line will have more than a fighting chance. Like I said, the image out of the camera looks good and low-light is pretty amazing. Oh one last thing.... the system needs to be less costly... the price of admission is too high for what it is.

LOL Well, aside idiomatic expressions I bet a bit universal, in my culture at least, yes, there's a new version full featured with 1080p video transmission (that is, in order to let you use the smartphone/tablet as monitor) and servo follow focus alongside other one without it. Ready for electronic lenses from the release, in the future to include manual lenses as well. Both models provide full angle view access to your camera monitor.

Shot a MOS spot in Toronto for VISIT FLORIDA with the a73 and a6300. Unfortunately I couldn't edit the piece as I've been traveling for other shoots. The pink scarf is a little hot in the YT upload for some reason. Lenses were the 16-35/4 and the Tamron 28-75, all handheld or on a monopod. All shots used the a73's brilliant AF/face detection and it only drifted out of focus once, then it smoothly locked on the talent again. We shot all day in the cold - about 15f to 25f - over the course of two days gathering over two hours of interview footage. The camera was on my monopod, slung over my shoulder the entire time we walked around. I never put it in the bag as I needed to be ready to shoot the moment someone agreed to talk to us. I changed the battery once. After walking the streets for about 6 hours and gathering over 90min of footage it was down to 9%. The second day I did everything on one battery. Love the Zed battery and the a73. Almost everything is the a73, there are a couple cutaways that were shot with the a6300. I'll post some gear porn shots of the camera with a smallrig cage and my wireless setup soon. Cheers Chris Edit: Everything was shot 4k 24p, not sure of the PP, it may have been EOSHD Pro Color.

?oh noooos not the rolling shutter! Really, how many people actually have a problem with rolling shutter ruining their shots in real world usage? Do you seriously film wip pans exclusively?

Will it render unto Caesar any sort of lens control ?

Wow Caesar

The sensor is still free to move around on the IBS floating mechanism even if you turn it off. If you have a GH5 test it yourself - shake the camera and you can hear the sensor moving (and watch it with the lens off).

Bunch of new lenses coming with this announcement as well: Canon RF 15-35mm f/2.8L IS USM Canon RF 24-70mm f/2.8L IS USM Canon RF 24-240mm f/4-6.3 IS USM Canon RF 70-200mm f/2.8L IS USM Canon RF 85mm f/1.2L USM from: https://www.canonrumors.com/canon-to-announce-at-least-5-rf-lenses-next-week/ — To me, that looks like a professional lineup. Not an entry level system. Perhaps Canon has a $3500 pro body hidden somewhere to go along with this announcement? More likely, they’ll start using the RF Mount for cinema cameras, most likely the mythical C100 MarkIII or XC-15 style camera with interchangeable lenses. If they announce those at NAB 2018, you’ll have plenty of lenses for them. And both the 15-35mm and 24-70mm f2.8s have stabilization - huge for video. There is a huge gap for a small form factor 4K 10-bit 422 workhorse camera in the $4000 - $6000 range. Canon could really make a big splash with that.

Within the limitations is where you need to work... not just with the R... with all cameras. I use 4K all the time on the R. Yes there’s a crop... that’s been covered to death. But the image it produces is quite good. IMO, more filmic/cinematic than both Sony and Nikon. Side-by-side, comparing to the Z6, I can tell you that the Nikon’s is the more detailed image. The Sony produces a similarly detailed image. The problem is, for me at least, neither of these images feels very cinematic. They feel like video. Don’t get me wrong, they are certainly technically superior; and in low-light both handily outperform the Canon. But here in lies the problem. Regardless of technical superiority, the Canon just looks better. It looks organic. It moves better. And while the Canon cannot hope to compete at nose bleed ISOs, it works well up to 6400 or so, with noise looking more like film grain than the horrible confetti we are all too use to seeing. Now here is the problem... while you can certainly sharpen the Canon image, there is no method I am aware of that can recreate the organic qualities that the Canon produces. I spent about two months comparing footage from these cameras. Trying to match to my C200 which is of course pretty flexible in post. During the course of this testing I tried numerous techniques, in an attempt to replicate the organic look that the EOS R could produce. I added filters to the lenses. Tried vintage glass. Used post processing... nothing... and I mean nothing could convincingly reproduce the filmic/organic feel of the Canon. Finally, frustrated and frankly, disappointed I opted to switch to the EOS R and part with the other “superior” cameras. My conclusion: Cinema is art... and art is not a technical exercise. While the others are without doubt better spec wise, that means little if they fail to produce an image that you love. I’m positive that if you search around you can find some awful EOS R footage. But I can tell you right now... that’s operator error... not the camera. In the right hands this camera can produce impressive imagery.

Yes, harsh movements are always dangerous for... sensors.

The GH5 has real issues with the IBS when the camera is subject to harsh movements in that the sensor moves even when you turn IBS off.

So why best auto focus cameras use Phase detection? Only Panasonic discovered it has an "image defects"?

Try before you buy. https://www.youtube.com/watch?v=Km3bciSxeRg https://www.youtube.com/watch?v=u-jOjQiq-6Q

I don't know about full RAW but 3:1 is a dream in Resolve too. Meanwhile I was given a job that was a mixture of Sony A7SII and Fuji Xt3 and my MacPro choked on it. It was horrible.

Well maybe Canon will hire you as a consultant. You clearly understand the way industry works far better than they do?

I did see an interview with Atomos, but I don't remember that. I hope you're right, it would be a really phenomenal twist for Nikon. If they are that committed to video in their Z series, I'd love to see them tackle some of the other lesser-requested video features like LTC.

IIRC It was in an interview with Atomos. They mentioned that the Nikon can do 4K raw, but Nikon will not offer it until support for CFExpress is added.

No hard feelings, Don : ) I just guess that one above-posted contradicts such honesty you mention now. I am proud to invariably be honest in everything I do in my life. I have nothing against business. I just not sell myself for a simple reason among others to end with. I don't need to. I believe I would never sell my mom even because she wouldn't deserve such treatment. I would try to be a goofy used car salesman instead. The point is I have more to focus myself than to trade boring PMs combining payments and sending tracking numbers. Just not my cup of tea. I've done this because the chance happened from my need as user. That's all and the pure story behind. If people try to distort the truth involving me in something I am not, I will obviously react. In my country, an old saying states who doesn't, it is not child of decent people. I proudly am. As much as I would be if I'd rather become a used car salesman.

What strikes me about these numbers is how unimportant the A7s series is to the A7 line. And lets face it, if Sony sticks with the smallest mirrorless FF body approach to the A7 (which is one of the attractions of the A7iii) then it is really going to struggle to be the market leader in video specs. On the other hand if it comes out with a much bigger body for the A7s series, for more effective heat dissipation, it will be directly competing with its cinema line. And to the extent it can say squeeze in 4k 60p recording why not make it a stand out feature of an A7iv?

Really? Or it is you who acts like you know all everything about cameras from the laziness of your sofa...? Truly pissed off because you read again something you didn't like...? ; ) Phew Some days ago, some other member (I don't even die for love at all about that guy anyway) from some of your usual burps, he told you in your face you had zero clue on what you're saying as far as this industry you love. Love. Got it? :X I even posted in your defense, don't you remember? No buyer's remorse yet, no worries : D You instead visibly pissed off didn't leave his ankles... Right, you have your retired time for, from your comfortable sofa : P Yesterday, another mate of us (this one I like and for some reason he heard it privately from me even before you in this thread FYI), defied you very ironically to put the money where your mouth is. Maybe you didn't like my like in his post?! haha After all, there were only 350 bucks! What do you buy with such amount in this business...?! He is right, he even inferred western world (my sarcasm wouldn't go so far...) From my side, so many successive posts to tell you are wrong on your remarks about how hard is to shoot with the P4K in your words of nonuser has lead us here. I haven't been the only one there though. IIRC there was even other P4K user who asked to not feed the troll... A bit harsh to call you, no? Now you pop up here? This is just a personal vendetta from your part. It is what it is. You love to post from the condescending tone of your 70-year-old rank like you are an authority on things you have no idea what they are. Nothing against that. I've even shown some sympathy about you in the past. You well know that. You were used to be a nice and respectful guy with me too. Until the day I've started to tell you some truths you don't like to listen. Why? For a simple reason, I don't buy BS and you are a specialist to spread it imposing your liking as paramount among your usual LOLs. You're entitled to your opinion. Just not misleading your readers to intend your yadda yadda as pure facts when they are not. BTW you should get rid of your prejudice towards business players other than the big boys far away of your range. They never heard about you, they never read your jokes, man. You simply never existed to them. At least, I noticed your existence in this world, dude! No one pays me. I am not in the BMD's payroll. I don't need to sell gimbals for living, my dear champion of posts, so I am not for sale. I will keep my mouth active wherever shit hits the fan. If this has slapped your pride much recently, time to you stop and ask yourself why... ; -) Now in a last personal note, disappointing to see. No money over the equation. Decency doesn't pay my bills. Just priceless, if you have any clue what does mean.

I dont recall any word from nikon on internal raw. Does anyone have a source on that? @DBounce brought it up earlier.

Levi is such a cool down to earth guy

Interesting, I am just glad turning down the NR helps. Maybe its the grain? Some people think Fuji grain looks filmish.

Quick snippet from Griffin Hammond:

The lenses are so expensive on the Panasonic. Internal 4k 60p or 4k 60p in general is a great feature though. Panasonic will also offer a 12 bit external solution, (unknown if its RAW or not yet) so it could be on par with Nikon in that regard. Having the ability to shoot 10 bit internal is very attractive for me. If I purchased it I'd likely skip the lenses and just adapt manual ones.

Where have you seen that they'll get internal raw video for the Nikon Z6? So basically the same ish as GH5S!

I like to do lock off shots mostly. Pans and tilts maybe 10% of the time. What do pans and tilts really show you that you can't say with a well composed shot and/or edited montage, honestly? When shooting with a tripod I enjoy framing, hitting the red button, and taking my hands away from the camera. If anyone else uses this style too, consider Manf. sticks with a "leveling center" included. From there, you can get whatever head you prefer. I got cheap 701 HDV's, which are very gnarly for moves, but they're small and work well enough for me. This sort of set up gives you the option of quick bowl-type-leveling and compact breakdown. It's a "video" tripod that'll rise to 6' that disassembles and breaks down into enough compactness that I've been able to do carry-on with ALL my gear. It's not the most smooth video shooting system --which you COULD easily purchase elsewhere, but the functionality and break-down for excursions are more important to me. I've traveled to over 50 countries with equipment and this is what I ultimately settled on, and was, more or less, content with. (It doesn't have enough mass for stable long lens shots during windy days) If you want to avoid sending gear through checked baggage, it's a solution. https://www.bhphotovideo.com/c/product/272854-REG/Manfrotto_555B_555B_Leveling_Center_Column.html/?ap=y&gclid=EAIaIQobChMI7OaQ2qKg4AIViMVkCh026QRzEAQYAyABEgIQmfD_BwE&lsft=BI%3A514&smp=Y

Listen, I'm a happy Canon user, so yes you will find me generally speaking positively about products I own in Canon related threads. The difference is I don't go into other brand threads I don't own (and have zero intention of owning) to troll & toot my own horn..

I couldn't agree more. The emphasis on expensive equipment and expensive cast and crew is stubbornly stupid. Plus writers in most jurisdictions aren't paid enough and plagiarists aren't punished enough. If VoD platforms kept a fund for 100 Feature Films under 100k, and ensured that the stories were great, they wouldn't have to think of most of the rubbish. The problem is VoD platforms have not been able to separate themselves from the over budget Hollywood rubbish they are attempting to replace. Suddenly there are so many VoD platforms that no one player is probably making enough. And until they improve their content and budget better, they don't deserve to.

There's some confusion online around HLG and conversions. HLG is actually a delivery format, so if you shoot in HLG and are going to display it as HLG, you just hook it up to a HLG monitor and grade the way you want, no LUTs required HLG isn't the technical term - it's more of a non-specific marketing term, and there's conflicting information online about whether HLG is Rec.2020 or Rec.2100, but if you're looking for conversion LUTs then those are what to look for I did some experiments with my GH5 and I don't believe that HLG on the GH5 is either Rec.2020 or Rec.2100, but in the end I concluded that it's close enough to Rec.2100 that I don't care about the slight differences It's complicated stuff. I tell people that using Resolve is like flying the space shuttle, and to extend that analogy, navigating different colour spaces and gammas is like knowing how to be a pilot. To get to where you want to go you must know how and where to fly and know what controls to adjust to do so. Resolve, HLG capable cameras, and HLG capable TVs are all cheap now and available to the general public, but it's like making the space shuttle cheap and available, being able to afford it doesn't mean you will know how to fly it

No they Use to do a thing or two right. That is the problem. The 5D mk III was the last FF camera they made that was a real effort. Class leading on the video side. They have lost most of the Pro C market now. They are just sliding down into the shitter as far as I am concerned. They have went from the best you can do mindset, to lets just push the shit out the door mindset. To me they are not the leader of anything anymore. Even the L lenses are mostly crap for the video side. EF-S lenses work better overall. They have become a 1990's company.

@Andrew Reid think i found it

I highly doubt anyone will be able to tell BRAW footage from 1:1 RAW - you will hit the basic limitations of the sensor, ADC etc before you hit the limits of the codec. RAW is pretty easy to handle esp in Resolve and in many ways easier than high compression internal camera codecs like H.264. Storage requirements are obviously a lot bigger but storage media is not a huge cost these days. I agree that shooting RAW on a camera like the P4k does not unleash hidden image quality that will turn you average looking footage into cinematic nirvana. RAW is just another codec - I've been using it for as long as I've been using a digital stills camera. It's nicer and more flexible to work with than jpeg but it's not a miracle codec.

Professionals do not change gear easily, or at will. Equipment is a very serious commitment and investment. That is why Canonikon are still at the top. Unfortunately, in our profession, you always have to buy something, and that something, usually is very expensive. I mean, some professionals buy pen and paper, and we have to buy 2000$ lenses and microphones. It's all good..

That ought to work. A RIg here showing one. Pretty big setup though for a H16.

So far, it has only annoyed me at wide angle (at 24mm with the new 24-70 f4), as I explained earlier. It is the same behavior as with my XT2 + 18-55 ois and 50-140, and seems to be linked to the distortion auto-correction. I've posted a link to the dvxuser forum where someone found the same conclusions. I easily get rid of it with DV Resolve, by using a minimal amount of stabilization (and a tiny crop most of the time). It really works well. With my adapted 50mm 1.8G, it does not appear, which points to a messy distortion auto-correction. At around 70mm, it is quite jittery, when I can't manage to remain steady (for example, when it was really cold with a lot of wind and snow). Again, 30s into Resolve and it rocks (at least, I'm satisfied with it). Otherwise, for static shots with steady hands, it is incredible. Quite similar, if not better, than what I managed to obtain with the Fuji 50-140. Yes, there are a lot of small annoyances, and photographylife has summarized them (I agree with almost the entire list !) but none of them have really prevented me from shooting accordingly to my will. I too hope for the firmware update to improve things. I will soon buy a telephoto for distant landscape and wildlife, so I'll let you know how the ibis work !