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We're just a couple months away from what I think will be a pretty big announcement period for cinema cameras. 2018 was a very slow year for cinema cameras (but boat loads of mirrorless cameras), but I think NAB 2019 could kick off a healthy string of announcements. I'm curious what most people are excited about seeing or are hoping they see. Here are my big wishes: Canon C100 Mark III or XC-Style RF Mount Camera There has been some rumors about a XC-like Super35mm ILC camera and, with the new RF mount, this would be a good chance to see it released (especially after the crippled video specs of Canon's first two mirrorless cameras). I think this might just go ahead and replace the C100-line. For it to be worth it, would have to have the Netflix-approved/broadcast ready specs of 10-bit 422, so I think it will have: - 4K 30fps at 10-bit 422 and 4k 60fps at 8-bit 420. - 120fps in HD - RF Mount - Internal NDs and XLRs Perhaps in the $4,500 - $6k range. Guess we could also see the C300 Mark III with optional 8K recording upgrade in the future. Would probably also have to add internal 4K Canon Raw Lite, 120fps in 4K, and a less terrible form factor of the Mark II (camera tower!). A C200 body would be great. I would also love to see Canon add some more compression ratios to their raw codec. I think the C200 is around 3:1 or 4:1, so an 8:1 and 12:1 option would be great to have as well. --- Fuji Super35mm Cinema Camera The camera I'm hoping for most is a small cinema camera from FUJI packed full of X-T3 specs, internal NDs, XLRs, and the IBIS of the X-H1. With their lineup of Super35mm lenses, I think Fuji would really crush it in the small $4 - $7k cinema camera space. They also seem to be focusing much more on video and the X-T3 and X-H1 would be great B-Cams/Gimbal cams. Also wouldn't be surprised if we saw an update to the X-H1 since it was so quickly surpassed in video specs by the X-T3. If so, then they should go for a bigger battery and maybe something revolutionary on a mirrorless camera like internal NDs -- Black Magic Ursa Mini Pro 6k I think this would be similar but with a new 6k+ sensor, BM raw, and perhaps a more compact form factor. Video Assist 2.0 - Blackmagic seems to be going for an end-to-end model and they could really help themselves by releasing an external 4K recorder that records Black Magic Raw but can be used with any camera that can output raw. In my opinion, Black Magic Raw is the most enticing compressed raw format announced recently. For many project Canon's CRL and ProRes Raw still have giant file sizes, whereas Black Magic Raw has 8:1 and 12:1 options that would be great for doc work and take up less space than ProRes LT. Then throw BM Raw into DaVinci for edit and grade. -- Panasonic EVA-2 (L Mount) Panasonic made some big mistakes with the EVA-1, which is an otherwise fantastic camera. The screen was unusable, the EF Mount not adaptable and no differentiation from Canon in the mount space, the audio controls were terrible... but the image, dual ISO, and CODECS!! were amazing. So, they just need to make some basic updates, put the main audio controls on the body (not in the menu), make a few areas less flimsy (audio knobs), make a great screen, and throw the L-Mount on there and they'd be good to go. -- Not sure we'll see much from Sony, but the Mark II versions of the FS7 and FS5 were so underwhelming that maybe they'll push a new FS7 out with 120fps in 4K, 6k+ sensor, or raw internal recording. Those are my biggest wishes and since I'm still in a bit of a camera flux, what actually does happen may direct me to what camera company I use for the next 3-4 years. Hoping most for the success of Canon or Fuji (my favorite images in the business), but we'll see.

If you have to do something custom and are concerned about doing the soldering (especially when trying to work out the connections) then these solderless terminal connectors are useful You would then buy a 4 pole to 4 pole 2.5mm cable, cut the cable in half, strip the wires and put them into the terminals to make the connections. https://www.amazon.co.uk/kwmobile-2-5mm-Balun-Converter-Adapter-Black/dp/B07NDGYSGB/ref=sr_1_3?ie=UTF8&qid=1550527647&sr=8-3&keywords=2.5mm+balun+converter As you get two terminal adapters in the pack and you've cut your 4 pole cable in half you will then be able to make up 2 of the correct cables. Once you've established what the connections are then you can have someone make up something more permanent. Or just gaffa tape the hell out of the lashed up ones

A7siii

In a funny way, as we are coming up to the first anniversary of its announcement, it would be more understandable if they hadn't shipped any yet or had only just started shipping. I agree that it seems unusual that they actually started to get them out of the door not far off on schedule but are still not readily available almost six months later. I'm hoping this is just a perception thing and that they've actually shipped a gazillion as I've got an app to sell for it next week

Dummy batteries are known to burn batteries. If you get the DC of the battery to DC into the camera, you'll be fine. This way you can also keep a real battery in the battery socket as a backup for when you need to swap the NPF battery. This allows you to leave the camera turned on all day if you need to. This cable that comes with this should do the job. I use this exact pack to power my camera and it's perfect. https://nl.aliexpress.com/item/DC-12-v-NP-F-Batterij-Stroomvoorziening-Mount-Adapter-Plaat-Houder-voor-BMCC-BMPCC-4-k/32960336377.html?spm=a2g0z.search0604.3.99.301c5328e59n7N&ws_ab_test=searchweb0_0%2Csearchweb201602_2_10065_10068_319_317_10696_10084_453_10083_454_10618_10304_10307_10820_10821_10301_537_536_10902_10843_10059_10884_10887_321_322_10103%2Csearchweb201603_6%2CppcSwitch_0&algo_pvid=217129ac-ae21-4344-909c-7cd288a85fd7&algo_expid=217129ac-ae21-4344-909c-7cd288a85fd7-13

A quick rough output of the app doing zoom/focus control of the cheap and less than stellar and not in any way par focal Panasonic 14-42mm lens on a Pocket 4K. Video shows servo zoom, snap focus between two memory points and transition between two memory points.

Two things: 1. I have about a dozen of the 256GB SD cards from a couple of different brands. The 256GB cards perform as good as, or better than, the 128GB cards, so there should not be an issue with your client purchasing the 256 cards instead of the 128 cards. According to testing in the GH5, the avg. write speed for the Sandisk Extreme Pro SD card is 40MB/s on the 256 and 38.8 on the 128. These cards are V30 cards. 2. I know that people on here have had good luck recording various formats on the P4K with the Sandisk Extreme Pro SD cards, but given the data rates in the camera specs, you will likely have to use the CFast cards or external SSDs to record at some of the highest resolution/bit rates. I just made a few recordings on my P4K using the Sandisk Extreme Pro 128GB V30 card. Cinema DNG Lossless 4K DCI -- the recording stopped after 3 seconds Cinema DNG 3:1 4K DCI -- the recording stopped after 6 seconds. Cinema DNG 4:1 4K DCI -- the recording stopped after 21 seconds. Cinema DNG 4:1 UHD -- the recording stopped after 42 seconds ProRes 422 HQ 4K DCI -- the recording stopped after 16 seconds. **ProRes 422 4K DCI -- the recording lasted 26:27:13 and filled the entire card. So, you may be able to record ProRes 422 on your card too. According to the specs, even V90 cards should not be able to record the highest resolution/bit rates. We use the T5 1TB disks and have not had any trouble recording to them. Best of luck!

So that’s €10 post Brexit...

The only thing you have to give is time. Here's the recipe for learning to grade: Find a look you like Analyse that look and completely take it apart as much as you can.. look at colours, saturation, sharpening, noise, lighting sources / location / direction / quality, etc Setup a shoot and recreate that shot - use any camera that can shoot RAW stills Try and match your shot to their shot - try every knob or control in your software and see what it does and if it helps to re-create that look Do this enough times with enough looks and you will learn to colour grade. Bonus - you also learn lighting and composition too. Obviously, if you pick simple looks to copy then it will be much easier to replicate them, but it doesn't matter in the end - it's the effort to study the look and the effort to try and match it that is where you learn. I have found that you can learn more in a day than most people learn in a year if you set yourself a challenge and then give it your best shot. This is why I am interested in trying to match the P4K to the BMPCC and BMMCC - I will learn more from that project than I would learn if I watched BMPCC videos and chatted online about the BMPCC for an entire year. You will learn more in trying to re-create one beautiful image than shooting and grading 20 of your own images. Aim high and work hard. This one is also nice (and contains lots of famous people which is reassuring!)

decide yourself ) (shot this handheld with xt2)

I can feel a lens test coming on... I'm only waiting on three more lenses and then I'll do it and share with everyone. I haven't completely worked out how I should do it, any specific advice? I'll shoot RAW stills on my GH5 with each lens at a few apertures - probably wide open, f2.8, and f8. I find that the most useful lens test is at an identical aperture at least a stop from wide-open for any lens as the differences aren't to do with aperture settings or how sharp they are wide open, and f16 is getting into diffraction territory. The goal of the test for me is to compare the look of modern budget lenses vs modern high quality lenses vs vintage lenses to find the aesthetic that works for me, and work out which lenses I want to keep. Lenses: 8/4 SLR Magic 14/2.5 Panasonic (focus-by-wire) 14-42/3.5-5.6 Panasonic (focus-by-wire) 17.5/0.95 Voigtlander 28/2.8 Yashica 35/3.5 Takumar 37/2.8 Mir 40/1.8 Konica Hexanon (x2 - not shown - still in transit) 40/4 Lomo (lens from popular non-ILC Russian pocket film camera) 55/1.8 Takumar 58/2 Helios (x2) 135/2.8 Minolta 135/3.5 Petri (not shown - still in transit) 135/3.5 Takumar 150/4 Takumar 200/4 Takumar 200/3.5 Minolta And yes, I know I'm not winning any Instagram-worthy-photo competitions ???

In my defence, it is late and I am old

Rode SC7 is a 3,5mm jack !?!

Looking at the page for the run/stop cables for the Nucleus Nano ( https://tilta.com/shop/nucleus-nano-run-stop-cables/ ) the controller end (on the right in this picture) is a 4 pole jack With the Fuji release cable, it is a 3 pole You might get lucky by using a 2.5mm 3 pole to 3 pole cable from the camera and putting a 4 pole adapter on the end into the controller. Otherwise it will be a case of rolling your own by measuring what is coming off each pole when you do the run/stop from the controller and re-wiring the 3 pole connector going into the camera to match what the Fuji is expecting. The pinout for the Fuji is the same as for Canon, which you will find here http://www.doc-diy.net/photo/remote_pinout/index.php An alternative would be to buy the Panasonic version and make an adapter and, again, the pinout for the Panasonic is at the same link.

I entirely agree!! Atomos need to be brave and make a 4K recorder in the mould of a battery grip, specific to certain cameras like the Nikon Z6. Instead of an HDMI cable and top heavy hot-shoe mounting, it would screw into the base of the camera, with moulded hand-grip same as the usual battery grip for mirrorless cams. Then the HDMI port could go into a firm side wall on the grip that extends only fractionally upward at the side of the camera, enough to reach the HDMI port and allow the camera to slide in sideways so that the connection is made, then secured through the tripod mount like a normal battery grip. See the Sony A7 III battery grip for design reference but inside instead of a load of empty space and a couple of batteries, it has one battery and a Ninja 4K chipset. It could even power the camera for a bit longer battery life. No worries having to babysit two shit batteries, one in the camera and one on the back of an external monitor.

I am GAME for a C100mk3. Also, more companies announcing ProResRAW would be awesome.... lookin at you Fuji.

Haha got it. Well, if anyone else is looking for a great on-camera mic, my recommendation might be useful!

Found the Arm that the guy invented. Expensive though. https://www.bhphotovideo.com/c/product/1251333-REG/matthews_429627_infinity_arm_kit.html Video of it. Looks like it might be overkill for a Ninja V?

I think you are right about the S1's noise reduction in these early firmware testing. Cinema5D said their noise reduction -/+ controls were not even working at all on their version. I REALLY hope the full 1.0 firmware has a functioning parameter set. To me, effective noise reduction -/+ settings are even more important than color fine tuning. Noise reduction is a destructive process,...color is not. Actually, Panny.....PLEASE give us a noise reduction "off" setting! That would make many people really happy. (It would also free up some of your image processor CPU for other things too!)

@wyrlyn You could use any monitor that takes NPF style batteries and then use a battery like this, which has a 7.2v DC output as well: https://cvp.com/product/swit_s-8972 To my knowledge, all Atomos recorders use NPF batteries and so do most others.

Aye the Nikon clipped. But they had metered for her face, using a lightmeter, and the face was correctly exposed. Both Canon and Nikon have similar brightness and correspond well with lightmeter. I would be annoyed if I take a reading for her face and then it comes out underexposed (the Sony). Of course with any camera one will learn how it works and will adjust accordingly so it’s not a big problem. Personally I prefer when the camera I’m using correspond with lightmeter standard.

Ah, that makes a lot of sense I shot a pre-test-test today with a few of the lenses and it was interesting. I might be different to other people, but I find it difficult to evaluate lenses without having them in a controlled comparison. Other people seem to be able to see random videos shot with different equipment / different lighting / different grading and be able to kind of triangulate the attributes of lenses and even compare them. I can't seem to see past the dozen or so other variables, at least not enough to spend hundreds of dollars on a lens. So in that sense the direct comparison is useful for me, even if no-one else. I am trying to create a set of lenses for myself, which is why I'm testing the lenses I will definitely keep as well as the other candidates. I may end up choosing a lens I don't own, but I'd have to learn to work out how to evaluate without comparative tests, so I'm not sure about that. My test today compared the 14/2.5 Panasonic, 17.5/0.95 Voigtlander, 37/2.8 Mir, and 58/2 Helios on 0.7x SB. I was curious about the performance of the Mir (it's meant to be apochromatic), to see how the Voigt compared to a modern lens and a vintage lens, and also what character the Mir had. The results were all over the place, with each lens winning outright in some aspect. Both the Voigt and the Mir were modern in some ways, vintage in others, and both had better performance than the 14mm at some things (kind of making them more modern than it), and the Helios is no slouch either, even with my cheap Chinese focal-reducer. I think the complete test will be really interesting.

I know the earlier versions of FCPX didn't have custom Lut utility, and required a plug in. It should be listed under effects in the bottom right under the latest version.

Thanks, kye, truly appreciate it. I'll get to it, then! ( :

Thanks. The short answer is 'with a hell of a lot of graft' BM produce a camera control spec document so you have the foundation to work from with a couple of example protocol packets but its a long slog creating all of the tables and sitting a control mechanism on top of them that makes sense as a user interface and then dealing with changes made by the user on the camera itself and and and and... That's why I'm going to be charging £4943 per copy for it

My narrative? I'm looking at it from the perspective of describing what has actually happened in the process of trying to prepare for that and the well documented reasons for it, so it is commentary rather than narrative. To be honest, the idea that the current deadlocked situation has been brought about by a fifth column of Remainers within the government or parliament as a whole would actually be a better example of a narrative. And it is a narrative that is somewhat undermined by the fact that 81% of MPs voted to trigger Article 50 which ratified the referendum result by giving the EU official notice of the UK exiting and set in law that we would do so on March 29th 2019. Anyway, like the UK, I'm out. I thought you'd become an early casualty of it as we haven't heard from you for a while FlyBMI are better described as being the 'latest' rather than the 'earliest' but there is a bit of wood for the trees stuff going on with all of these announcements. There is no doubt it is a factor but whether it is the primary factor or just the straw that broke the camel's back is open to debate. Its probably the latter in this instance. With Nissan, moving production away from a UK plant who's output will be subject to an import tariff into the EU to a plant in their own country which, thanks to the new EU/Japan trade deal, won't be is a bit more clear cut.

Ahhhh, "Motion Cadence". I love it when that old chestnut gets pulled out regarding a cinematic image. I've spent many days in my career tracking and matchmoving a wide variety of camera footage from scanned film, to digital cinema cameras, to cheap DSLR footage. So I find the whole motion cadence thing fascinating since I sometimes spend hours to days staring at one shot trying to reverse engineer the movement of a camera so it can be layered with CGI. So leaving out subtle magical qualities visible to a select subset of humans who have superior visual perception, or describing it like the tasting of a fine wine, I can only think of a few possible reasons for perceptible motion cadence. I'll lay them out here, but I'm genuinely curious as to any other factors that may contribute to it, because "motion cadence" in general plays hell with computer generated images that typically have zero motion cadence. #1 ROLLING SHUTTER. The bane of VFX. Hate it! Hate it! Hate it! For me personally, this must be 90% of what people refer to as motion cadence. Plays hell with the registration of anything you are trying to add into a moving image. Pictures, and billboards have to be skewed and fulling rendered images slip in the frame depending on whether you are pinning it to the top, middle, or bottom of the frame. I work extensively with a software package called Syntheyes that tries to adjust for this, but it can never be fully corrected. For pinning 2d objects into a shot, Mocha in After Effects offers a skew parameter that will slant the tracking solution to help compensate. This helps marginally. #2 Codec Encoding issues. I have to think this contributes minimally since I think extreme encoding errors would show up more as noise. I've read theories about how long GOP can contribute to this versus All-I, but I've never really noticed it bending or changing an image in a way I could detect. I'd think it would be more influenced by rolling shutter however, so I can only think it would contribute to like 5-10% of the motion cadence in an image. Would love to know if I'm wrong here and if it's a major factor. More than just casual observation, anything technical I could read regarding this would be welcome. #3 Variable inconsistent frame recording. This is what I think most people think they are referring to when they bring up the motion cadence of a camera. But outside of a camera doing something really bizarro like recording at 30 fps then dropping frames to encode at 24, I can't believe that cameras are that variable in their recording rates. I may be totally wrong, but do people believe that cameras record frames sometimes a few milliseconds faster and slower from frame to frame? Does this really happen in DSLR and mirrorless cameras? I find it hard to believe this would happen. I could see a possibility of a camera waiting on a buffer to clear before scanning the sensor for the next frame, but I can't believe its all that highly variable. If it is really that common wouldn't it be fairly trivial to measure and test? At the very least some kind of millisecond timer could be displayed on a 144 hz or higher monitor and then recorded at 24p to see if the timer interval varies appreciably. #4 Incorrect shutter angle. This could be from user error. I've seen enough of it on Youtube to know it's common. I'd assume it's also possible that a camera would read the sensor at a non-constant rate for some reason, but I'd think that would show up in rolling shutter anomalies as well. Dunno about this one, but think it may be more of a stretch. Should also be visible on a frame level by looking for tearing, warping, or some kind of smearing on the frame. So, I doubt this happens much, but it should be measurable like rolling shutter with a grid or chart and detectable by matchmoving software the way rolling shutter is. That's generally all I can think of, and without any kind of proof, I'm calling bulshit on #3, but I'd be happy to be proven wrong. I'd be genuinely intrigued to find that some camera's vary their frame recording intervals at any amount visible to the human eye. If anyone has any real insight into this, I'd love to read more about it because it directly affects something I deal with frequently.

I started a similar thread here on EOSHD: https://www.eoshd.com/comments/topic/27570-is-a-sony-fs700-still-worth-buying-in-late-2018/ It is Canon's "half raw", so not really truly 4K raw Plus the workflow is a bit uglier And the C500 in 4K overheats / is noisy

In my experience, the Foveon sensors have out of this world detail. At small print sizes probably sharper than medium format. I mean amazing amazing detail. But the color rendering is very thin with heavy metamerism error. Some love the look. Some don't. Really have a love/hate relationship with the Foveon sensor. I'm guessing the Fuji has much better color performance, but it doesn't have the incredible crispness nor the unique look.

Gave the Lut a go on some FS7 footage I shot recently. It's not as good as it is on the GH5 but it still doesn't look too bad. This was Slog-3, GHa Daylight (Linear 33x) with exposure and wb adjustments in premiere nothing else: @SageI would love it if you were able to work on a Sony Lut.

It's true that internal codecs have become pretty darn good and will only improve in the next couple of years, so it makes sense that Atomos would start focusing on just making solid monitors. The one thing that I wish third party manufacturers would really focus on is creating high quality audio options for mirrorless/dslr cameras. I'd love some sort of battery-grip sized recorder (no screen) that had a few XLR inputs and that's it. Would probably need external recording in order to have 2-4 channels of audio, but it would be pretty great to have that option. Something like the Video Devices Pix LR, but connected directly to the camera: https://www.newsshooter.com/2016/03/15/video-devices-pix-lr-audio-interface-adds-xlr-inputsoutputs-to-the-pix-e-series/ Either that or just work to improve on the XLR modules made by Panasonic. Panasonic's is OK, but doesn't really have great audio. Or even if camera manufacturers started adding a second 3.5mm jack and 2-channel audio or added a mini XLR like the BMPCC4K. Monitors are nice, but the ones that come with the camera work just fine 98% of the time. I'd much rather see 3rd party manufacturers work on audio enhancements - we really don't need more monitors at this point.

Its not an interpretation though. The default position in law is that the UK will exit the EU on 29th March so it is definitely going to happen. Any arrangement to agree a trade deal with the EU that kicks in on the 30th of March is incidental to that so the result of the referendum will be actioned irrespective of who is in charge. May cannot get her deal through Parliament because she can't persuade her own party to support it. She lost that vote by the biggest margin ever seen in Parliament due to large blocks of her own party not backing it and then promptly won a vote of no confidence in the government the next day because those self same people voted to back her. Putting party before country has never been more evident than that. Considering that what 'sort' of Brexit was originally voted for in the referendum can't be agreed upon by those who wanted it and has seen a constant shifting of goalposts by those who agitated and campaigned for it, there is scant evidence that the most rabid Leavers would have fared any differently. The appetite for the two lead Tories of the Leave campaign, Boris Johnson and Michael Gove, to actually have any sort of leading role in delivering it once they won speaks volumes for what a poisoned chalice it is. There is also a shocking degree of inherent incompetence that has infested our politicians over the past 20 years that means the whole process has been pretty agnostic to the Leave/Remain leanings of those charged with implementing it. When the actual government minister for exiting the European Union (and rabid Brexiteer) haplessly and shamelessly admitted that he hadn't actually appreciated how important the Dover-Calais freight link was then you know you are in trouble. What was 'won' with Brexit was an idea or ideal but what was never there was any sort of detailed or cohesive plan to deliver that and what would happen when their ideal met some real hard facts. What we are seeing now that that reality presents itself is a blame game to try and shift responsibility on to Remainers in the government and the EU itself rather than accept that when you promise unicorns then you have to own that and actually deliver them.

For information about price, I sold mine for 850e (German version) last month to buyer in Italy. I kept it as last from dozen of Zaiss Contax line I had, checking if I'll be tempted to jump into FF route. (I have to admit that 35mm f2.8 was closer to my heart.)

FCPX coverage coming up (I have it now). This is what I've learned thus far: In FCPX you will want to use the Custom Lut utility built in, rather than a plug-in to apply GHa (beware mLut). Also, for correcting WB, use the temp/tint controls in the Color Wheels in conjunction with the Vectorscope. Avoid the Basic WB eyedropper (more than just WB). The same basic principles and order of operation in Resolve and Premiere apply to FCPX.

A few years ago most of the people here owned a Canon dSLR, I shot 2 hours long documentaries with a 60D back then, now, how many from the hundreds participating in this forum own a modern Canon? If you can not see that Canon is loosing, slowly but steady, a market that owned at an absolute percentage a few years ago, then what I can say. 1DX2 doesn't "dominates" a lot other segments. I wish we had real numbers here, but again in my working environment, people are using A7sII and GH5 cameras as productive video tools, while I haven't even seen even one 1D camera, ever. The most popular Canon for video these days (between photo/hybrids) is easily the 80D, and that says a lot about where Canon is today. Imagine how far a competitive Canon could take our whole segment forward. Sony, with all the mistakes they did and all the R&D they did in the backs of paying customers - with all these sub par cameras that offered until recently, did a great job for bringing cheap full frame camera to the masses. Before the RP, you could buy a A7 or A7ii for less than middling m43 cameras. Panasonic brought great video performamce to the masses and created dependable pro video cameras (GH5/s), Samsung did their thing for a few years, Fuji is offering top APS-C performance for less $€£, Nikon is finally playing all their cards when it seemed most likely that they were destined to fold. They all trying to add something up. I respect your opinion and the way you express yourself in this forum, by the way!

Their colour grading tools are so limited that some might say you can only use LUTs in FCPX ???

Yet i dunno why we are suddenly referencing cinema cameras or the entire history of film when clearly the subject comparison are hybrid mirrorless cameras of a sub $2500 range. Canons 1:1 sampling, Clogs super low sharpening, high bitrate ALL-I codecs etc.. all help towards that elusive filmic look IMO. That's not to say Z6 can't get there, especially if that RAW output does indeed bypass all the image processing, internal sharpening etc.. But as it currently stands, the supersampled & over-sharpened IQ doesn't output the most filmic imagery IMO. it doesn't help either you need a recorder just to get past baked picture profiles.

In sport photography there are really 2 brands only. Canon and Nikon, we discussed the subject to the death recently, and is a silly argument to bring every time that Canon under-delivers; this doesn't mean a lot for other professional segments and to amateur customers. McLaren makes amazing F1 cars, don't see many around me.

It depends if they I are shot with Canon - it's first that has to be checked before any answer. Actually, there's no need for answers (as also for samples), just to check if it is/was Canon or not.

The Pocket 4k will probably be my next purchase in 2020. The URSA mini 4k is tempting too but its hard to beat the Pocket's size and price point, and image quality for that matter. The FS700 odyssey combo is amazing but I don't think I'd like the ergonomics. There is a thread going on DVXuser about if the FS700 is worth it in 2019, everyone was still happy with theirs and weren't even planning on switching, that says a lot.

I will take a test tomorrow with oled on/off with a color checker and see if I can determine a difference. Will post back in 24hrs.

The detail of "rRoma" is almost too dense for me as a home viewed film. I feel I really should have watched it in a theatre. The small living room screen couldn't hold the info. One of the better, IMHO, B&W films from the past few years is "Ida." That was a masterclass in composition and static beauty.... done by a young dude too.

Yes well - I deliberately left it out because I dont know much about it. And clearly it dominates sports photography (although that has a lot to do with the lenses (and support)) and is likely to continue to do so. However, if you take a look at the underlying sensor of the camera it is a long way from say an A7rii (similar vintage) in terms of underlying specs. https://www.dxomark.com/Cameras/Compare/Side-by-side/Canon--EOS-1D-X-Mark-II-versus-Sony-A7R-II-versus-Nikon-D810___1071_1035_963 And I rather guess that other Canon technology deficiencies are masked by a massive 1.5kg body and over US$6k of tech.

True, the Ninja V doesn't but if they are going to bring out a smaller screened "Shogun V" then it would be worth holding out for a few weeks until NAB to have a look unless the purchase was needed immediately if you had the need for the burst 4K mode of the FS5. The Shogun Inferno had a firmware update to handle the 4K120p RAW from the FS5 https://***URL not allowed***/firmware-update-atomos-shogun-inferno-brings-quad-dual-link-support-4k-120p/ At $1395 its quite a bit cheaper than the Odyssey 7Q at $2300 (including the additional RAW license for the 4K120p burst) although the Odyssey does have a very nice additional trick with the Titan HD extract feature for doing faux multi cam from a single 4K camera.

Exactly, I just did nearly two week non stop shoot around my tropical island for a reportage on a Victoria Secret model coffee book shoot. That shoot was intense in very harsh tropical summer climate with a lot of rainfall, heat and humidity (shooting a lot around the water). At first I was a bit embarrassed to shoot on such a small camera and rigged it a little, after not even half day, I was shooting mostly hand held and with my 7 inch Ninja. This shoot was going fast and I did not want to interfere at all as most of the team was coming from US and with the weather had a very tight schedule. After watching the fotage at night I slowly moved to only the internal shooting and was really impresed by the internal 120 fps 1080p footage. Where I en-counted problem with the footage was banding in the blue sky, I watched some tutorial and got some great result with qualifier and ofx debanding in Davinci resolve. Perhaps for a Nikon shooter this is extraordinary and would have been normal for other MILC shooters. But for me it was extraordinary, I got some amazing tracking and slowmo handheld footage (I was starting to have to restrict myself with the slowmo because it was so gorgeous), that Nikon quality with all the features of the Z6 video capabilities like Ibis, auto focus, handling ergonomic, build quality is mind boggling in such a small package. Now if I was first camera and I had a more compact Ninja V than my 7 inch one. I would have perhaps done more 10 bit shooting and use an external recorder. But even then, with mostly the 4k and 120 fps codec bitrate, I am stunned by the quality. The last thing I don't understand is the supposed non cinematic image of the camera. I guess some people might understand that its not shooting in crappy light that will make their camera look cinematic or not, perhaps they should look at the meaning of the word. Because for me, my images are coming out great. There is not one people from the US team (photographer working for vogue etc) thought the image were crap.

I just don't understand what people expect anymore. The size and weight of a z6 and a Ninja 5 is smaller that using one of those entry level dslr and a small flash. That is less than the average Japanase/chinese tourist with his small Nikon/canon camera walking around taking photos in some random tourist location. The C200 is much bigger and not full frame, to have a full frame video camera with 10 bit just 5 month ago was the Canon C300 a much bigger shoulder only camera and now you have to add a codex recorder to put RAW. The fact is that your type of (small, unassuming, versatile, total lightweight package, easy to mount on gimbal, etc) does not need more than 8 bit shooting, 10 bit and even prores is an overkill to shoot those low level production. Just six month ago, absolutely no one was expecting any manufacturer (I even include the likes of blackmagic)was going to release a full frame camera with RAW. In fact everyone was begging for 10 bit for at least the last 2-5 years. Just for a measure, this is the Nikon d3200, the smallest Nikon dslr compared to the z6-z7. In pure volume the Z6 is smaller (much thinner) and I advise anyone to look at the Nikon D3000 series camera in a showroom or people using it. This thing is tiny to the point of being uncomfortable if you have average man hand.

also: fun fact if you like this film. the original voice in the theatrical trailer was too hard to understand, and to my knowledge, they rerecorded it, see below... what do you think @IronFilm? fwiw thats what this guy says oh and one more thing: the accent is basically sean connery on bath salts

Reading through this, I am just amazed of how many unbelievable excuses people make to justify Canon limitations. Things that are an industry standard for years are thrown out of the window, and people still trying to reason through this. My 4 year APS-C mirrorless have no crop whatsoever, with 73min continues video recording and no overheating, and when the tiny NX500 was out in 2015, the special press and forums "destroyed" the camera because of its 4K crop..now abysmsl crop is some kind of feature...

This is racist as fuck.

I'm going to bang the Ninja Star drum again but I've got to say that if they were going to split the Ninja V into its two component parts then they've arguably decided to sell the wrong half ! Don't get me wrong, its a great monitor for that price but at £349 the extra £200 for the Ninja V having the recorder is almost a no brainer. Whereas if they reversed that equation and made a compact recorder only version for £200 then everyone who's cameras offer enhanced frame rates and bit rates over HDMI only would be all over it. And while we're at it, Atomos would also have a big hit by doing an affordable EVF.