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I'd heard that it exists but I've never watched it or heard what it's about. The entire Jussie Smollet case is extremely frustrating. Hate crimes against African Americans and the LGBT communities are on the rise, and yet this greedy person tried to use that to get fame and a raise? All he did was hurt those communities, given people ammunition to pretend that hate crimes aren't happening, and distracted the media from more important stories, like the Coast Guard official arrested planning terrorist attacks and assassinations against liberal people and candidates.

If Panasonic is going to keep using the MFT mount for the foreseeable future, I think it would be crazy to not release an MFT mini cinema camera. I can't believe someone hasn't yet. Basically stick the GH5s sensor (with G9 IBIS) and specs into a body the size of the FS5 with the MFT mount. With the forthcoming 10-25mm f1.7, that automatically becomes one of the most useable doc cameras. I like the idea of putting a Super35mm sensor in there as well (like the LS300) and then speedboosters would give you a full frame equivalent FOV/DoF. But as long as they release some more f1.7 - f2 fast zooms, 4/3 sensor is fine too. No matter how good they get, until mirrorless cameras have internal NDs and quality audio, they do not replace dedicated video cameras - no matter if the image is just as good or not better. The hole in the $3-7k video camera market is huge. It's been 4 years (FS5) since anyone has released a new camera in this space (the II was basically a firmware update, so not sure that counts). Hoping Panasonic, Canon, or Fuji fill it soon.

The GH5 has a mode called Open Gate where it shoots with the whole sensor - 5K 4:3 video. This mode has less sharpening than the 4K modes with the sharpening turned all the way down. Also, you can soften things up in post quite easily too. Your vintage lenses will also do that in-camera if you're using them for those shots. I don't know what editing software you are using, but if you have the time and energy to do it, Resolve has a free version that you can use to basically make the footage look however you want it to look. There are also LUTs that make the GH5 look like an ARRI Alexa, including the sharpness, so the image coming out of it is very flexible if you want it to be. 4K can be downsampled to create extra bit depth and colour information, however it depends on how the codec performs and how much noise there is in the signal (less is worse). The explanation is very technical, but basically it works because for every 1080 10-bit pixel you get after the conversion, you've averaged 4x 8-bit pixels, and so the average can be between the 8-bit limitation, and those 4 pixels contain all three colours before debayering. In practice it will be somewhere between 10-bit 4:4:4 and 8-bit 4:2:0 depending on exactly how that camera operates, but the benefit is real. If the OP is willing to wait for the computer to render proxies and take longer to render out the final project then basically any computer can edit any resolution. We forget that people used to make broadcast TV in SD, which is 27x less pixels than 4K. Resolution pretty much doesn't matter when you're editing (it matters when you're grading or doing other things) so that means you can render proxies and edit them nicely on a computer that is less than 4% of the performance required for 4K editing. I render proxies at 720p and edit them on my laptop on the train. My computer is perfectly capable of playing 4K files but I don't need the extra resolution and saving space on the internal SSD that I'm editing from are advantages too.

Yeah that why Canon use EIS instead of 5 axis IBIS on their camera, they must have seen the trend!

I’d like to to see a new camera from blackmagic to replace the micro, but they should rebrand it as an Ursa micro with the following: -similar design to ursa mini pro but smaller -p4k sensor -mft mount -2 sd card slots, 1 cfast 2.0 -2 mini xlr (or full xlr if possible) -able to connect with ursa mini handle ...And with best wishes... -internal ND -3-4” side flip out screen on side or maybe (back like c100) -sony npf battery price: 2-3.5k

Man that SLR magic is tiny. Mounting the lens via bodycap was a great idea, love the ingenuity.

I'd hire some people to stage a hate crime and try to get more popular.

I've had my finger hovering over the buy button so many times with a FS700 over the last 18 months or so. Although, now that I'm buying a Cedar DNS2 next week, I'll be broke for a long time after thus no more big purchases for a while. Hopefully! I'll give it a 50/50 chance as to if a Samurai V happens or if an AtomX SDI module happens. I'm hoping for a Samurai V, so we can use the Timecode AtomX module with it. Would fix up the biggest thing I don't like about the FS700, the lack of timecode input

Well, it’s been 8 months since I completed this and almost a year since I promised @mercer to post it once completed I don’t really know what to say about this, it’s my first short and I wanted to try this medium after trying music, photography, drawing/painting and all sorts of writing in order to figure out myself and my depression. It took me months to complete due to my mental state and lack of energy and I intended to post this sooner, but life can be a little too much sometimes. Or very often in my case. Even though it was the hardest creative thing I’ve done in my life, (despite having a background or experience in most of the separate artforms that make up a film) I was really lost in the entire process and I developed love/hate relationship to it. I wanted to quit all the time when I wrote it, when prepping, when shooting and during the long, motivational drainage that is editing. But I guess that’s also where the love was born. No matter all the mistakes I made, I could somehow save it and make a decent first short thanks to the editing by re-arranging the pieces I had. Throw away most of it, stretching what was left of it, slowing or speeding up some of it, playing some of it in reverse. Dubbing in new sound (needed, cause most of it was unusable. Note to self: Don’t forget sound! I’ve tried to make another short since, but haven’t completed the shoot. I don’t know if I’ll finish that one, it’s just a silly comedy I made with my then girlfriend, now fiancée on my phone (This one was shot on the DVX200 before anyone asks, cameras are important on this forum apperantly, hehe) because she wanted me to make something less depressing, but I guess I’m just a gloomy guy, all my new ideas are based on my different malfunctions. Hopefully I’ll work up enough energy to make another, I really want to. Anyway, enough talking. I hope you’ll give this a go and give me some pointers, but go easy on me, okay? Now, pick you poison: https://vimeo.com/272702923 https://youtu.be/rsXdjH4I5YA

Here’s a screen grab from an interview I filmed with the Gyls300 in Delaware.

If you ever wanted to watch lenses get taken apart and cleaned then put back together you can. https://www.youtube.com/channel/UCgANrFnm3Sdai8zvA2iJGQg

@sanveer it also has post re-focus ability. This is pretty amazing in a package this small. And while it is true that the image processing does take some time, from the review I have seen it does not slow down image capture as the processing is done in the background.

Anyone has experience about matching this lens with Tokina 28-70 Pro1 f/2.6-2.8 ??? I’m looking for a good wide lens, something between 12mm and 20mm to be used on BMPCC-4K w/ speedbooster XL 0.64x (actually in preorder) On super35 Canon Eos Cinema cameras I usually use Nikon AFS 17-35mm and 28-80mm but for the new setup I'd like to take advantage of the magic cine-feel of the Tokina. do you have any advice about a lens with similar contrast, color rendition of Tokina. What do you think of these alternatives: SLR Magic 8mm f / 4.0 Ultra Wide (MFT mount) SLR Magic 10mm T / 2.1 (MFT mount) Voigtlander Nokton 10.5 or 17.5mm f / 0.95 (MFT mount) Zeiss Jena Flektogon 20mm f / 4 Zebra (Pentacon-six mount) Thanks for your attention Gabriele

Here is the completed User Guide. So you know its very, very imminent now EDIT >> REPLACED WITH NOT COMPRESSED TO DEATH VERSION User Guide For 3C v1.1 by CDA-TEK Ltd .pdf

Behold, no OIS and only one sensor used in video recording. Hopefully, when they do a SnapDragon 855 refresher, they enable some of this goodness in video too.

I used the FS5 for a couple of years and loved the form factor, variable ND, E-Mount, and pretty much everything about the camera other than the image (which of course is most important) - and the internal 4K isn't great at all. Hoping Canon, Fuji, or Black Magic challenge Sony in this mini video camera space. A Black Magic pocket 4K with a more video-camera style, internal NDs, Sony NPF batteries, and XLRs would be great: a mini Ursa Pro (actually mini). Even the same sensor, Dual ISO, image quality, etc - the Pocket 4K is pretty far ahead of the FS5 in 4K image quality, and at $1295. So a video camera version in the $3-5k would be great and also doesn't seem too much like a stretch. BM Raw is definitely my current favorite codec, so would love to see it implemented in more cameras as well.

GH5S firmware announcement with HDMI Raw output and some interesting new recording formats (3.7K 96fps!?) to help make the GH5S more unique from gh5 and compete with BMPC4K.

https://www.t3.com/news/huawei-mate-x-is-the-samsung-galaxy-fold-rival-youve-been-waiting-for Already a better one is out there!

Who wants to see a magic trick? Watch as the lens gets fogged up and then when I take it apart the fog is instantly gone! It did it about 5 times in a row, and that one wasn't even the first attempt I had at filming it (it's hard to hold the camera and do something at the same time). I have a feeling that it's to do with the pressure as the lens element is a really tight fit, so when it gets slotted in there the humidity condenses. Anyway, I heated it up by putting it on a warm appliance for a few minutes and took it apart and then put it back together and it's fine now, but wow. Fun times! Edit: still happening. It seems to be only when I pick it up. So I guess I'll just reassemble the lens without touching anything then ??????

FS5 mk2 is under $5K. It has compact modular form factor. Auto Vari-ND. 10-bit 422 FHD. And comes standard with external RAW up to 4K 120fps / 2K 240fps. I am assuming Sony are taking a back seat right now as no other company really gives them a run for their money in that segment.

Nice approach : ) And much closer to the original interface, the best ever designed for a camera. My hat, mate : -)

With a 0.7x adapter the overall crop factor is 1.05 so a 50mm gives a FOV of 52.5mm

You put your finger on the orange dot in the middle and slide it to the left to move focus nearer and right to move it further away.

Sewer is an obvious one, but also anything that doesn't have windows, and probably also doesn't have graffiti (as that's a give-away that people go there). Disused railway tunnels, abandoned buildings, even just a really long wall perhaps? If you film at night then it won't be obvious it doesn't have a roof. Lighting something that doesn't have a roof might be tough, especially if you want a single long follow-shot where you can't cheat by using the same few lights again and again. If you can cheat then film it with a couple of angles (wide, mid, close) then move the back light to the front and shoot them walking the next section, with a bit of overlap, then cut it together in the edit? Obviously be careful with safety and trespassing and all that, but IIRC you're out in the country so there might even be a long building or wall that you can film against that wouldn't even be on private property, or maybe no-one cares. If you want it to be wet and underground then you could spray the background with water just before the actor is in frame so things are dripping and add in wet echo-ey noises in post and drop the blacks a bit to hide anything that gives the game away.

"i want the feeling of dark, and plenty of water so it feels and looks wet, and a location where, within my frame, it looks like it could be underground" Sounds a lot like a sewer..

This is a tricky subject, but you have nailed it with your comment "seems to be a lot of opinions". Just like everything else out there, if something is engineering or science, there will be a lot of opinions, and almost be definition they will all be WRONG. People who have OPINIONS about engineering or science are people that don't understand FACTS. I'm all for having opinions, we can talk about who likes what colour science, lighting design preferences, lens aesthetics or if someone is a good actor, but anyone who has an opinion about how many pixels are in the UHD specification is just stupid. This is the same thing. There is a huge level of knowledge about how to get accuracy beyond a certain bit-depth when talking about audio, as properly recorded and processed 16-bit audio can have better signal-to-noise ratios than is mathematically possible because of a technique called dithering which works by adding a very specific type of noise to the signal. https://en.wikipedia.org/wiki/Dither Fortunately, ISO noise on high-quality 4K cameras is a relatively good version of that noise, so we can get a lot of the benefits. Downscaling from 4K to 1080 also involves oversampling which when combined with dither can extract the extra bit depth and eliminate the noise that was added. https://en.wikipedia.org/wiki/Oversampling There is an audio format called SACD which uses a type of digital signal called DSD, which is a 1-bit (yes, the bit depth is one bit!) at 2.8224 MHz, and because of its clever use of noise and processing, can have signal-to-noise rations of up to 120dB, which would require a 20-bit signal from a traditional codec, but because it is oversampling (in a big way) this effect can be achieved. Getting 20-bit from 1-bit is only possible because DSD has about 64x the sampling rate compared to 44kHz audio. https://en.wikipedia.org/wiki/Super_Audio_CD If DSD gets 19 extra bits from a 64x oversampling, then it shouldn't be impossible to do a similar thing with video and get an extra bits from resolution oversampling. However, and this is a key part of the picture, you will only get perfect 10-bit 4:4:4 1080p from 8-bit 4K footage if that 4K footage is RAW and the noise is perfect. Any variation in de-bayering, compression or any other processing that is applied in between that data coming off the sensor and the downscale will have a damaging effect on the final result, and this is where reality differs from theory, and it the overall quality will be different depending on the camera, codec, bitrate, subject matter, and probably other things. If none of that made sense, then here's a TLDR approximation - adding noise to 8-bit helps with banding similarly to why adding noise to your footage helps with YT colour banding. The mechanism is very different, but the effect is broadly similar. Anyway, let's put this to bed and go back to talking about cameras ???

Just got a Pentax Auto 110 18mm f/2.8. This is one of the smallest lenses I've ever used, and incredibly sharp and pretty, especially considering it's stuck at f/2.8. I wish it had an aperture for more control over the depth of field, but it's still good. I might have to get the 24mm and 50mm 110 lenses.

@kye I agree wholeheartedly! Regarding the Gyls300 VSM, that is one of the more useful features this camera has! I truly hope that JVC brings out a successor to this sleeper hit camera. To me, the color science is superb and that Alta Sens sensor is something special!

I can't say I have the Yellow problem on my phone. Is it perfect, I don't know. Output looks good to me so that is pretty much all I need. It definitely needs to the Saturation turned down, but I can do that when I shoot in Filmic Pro. I don't use Auto Brightness ever.

Panasonic missed the boat with the EVA1 by not launching it with a MFT option. And Panasonic has never updated the AF100 series. Thus I reckon the odds of a MFT camcorder in general (let alone one with a S35 sensor) from Panasonic this year is very very very low chances.

Yes, it acts as an APS-C camera would so you get full coverage with an APS-C lens and a crop of a full frame one but obviously you can also use a Speedbooster on the full frame lens to get a lot of that crop back as well as an increase in speed. One aspect that seldom gets mentioned is that if you want you can actually use an APS-C lens on a Speedbooster to make it faster and then use the VSM to crop back into it to counteract the vignetting. So, for example, I have a Tamron 16-300mm all purpose travel zoom that is a bit slow at f3.5-f5.6 but on a Speedbooster it becomes a far healthier f2.8-f4 and I set the VSM to 85% to take out the vignetting. Ditto for the Sigma ART 18-35mm f1.8 it becomes f1.2 and the VSM at 85% maintains its field of view as though it were on an APS-C camera. With a little extra reach as well of course courtesy of the additional zoom function.

I am a long Samsung user, and still like them, however, I do NOT like that Samsung continues to restrict 3rd parties from the complete camera API. In my opinion this is great mistake on Samsung's part.

Have you used or looked into the JVC LS300? I'm actually surprised you never reviewed it, as it is a mighty camera for its price. The form factor, internal NDs, SDI out, professional XLR inputs, VSM (a feature I figured you'd love with all the vintage lens benefits), prime zoom, the zoom rocker, the streaming capabilities, and the like make such a wonderful package. And the combination of Super 35 and M43 mounts really worked out nicely together! Whether it's JVC or Panasonic, I'd love, love, love another camera in the spirit (and price!) of the LS300!

Olympus om-d em1 II? https://www.e-infin.com/uk/item/3239/olympus_om-d_e-m1_mark_ii_mk_2_mirrorless_digital_camera_mft_(body_only)_ Even with so-so and not at all lowlight lens, little bit of pure walking:

We had exhaustively discussed this before the GH5 and EVA releases. It is an amazing idea that unfortunately Panasonic didn't exercise. The LS300 sold a lot more than people think. It is not in the forums or the front pages of e-magazines, but I have seen a lot in the wild and the pro AV shop that sell them here have told me that it is the best selling camera of the last few years after the FS5. I know a lot of people that match one with the GH cameras (for a more dependable video design and features) and is a very common sight in weddings and live events coverage. It is start getting old (low light performance is kind of week), but a mkII could be the sweet spot for the under 5000$€£ segment.

Just got a Nikon 85mm 1.8 pre ai I am really impressed. This may be my favorite lens I've ever used next to the Minolta 35mm 1.8. Contrast and sharpness wide open is remarkable. I think it also just renders images nicely, can't put my finger on it. from the XT3 eterna jpegs, also used a lens turbo focal reducer

Each one covers a steadily larger front element. The 40 covers lenses with 52mm filters. 50 covers I believe 62mm, the 65mm covers 105mm filter. I think. As you go up they cover wider glass and are increased quality. I would not get the 40, it's pretty poor image quality. The smaller the front element of the taking lens, the better.

I understand. I think the colors out of the GH5 have improved greatly since the GH3. That was one of the major things we saw first with the GH4 and later with the GH5, where it got even better, and GH5s which is the best color I've seen out of these Panasonic cameras. I usually do little, if any, tweaking with the footage I get unless I'm going for a specific look or absolutely need to. Even though it's a 2 year old camera it's not completely fair to hold that against it. It still does stuff that other cameras don't, and there's still no camera in its price range that matches all of its features. The Panasonic GH5 was so ahead that it took 2 years for everyone else to catch up, and even so they haven't completely. Plus they're still releasing firmware updates to improve performance

Right now I have an XT3, XT2, and BM pocket camera. I do weddings so I need three cameras and its nice to have back ups for paid work. I went with Fuji as I like their color, means less work in post, sometimes no color work in post. Canon is great for color too but Fuji products offer a lot more for a lot less. Low light performance is a big plus as well as auto focus. The XT3 with a used kit lens 18-55, is the best bang for your buck right now I think. The 18-55 has OIS so you can do some handheld work too. If you don't need 10bit the Fuji XT30 with kit lens would be a good deal. You'd save $400. I almost went with an XH1 as a second camera, but I really don't need IBIS. Especially because the Fuji IBIS is not as good as panasonic. Good as a tripod replacement but I don't mind just using a tripod. I may have gone with a Z6 but the color science isn't as pleasing and I couldn't afford buying two of them. I am very happy with the XT3.

Never heard of Empire until the scandal. Though i doubt it has much viewerbase in Finland in general. The whole Smollett hate crime hoax thing seems like symptom of an extremely sick culture and completely immoral media and it'll probably get increasingly worse. Hell, there were thinkpieces straight up lamenting it turned out to be a hoax, I mean jesus christ. How messed up do you have to think that way?

Man, how one can go from a GH3 to a C200?! The usual suspects right now are the GH5/XT3/Z6, with the Z as the best true hybrid, maybe!

I struggled for ages with criteria that sound like they might be similar to yours. In the end it came down to the Sony A7III, which has good AF and fast but expensive FF lenses, or the GH5 and 10-bit files with the reliability, lack of overheating issues etc, and pro features it offers but limited AF. I ended up deciding that going to manual focus worked for me and my style of film-making, and because the IBIS is so great you can adapt old lenses and still get great hand-held footage, so I now have the GH5 and a cheap ebay vintage lens collection that is so large that I hide it from my wife.

Nay for now. Yay in a couple of years for half the money, few times the evolution and from another manufacturer.

What do you hope to gain from these tests?

Well, it does say in my signature 'Powered by Google search skills'. xD Yeah, they're hard to beat.

I feel like Canon has made it clear that the C200 is a raw camera that also has other shooting options, so I wouldn't be too, too surprised (this is Canon after all) if they released a non-raw camera that does have a 4K 10-bit codec. It's definitely not a "better" codec than the C200's raw, but it is way more useful for most of my applications (and I would think most shooters in the sub $10k camera range). And yes, I guess they do have the C300II for 10-bit 4K, but it is 4 year old camera that is terribly designed. The only hope for Canon is if they go all out on the C300 Mark III and stop worrying about Mark II sales. The existence of the C300 Mark II at $10k is a main reason the C200 doesn't have a good middle-ground codec and that no C100 Mark III exists. My two main needs for a cinema camera are: - 10-bit 4K Codec and - Small, lightweight design (FS5-sized or smaller). How the main 4-5 manufacturers haven't released a camera like that by 2019 is a mystery to me.

As well as Resolve training videos, they are now making available commercial training books in pdf format for FREE download. https://www.blackmagicdesign.com/products/davinciresolve/training Training Videos Introduction to Editing Perfect for both new editors and anyone switching to DaVinci Resolve, this video teaches you how to import and organize media, edit andtrim video, addtransitions, effects, titles and more. The Art of Color Grading Learn how and why you should usethe primary and secondary grading features, along with how to read scopes. This will teach you how to make informed decisions so you can accurately balance shots. DaVinci Resolve Mini Panel Learn how to adjust multiple parameters simultaneously and grade without using a mouse. Thisvideo teaches you how using a panel allows you to work faster and gives you more creative options. Fusion VFX and Graphics This video will teach you the fundamental concepts of the Fusion page in DaVinci Resolve 15 and its node based interface for compositing, tracking, keying, animating text, paint and more. Fusion VFX in 3D This video will show you how to work in 3D, extrude and customize text, animate, particles, glows and more. By the end, you’ll create your own animated 3D text with glowing, swirling particles. Fairlight Audio Production Part 1 Learn how to create a professional soundtrack using the Fairlight page. This video covers dialog editing, balancing, voiceover, track layers, dialogue splits using words from other takes, and more! Fairlight Audio Production Part 2 This video expands on audio production and teaches you about normalization, compression, equalization and sound design, aswell as bouncing, mixing andpanning finished tracks for delivery. Managing Media This video teaches you how to use the Media page to import and organize footage, work with metadata, batch process clips, andperfectly synchronize audio and video by timecode or waveform analysis. Delivering Content Learn how to prepare your content for delivery! This video teaches you how to use the Deliver page presets, how to create custom encoding settings from scratch, set up a render queue, and more. Training Books The Definitive Guide to DaVinci Resolve 15 The Definitive Guide to DaVinci Resolve 15 is a hands on training guide with step by step lessons that will teach you how to edit video, create visual effects and motion graphics, color correct images and mix audio with DaVinci Resolve 15. Advanced Editing with DaVinci Resolve 15 These hands-on lessons will teach you the art and craft of editing using DaVinci Resolve’s advanced editing features. You’ll learn how to cut dramatic, documentary, music videos and action scenes, and how to build eye-catching effects on both the Edit and Fusion pages. Then you’ll learn how to mix audio and deliver your final film for digital cinema, broadcast TV or streaming services. Introduction to Fairlight Audio Post with DaVinci Resolve 15 This hands-on training guide will teach you the art of sound editing, sweetening, recording, mixing and mastering. Beginning audio editors and assistants will find clear workflow driven lessons, while seasoned audio professionals will quickly learn Fairlight’s user-friendly tools to create incredible soundtracks. Color Correction with DaVinci Resolve 15 This hand-on training guide takes you through a series of practical exercises that teach you how to use DaVinci Resolve’s color correction tools. The workflow based lessons begin with primary tools and scopes for balancing images. Next, you’ll learn how to use secondary tools for more targeted and creative corrections so you can make your own Hollywood caliber grades!

Sounds close to correct. I use the smallest extension tube and then a spacer (O-ring) I made out of some thin plastic cutting board. Titos method of putting wire in-between is pretty ghetto and unexact IMO. You can wrap some tape around it afterwards to stop the lens spinning (it kind of turns even when tight).