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We will introduce a 0.7” 1080p #oled EVF#, portkeys OEYE-3G in NAB, with 4KHDMI in and out, 3GSDi in and out, brightness waveform, 3DLUT..., all-aluminum body, diopter. NAB also publishes price . ?

ok the lens arrived early, looks immaculate very smooth action, i am very happy. just have to sort a clamp out now. it came with a case that looks brand new apart from the the holder there's barely a mark on it

Well I had a go with a unit yesterday.. and the output kinda blew my socks off! The 80mb DNG / 300mb TIFF files are simply glorious. The 47MP sensor paired with that 28mm Summilux lens is a match made in heaven. Build quality is very nice.. but not M series nice. Lens felt a little plasticky. I was also kind of disappointed to find out it is focus by wire albeit with a pretty mechanical feel. Ergonomics are kind of hit & miss. On the hand I miss a lot of the buttons/dials I'm accustomed to, on the other hand 'less is more' is kind of the Leica philosophy. Video wise.. the DCI 4K looks really nice. Clean sharp image at 28mm & 35mm crop. At 50mm crop you start to see some aliasing and at 75mm IQ suffers a lot. Couldn't figure out how to change the shutter speed which was stuck at 1/100th. Also ISO seems locked on auto. Not sure if that was user error or if video just doesn't offer much manual control. Overall this camera is a compact beauty and delivers some of the nicest stills I've ever experienced. The Leica color science & lens rendering is probably my all-time favorite in a digital camera. The 28mm with the crop modes is incredibly versatile. I think I could use this fixed-lens camera for 90% of my needs. Now yes a Z7 + 28mm Zeiss OTUS would probably give similar/better results but that's $8.5K vs. $5K.. and a different type of experience. I think this camera will be a hit for Leica, the 30 copies at my local store sold out on the first day!

the jury has decided, however its a 2 pocket job one for the p4k the other pocket for the lens. but thats bare bones had to take the quick release base plate and the lens off

No no no no... RAW goes in, COOKED comes out!

By that definition you have probably never used raw then, as I haven't come across any camera that supports uncompressed/lossless raw that doesn't alter the sensor data in a process referred to as "calibration" - where every pixel is altered. That can include noise reduction and other processing that's already applied before the raw file is created. Some sensors do this on chip before the ADC! I've also never seen a camera that doesn't do pixel remapping as all sensors suffer hot/dead pixels. Some even offer user initiated pixel remapping to address this as it can occur over time. Which means lots of pixel data is CREATED because the sensor didn't provide useful information. So yeah, no camera from any manufacturer I have seen or used would qualify as offering "raw" to your standard. People seem to have a romantic and idealised notion about what raw is.

I did it for fun as a gift and as great fan of horses nature. So, for the same poor reason (and free of publishing restriction) maybe there's chance that it might touch somebody else

i thought i would chronicle my adventures with a black magic p4k. also i didn't want to pollute the other bmp4k threads any further. so here we are, had the camera 3 days now first afternoon unboxed it, inserted the battery tried to charge it only to find it was already charged. obviously bm expect us to be frothing at the mouth in anticipation and they be right, quite considerate of them really when you think about it :). probably half discharged it by turning it on and pressing every button repeatably in the name of science and to see what would happen and yes, not exactly scientific i know but it is one way to learn. did take some footage of some sheep being fed, again as a learning experience and yes i learned i have a lot to learn. first thoughts well there's been some talk around the lightness of the p4k and to be honest picking up the box it was transported in did feel quite light after unboxing and putting a lens on it er.. a m42 50mm super takurmar, holding it and a canon 60d with a lens in it in the other hand there wasn't much difference nothing noteworthy anyway. the next day got a chance to take it for a drive visited a local soldiers memorial that's just been built. as quite a lot of locals went off to war. those that came back and others were settled around stanthorpe. i'm kinda thinking of making it a documentry with the p4k as i think there's abit of a story to it. but that's another story. had no issues with the battery door or battery sticking yet. my battery compartment has a nice amount of wiggle room. speaking of batteries the bm battery doesn't seem to charge up in a canon charger as its the same battery as my canon 60d. i think i have seen somewhere on the forum that thats already known. i did just check my canon 60d battery compartment there is a lot more wiggle room compared to the p4k. more scientific endeavors follow i learned a cheap $30 toshiba 32 gb sd card from woolworths will record with prores 422 1080 hd for about 5 mins, hey it was something i had lying around. i do have a samsung 1t t5 ssd for it but i dont have much of a rig for it yet and i didn't want to duct tape it to the p4k. one more thing i learned at the soldier monument the aussie sun smashes the screen, its hard to see even at 5 pm in the afternoon. so i'm thinking some sort of hood will be pretty high on the agenda. i'm not saying the screen is bad, just that the sun easily overpowers it. ok thats about it for, now next is play time with resolve, stay tuned for more updates on a newbies appreciation off what a steep learning curve looks like with the bmp4k

...and when I say on the forefront, what I mean is they haven't implemented FHD 60p yet. Someone please tell me I somehow got this wrong? Seriously, there has to be something else to this.. really.

Different colours, the true sign of quality products.

A new shot it saved it in TIFF hope that's right This is P4k Prores 1080p LT Drummer_1.25.2.tif Tiff to take a stab @ it.

How much Dynamic Range does your toaster have??? Jeez, no kidding. I get about 8 minutes of video before mine overheats.

Perhaps not a full stop, maybe a half or 2/3 of it in my testing of BRAW in the last couple of days. And to add, it seems to me that people who criticise BRAW - in the sense whether it is RAW or raw etc. - among other things forget that BRAW is also meant to be (post)processed in the DaVinci Resolve at the first place, where this new codec - which would evolve in time to come - shows as a very robust for grading. For me, it is gradable as much as cDNG, not to mention that it is more efficient for memory cards and computers. So far I wouldn't complain, and it is still posible to roll back to the 6.1 version with cDNG, if anyone needs so.

It needs an interface but its nothing too dramatic. There are kits for making your own VR headsets that could form the basis of a Hi-Res version of the DIY EVF I made with the Raspberry Pi monitor and the loupe. This one has 1080p AMOLED screens (though you'd only need one of them) and the whole kit is under £150. I will definitely look at making one as the DIY EVF I made is actually pretty serviceable but just a bit low res. But much, much better than trying to use a rear LCD in the sunshine here. Yes it is. And the kindness was particularly apt in this case as she had bought me that particular lens about 30 minutes earlier ! I'll sort out a side by side tomorrow, they are roughly the same size. I expect the Contax Zeiss to smoke it but you never can tell ! I've barely used it since I got it unfortunately. I think these were probably taken the day after I got away with daylight robbery buying it in Tokyo but its not had many outings since so it could do with an airing.

Hi guys, I have a weird problem with the 10-bit mov clips from the GH5-s. I have a desktop and a laptop with very similar specs and performance. The desktop has a Ryzen 1700 with a GTX 1070 ti, the laptop a i7 8750h and a GTX 1060 6GB. Both have an SSD, the same version of Windows 10 (64-bit Home) and the exact same version of Premiere. The desktop plays the 10-bit clips without any problems in both VLC player as Premiere and cuts through it like butter. The laptop is a different story. VLC player (same version) acts very weird upon importing and crashes. Premiere can't handle the files as playback is horribly slow and choppy. The CPU and GPU don't fully work as I can see in diagnostic tools. 8-bit 4k files however are no problem and editing is as smooth as can be. I know that the 1060 is a bit less powerful than the 1070 ti but it should be more than capable for just simple browsing through the footage. Mind you, even the preview monitor can't handle the files. Mercury playback is on for both machines. Copying the mov files to the SSD makes no difference. It seems to me like a software or codec problem, especially because even the same version of VLC player can't show the clips. Anyone know how to fix this? Would be appreciated!! Thanks

I owned both the GH5 and XT3 at the same time and sold the GH5 for a second Xt3. I also own a 1DX Mark II for reference, so I am not biased. I have used the Sony extensively and I wouldnt buy it unless it was life or death. Get the XT3: Great video autofocus with native or adapted lenses Better colors Better Sensor Hybrid Shooter - The photography features are top notch Better codecs especially with the Ninja V Great IBIS Lenses Amazong Internal Preamps Better ISO performance GH5: Flipout screen Battery life button layout IBIS - I am a motivated movement shooter, so I do not need IBIS XLR Add-on Sony: If you want to spend extra time in post color grading. I am sure I missed a few things.

Yes I adhere to that philosophy too until.. less is less.. the Q2 actually went a step back and removed ISO (and delete) button from the original Q: The top also sees the movie record button & drive mode removed: I get what Leica is going for with this streamlining, and it is refreshing especially on something as 'pure' as the M line. For the Q, seeing it is more of a hybrid and indeed has some advanced AF modes, an extra back button, joystick & ISO dial wouldn't hurt. Basically, I'm not sure the ergonomics have been improved here but I could be wrong (only spent a short time with the camera). Yes it is interesting.. except i haven't got a clue what he means by mechanical vs electronic shutter.. for video???

Even more than 2 years after release the best GH5 replacement is... another GH5 There's no other camera that ticks all the boxes of the GH5. Some cameras like the XT-3 come close, but they're all missing something: IBIS or 10 bit or flip screen or EVF or good battery life or XLR adapter, etc. It has it all. Just my take.

I was quite interested in what Hugh Brownstone had to say here about the rolling shutter performance....

That's exactly what I have come to understand. Honestly, all of the top cameras produce a good enough image for serious work. It's the other components that most of us are missing. Creative lighting, thoughtful camera movement and most importantly... a good story. Find a system that works for you and shoot. Work within the limitations. Focus on telling the story. That's get you get better.

Game on.

You might also get away with the Meike 28mm f.28 - it's a great cheap, tiny manual prime with clickless aperture. Nice focal length for a walk around lens too.

@mercer I agree that having some extra low-light can make a difference. My Voigt 17.5mm is pretty rubbish at 0.95 (equivalent to 35mm F1.9) but I use it there a lot in low-light despite the softness and colour shifts. I really like the idea of having a 'hero' lens and then only having other lenses when that lens doesn't do it. At normal shooting distances you can often hit those 'middle' focal lengths by just taking a step or two forward or back, so I've spaced my set at 8mm, 17.5mm and 40mm - (16mm / 35mm / 80mm equivalents). I view the 8mm and 40mm lenses as specialty lenses that I only put on when the situation doesn't fit the main lens, so in a sense I just have one lens and a couple of specialty lenses for frequent specialist situations. I did an exercise a long time ago for my stills photography where I listed the different shooting scenarios I needed equipment for, then worked out what equipment was best for those situations. For example I discovered that if I'm shooting at night then I don't need a long lens, so although I do need a longer lens during the day, it doesn't have to be amazingly fast. Other things came out of that too, so I managed to save some money and equipment weight by thinking it through like that. I know you're more interested in narrative, so you may have a wider range of situations or aesthetics, but by combining it with those aesthetics you might find some combinations aren't required. For example, someone might only shoot a doco with vintage lenses and that might not require a very wide angle lens, and projects that did might all call for the modern look and now you don't need a vintage wide angle.

Yup, a toy camera for fun and games. Not everything has to be for dudes in Oakleys I really think Peter Gregg hit the nail on the head in his Canon RP video when he said that the general idea online is that "every camera must be made for ME!". So true when browsing forums.

here is something for you. Can't remember the setting on top of my head but you can read the metadata. Not the best clip but hope it fits the bill. https://drive.google.com/file/d/1DGuG51b0oUt1nzQqNdEraskon4stiWae/view?usp=sharing

You need to tell me what your address is so that I may catch the camera when you throw it out the window. But as BrunoCH said, check whether your Saramonic has Mic Level Output or just Line Level Output. Can you plug headphones in to the Saramonic output and hear the sound clearly? Then that would be line level (I think).

To add to your earlier point, I’ve found the jump from 24mm to 50mm to feel quite normal and then a jump to 85mm completed a set for me. I can’t see too many instances where I would need anything longer. But I also like the simplicity of a two lens set with a fast 35mm and 85mm. But in all honesty, I know myself, and I would bet money that, short of using a zoom lens, I will rarely, if ever, change a lens/focal length during a scene. So it’s a matter of having a couple different lenses, with different qualities, at similar, or the same, focal lengths. And this is where my choices become difficult... well really... there are just too many nice lenses out there.

Without a doubt, all lenses will be sharper when stopped down, so in most instances a 1.4 will out sharpen an f/2 lens when at f/2. My Variable ND Filter only darkens for 5 stops. In broad daylight, I’ll have to stop down my lens a touch to avoid over exposure. The problem is in lowlight. All of those shots are at dusk and were shot between 800 and 1600 ISO. With ML Raw, I prefer to keep my ISO at 800 or below but will push it to 1600. So, with the Canon FD and Zeiss ZF.2, the half a stop of their 1.4 aperture over the Zeiss Rollei’s 1.8 aperture can make all of the difference. With that being said, the Zeiss Rollei shot was my favorite of the lot. It wasn’t the sharpest but I think it had the best mix of qualities that I personally like. Now I need to get them out in better light so I can draw my final conclusion.

I've noticed that having lenses at a 2x spacing seems to do the job for me, although I am cropping in post. It seems like there are two series in this pattern - the 16, 28, 50, 100, and the 18, 35, 70 progressions, and those that start with a lens from one of these tend to stick within it more than not, unless you end up with every lens and have them closer together. My experience so far has suggested that looking for a lens that is sharp at a given aperture is more realistic. I've found there are two kind of lenses - those that get sharp when stopped down about two-stops and those that are sharp wide open. The sharp-wide-open group are typically the same as the first but are about two stops slower when wide-open. There are exceptions of course, but when choosing between a lens that is 1.4 and fully sharp at 2.8 vs a 2.8 lens that's sharp wide-open I just see the 1.4 as being more useful, and comparing lenses of different aperture values when wide-open is kind of missing the point. The MFT lens comparison by Shane Hurlbutt with the Voigtlander vs Panasonic vs Olympus suffers from this problem. They compared the lenses at 2.8 and wide open, and that made it look like the F0.95 Voigtlander wasn't as good as the F1.7 Panasonic because the Voigt was softer at 0.95 than the Panny was at 1.7, but had he tested them at F1.7 the Voigt would have been almost at peak sharpness and would have slaughtered the Panny which was still two stops away from its sweet spot.

That was a very ingenious approach to a kind thought on your part. Very well done. Thanks for sharing it. ?

Great stuff @leslie - keep us informed! Reading a thread like yours might be easier to get a summary than the P4K thread and it's zillion posts about if it really fits in your pocket or not ???

Wow, DUAL IR ISO toasting! I want one now. This sandwich looks so cinematic, and the motion cadence is epic, must be raw material for sure.

Someone already said it before !! ?

defining "raw" vs the real deal "RAW" as "meaning minimal compression to a bayered image" is very tricky because where do you put the limit of "minimal compression" is 3:1 minimal but 12:1 no longer minimal ? what about 5:1 ? they should have avoided this semantic headache an called their format : BVC for Blackmagic Video Codec and avoided the RAW misappropriation altogether . what pisses me off is not that "BRAW Q0" is closer looking to prores than to RAW, what pisses me off is that they removed the only real "RAW" with firmware 6.2

I care so little it's hard to put words on it. Guess this thread is yet another lost cause. Out.

Just a note for G80/G85 and GX80/GX85 users: (this may be of interest to you, @canonlyme) Consider disabling IBIS while shooting anamorphic. Recently I took a look at my short video tests and noticed that there is a lot of swaying going on in them. At first I thought that rolling shutter was to blame, but after further tests I concluded that this swaying has nothing to do with fast pans and it's visible even during some subtle movement. Turns out IBIS in G85 doesn't like scopes. Sorry for hijacking the thread!

work from the studios has been keeping me busy. have been traveling all over, shooting interviews and behind the scenes on my EVA1 and a pair of GH5s's. leaving again for New Orleans tomorrow.

I have two of my fav ones. and https://www.youtube.com/watch?v=Kc8sxoo7IQU

I shoot 4K (B)_RAW and am a proud fanboy now! LOL ; -)

From the same nifty fifty lens test, here are a couple from a Canon FD 50mm 1.4 that was modified to Nikon F and then adapted to EF... lol...

If you are ok with a green tint on your toast, I can loan you my Sony a5100. Great affordable toaster.

Literately just the name. That's why every other Kpop Star owns one and wears them as a fashion accessory. Sorta view as a status symbol imo.

Google it! It's all over YouTube etc. I'm not particularly interested in slating the guy, but he brings so much on his own head. Ah well, he will probably have to take up being a photographer after all and start shooting weddings...

This business is unsustainable because of ridiculously high production costs, it doesn't matter which one of big names is supporting the ecosystem.