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I hope in the future as the VFX tools we have at hand get better and as crew awareness increases then we'll be able to happily have booms in shot much more often for the sake of improved sound. This is already common place on many shoots such as "House of Cards", and advancing VFX technology will lead to an expansion of situations booms can be put into shot. https://www.premiumbeat.com/blog/adobe-releases-content-aware-fill-tool/ https://www.jldiaz.com.ar/lectura-en.php?name=houseOfCards

Alright alright no more questions I'll get to it. I'll post the short doc in a month or so.

just WOW. ?

Zach, are we to assume you are referring to a film in the distant future? Didn’t you say you don’t have a car right now? I would argue that it may be smarter to get a car first and then a $33,000 cinema camera. In the meantime, if you’re looking for a FF camera, did you hear that The Possession of Hannah Grace was shot on an a7sii? If you don’t need 4K or IBIS, the original a7s can be had for about $700... so that’s an option as well.

this is a killer feature and its only gonna get better, i was gonna start a thread. if you use it the right way in photoshop its unbelievebly effective and easy, so im really stoked to see where this goes i love the boom removal usage that @IronFilm mentioned; stuff like that can be HUGE for an indy shoot too...! the future of vfx is so bright its ridiculous lol. kids in the future will never kno the agony of the stuff we’ve had to learn ?

Definitely some of the best P4K footage I’ve seen. Really quite perfect. Good find.

Pretty crazy you will soon be able to shoot full-frame 8K for $6-7k. Currently, the cheapest way to do that is the Monstro for $50k+. And the cheapest 8K is the Red Helium sensor at $25k (but actually closer to $35k to actually shoot something). Seems as though the E2 is getting lots of great reviews and I actually like the idea of a modular brain (like Red) if you can get accessories that aren't $2-5k a pop. Snag a Shinobi monitor ($400) or Swit ($200) and some Sony NPF batteries ($100 for all-day power), and you're good to go. The full-frame with EF Mount + something like the Sigma Art 24-70 or 24-105 would cover a ton of use cases. Definitely intrigued.

I am single handedly claiming the credit for the announcement of this product today as it was clearly triggered by me buying the Sennheiser version less than 24 hours ago !

Below are the leaks specs and along with the leaked side shot of the camera we can see that a headphone jack was added and the Mic moved out of the way of the screen. Along with the additional of V-log L it looks like Panasonic has focused more on video with this release. The only thing missing is 4k/60p. https://www.nokishita-camera.com/2019/04/dc-g99.html LUMIX DC-G90 / G95 / G99 Effective pixel count 20.3M pixel Live MOS sensor, low pass filterless 5-axis Dual IS 2, camera shake correction effect for 5 stages Unlimited 4K30p / Full HD Movies V-log L is pre-installed 2.36 million dots organic EL LVF, finder magnification 0.74 times 3.0 type vari-angle touch panel monitor Dust and drip proof Equipped with Wi-Fi and Bluetooth Size: 130.4 x 93.5 x 77.4 mm Weight: about 536 g Domestic release date: May 23, 2019 Kit: Body, high magnification zoom lens kit (overseas standard zoom kit is also available)

He was using ISO1250 plus Braw. So basically no highlight dr + plasticky skin. By this video it actually is. But seems like Matteo ignores any trick anyway: shooting cDNG instead of Braw avoid shooting at ISO1250 in contrasty situations grading in another colorspace like ARRI log C or IPP2 for way nicer roll-off (RCM)

Wow, that pricing is aggressive! Would love to hear more about frame rates / codecs - expecting ProRes, H265, and RAW in some modes.

As someone who owns the BMPCC and the P4k I can tell you the highlight roll-off is not terrible on the P4k nor is the DR worse than the BMPCC nor are skintones unnecessarily contrasty - but what do I know as I'm not looking at it via youtube on a cellphone? CFast is expensive for data so why not just get a 1TB T5 ? I've got a few external battery solutions but the best by far (and the cheapest)is a cheap NPF sled with a dummy battery from amazon/ebay. I shortened the power lead to tidy it up and mounted the sled to the top of a smallrig 1/2 cage. With a generic F970 battery I get 2.5 hours recording time when writing to the external T5.

It feels like people have been for years promising that when the a7S mk3 comes out then it "will kill all other cameras under $X"!! And yet.... we've yet to see it get released. And neither the a7S mk1 or a7S mk2 came anywhere near to "killing the competition". Exactly! I suspect this mythical a7S mk3 when released will be "better" than the BMPCC4K in a few ways, but definitely not all! The P4K will still be better in some areas. We're not going to see that happen in ten years time. 3D printing has been promising to revolutionize our worlds, and it will.... but not to that extent, and definitely not in that time frame. (not unless you're meaning printing very basic parts like the camera shell, but really 95% is coming from eBay. And even then... I highly doubt it could be really better value than what a company with economies of scale could do)

While there seems to be quite a few complaints about BRAW from heavy forum users, I've now worked on two high profile Ad campaigns that have used BRAW and haven't heard a DP complain about it. At the same time, I've spoken first hand to VFX guys and girls that have said that they are really happy with the new codec. Here's a few pics of the P4K being used as a B Cam on a recent car ad for those interested.

Another great film @mojo43! I always try to catch your work. I noticed a lot of complicated transitions in this one-- maybe more than most. Very effective at maintaining a fast and immersive pace. Anway, great work again.?

The issue this video covers was already mentioned in several topics, but I promised a video explanation and fixes, so here it is. Beware: long, boring, bad English.

Interesting size and the fact that they claim it has a built in broadcast quality mic built in (Built-in omnidirectional condenser microphone delivers broadcast-quality sound) that can record in challenging and less than ideal conditions. Main features: • All-new Series III 2.4GHz digital wireless transmission with 128-bit encryption designed to deliver crystal clear audio under any conditions, even in locations with dense Wi-Fi and Bluetooth activity like shopping malls, conventions, hotels etc • Up to 70m range (line-of-sight), but optimised for shorter-range operation in congested radio-frequency environments • TX and RX have built-in rechargeable batteries, charged via USB-C •"Up to 7 hours on a full charge, including a battery-saver mode • Super-lightweight and ultra-compact: TX is 31g and RX only 31g • The transmitter and receiver pair in just 3 seconds • 3-stage output pad: 0, -6dB and -12dB • RØDE’s market-leading smartLav+ (with an SC3 adaptor), Lavalier microphone and HS2 headset microphone are perfect companions for the Wireless GO when used as a beltpack (and sold separately) • Use up to 8 systems in one location. http://www.rode.com/wireless/wirelessgo

Really excited to see what everyone thinks of our new video! We shot this mainly with an A7iii an A7sii and a GH5. Mavic pro 2 of course. Let me know!

Naw, I think it worked very well. I love seeing people push ideas and experimenting.

If said this before but I think we are going to see more innovation from smaller camera companies like Z Cam here in the pro-mirrorless-cinema realm. They will offer you more bang for your buck than the bigger guys minus probably stellar support when things go wrong. As long as they can keep the quality of their products up, people will buy these simply because the big guys don’t offer them what they want for sub $3K. Only bigger production companies will want cinema lines (and support) from the bigger companies. And Id you already have all the other gear (Vmount batteries, monitor, Audio) these are incredibly cheap and will pay off quicker than having to charge rental for a $14,000 Canon cinema camera.

Anything's possible, let's see how it progresses. Still early days yet but I have Magic Lantern up and running on my M50 with a few modules... no RAW video module yet but should only be a matter of time now!

That's the full post. I don't think they've said anything about frame rates on the F6 or F8 yet. The S6 does 6k60 at 2.4:1, and 6k30 at open gate 6244 x 4168. I find the F6 to look like the best value. It's not as big a jump in price over the S6 as the latter is over the normal E2. If you want a speed booster with a locking EF mount on the S6 (assuming they do actually make a M43 mount), then the price is pretty similar overall. Of course, if you have a lot of S35 or APS-C glass then the S6 looks like a killer option. $4k is a little steep compared to the XT3 to me.

Biggest news of the day: they added a headphone jack AND it's in an even better spot than on the GH5. Lower down the body means more rotation for the screen when headphones are in.

The markets and purposes are different. The E2 range are production cameras, whereas the Sony’s are hybrids that do a bit of everything. The A7 developers won’t care about the E2 at all. Any camera is a hard sell for me at the moment as I have Panasonic’s like the EVA1. But it’s exciting to see a full frame camera a quarter the size of the EVA1 coming with even higher end features. ?

199$ It looks like a no brainer for youtubers and streamers or a good, quality alternative to anybody who was looking for -very- cheap wireless system in Amazon... (like me)

Holyshit u sound like my mate brah why buy gh5s when s9 does same! Did I will give u a comparison Gh5s = Bmw M5? S9 = Public bus that anyone can use Ok thank you

You are forgetting 'not as good as the camera it replaced'

Add Tachyon polution and Spatial rendering to those!

turns out you don't even need a menu, no matter how large it might be. Since you're going to an Atomos recorder, you don't need the camera's LCD on anyway, so the EVF Only option will save you some battery life Strange there's no option for both on though.

It's been available in photoshop for ages so not really a surprise it's made it's way to motion images.

Just walk up and ASK people! Ask them what is their story

great, i shot my first short with natural light on my 5d3 with ml, there you go. costs 30x less than a c700 too

I'm trying to find a way to make motion picture films with a camera that would lessen the costs of lighting equipment while at the same time be feasable enough for a crew, logically speaking. I like natural lighting.

Any news about DPAF activation in 4k or 6k?, is it possible?

Nice work!!

Actually, and BTW regarding last question X vs Arri, why not to cheer here also remarkable achievement of our great com-eoshd member Sage

They do differ in favour of the Arri for sure, but my thoughts in posting were that the differences are smaller than I imagined they would be, considering the saving.

Braw 3:1 holds up well on this guy's comparison..

Excellent, I thought it was the latest Brandon Li video at the beginning

Gotcha! I had the 24-70mm f/4 and had the same experience with it... just too slow when you need a few more stops of light. But then when I go back and look at some of my footage, some of my favorite shots were with that lens... but I also suffer from sentimentality. I was mostly looking at the Sigma because it is crazy sharp and for image stabilization... but so is my Canon 35mm f/2 and my feet work pretty good in place of a zoom... so IDK... lol. Glad to hear it, there aren’t many of us left. Lol. I’ve owned about 3 4K cameras, all with IBIS, since I bought my 5D3 and the 5D3 is the only camera I still own... I just recently realized this myself... apparently there’s an option in the resolution center that you have to click. So if the buyer is a no pay, or a scam artist, then you have to open a case to get your fee returned. Good luck!

People are putting too much faith in Canon and Sony. The smaller companies will revolutionize the products and processes of next decades (and the generation Alpha). BM can print a body, put a sensor and some chips and make a 1400$ raw 5" monitor camera, while established companies with huge capitals need 4 to 6 times the money for similar, or worst, performance. The A7Siii will probably be a better camera than the P4K, but for how much? And when? I say, the future is now, and it is happening from small companies. P.S don't you think that an SDI output and an ND filter for 5.000$€£ is too much?!

Give them the benefit of the doubt. Most of us love the underdog - I hope they pull it off.

+1 Most of the gear I've bought/sold through the years has been on FM. Its great for barely used stuff at bargain prices, lots of people take stuff for a test drive and then unload it cheap. If you're selling - post lots of detailed photos and be very honest about the condition. Chris

Magic Lantern on the M50 is real by the way.

Sure; it depends on what you'd like. Fuji and BMD have very good, usable color. I personally will use P4K with GH5; I hope to have EC to do a production this summer. 8 bit is tricky; I'd prefer to only support 10 bit cameras, though I will try to find a way that will give viable production level results with 8-bit. I think Log is not really in the cards there. Bit of really cool news; last weekend, the director of a film starring Josh Hartnett wrote to me to say that they were using the GH5 with EC as a pick-up cam alongside Alexa Minis and XTs. He said that a senior Star Wars colorist was doing the grade, and said that 'everybody was very impressed' with it. I was pretty thrilled with that