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New video! Lowlight test. Uploading the raw files!

I love this sort of stuff.

There are at least 3 persons in this forum that can convince you that a) noone needs it b) it is a feature/advantage!

Leaving out 1080/24p is that final push by Canon to get pros to use certain higher-end cameras instead. Fuck customer goodwill towards brand or customer loyalty. It's an extra $1 they want.

"If you're recording in 32bit, you don't need to set gain at all." - Watch from 3:00 to 4:00. Okay, I didn't even know this was possible. The rep compares it to a raw photo.

Raw is not magic.. It's nice to have when in challenging lighting conditions. It's not something that is practical to shoot with all the time for most users. After owning the Nikon Z6 for a couple of months, I can honestly tell you, I do not miss it. The image was not as pleasing to my eyes as that of the EOS R. That said, when I buy a camera, I do so not in anticipation of some feature being added in the future, but rather for what it can do at the time when it lands in my hands. Options are nice to have... Raw on the EOS R would have been a compelling feature for many. Personally, I would have been more excited to see the missing 10 bit codec added to the C200. That would have allowed me to shoot 10 bit rather than 8 bit for the bulk of the video that I do. I also believe it would have been a major boost to C200 sales. And by that token may have enhanced EOS R sales. But we all know that with Canon features seldom, if ever, change after the release.

Panasonic DC-GH5 SLR Magic Anamorphot-50 1.33x Anamorphic Adapter Zhiyun Crane v2

I think the only golden insurance rule is to make sure you only buy EF lenses as they can fit on everything !

And then it wouldn't be so bad when you accidentally put your foot in your mouth!

Mercer sent me this video a couple of days ago. Yeah I know it is not a Red. It was shot on a OG BMPCC with a 28mm Super-Takumar and a cheap Tamron 10-200, and he says it was shot in ProRes LT.. Sure they used a Speedbooster and lighting, but we all know a Pocket sucked at low light, but they pulled this off big time to me. So it is not the so much what camera, although I still think the Pocket is one of the best Cine cameras ever made, it is about skill, using the right tools, and not having 50,000 dollars of equipment with no clue how to utilize them and expecting miracles.. This trailer makes me want to go out and buy a OG Pocket again lol. It doesn't get much better, especially for what they cost.

This is a great addition, and possibly is a nod to how FCPX/PP users might operate. One thing I always thought was a bit clunky was if you had two cameras/lenses which needed to be matched, and two scenes which needed to be graded differently (eg, day scene then night scene). In a sense you can now grade the clips in the Colour page to colour match and put in Adjustment Clips for different scenes and one across the whole timeline as a final grade. Absolutely. It kind of delivers on the "editing revolution" promise, the UI improvements requests, the people wanting to work without BM hardware, etc. I am noticing a trend within Resolve now of having the 'easy/fast' way to do something and the 'slower/powerful' way. I first noticed it with the stabiliser when they created the one-touch version but kept the old one with the more features, but it's now there for editing too. I suspect BM is chasing both ends of the video production market: Making a feature with UMP, external audio, heaps of clips with slates, large editing team with collaboration and multiple simultaneous users and industry leading grading facilities, frame.io integration, etc etc etc Making a fast-turn around piece with P4K, internal audio, single person post-production on a laptop in the field in the new Cut page, grade with the auto-match feature and a LUT, put in a Fusion title and end sequence and upload straight to YT Obviously most people will be somewhere in-between, but making something that works for both ends of the spectrum is a real challenge and they seem to be doing a pretty good job at it.

Isn't shooting at base ISO pretty standard practice in cinema? The Pocket is nice for most applications. Lighting day time stuff is honestly a bigger pain than nighttime. At least its manageable on a small budget vs trying to compete with daylight.

Was holding out hope, but after using the S1 (vs the EOS R), I'm going full Panasonic for the foreseeable future (the S1 is AWESOME). The EVA-1 is approved by all, has amazing, wide variety of codecs, and is an all around stellar camera (will need to shell out $300-400 for a monitor of course). I'm even starting to prefer Panasonic's color science to Canon's. The EVA-1 + the S1 + the GH5 is a great three-camera lineup Panasonic has going. Excited to see them move their low-end cinema line over to L-Mount and, hopefully, an MFT mount camera too. It would be great to either have an EVA Mini MFT with the GH5/6 being the B-Cam, or an EVA-2 L-Mount with the S1 as a B-Cam.

For powering, 1) https://cvp.com/product/hawk-woods-dv-bm4-power-adaptor Hawkwoods is a well known company that I use for powering my sound equipment with NPF batteries. They are very well build, and never failed me on the field (as of, yet!). Also, I would prefer to have a Canon battery inside just in case, and for hot-swap, something the battery grip doesn't allow. 2) https://cvp.com/product/idx_sl-f50_battery I got 2 of those recently, they are small, light, incredible built, have 4 led metering, X-tap (like a D-Tap, but from IDX!) AND usb. They is a model with bigger capacity, but this specific one drives my Focus for a whole day, doesn't add too much weight - 250gr while a same size and capacity lesser (but very good, got it for 5 years and still works very good) brand, weights 280, and the SL - F70 (9.900mAh) is 350gr. If I was going full in, I would go https://cvp.com/product/hawk-woods-dv-f990-sony-np-f-battery 10.200mAh for 300gr On another note, I am wondering, why can't we have something like this? https://fotodioxpro.com/collections/lens-mount-adapters/products/eos-snye-p-fusion-ndthrtl The ND issue is the most important for me, and really puzzles me. vNDs in front of the lens are not so practical, and still to find a very good one (my next try will be https://breakthrough.photography/products/x4-neutral-density?variant=30850760209 but the customs/taxes/VAT for Europe almost doubles the price). This is a very pressing issue, and believe will be the turning point in the history of video cameras. Imagine a P4K with a build-in ND, or e-ND, that would end all conversations. Right now people in forums arguing about no NDs (and right so), and the fact that it has only 1 mini-XLR (some people just can't be pleased).

Hell we will all be dead by the time it ships so what is the big deal. ?

Even those are no spring chickens either as the Soundfield microphones were first commercially available over forty years ago now. The expiration of the patents for the Soundfield and there being more of a market for the content through surround formats and latterly VR has brought them more to the fore in recent years. Funnily enough, Zoom themselves do a combined ambisonic mic and recorder called the H3-VR which gets zero coverage but is actually a very capable little tool for anyone that wants to try the format.

You should tag them to bring them to the party in this thread!

No, it is not. At least not in my world. Perhaps it is as a "game changer" for a certain market niche of people who are somewhat clueless at audio but are doing it themselves the entire workflow from start to finish. But in my line of work I'd be moving backwards from my very excellent Zoom F8n, and what would I get in return? Next to nothing. I'd "gain" a nonstandard file format which "solves" a problem I don't have. (I could easily come up with half a dozen things I'd rather see instead from Zoom first) At 32 bits, then even if you didn't have a limit with a microphone, you'd find life itself would be a limit to what you record with all 32 bits. To record from one extreme to the next at once would destroy you. It is like if you recorded a gazillion stops of dynamic range of light with your camera, it would be both so hot and so cold that you'd be DEAD.

Canon is losing a lot of sales to other manufacturers, so at some point they will be forced to do something as more and more users are searching for hybrid cameras as video importance has increased massively over the years. My only hope now is that Magic lantern hacks the eos R or 5D IV. So I can buy into canon video again. (still own a 6D just for stills)

So is Canon Raw on EOSR already out? LOL only fools would have believed that, I can't understand how people, more so adult, can be dupe that easily. Its been like 8 years people are wishing and wishing on Canon to do XYZ, to come out with something out-breaking. And every time they just come out frustrated. If you can't understand simple economic principle, that Canon won't jeopardize their Cine line for their DSLR line, you just deserve to be duped. You either move to their Cine line or you have other Manufacturers from Nikon to Black magic etc that are doing so much more.

There is 1.25mm more distance to play with when you are going from EF to E versus EF to MFT. I've no idea how much they have going on internally (though I can have a decent guess) but it could be possible. In the meantime, if you have a camera that can be easily adapted to M mount like Sony E or Leica/Panasonic L and have some Leica screw mount lenses then you can already enjoy some turret fun if you can pick up a Leica ORLOF. Its somewhat rare so a bit on the pricey side though...

I still struggle to comprehend why Canon are leaving 1080p24 out of their recent cameras. With stuff like the huge crop and lack of PDAF in 4K, plus the lack of other basic video features, you can at least chalk it up to market segmentation and/or a lack of processing power. But leaving out 1080p24 is like producing a car that lacks a second gear and instead goes straight from first to third - it's a pointless, arbitrary, and annoying omission.

Yeah was hoping on at least a7S iii, canon dslr 10bit/prores raw or 4K ff.. or c200 with new codecs.

Indeed, when you shot in raw with the BMPCC then did NR it cleaned up pretty well. I know people with REDs who had a BMPCC as their "lowlight" camera

Total snoozefest at NAB this year with no exciting announcements from anyone.. Atomos CEO did hint at ProRes Raw support from over 20 cameras across various companies by next year although hard to know if that's just wishful thinking at this point.

The more I thought about that video I realised why he has a 100mm on. If you put something like a 70-200mm on you couldn't also have a 14mm on the same turret as it would be in the shot. Still pretty cool though, I like it.

Haha! M1 is my next one, and NT-SF1 the next next! I already have the Sennheiser 440 and the AT 4025 (unbelievable for the price and for atmos) and I had 2 Audixes for stereo arrangements, but I just sold 1 to fund the CS-M1 buy! The F6 seems amazing for sound effects and designers. I am not sure, but I may "have" to buy one of those also!

What a great guy ? love it.

Of course if you are an enterprising baker and want to stretch their "Need a license to sell food but not to sell shoes" rules then you could always make these.

C'mon, day for night or nuit américaine as known in French through Truffaut's movie is far to be 'the solution' there. Not so easy ; ) not so sensorless technique, let's also give the right credits as due ; -)

One quick hack to turn ANY cinema camera into a low-light MONSTER!!!!!1

I spoke with Sharp directly and they are denying any red involvement. But who knows! ?‍♂️

I shall remember now to always have motor oil with my pancakes, along with a side of cardboard

The discussion was about business licenses, with specifically the example of selling shoes. And no, we don't ever need a general business license or one for selling shoes. Yes there are some specific narrow examples which has regulations around that: alcohol and food. (and even then, there are various exemptions for example: Food stalls that sell food to raise money for charitable, philanthropic or cultural purposes, for up to 20 occasions a year on private land do not need to register.) But if I wanted to import a dozen cameras from China tomorrow and start selling them? No problem! Want to order a few rolls of cloth and start making my own clothing designs to sell? No problem! Want to open a business offering website development? No problem! It is really only once you start to get to a certain scale that the red tape really bites into you (for instance once revenue is over $60K, or once you start taking on your first employee). As for what all those people at the Auckland Council keep themselves busy with? Lots of permits/regulations/consents around construction (thanks guys, one of the reasons we're one of the most expensive places in the world when it comes to housing costs!), or coming up with ways to spend our ratepayer dollars...

They announced a new lav. And showed prototypes of new XLR mics as well It is only a few weeks away

This was a strange interview. I lightly know the backstory here but it’s was unprofessional. I was under the impression that BRAW needed in camera hardware as it was doing something special in camera before outputting it? I also did some research and found out RED has a broad patent claim on compressed raw, WTF. That would be like issuing a patent to Budweiser for fermentation.

Who is Antony?! Is it Solaris - Polaris or Dolaris?!

Here's a fun one. Using GHAlex on Mavic Air D-Cinelike to match GH5S V-Log. ? These clips were actually shot on different days too.

We r shooting all kind of film and video productions for decades and decades and didnt even have the ability for 1600 and/or very fast lenses! I shot a whole corporate today with a C200 and 2 L lenses, and never went above 1000iso and my aperture was 4-5.6 at all times. 90% indoors and on a very rainy day. You, youngsters, like to shoot on your basements, public catacombs or abandoned mines!

I can understand that. Only relatively recently was Resolve a colour grading tool you would round-trip to, which is a concept that took some getting used to, let alone knowing how to actually troubleshoot the process and get it to work properly. Now Resolve has become something equally confusing - it does everything! So on a journey from being difficult to understand because it was too technical, to now being something that is difficult to understand because if you're a FCPX or PP user it sounds like it's too good to be true!

..and 5.5"!

If it hasn't been said already, that flippy screen is awesome!

Stabilization is INCREDIBLE in this version. Lightning fast compared to the old way and Premiere. This alone is worth the upgrade!

It's the very first anamorphic lens attachment ever built for cinematography. Before this, there was Henri Chretien's original optic. It is obviously double-focus only, as a variable diopter on top would need to be massive. Maybe one of these new wireless units from PD Movie could be calibrated to synchronize the focus movement with a prime lens. I do believe that this worked down to 40mm on standard 35mm. It was used with original Baltars from B&L.

No, I will not wait. MUST WATCH NOW. Looking forward to hearing your thoughts.

One thing I've discovered - and this might help some people - is that the rendering settings in Premiere can create extreme banding and blotches in your h256 footage once you apply a lut. I had terrible problems with this on my Mac, before I realised I'd accidentally created a sequence with the Metal hardware acceleration setting selected under Project settings. When I changed it to OpenCL, the banding went away completely. Might be something worth playing with. I usually find Software rendering to be the most reliable for quality, albeit by far the slowest.

Following @androidlad's findings i did some tests trying to decide which to choose, Flog or HLG. Camera Settings: FLOG: ISO 640 - SHUTTER 2000 - WB 5300K - F8 HLG: ISO 1000 - SHUTTER 3200 - WB 5300K - F8 Both shots exposed with Multi Metering aiming at 0 on the display meter. Here are the results: FLOG CLEAN HLG CLEAN FLOG + FUJIFILM FLOG to WDR BT.709 LUT HLG + LUTCalc HLG to ALEXA X2 LUT HLG + LUTCalc HLG Rec709 LUT FLOG + FUJIFILM FLOG to WDR BT.709 LUT + MINOR EXPOSURE ADJUSTMENTS HLG + LUTCalc HLG Rec709 LUT + MINOR EXPOSURE ADJUSTMENTS You can download the original files if you want. https://we.tl/t-1qqI0lonhz

Mine was meant to be humorous too, so if my snarky attitude came across wrong, apologies ? Concerning "resolution" IMO there are two ways to cut it: numerical/objective resolution, and perceived/subjective resolution. One can be defined by calculating how many practical points of information are in your image (in our case, pixels). The other is based on how much detail the human eye perceives, and with anamorphic especially, the two are at odds. Objectively, you may say that by stretching a digital file by a factor of two, you have halved your numerical resolution. It is half as sharp. The catch is, though, top to bottom you have lost no sharpness. The image still has the same number of "lines" (in the case of 4K, 2160 lines). At this point, the temptation is to say, "ok, I may have lost half my resolution, but not half my sharpness. I've probably lost 1/4 of my sharpness." But subjectively, as the eye sees, the loss is even less. Because your vertical lines of resolution are all still there, you still have very near the original sharpness in many parts of the image. The eye picks this up, and the brain is frighteningly good at filling in the rest. Add to this that the images are changing constantly, and (all else being equal), you won't loose much perceived resolution at all over shooting spherical, even at 2X. The by-far most important thing has already been stated though: If you're delivering to web it doesn't matter. Most web watchers are in their phone or tablet, most of which are not 4K, or even 1080p. The minimal loss in sharpness/resolution won't even make it past the compression to be honest, but the stylistic differences in the image will. That's why I prefer 2X, as it can be more pronounced. But 1.5X also looks great, it's just a preference.