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I need too much time to find topic about BMMCC, so sorry for posting here, but maybe it could be useful as another example of what BM cameras and especially BMMCC are capable for, or as comparison with Pocket 4k.

More and more I see evolution of m43 and comparative possibility of format especially for video/moviemaking, I am more firmly in bizarre opinion that in the future matter of question will be - does the FF mirrorless will be dead Big FF fish will eat each other market autistically looking at their Bokeh, desperately trying to catch speedy little m43 fish with sharp or cinematic teeth... (Medium format Orka's bokeh are also coming.)

Some non-ART (in both senses) Sigma lens stuff from the 17-50mm f2.8 OS This lens can be had for well under £200 used and usually under £300 new and whilst not quite in the same division as the ART series and quite a bit slower, I think it is a really good value for a general purpose constant f2.8 for APS-C users and unlike the ART lenses has OS with makes it a good choice for Pocket 4K.

Eh, I've shot a ton of weddings across many different cultures. Weddings more than anything have taught me how boring we are. The music choices between every couple overlap 85% of the time. I feel like I could copy+paste half the speeches from one wedding to another. Father-daughter / mother son dances all seem to have people picking the same 4 songs. Don't even get me started on all the cute 'marriage jokes'. I feel like a 10th grade computer science student could write this one. How hard could it be? 80,000 threads talking about whether something is cinematic or not. *insert brand here* sucks and is great. Something about motion cadence and companies intentionally crippling codecs. Done! I really think there's a fallacy at work here. The lack of trust in the development in AI is because we want to think we are more unique and interesting than we truly are. I actually hope I'm wrong about all of this, but I doubt it.

Zach, since you started this thread, I created a brand new short, wrote it, storyboarded it, did the costume designs for 12 characters, found a new DP near me (yay!), found a killer location for that shoot, AND, i WROTE A 24-PAGE CHILDRENS BOOK WHICH I AM NOW ILLUSTRATING and i STILL managed to study for my biology test~! ?

Just look how to rig camera started at 4:48 - and yes, it seems that it was possible just with BMMCC+Laowa 7.5mm

Uh oh ?

Well the big take away here is we have NO F ing clue what things will look like in even 15 years from now. Who would have Ever imagined a Smartphone 15 years ago, or half the stuff we just take for granted now. I bet unimaginable stuff will be around by then. AI has the potential to change Everything we know. It can be a LOT smarter than we are capable of ever being. It is going to be interesting to say the least down the road.

That’s a grading decision. I have a Z 6 and it certainly does not have crushed blacks. If anything it shows that youtubers don’t change the picture profile at all. Default contrast and sharpening in standard profile doesn’t look very nice, too contrast and sharpened. This was shot in Prores Raw so we’re looking at a graded image. I thought it was pretty nice to see a cool grade. I’m getting tired of everything looking like it’s shot at golden hour in July even though it’s shot in the north in November. If you shoot in flat or neutral picture profile the blacks aren’t crushed. If you dial down contrast and sharpening in the standard profile it gives a very nice image straight away. It’s a wonderful image in Nikon flat. Like the D750 but better.

Sigma SD. If Sigma and Leica settle whatever is going on with the MC21 adapter then it will be finding a new home on the Leica as the SA version of the adapter is about £60 in Japan. Ditto the Sigma ART 30mm f1.4 as that came free with SD so to get it onto the Leica for £60 will be a real result but I just don't know yet whether this incompatibility is a forever thing.

I do a lot of automotive video. Recently I picked up an RX0II and tested to see if it would be a viable alternative to a three-point camera rig or an Osmo Pro when on the road. In case anyone else was curious I put the side-by-side sample on YouTube. Overall, I’m pretty happy with the result considering the size and the relative ease of setup for the RX0II. I also have a GoPro 7, but the field of view makes the GoPro less than-ideal for this type of shot, in spite of the awesome stabilization in the 7.

They are amazing cameras. That was a wonderful short. Mercer will have one again tomorrow when he sees this video lol. ?

Sorry, forgot I said I'd do this so I belatedly went out yesterday to do a quick shot with the GX80 on the 35-350mm Well, two shots from the same spot to show its range. Shutter speed was 1/60th which is way below the reciprocal for what is effectively a 700mm lens on this camera. Its still so unbalanced though that I wouldn't recommend shooting it handheld irrespective of how good a job the IBIS does on it !

At least you're 1 step closer to a new colour.

Yes, and if the F6 is designed properly, the noise of the microphone (regardless if dynamic or condenser) should be higher than the intrinsic noise of the F6. This way your noise performance is limited by the mic itself and not the F6. This is the whole goal of the F6. It should provide a huge dynamic range, so that it captures the whole dynamic range of the mic.

Maybe it was an artistic decision. When I was investigating using video as a way to grab still frames as photos I did a bunch of reading about different shutter angles, and there was a great explanation about how one of those war movies (Saving Private Ryan IIRC) used 90 degree and 45 degree angles to make the horror seem less stylised and kind of blurred over. They spoke about how in 180 degree angle explosions are just big blurs, whereas if you shorten the shutter time then you can see the bits of things (and people) flying and it makes it much more visceral. In a sense the cinematic look is a pleasant style, and they didn't want it to be pleasant, they wanted it to be graphic and awful. Maybe Peaky Blinders make similar choices, it would certainly fit with their subject matter and storylines! The one I noticed was S4E2 at the 48 minute mark, with the shot looking up at a balcony with a ceiling fan above that. Just looking at it now the shutter angle is very short indeed, but it's not a graphic moment in itself, so who knows.

I feel like through this conversation you've been getting confused by various terms / points / aspects. I'll try to clear up a few things: Mic self noise is not the same as mic pre amp self noise. The inherent self noise from either a mic or a pre amp is going to be the same when a person is whispering or shouting, BUT when a person whispers we're going to crank the gain up. Thus we're hearing more of the self noise due to the gain being cranked up. (the reverse is of course true when a person shouts, and you hear relatively less noise) This does NOT mean there is inherently more self noise in a system when a person is whispering, because of course what an actor does (be him/her shouting or whispering!) has no impact whatsoever over the electronics. It is what the sound mixer does which matters. The Zoom F6 is proposing that all these operations can be done in post, and you the operator doesn't need to touch the F6 at all. Thus it logically follows if your recorder is already good enough to record someone whispering or someone shouting (which the F4/F8 can easily do with even moderately good technique) then the F6 can do it without you needing to actively babysit the F6. Or so Zoom is claiming, and when you think through it like I have just done here explaining it to you, then you can see this isn't a totally unreasonable claim to make. And I'm looking forward to the reviews to see if they've pulled it off in all the details, if I was a betting man I'd say yes. The problems / exceptions to this only arise in scenarios when even if you're actively running your recorder then you still can't record the sound, which would be truly extreme examples like a flea farting or a space shuttle taking off. Again, look at camera examples if it helps you understand it: Realistically speaking if you're filming in a tunnel or a outdoors in summer, then they don't change what is inherently noisy in the image. But rather it is you as the camera operator who is responding to your external surroundings which leads to that noise seen. When in the tunnel you choose 12,800 ISO which makes the image noisy. But being in the tunnel itself doesn't mean the image is noisy. It was you choosing that ISO which made it noisy. Ok, I'm probably sounding weirdly philosophical at the moment, but maybe you're catching my drift? Imagine you could record ISO 100 / 200 / 400 / 800 / 1600 / 3200 / 6400 / 12800 / 25600 all at once?? Then you can choose which ISO you want in post. Thus like the F6 you wouldn't need to set your gain while shooting. And the end result would be just as good as if you had selected the right ISO on the day. (of course at any extreme, like filming on the surface of the sun, TOO BRIGHT, or filming next to a black hole, TOO DARK, then you'll have problems) This is kinda why some people have compared the F6 to doing "raw audio"

DPReview? Never heard of it.

Use whatever you have, shoot edit and publish, then do it again.. and again.. Almost every successful YouTuber has early videos that are awful (they may have deleted them but they were there) and every successful Hollywood film director has a box of awkward short films somewhere. You get better by making films, not talking about equipment on forums.

Will machine learning algorithms replace forum members? (J/k, based on some of the spam bots they already are.) Anyone know a good vfx forum? Thinking of downloading the PLE version of Nuke but wouldn't know where to start with a node-based compositor... I welcome machine learning for vfx. Adobe has the right idea targeting rotoscoping and paint out first. When machine learning makes Twin Peaks I'll be fine submitting to the machine master race, but for now roto would be nice. I suspect ten years from now I'll have one but not the other. We'll see!

Barney Britton has responded to say he is now consigning all my emails to his spam folder and breaking off communications. If he won't remove the ban on EOSHD at DPReview, then Amazon will. And I sent him this: -------- Barney It isn’t a closed matter or a case for the spam folder for me. I will be taking things to Amazon, putting in a complaint with them about the negative impression your forum ban is creating for EOSHD, the censorship of your own users and the damage it has caused to the reputation of my site. No doubt I will be pointing out the history of copyright infringement and slander on your forum to them as well, because I have screenshots of posts that were left up for months before being deleted. As well as the inconvenience the forum URL ban places on your users (and Amazon’s customers), it means that Google is picking up EOSHD related topics and discussions on your forum, placing these above the original topics on EOSHD and they are all orphaned without a link to the source, damaging the SEO ranking of my site and causing material harm to my income. The forum ban has been in place for how many years now - 3? 4? You have over several years wound me up to such an extent that you’ve created a negative impression with other staff at DPReview such as with Scott, Chris and Jordan, as well as your forum users. It’s an absolute disgrace. I didn’t have a problem with anyone else at DPReview apart from you and Shawn. Gannon makes a string of idiotic mistakes, but you’re persistently insidious. Think about that next time you have the cheek to ask me to seek to edit my opinions on my own forum. Andrew -------- At least I managed to refrain from calling him a cock-womble this time. Time to turn my focus to Amazon, after all they are the real boss. It is time for Amazon to put an end to the personal vendettas.

I have the new lcd. Makes the c300 ii so so so much more ergonomical . I shot some tests c300 ii and c200. Email me at ed.david@gmail.com and i can get you the raw dpx files

Wow, those look great... very... cinematic. Sorry for the bad word. I think I may buy that lens and give it a try on my 5D3. It has a sharp, modern look with that slight vignette and corner softness that adds that bit of character.

<cough £275> https://www.mpb.com/en-uk/used-equipment/used-photo-and-video/used-video-cameras/used-blackmagic-cinema/blackmagic-pocket-cinema-camera/sku-832050/ Although this is possibly a bigger bargain https://www.mpb.com/en-uk/used-equipment/used-photo-and-video/used-video-cameras/used-blackmagic-cinema/blackmagic-production-camera-4k-ef-mount/sku-786264/

Beautiful! Thanks for sharing shot with the Laowa 7.5mm F2 MFT

Yeah, those look great. I briefly had that lens for my D5500 and really liked it but sold it when I sold the Nikon. Are those screengrabs from the P4K? I assume they’re Leica though?

Nice street photography.

If you plan on only shooting video the c100ii seems a better choice, since 4k is not a concern. When it comes to matching in post, just make sure all cameras are black balanced, matching color temperatures, and same picture profiles. If you plan to CG in post shoot in CLog. Try to shoot as near to the base ISO as possible to avoid noise. You should be golden.

Yes. I'm on DR 16b1 already a week. No issues whatsoever. (MacMini 2018)

The Osmo X5 should since that setup cost me $3500. Lol.

Bad is putting it mildly when it comes to the pricing and now that the L mount is not exclusive its looking even worse. For the price of the 24-90mm f2.8-f4 you can get ALL of the following Sigma ART zooms : 14-24mm f2.8 24-35mm f2 24-70mm f2.8 Oh, yeah, AND the Panasonic S1 to put them on with the adapter. So if there is some sort of protectionsim element to it then its quite understandable I'm still hopeful that the situation with the Sigma MC21 not working with Leica bodies is a short term anomaly rather than a permanent lockout thing.

Totally right. I'm 0.0001% of a "successful" YouTuber, but look at my first ever video (it is not even my 1st ever video, just my first video on this channel), it is utterly horrible: To be fair my latest videos are not much better! :-P haha I have no shame, just do it and share it!

Yeah - I keep a small piece of black tape on the opposite side of the adapter for when I pull out the filter. Keep the filter in a small soft pouch in my pocket. Not ideal but it's a great ND & better than carrying around assorted step up rings.

The best bang for the buck of the camera history... ; -)

I don't even have a link to DPR in my Favorites anymore. I have not even been to it for a Long time. Total waste of time as far as I am concerned. Sort of like visiting a Kindergarten class. I guess for the Photo side it somewhat works, but for Video, not so much, well actually hardly at all.. I do watch the Chis and Jordan videos once in awhile on YouTube, but they seem more geared toward 18 year olds than old turds like me. But that is understandable. At least they are a lot more lighthearted than the stiff upper lip, staunched, dead serious stuff from Barney and friends. Sort of reminds me of going to a funeral.

The Huawei one has them for breakfast, especially the shameful Samsung rush job. https://consumer.huawei.com/uk/phones/mate-x/

.

We have a conspiracy theory on the go about why this might be. Of the 11 lenses Sigma have announced, only 2 have a direct Leica equivalent so the theory would be that Leica, at least in the short term, want to have their Varios to remain the exclusive option for fast zooms.

For this style of shooting the RF 35mm 1.8 works well for me. Other lenses here are EF and FD. The EF - RF Variable ND adapter makes me almost prefer using EF glass.

Why does he say you need an external recorder? It's not worse than any other mirrorless camera for monitoring, in fact the screen is better than most and the EVF is too. Should have shot Z-LOG then

Problem solved...

I think I might print one of them later. In electric blue, obviously.

I bought the camera for $2250 with free battery, battery grip and 3 year warranty. I'm selling the grip so it's $2000 camera for me. I really think it's the best camera I've ever owned. I had Canon 6D, 5D IV, EOS R and tried various camera Sony A7III, A9, A7RIII. I primarily use it for still photography. Beautiful EVF, ergonomic, great IBIS, and no banding. The AF is really good for still and the inclusion of eyeAF is much better than Canon EOS R but still no match for Sony. It also track animals. It has alot of little things I like - quick toggle for AF-C/AF-S/Manual, quick lever for silent shutter, manual focus magnification, backlit buttons, focus bracketing, and custom modes. This might be the first camera where I can set the setting for each scenarios I commonly shoot with - timelapse, portrait, landscape, etc. This is so great to have! This does not have the best AF compare to Sony but it's more than usable as is for me. EyeAF is much better than Canon EOS R. I'm sure it will get further improvement. I considered all of Nikon, Sony, and Canon offering. I ended up with Panasonic S1 based on my priority and needs - dual card slot, great EVF, good sensor, IBIS, ergonomic. Here is a AF test done between Sony A7III vs Panasonic S1 Also, I just find out ISO 50 is a true ISO. https://www.l-rumors.com/diggloyd-panasonic-s1r-has-true-iso-50-not-a-faux-iso-kudos-to-panasonic/ This is pretty amazing for increase dynamic range.

That has leapt in straight to number one in my list of "Bargain lenses that unfortunately are still overpriced by a factor of ten for my pocket"

You can probably use it. I used the Canon EF-S 10-22mm on the 5D3 by just setting it to 12mm before I put in on the body. It would vignette like hell on a full frame anyways at 10mm even if I cut the back of the plastic off the lens. You won't be able to use it at 17mm either maybe, so set it to 20mm and see if it works. Don't have the shutter set to anything but single shot at first to try it. It won't fit on if it is going to hit the mirror. It will be a tight fit to even put on at first. You may have to go higher than 20mm. Some text from this site. So yeah 21mm just like I suspected. https://photography-on-the.net/forum/showthread.php?t=796701 "Okay folks, I just played around with my EF-S lenses on FF to see how things would go. Overall, my impressions are extremely positive. The mirror, as it flipped up and down, swiped against the rear elements a few times as I tested out the extremities of how wide I could go with the 10-22/17-55. Turns out to be around 11.5mm on the 10-22 and 21mm on the 17-55. The rear elements are pretty darn tough as the mirror slams hardly made a mark (and when it did, it easily wiped off). For some reason I had thought that the focal range would be 'translated' on FF, but that's of course wrong. The ranges essentially stay the same, post cropping. If anything, post-cropping, you lose a few millimetres on the wide-end of any potential EF-S zoom. So with that said, that's pretty much the sole disadvantage with using EF-S on FF (besides the framing compromise one has to take). On the other hand, the advantages are notable. Firstly, if you use a single APS-C body and a single FF body whereby some of your EF-S lenses are your primary tools, you can rest easy that if your APS-C body fails during a shoot, the FF body acts fine as a backup. You just lose a few millimetres on the wide-end, but everything else is sweet. That's great for me, who'll be shooting a 5D/30D setup for a little while. Secondly, post-cropping, the pixel density of a current FF body is lower than that of an equivalent APS-C body, and this should inherently remain a fact for a long time to come. A case example is the 5D Mark II vs. the 7D or 50D. Hence using a 17-55 on a 5D Mark II would give you better local micro-contrast and sharpness than using the lens on a 7D or 50D. Notable. Thirdly, and very importantly, the advantages in noise. I'm effectively trading off a few millimetres off the wide-end for an extra 1-2 stop in high-ISO performance (i.e. 50/7D vs. 5D II). Very notable. Fourthly: weight. One of the closest relatives of the 17-55 designed for FF is the 24-70L. But it's much heavier. Of course, as already implied, the 24-70L would be able to go wider than a 17-55 on FF (usable FL, that is), but suppose we can negate this point. Note that the 24-70L doesn't have stabilisation either, so for now, the 17-55 on FF is gonna arguably be the closest thing we have to a 24-70 f/2.8L IS until Canon decides to release such a lens. So in summary, the 17-55 would deliver a similar output on FF compared to a 24-70L, but with stabilisation while offering better balance with the camera (since it's a lighter lens). So yeah, I just had a nice little discovery session. Importantly, I'll be looking forward to using the 17-55 on FF more often and taking advantage of the better image quality and high-ISO performance than one would achieve on a 7D or 50D, with the only real drawback the fact that I lose a few millimetres on the wide-end."

For anyone wonders, the underside of the grip has two mounting holes, so no more spinning on the tripod plate.

Reminds me of the attitude most displayed when JVC released the GYLS300. Just writing it off because it’s not the usual suspect in cinema cameras. Sharp may surprise us with something special, or it may be another product with undelivered promises. Either way it’s a step forward to bigger and better tools.

use with the video assist, set the f3's sdi out S-Log 4;2;2 Use SDI output A, not the 'Video Out' bnc connector. Just an FYI, the color you get from setting the camera to video out / s-log PP is much more accurate colorwise than locking the camera to S-Log out with no profile. The difference is very obvious in the greens. It is a lot closer to the FS7 in a bad way. A member on DVX User tipped me off to this. Clearly this is a flaw because the two profiles shouldn't be different. I agree, the menu situation is very annoying on the f3. I have owned the F3/Black Magic Recorder for a while now and have been extremely satisfied with the images.