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The XC has a brilliant design. It is a mini C100. The old handycam design is what it is obsolete in my mind. I really loved the JVC LS300 but I didn't like the form factor. The C100 is amazing hand held. I would kill one of you, to have a P4K with the XC form factor! Have you ever seen a FS5?? The problem with the XC, and everything that Canon sells, was the price obviously. It was way overpriced! Imagine what a hit a 4K C100mkiii could have been with the right price, but no. Canon put a raw lite there and the codecs of the hypothetical C100mkIII, called it C200, amd priced it to compete against the FS7mkII!! Great strategy..

@webrunner5 - I agree, there is something special about 16mm. I think that you can make a great argument that there is something special about every focal length, because in the hands of the masters all are capable of beauty and wonder. I've chosen 16mm, 35mm, and 80mm lengths, but @mercer makes a very strong case for 28mm, and if @BTM_Pix wasn't trying to make every app and gadget not yet on the market I suspect he could make a strong case for basically every other length! You've inspired me to have another look through some footage from our trip through Asia last year and post some stills. Not that I'm anything even in the same universe as a master, but I've managed to luck my way into some nice shots, proving that it's more about what you put in front of the lens than the operator. These are ungraded, apart from some quick WB and contrast, and GH5 10-bit HLG. 16mm equivalent (SLR Magic 8mm f4): I love it because it's wide, but also because it distorts things so things look grander (like the first shot), but you have to be careful not to over-do it: 35mm equivalent (Voigtlander 17.5mm f0.95): I especially like the 35mm for environmental portraits, and having a fast aperture allows great low light performance as well as subject isolation. I also took a 116mm equivalent lens on that trip (58mm Helios) but have since changed my longest length to an 80mm equivalent (Konica Hexanon 40mm f1.8) because 116mm was a bit too far from the 35mm equivalent of the Voigt. 116mm equivalent (Helios 58mm f2): I find the large aperture is useful for low-light, but also for getting shots through glass and defocusing the marks on the window sufficiently (the scooter shot was through a bus window). I'd only contemplate going back if I could only have one lens... fortunately that isn't the case! ???

I don't think an 8k monitor would be necessary. I bought a pretty decent 4k monitor and I can't tell the difference.

@webrunner5 Now imagine all that red in the middle of such landscapes from where my roots literally came... where this 'used car salesman' : D *unforgettable* LOL still keeps a vineyard family business today : -) To those who love such real reddie good oldies, here's the following episode from this 900-years country of history: where you can figure the English accent as foreign language of this thread host now of yours, by native-Portuguese-English-speakers-n-ultimate-car-lovers in this virtual world we all live in : ) Cameras are like cars, the finest vineyard or Oporto wine... never become old fashioned : -)

GH5 - Cine-D

Weddings of the future:

Scary stuff guys. I think if they stuck with a 4k sensor rather than pushing the whole 6k 8k thing, they could pull off 10 bit. Heck I'd be happy with a 4k sensor with 1080p only output like the OG A7S. I really don't care much about resolution.

Bet there will be lots of parents going "thank goodness my son became a filmmaker instead of studying to be a lawyer!"

Now you give idea/courage to BM for immediately starting new (super advance) page of their so successful timemachine advertising solution: "Don't kill anybody, instead save a life and be the first in preorder list fok P4K II, available as soon as spring 2023".

LOL Little devil you, old pirate ; -) Not mine but one of these days I'll post a comparison test comprehending P4K with ML Canons 5D2 & M : -)

I tell you what, getting that shot of Mt Fuji was an ordeal! We did a day trip that took us to a few unrelated places and then to a beach where you can see the mountain from. Awesome, I thought, great opportunity for a time-lapse with a great composition. We walked about 20 minutes from the bus to the beach and had a limited time there, so I setup a time-lapse, but we mostly couldn't see the mountain because it was covered in cloud, with only a little bit sticking out. Time goes on, Mt Fuji pokes out of the clouds and I realise I'm pointing at the wrong peak. I reset and go again, nothing working because it's still covered in clouds. I'm really pushing things with the time because this is our only opportunity to see the mountain, and it was the one thing the wife wanted to see but we didn't have enough time to do a special day-trip to see it. Wife starts back and I stay to try and catch a glimpse of the mountain. I push for the time we have before needing to be back at the bus, then start jogging back. I'm the last person I recognise and they don't wait for you for long because the ship has to sail. Wife is only a little bit of the way back, and had taken a wrong turn and gotten lost and just found her way back to the path. As she was on the mend from some minor surgery couldn't walk quickly, let alone run, time is now against us completely, but oh my god where are the kids? I thought they were between us and the bus (the route was pretty easy to remember so not really worried) but wife is freaking out and the bus needs to wait for her and if the kids aren't there then we're completely screwed. I run back to the bus, trying not to worry and most concentrating on wishing I was fitter, to discover the clueless kids are back at the bus and are fine, and even though we're late back to the bus, so is half the group. I visit the facilities and try to freshen up considering I'm now half drenched in sweat and we have a long bus ride back. Wife wasn't the last one back, and all stress was unnecessary. Get back to the boat and realise that the mountain is now uncovered from clouds, in full view of the jetty, and by going on board and going to an upper deck you get a great view. I then proceed to take video in 2 minute increments as the light changes in complete comfort, kicking myself for worrying. I also like this shot, which I think was the Helios, but I can't really remember. I tell you what - those gardens we went to were just spectacular - you could be walking with a camera, trip and accidentally hit the shutter, and you'd still be likely to get a good shot!

This. It is incredible complicated to be a good boom op. People do not understand the complexities (physics, experience, good knowledge of lenses, high IQ, memorize lines, physical capabilities, technique, e.t.c). A good boom op can be almost 80% of your sound or more. I was (still am) mixing with the boom at times. This was a very interesting thread, then became the usual iPhone love letter, now people that do not understand sound say whatever they want, because they have a keyboard and unlimited free time. This is a forum about video creation, when a young kid comes here to gather information, what is the message? "Screw sound and buy an iPhone"? All very bad advice..

I certainly have. Also got an email from them about dropping the price for me if I renewed. I'm not going back.

You'll be fine there; the in is the same as the out and timeline (no transform). Here are the defaults (or can set to 'DaVinci YRGB', and Rec709 2.4 Timeline): Here's something I put together in Premiere with 'Soft' and the luma sliders (under color wheels:

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

Yeah I had the "Bulging Battery" Thingy on my Note 7. Next phase is Holy Shit I am on fire or worse. A real confidence builder in your Pocket, right next to your Johnson lol. ?

Looks very nice to me.

I Totally agree. Like Apple or not, the CS on a newer iPhone is just amazing OOC. You are going to have one hell of a time using a "Real" camera to match one. And the iPhone happily just goes on banging them out left and right, nearly perfect every time. It is maddening to try and top one. And the AF is just crazy good also. And the XS, Max have Stereo recording in them to boot. Of all the pictures I took with mine to Florida I don't think one of them was the cameras fault if bad. On paper if I composed right, and didn't have my finger in the way of the lens lol, they were All Keepers on paper. Amazing to be honest, and frustrating to boot. If they just had a Zoom, and were a bit better in low light, but my XS is surprisingly pretty good in low light for a phone, I am not sure I would take a 100mp Phase One over a iPhone if it had those features.. I know I was kidding Ironfilm about his boom operating, but if they get Cine cameras as good as a damn iPhone is now there is going to be a hell of a lot of people out of a job.?

In EU 100mW are illegal. In the allowed frequencies that we have left 50mW is the maximum. This is for health concerns, so, I wouldn't like to have multiple Tx/Rx transmitting at 100mW on me for 8 hours per day. https://www.google.com/url?sa=t&source=web&rct=j&url=http://www.totalsonic.nl/media/content/samson/Downloads/handoutfrequencies2015.pdf&ved=2ahUKEwiu-dLTyd7hAhXSa1AKHUzEAKUQFjAAegQIBhAB&usg=AOvVaw3ngcrOm3cPYenTNscVTN0R By the way, something simar of what I was talking about and the car example I gave (line of sight for higher frequencies). "The 2.4 GHz band is increasingly congested with various systems including WiFi (also referred to as Wireless LAN, wireless networks, 802.11b/g/n), Bluetooth and 'leakage' from microwave ovens. The 6 GHz band has problems of range (requires line of sight) due to the extremely short transmission carrier wavelengths."

lol. I'm not sure about that exact situation, but it sure will be interesting times. I saw an interesting interview where the guy said that the first stage of robots/AI taking over is automation and that's been happening throughout the industrial revolution and may be one of the critical drivers behind the rise of nationalism around the world as the people that used to have good factory jobs now don't have jobs, or they have shitty unskilled jobs cleaning the machine that paints the cars instead of painting the cars themselves. There are going to be lots of people saying "I'm glad...." or "I wish.....". We're going to need some form of universal income because otherwise there won't be enough work to go around. Independent artists making a living on YT and Patreon and Etsy are certainly coming up in leaps-and-bounds, but it's nowhere near enough to counter the disappearing middle-class we used to have. In Australia the economy has had decreasing total hours worked for many decades, but it's been partially obscured by taking children out of the labour force and also the 40-hour week, but that trend can't continue indefinitely without resulting in mass unemployment.

I agree. Funnily enough, I also have a Computer Science degree Robots and AI are gradually making things faster / easier.. eg, NLEs now automatically scan for faces = work you don't have to do = work you don't have to charge for = less total industry value = less people can afford to survive in the industry. AI won't stop doing this, it'll be gradual but it will be relentless. The trick is to understanding what can be automated and what can't be. IIRC it's about repeatability and predictability, lawyers for example are quite automateable because most of what they do is to know the law and basically regurgitate the relevant bits. Yes, there is judgement and also lateral thinking involved, but lawyers are going to be hit very hard when you can buy a magic box that knows all the law and you can just talk to it and have it quote precedence. Film-makers will have the total value of the industry eroded by AI doing rough-cuts and things like that, but I think there will always be room at the top for the most creative. Not necessarily the 'best' but certainly the least predictable or those with a style that is least popular, so the robots will learn it last. It will take a good long time before the robots are actually operating the camera and sound equipment though, robots aren't very coordinated or agile in the physical world, and teaching them the etiquette of how to be in the face of the couple while being the least disruptive will be quite a challenge. The short-term strategy is to get good so that you're still going to be able to stay in the industry as people are gradually squeezed out of it. And pretty much "quality is the answer" is a good strategy regardless of whatever the hell happens, so it's not like you're going to spend all this time getting great at your craft and it turning out to be a bad strategy

very nice video! I think the highlight is a bit 'hot'?

i love my samsung note, but they do have a history with catching on fire ?

Those are some good pictures kye.

I'm sure they're not hurt by money but is nice to see the discount emails from Adobe. It satisfies so much to click the delete button. I guess they're reaching market saturation and alternatives are getting finally viable. On1, Affinity, Resolve, Fusion covers most of what I do and I don't have to pay the price of a small new computer every year to have the privilege of using buggy software.

Wow now that shot is just spectacular.

Wow those are great. Well done. I particularly like the Mount Fuji one. What a beautiful mountain.

Do you realize there is an Ursa Mini Pro ver. 2 just been out?

Thank you. As someone who has to listen to the audio while I edit it, I have a great appreciation for boom ops. I think it's more likely that we use deep learning to clean bad audio than we invent a robot that can hold a physical boom pole properly.

I am pretty confident saying 25,000 iso is more than enough for any situation I shoot in. Realistically 3200 iso is as I pretty much light everything. Highlights blowing out is the issue I run into most often. That's why I value dynamic range a lot more than anything else.

There is waaaaaaaaaaaaaaaaaaaaay more to being a boom op than just "holding a stick above people's heads"!! And no recorder, no matter how magical, will change that. There are quite a few cellphones coming out with triple cameras, a wide, medium, tele camera.

I heard If you swipe left-right-left-left-right-left on the multi function bar and then immediately take a picture of this QR code you will unlock 4K without a crop! Tried it and it works. Finally!

First clip from the full frame 6k E2-F6 was released in their FB group. I guess they’re going out shooting with it this weekend and will release that footage soon. This one was just a tease. Grade is me.

Samsung A9 has 4 camera in it - wide angle f2.4, telephoto f2.4, 24 mpx 1.7 primary sensor, and depth camera. I think eventually we would get something like DJI Osmo Pocket Pro/2 with 1" sensor that's affordable and good enough even in low light and most circumstances.

I don't actually own it yet but I'm curious whether a Sigma ART 24-35mm f2 (in EF mount for universality of adapting) could possibly be the one for me with the caveat of having speed boosted and non speed boosted adapters for it. Although I have to say that for pure versatility the Tamron 16-300mm EF mount I've got (again if allowed with both types of adapters) is probably a more practical choice, particularly as it also has OIS.

oh I DISAGREE! Two of the biggest and most exciting announcements: Zaxcom Nova and Sound Devices Scorpio! ?

Had the Laowa 7.5 mm f2.0, a great lens for the money.

Tricky question. I'd be torn between the 17.5mm 0.95 on my GH5, vs a fast zoom and having to go to APSC or FF. Even then I'd have trouble choosing between a 24-70 or a 16-35. I really like 16mm, 35mm, and 80mm lengths, and having to choose between 16 with it's 'wow' factor vs something longer than 35mm would be tricky. I'd probably go the 16-35 and then go 8K ASAP to be able to crop in and extend the lens.

This! And is why we're seeing now Canon release camcorders with a 1" sensor, there must be half a dozen or so of them now from Canon? Might even be the exact same 1" sensor as is also in the XC10/XC15! You're reading my thoughts.

Yeah, the terminology is a tricky one. I'm very supportive of the fact that YouTube, Vimeo, FB, Instagram, Patreon, and a myriad of other sites has allowed artists to get paid for their work, and allow them to have full-time careers in their chosen artistic field. Unfortunately, it leaves us with a lack of terminology to refer to people that really seriously know how to create high-end content, vs people that know how to film unboxing videos and get brand deals. There is an absolutely enormous difference in the level of skill required to make high-end TV or award-winning features vs making a living on YouTube shooting prank videos with your phone. Have you ever held one? Ouch, I'd be pretty pissed if that happened to mine! Thank goodness no other cameras ever have hardware problems

dont be down! screw them! fwiw, i dont know ONE single person who has ever brought up dpreview to me in real life. not one time, ever ?

Now being interested, I visited dpreview site with great curiosity and without prejudice, and made three main personal, of course ingenious, conclusions: 1) out of web-business matter (about which I have zero competency) you really have full right to stay with smile high above and to be proud on superior look and feel of EOSHD - dpreview is so cluttered with all-over-the-place advertising messages that so obviously eat space for exchanging information and free communication: in comparison to EOSHD, visitor there inevitably has to have feeling of being squeezed in auxiliary rooms (contrary, here, not at least as side-curative effect, members have so clean, reverberating space for intoxicated listening of themselves when easily calling similar enthusiasts as clowns, idiots etc.) Simply, it is hard to stay at Dpreview too long and not to be either bored or afraid of too well-known supermarket claustrophobia 2) being so intrusively obliged to sponsors and so-so trying to find impossible balance between two contradictory, mutually exclusive tasks (serving as unbiased discussion portal under the permanent rafal of persuading ads and enumeration voting) - psychologically it is very hard to owner(s) of dpreview not to hear some inner voices of restless bad-conscience against character of purity of EOSHD, especially if once upon a time you knew each other or started from similar idealistic roots... so 3) I'd say owner(s) of dpreview simply envy you (At least, I'd surely envy if I'm in his/their place, and if I'm not so notorious, hopelessly ignorant clown :)

There is a Hell of a lot more Idiots on DPR than there is on here I can tell you that. There are people on there that want to argue just to argue. I only know one person on here that does that, ehh embarrassed lol..

I have my eye on their E2 F6 (the full frame 6K variant) so I've been following developments in their facebook group. Took some time to grade new footage from their original m43 E2 and I gotta say, it's pretty good. I had to denoise some shots and they didn't clean up as well as my EVA1 does -- probably because my EVA1's noise is finer and tight, not "clumpy". but still, based on one of their engineers saying that the F6 will be their best performing (in terms of noise) I've got my fingers firmly crossed that it will be the "vistavision" cinema camera I've been longing for... and only $5,000. Here's that E2 footage I took a stab at grading. The last shot of the girl with the camera is my fav. Skin tones and highlight roll-off work for me.

Hey guys, I just finished coding my new Software to get a preview of all your LUTs on your footage. It features a still preview, as well as multiple simultaneous video previews, if you wish. You can try it now over on: http://www.fatpigtures.com/lutastic.html The first three guys to contact me via email at info@fatpigtures.com with the subject "EOSHD LUTastic" will get a free full license.

This video was shot with the Z6:

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.

I mean, the problem is solved simply by not being an annoying vlogger in the first place (referring to vloggers in general, not you particularly).

hey yeah! Still waiting for some gear and the project I am working on with this setup doesn't start production till late March or so. But here's some stills from test footage in the meantime. I am going to be using the Nikkor 50 1.8 and the 85 f2 as taking lenses together with an XL .64 Metabones...also waiting to receive a V1 Aivascope which I will use in some shots for flaring. The V2 does not flare unless you really blast it with something. I ended up with a ProtoDNA thanks to the wonderful advice from JSD and it's awesome. I am just now opening a box with the Titla G2X and Nucleus Nano. Will get her all balanced up and report back with some pics! Planning on mostly using one Pocket4K on sticks, another dedicated to the gimbal for tracking shots.

Of the jobs on set I hate being the boom OP the most. Its difficult and tiring tbh.