Leaderboard

That’s pretty much my assessment too. The FD is a better built lens with better color separation, naturally, but the Samyang seems sharper, naturally, with possibly an easier path for me to get a more neutral modern look. Another plus of the Samyang, which seems overlooked in lens tests, is that it has some focus leeway between 15-30 feet... making it much easier to track your subject. Also, for the price of the Canon, I can have the Samyang 50mm 1.4 and 24mm 1.4... that has to play into my decision a little. Or a lot. Btw, here’s another shot from the Samyang that was taken at the same time of day, with a more similar grade...

But since I sent out the Canon FD 50mm L to be modified, I found a dirt cheap Samyang 50mm 1.4. And as much as I like the Canon FD, I'm unsure if I like it 3x more than the Samyang... Both were shot around f/2 and both have my hatchet job color grade... lol.

Haha, interesting idea. I saw a Micro sell for $450 last month. I was about to order it after I went to the bathroom... let’s just say number two cost me one really cheap Micro.

If you go on that BM forum you could probably sell half of them and fund the purchase !

Definitely considering a Micro. For me right now though the Ursa Mini 4.6k seems like a great deal. Just saw one for $2500 on ebay. Quite expensive compared to a BMPCC but crazy cheap for what kind of cameras it can compete with.

I feel the same. That video of the fog looks great. The video of the boats man looks great... but they both look like they could have been shot on a number of different cameras. That BMMCC short is truly spectacular and there are so many narrative works shot with them... features and shorts. I think a new thread is in order showcasing narrative shorts and features from the BMPCC and the BMMCC. This way we’re not polluting this thread, while still showcasing very worthy works by the narrative filmmakers that shot on the earlier BM cameras. The image is more than relevant today and worthy of showcasing. In fact, I am seriously considering another Micro or Pocket camera. At the prices they’re going for... it’s really a no brainer.

Yea exactly. Seems so simple. I don't think this would cut into their EVA-1 sales because people who are buying that camera want super35mm, 5.7k raw, etc. But a 10-bit 422 GH5s-sensor with full V-Log in a XC-15 or C100/FS5 style would be amazing. Throw a speedbooster on there and you've got a wider FOV than super35mm or stick with MFT and use lightweight lenses. $4-5k. It also is weird that nobody is making MFT or APS-C video cameras in the style of the Sony NEX-VG30 or Sony NEX-VG900 - everything under $5k is fixed lens camcorders. I guess if you made a video camera for $3-5k, they'd lost A7s and GH5 sales? If there was an MFT video camera, I'd much more likely hang on to my GH5 and also buy the GH6 as a b-cam, especially with that 10-25mm f1.7 coming out. But I'm getting tired of having different lenses and lens mount for my A-Cam (EVA-1, EF Mount) and my other smaller b-cams and photography cams (GH5, S1) - so something has got to give soon...

I'm always so happy to see people just go with camera and shoot beautiful scenes like weekend painters did once upon a time... BM cameras are so good in that because of its forgiveness about mistakes... So. one more, maybe now for the @Kye if there's some curiosity how Pocket 4k look combine with Voigt 17.5

GH5s in a C100/XC10 form (or even Sony VG30 form) would be great. A real lightweight all rounder.

You can shoot Super 35 in all framerates (4K/60P and 1080/180P can only be recorded in Super 35). In 1080P, your frame rate does jump from 60P to 150P. I'd love to see 120P added. Pixel-Pixel is only available in 1080P modes, which makes sense as the Super 35 modes are 4K at the pixel-pixel level.

I shot most of the episode, (aside from the part art the canyon) on a video monopod, so I can't really say. It wasn't an issue for the couple hours we were there. I wouldn't want to hand hold it for an entire event shoot or something. The body with the 24-105mm feels similar to the GH5 with a Metabones and Sigma 18-35mm I usually use, so I don't think it would be an issue for most types of filming.

It has a great image btw. Pretty much no moire or aliasing which can't be said for a lot of more expensive cameras. Also internal 10 bit 422

I'm way late to the party, but just ordered the GH5! I have no illusions that it'll be some supremely groundbreaking image, but I do think it'll be the funnest and easiest camera I've ever used to just pick up and shoot stuff with.

I think the price drops from Nikon and Canon are probably reflective of slow body sales due to people hesitating over buying into a new lens mount as much as they are about the bodies not being interesting enough. Both systems launched with pretty underwhelming native lens lineups that offered no enticement to anyone to make the switch if they could only get their current lens ranges via adapters. Most of us on here have no problem being early adopters and using adapters but I'm not sure its a view shared by the larger camera buying public. I think that Panasonic may well be walking straight into the same problem unless Sigma get those native L mount lenses out pretty sharpish.

Your glasses, I’m afraid. This beach is where horseshoe crabs lay their eggs once a year, so there are hundreds, if not thousands of birds there. Speaking of, here’s a repost from the Canon 24-70mm f/4 from an early shot from my film that takes advantage of this time of year.

I've been staring at this and wondering if they are birds. Do I need to clean my glasses or do you need to clean your sensor?

take the "1" off and we can talk ?

Some vintage glass is really nice wide open but most when stopped down a notch perform really well. For me the law of diminishing returns comes into play when comparing with higher end glass. Depends on the specific lens in question of course.

Oh, I don't know. It's not a night and day difference, but it is a blue-hour and midday difference! ??? Seriously though, judging from those frames the FD seems to be a little less sharp giving it a more organic aesthetic, although a small motion blur might be causing this impression. A small blur might do the trick in post if that's the look you're going for though. Both are nice looking images, just slightly different. The 3x price difference is difficult to get past, but there's more to a lens than just the image. If it feels nicer to use it impacts the creative process, if it's faster, more flexible, has different colours, etc.

Thats a great deal! The full HDMI on the micro is really nice. I hate BM for putting micro HDMI on anything.

So, I received my EF modified Canon FD 50mm 1.2 L back last week. Simmod did a wonderful job. Luckily, I had a shoot day last week and I was able to get a few minutes in between locations to run off a few test minutes and here's a frame from that test...

I plan on getting one next year. I think my BMPCC could compliment it well. The Fuji's are still nice for certain types of shooting like weddings, home video, or just for super quick shooting. I'll be keeping them for sure. Can't have too many cameras? I was looking at the FS5 as well, crazy output for the money. 12bit prores RAW up to 120fps 4k and good low light performance. That said I've always said I think BM is better when it comes to color and the way it handles highlights. Thats a bigger selling point for me.

Just as a cautionary FYI about this is that there is some weird shit going on with SD cards for these cameras now. I pulled my Pocket out to do something with it and it didn't recognise any of the SD cards (Sandisk Pro and Extreme ones off the approved list) that I put in it. Had a bit of a search and it turns out something changed at the Sandisk end that has caused their new cards to be permanently incompatible with these cameras but also with the Video Assist. Sony changed the firmware in their cameras to accomodate the change but BM haven't and are not really showing any intention of. The thread I found was long and alarming as people were buying and returning all manner of cards trying to find any that would work with them without any success. It now seems to have boiled down to only one card that you can buy new that will work in them (a Sony one ironically) so make sure you have some available! https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=80355

exactly , GH5, Fuji, A7III, BMPCC4K all has - the same look , old fairchild sensor was different ? (see. https://youtu.be/boBbUPUTyPA ) ...

If you want timecode sync of the Ninja V you can use their AtomX Sync add on module if you are within the wireless timecode ecosystem of products from Timecode Systems like pulse: and UltraSync One. If Atomos ever actually release it of course.

Yeah it was the only grab I could find on google. There are also some great shots when he picks up a gun or kicks over a table. Things like that.

You're not hearing me: there is no easy way AFAIK to determine if recorder footage is real 10-bit 4:2:2 X bitrate and not some other lower format transcode. Having a camera list with those internal requirements eliminates that doubt. Time code was just an example. And even though the Z6 actually provides time code it won't make that list due to the above. Z6 also has other big issues like the aforementioned HDMI record lag of 34ms / 9fps. It just isn't close to being there yet. But don't let that discourage you. The camera doesn't make the filmmaker good or "Netflix" worthy. FS7 or EVA1? Depends, i tend to look at cameras through an ecosystem eye. So like for me it would be C200/C300 mk2. If you're starting fresh and none of that matters, well EVA1 for the IQ. FS7 for just about everything else!

Z6 will not be approved by Netflix simply by "upping it's data rate". Minimum requirements are 10-bit Log 240Mbps internal. But that isn't just it. There are a bunch of other practical specifications proper to cinema cameras that exclude consumer mirrorless cameras from the list. That said, the list is only really for Netflix Original content. Meaning your project has already been commissioned by Netflix, you then gotta follow those "rules". There are exceptions though, Alexa Mini for example isn't on the list (as it is not true 4K sensor based) yet there is obviously Netflix Original material that was shot using it. Nikon doesn't even have a cine cam so I don't even see the Z series being used as B or C cams. Netflix requirements being put aside. As to answer your question: what is the best under $10K cine camera that meets Netflix standards: UMP 4.6K, C300 II, FS7,EVA1. EVA1 has the highest sensor out of those so perhaps indeed pulls ahead in the future-proof department. Camera has its quirks/cons though just like any other unit.

Thanks for clearing this out ?

We should just drop the "cinema" word from this conversation because it's meaning is different for each and every one of us.

Welcome. Heaps of knowledge here so post questions / comments. What projects are you planning on using it for? What lenses / accessories will you use with it?

Now only US$36K!! Bargain! Except you could buy a Panasonic Varicam LT for under US$15K instead https://www.abelcine.com/buy/cameras-accessories/digital-cinema-cameras/panasonic-varicam-lt-4k-super-35mm-cinema-camera-ef-mount

Well, we've owned a number of Panasonic cameras dating back to their ZS3 and I've always maintained bookmarked links to their product pages as an easy find for their Firmware Updates, Manuals, etc., so there's never been a need to have to go searching for something when they've historically always conveniently provided all of this information and software in one expected location...ergo my point of the (again, IMHO) "poor job" in these regards with the release of their biggest flagship camera ever. FWIW, in my 32-year career in corporate telecomm experience I can tell you that if the "higher ups" in my former employers business became privy to such a level of non-performance from their web marketing team for their premier product line that that group would most assuredly be, er, "taking a meeting" with the bosses first thing tomorrow morning to explain the, um, "situation". Me hard?! Hardly! Ha! Anyhoo, thanks again for the link...I now have a better idea how the "Image Area of Video" menu functions (p.238-239) operate (from my earlier post)...you're my hero today! :)

In 6k Photo mode the S1 can film at 60p with full sensor for 10 minutes. If you don't need sound, ( I don't for slow-motion ) then its a great option if you don't want to crop for 60p. https://www.youtube.com/watch?v=4FaqAz7eKY4&t=12s

Thanks all, some interesting ideas here. lol about the Moneymaker and I already have a camera strap that I've experimented with. Ultimately it was just too cumbersome when getting in and out of cars combined with backpacks etc, which is why I prefer hand-held with a wrist strap, although the problem with that is that you can't be walking around and then stop to tie your shoe or eat a snack or whatever because there's no-where to put the camera. Of course that's where the Peak Design Capture comes in and it might be the best idea I've seen so far, so thanks for mentioning it. I have seen them before, but had no idea they were so cheap / accessible. I'd have to think about where I'd put it, but even if I just hung the X3000 from it and operated it one-handedly while still also holding the GH5. I'm not too sure about the GH5 though, considering I have the Rode Video Mic Pro+ on top of it, but anyway. Shooting two cameras at once isn't likely to have a high yield I'll definitely conclude that, although if one of them is fixed focus and super-wide-angle then your chances improve somewhat. The problem with just panning to myself is that 'just panning' is actually 'just turning off the camera, opening bag, getting wide angle, changing lenses, turn on camera, flip screen to face forwards, pre-focus, hit record, ......' then the opposite to go back. Having a separate camera makes this a lot simpler and means I can leave the GH5 on and ready to shoot at a moments notice should something happen suddenly, which it frequently does with my kids. This is the other avenue, to have one rig with two cameras. I've played around a lot with this in the past using flash-brackets or cold-shoe mounts, such as these setups: Ultimately though I discovered that these setups are very conspicuous and are also really heavy when filming yourself. The position to get a reasonable selfie-frame is a relaxed bent-arms length away and almost straight-on, otherwise the effect of the wide-angle lens makes the person next to you seem like they're starring in Honey I Shrank The Person Next To Me, and I also find that when you hold it out there it's psychologically distracting for quite a bit, maybe 5-10-20 or 30s before you just kind of ignore it, so unless you're ok with the 'oh shit I'm on camera does my hair look alright I hope I don't have food on my face is this lighting flattering' inspired internal motivation then you have to hold the camera for a long time. The technique for the kids is more to surprise them as they mostly act stupid when they realise they're on camera so a huge rig doesn't help that either. Thanks Chris, interesting you're moving from the X3000 to the gopro - how have you found it in post? To me digital stabilisation has real limitations, especially in low-light when shutter times allow movement during the exposure, although the X3000 is several generations of tech behind. I really would have liked to hold off until they updated it, but my next trip is before their previous release cycle occurs, so oh well. The tests I've done with my existing GoPro were with a floaty handle (the bright yellow one) which is comfortable to hold and easy to put in a pocket even if the camera is sticking out, but of course isn't the most stealthy option. If I go with a handle I'm contemplating designing one that perhaps folds up and doesn't add any real bulk to the setup, or alternatively if it's on a clip then maybe it doesn't fold but it might be super-light-weight. If I was rich, maybe, but if you look at professional vloggers who have a camera-person with them they basically become a member of the family, and that's not quite the dynamic I'm looking for. Plus, making films is what I enjoy, especially filming, and anyone that films me will mostly just be filming me filming other people, so not really a recipe for success My GoPro is fixed focus 30cm (12in) to infinity, and best composition is actually with arm bent and relaxed. The X3000 might benefit from a handle though, as minimum focus distance is 50cm (20in). I'll have to work that out, although having a small handle isn't a big deal, and I have longish arms so that helps. The Osmo Pocket is an interesting device, but not wide enough for my needs. The "wide 80degree" lens is likely 22mm which isn't nearly wide enough for a proper selfie unless you like the 'I'm filming myself' look, and the waterproof case appears to still be unavailable? Maybe v2 I have noticed that I was good at filming other people and at filming interesting things like buildings, but rubbish at everything else. For my first videos I had to scrape together establishing shots because I never knew to concentrate on them, but I'm pretty good at that now. The standard format of a trip is travel -> location -> travel -> location with an action/wet location occasionally, so I now know to film some travel montage, an establishing shot or three, and people doing things / interesting inanimate objects. What I'm missing is shots of myself, and a variety of shots, as I still kind of shoot how I see. The shot-list I then thought of adding to my normal style is selfie shots, time lapses of things like eating meals, sunrises / sunsets, and a much greater variety of shots in general. I bought a Manfrotto tiny tabletop tripod for the GH5 in anticipation of doing more time lapses and it's great but I haven't yet trained myself to use it for that yet. In a sense the action camera would be the best fit for this as it would attract basically no attention if I brought it to dinner (a GoPro Session would be an ideal size for this!) but a GH5 is very disruptive, both to the fact it's extremely obvious to my family, and also finding room on a tiny table where there's barely room for the salt and pepper when everyones plates are there makes a DSLR form-factor almost impossible. The GoPro Session is enticing simply because it is so small and pocketable, but its discontinued and would have been a PITA to change between video and time-lapse with no buttons or screen. Compromises everywhere!

No problem. I think you are hard on them. The manual was out a month ago. Here is the manual on the English website: http://eng-ca.faq.panasonic.com/app/answers/detail/a_id/55502 The link I first send you is on the first page of Google search result "Panasonic S1 Manual". It isn't hard to find it for me. Panasonic had extensively help guide on YouTube that was released a couple before they release the camera to go over all the features this camera: https://www.youtube.com/user/PanasonicCanadaHelp/videos They have provide FW update in the same month they release the camera. I'm also in the US. I don't usually read manual for any camera, but decided to read it since I had some time before getting my camera and I thought the manual was extensive in providing details of all their features. There are alot of features!

EOS RP do not have DPAF 4K and no 4K 24fps. EOS R do have it

New picture I took with the FD 35-105 F/3.5. I'm trying to make my pictures look like paintings.

Just keep in mind that you can't fix a bad yuv to rgb conversion with cst. So if you know the math, create a dctl that undoes the 709 matrix and applies the 601 matrix. You can also create one for hlg that undoes the 709 matrix and applies the 2020 matrix. I think I'll create a package with all the possible fixes for this issue, in lut and dctl format, and I might ask a few dollars for it.

oh wow thank you so much @Jimmy G. im so glad you HEARD it! lol yeah thats something i should point out – all my shots (with NO audio) seemed lifeless and SHIITY and DEAD until i started adding sound, and then the film CAME ALIVE this is my first attempt at sound design, and truth be told... i wasnt gonna do it, someone else was ? this girl i found online, we talked about it at LENGTH, over months and months, and when it came time to actually do it.... she just didnt come thru. she made nothing. it was too much for her i guess. so, i was expecting to see some stuff finished at a certain point, i find out shes done NOTHING, and i was like... *drinks a beer* FUCK IT ILL DO IT MYSELF ? and in two days i was like.... damn i love sound design this stuff is amazin ? i used all kinds of weird sounds, thats a huge part of the fun~! theres everything from gunshots to deep space noises from NASA. theres even a pine jay squawking at the end lol oh @kye i thought of one thing i did brilliantly: the shot of the girl working at "walmart". i designed a badge, printed it, bought a clip-on badge holder, bought the blue vest online, had her walk in walmart with me, shot some footage for a few minutes, and walked out. how do ya like that for stealing shots ?

Sometimes I feel stupid that I give away stuff like this for free..

Because old guys can make shit happen even with old stuff. It is not cameras, it is skill. You act like they just F ing invented video cameras last week. ENG cameras, even old ass ENG cameras All shoot 12 or 14bit 4.4.4. Even a old Sony F3 can do that with the upgrade in it. That is pure color. You keep talking 12 bit Raw. It is not even out yet in the Z6, Z7. bRaw Is 12 bit already And they are 10 bit in regular old ProRes. You can't do 10 bit or even Log without a Recorder on the Nikons. BMD cameras just have Way better CS than any Nikon has out of the box for video. They make Cine cameras, not Hybrids. And Nobody in their right mind is going to use a Z6 as a B cam to a C200 unless it is some broke ass people, get real. That is Hillbilly shit. You might as well just whip out your Smartphone, or run down and get a EOS T2i for 150 bucks from a Pawn Shop that would match better.

Honestly the LS300 is still a very relevant MFT cinema camera, especially if you use the Ninja package. It's a steal at this point, in my opinion. With that said, yes, I'd very much like someone to release a new cinema camera with the MFT mount.

Arri Mini LF, Alexa LF, AMIRA, Sony PMW-F3/F5/F55, VENICE, Panasonic Varicam S35 / LT , etc etc etc would all like to disagree with you!

While I hear what you're saying...what you are asking for is a MFT 'broadcast camera'. Cinema cameras have never really cared for internal ND's, 4 channels of audio or great quality audio for that matter. I said it when the Pocket4k came out, but if Blackmagic released a Pocket4K Pro with internal ND's , a tilt-able screen, and a form factor more like a small FS5 or Or Canon XC line camera, they would see like hotcakes.......and maybe the should just call it the Blackmagic Pocket4k Pro. Don't use the words 'Cinema' or 'Broadcast' in the name at all. I really don't agree with this. A Cinema Camera is made very differently to a camera you would use to shoot weddings. The Arri Alexa SXT for example, has most of the camera setting controls and LCD screen for checking settings, on the opposite side of the camera to where the DP or Operator is as the 1st AC generally changes these parameters. A cinema cameras main focus is image quality. For example, the reason they generally don't have built in ND's is because a good quality ND filter set used in cinema, costs more than the Pocket4k or any other VDSLR alone. I see what you are saying, and while yes, you can use some cinema cameras like a Red (due to it's small form factor), to shoot weddings, I think people are really expecting one camera to do everything from shooting weddings to shooting feature films and to appeal to everybody which is just not going to happen any time soon, especially at the low end price point and with a form factor of a small VDSLR. While sure, you can shoot a feature film for cinema screening on pretty much any modern day video camera (the Ursa Mini Pro has internal ND's as does the FS5 and both of those cameras would look fine on the big screen), we should stop using the term 'cinema camera' when what we are looking for is a small camera that is suitable for self shooting and has all the bells and whistles of a modern DSLR. In the same way as many people who pick up a DSLR call themselves 'DP's' when really, they have never had to plan lighting set-up's, direct a team of gaffers etc. We use these terms because they sound cool but it just causes confusion. Sure, its might be cool to say to the client that the camera you are using to shoot their wedding is what they shot 'XYZ blockbuster feature film' on, but is it the right tool for the job? This! I have now told three friends with Pocket4K's to buy a monopod after they switched from VDSLR's with IBIS to the Pocket4K. These friends had never used monopods before and all three came back to me after a day of shooting saying how amazed they were with how easy it was to shoot with and that they far preferred the subtle look of motion when using the monopod compared to when they shot with VDSL's that had IBIS. Monopods are great for quick shots and super versatile. Get one with the three feet at the end like the Surui 204 series.

I bought one used. it's about 1.5 stops better in the shadows than the c300 ii and same in the highlights (3.5 stops over key) - https://cinematography.net/CineRant/2018/07/30/personal-comments-on-the-2018-cml-camera-evaluations/ which makes it almost as good as any camera - well better than the alexa in shadows but, still alexa is the king in highlights. it shoots pro res. it does everything you wish the c300 ii would do. well not raw light - i don't know why it doesn't do that - maybe I should ask them. here's some stills with a zeiss 28mm standard speed - doesn't quite have full frame coverage. i'll post a video soon to show more tests with it.

I follow news about Nikon, Fujifilm, Canon and Olympus. Whenever I read about any of those brands on DPR the comments are flooded with Sony-fans. The scale of it is pretty incredible. Of course fans of all brands will troll each other occasionally but Sony is on another level. It is astounding. Its old. Can never have a discussion about anything without Sony-fans (or cockroaches as they’re called in Japan) flooding threads with destructive comments. The only positive thing is that there’s suddenly an unexpected camaraderie among all the others.

What goes around comes around. I think a tiny little thread to balance the thousands and thousands of trolls and paid commenters is ok. It can be a place for us camera agnostics to ventilate a little frustration