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Aren't we simultaneously having two conversations? The P4K is way too sharp!!! 4K and modern cameras aren't cinematic, the Alexa / older BM cameras are all lower res and have magic. The P4K is way too soft!!!! BRAW is clearly inferior because it smooths fine detail. Not to mention conversations in other threads that also include: Who needs 4K - 1080 is fine and you can't tell the difference and ...... blah blah blah 8K!!!!!! OMFG!!!!! ??

I may buy another one and sell my 'original' model to a cDNG'ist for a healthy profit!

New picture I took with FD 35-105 F/3.5

I was inspired by Andrew’s post about older cameras and had a look at some of my old frame grabs from my D5500 and Tokina 24-40mm lens...

Hard to believe it, but EOSHD is nearly 10 years old! 2010 was a big year for digital cinema. The 5D Mark II was in full stride kickstarting DSLR filmmaking. Arri's first proper digital film camera the Alexa was released and revolutionised filmmaking at the highest levels. Now all these years later I'm still looking - not for the sharpest, highest K, most featured packed modern camera but for a camera costing less than $1000 which has the most Alexa-like image. Not on a technical level, of course, but in terms of the feel of the images and how cinematic the end-results are when viewed on the big screen. Read the full article

Hell. I already have three P4Ks. At a price below $1000, I might buy another one (or three...) There are (obviously) some limitations with the P4Ks, but they produce fine images, especially considering the price. I mean, we can shoot (semi) RAW footage on affordable cameras on affordable media. We truly live in special times...

Very well stated. I think we just have to admit that the original and the PK4 are 2 different cameras output wise, both in a good way, and that neither one is going to look like the other one no matter what we do. And that is a good thing. We all have a choice. And the older ones are not that much money so, if you are lucky, you can have both. To me All the BMD cameras are a gift from heaven for what they cost. So we ought to be happy which ever route we go. But yeah, dropping cDNG option on the new ones is a bummer.

Lot of comparisons (cDNG / BRAW) here: https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=91802

The first company that gives me a Full Frame sensor in a camera with built in ND, XLR, and a good codec (10-bit 4:2:2) will get my money. The EVA-1 in L-mount with a full frame sensor would be awesome. The EOS mount on the EVA-1 (without the magic Canon AF) killed the camera for me. Also, never bet against Sony. The FS5 and the FS5 II both have had huge price drops recently. Would love to see a FS5 Mark III with the sensor from the A7III and their Venice colour. Hell even a FS5 with 10-bit and 4K 60p would win me over.

Shot this one with my X-T3 in April. I was happy with my Samsung NX1, but X-T3 is way better (except battery and grip). Filmed with anamorphic lens Bolex Moller 16/32/1.5x.

I am very impressed with the 10bit H.265 codec in the S1. It looks laughable because of the small file sizes and bitrate (72mbit H.265 = 144mbit H.264) but actually it's surprisingly close to the look of ProRes on my BMPC4K. It also looks less compressed than Sony's 100Mbit codec and more in keeping with a good 140Mbit H.265 4K file... That is close to 10bit ProRes Proxy in terms of the compression (Proxy is 150Mbit in 4K 25p)... But as it's not an ALL-I codec, it doesn't need as high a bitrate to look as good. Try it, and you will be surprised. S1 beats the BMPC4K for sensor size and lowlight... not to mention powering the damn thing... and all the extra stuff you get like the massive high res EVF and 5 axis IBIS.

The list is subjective as are camera choices. I’ve owned 2 BMPCC, 1 Micro, an EOS-M (ML Raw), a 50D and now a 5D Mark III and without a doubt the 5D Mark III with 14bit uncompressed Raw is my favorite of the lot... no contest. The BMPCC is ridiculously cheap right now so I may own a 3rd in coming months, but for me it would be a ProRes LT camera since I already have FF Raw. I’d rather have a Micro but even though you can buy one used for around $500, by the time you kit it out, it’s closer to a grand. And at a grand, it’s a tougher buy for me as a second camera. For me, I may as well spend a touch more and get a GH5 for its IBIS and plethora of other features. The Pocket/Micro are amazing cameras, they’re just kind of a pain to shoot with... too many workarounds. Beautiful images though. With that being said, I just made an offer on a Micro since I already own an Ikan VL35 monitor and a slew of c-mount lenses.

All of the new full-frame L-Mount cameras (S1, S1R) are LUMIX.

Yeah sometimes I see ebay FS5 priced at nearly $2K, is bloody darn tempting for sure!

Depends..the BM sitiation is great, but not amazing. For pro work other factors are important too. Ergonomics, rigging, ease of use, media, codecs, internal ND, XLR, timecode (which I do not expect to see at this price point anyway), fast turnarounds, maybe IBIS and AF too (which I am avoiding so far but can be helpful). It is different to shoot your personal artistic projects, and a lot different to give footage to a client just after you shoot it, or deliver a final project on 2 days. That is why one of the most succesful cameras ever were the C100 cameras, still in use today. You could shoot something and be instantly ready for delivery. Now, if you shoot a short film per year, even renting an Alexa can be cheaper than own your own camera. Even if that camera is as cheap as the P4K is.

Apologies, I was distracted by the non-sensical nature of the conversation to get every word right

From BM (link)

Well said.

Great photography and photographer. His planning is great but he has the "find the shot or get THE ONE shot" mentality that photographers and cinematographers don't have. He doesn't know what's going to happen when shooting elephants or other animals but he's not leaving till he gets that one perfect shot. Lots' of photographers and cinematographers have not clue what that means.

Buying it off one of my clients, $2000 which was a no brainer.

Nikon would be nuts to bank on outselling Sony with their 1st generation. I'm sure they are looking long term towards building an ecosystem as they gradually win over new customers as they look to upgrade their A7III's in a few years time. The Z6/7 was all about getting their name out there. And in that sense, they got their name out before the flood from Canon and Panasonic, yet they waited until they could output RAW video with their first model. No one expected floods of people to immediately jumping ship from Sony or from their DSLRs, Nikon just needed to get their name out so that anyone upgrading in the next two or three years has "Nikon" on their radar. Cheap used Z6's are probably good for Nikon long term. Whether people buy in at list price or used for peanuts, they still need lenses and future bodies.

It could be the music, I'm very musically oriented so that's definitely a factor. I guess the other aspect is that your video had contrast between fast action and slow-motion, whereas the NFL one was all slow-motion. I'm not surprised about the degree discrimination - that's a class thing - they want someone who is "one of them" and screw talent or ability. Hiring incompetent people you went to school with is practically the theme song for the worlds elite. On the GH5 I only have HLG on the 25p mode (and the 1080p50 10-bit mode IIRC), so the 4k50 and 1080p120 are Cine-D. I'll have to play around with those profiles to see what latitude they give, and if doing things like reducing contrast will help. More homework!

Yeah, so I plan to get eGPU this summer. ?

To justify something more expensive, it just has to have all the intangibles and workflow features that hybrid cameras just don't have: internal NDs, great audio, timecode, ProRes or compressed raw, etc - that's the only thing I can think of. Image quality is pretty amazing on so many cameras from $1000+, that it is no longer the determining factor - though, the S1 image is quite a bit nicer than the A7III, EOS R, and GH5, so that helps.

I can only do it sometime tomorrow. It's easy to test though. Shoot a color chart or something with reds, export a frame from Resolve, and do another export with ffmpeg like this: ffmpeg -i input.mov -vframes 1 output.tif Then compare output.tif with the frame coming from Resolve. If they look identical, the issue is fixed.

The S1 is getting 10bit 422 V-LOG at high bitrates, like an EVA-1... The full V-LOG not V-LOG-L like GH5. So if the "Cinema Lumix" is going to be an S series camera in same mould as the S1, why would Panasonic give you that on the cheap body? It leaves even less room for a "cinema" version of the S1. I suspect the Cinema Lumix camera will be in region of $6K for 6K and more likely in an EVA style form factor.

The GH6 is not FF The S1R is going to be able to do 10 bit video with it's update, I think.

The first and second grab look great. I don’t think Sage will have to do too many tweaks.

Yes, new battery Nikon 50-60min

Can't say it is a cinematic image (is a very personal taste concept), but the E-M10 MK III have a VERY different color science from all the other Olympus cameras (the E-M1 MK II could have the same colors, since the E-M10 III uses the same chipset). Noted it after shooting some stills of my daughter - best skintones that I've saw in JPG from m4/3 (and this is my 7th m4/3 body), destroyed the ones on my Fuji X100S. Much warmer tones, looks a lot like Canon colors. Then I've gone to DPReview and Imaging Resource, used their test comparison tools, and noted the same - warmer tones than all the Panasonics, and different from a lot of other Olympus cameras (Pen F, E-M5 II, E-M1 MK I, previous E-M10 versions). There is something different in that little beast. If Oly did not had cripple their firmware (a lot for stills, a little for video), I could say that it is the hidden gem of the current Oly bodies.

That’s exactly how I used the BMPCC as well. With my first one, I splurged on the 12-35mm 2.8 and with the second one I used the 14-42mm. Personally, I would never use the BMPCC rigged up... it just goes against the point of the camera to me. The most I would do is add a loupe and that cheap Lanc trigger handle and treat it like a Super 8 camera. As far as battery life, the official Nikon battery is supposed to last the longest.

Resolve 16 Beta 3 -- I posted this in the thread about Resolve 16, but the Fuji fans are here: Does anyone know what this snippet from the change log specifically is talking about?

Yeah, if it's a S1 video only camera I would be worried about MFT moving forward. I think they might do a GH6 and charge a premium for it but beyond that...it's full frame hype machine...until medium format video comes along...then large format. Can't wait to watch youtube videos at f0.85 FF equivalent ?

That's disappointing, I was really hoping it'd be a M43 camera (but was probably being naive to even think that.)

They're saying is an L-Mount cine camera ?

Depends on the person and their goals/network/experience/resources. Arguably some DoPs could leverage "owning an ARRI" to make it a smart buy getting an Arri Alexa Classic for £5k Except it is even more of a pain to shoot with, and it has even less brand recognition than an ARRI! Ditto, I'd probably do the insane as well if I found one local for $5K But it would be bonkers for to own. However I do irrational things now and then.... I just this morning purchased five more Lectrosonics LMa transmitters. Which are all in Block 26! ha To who, you? YES!

I have been using GHa on my P4k until Alex has the new lut ready. Thought i'd share a few tests - I feel like it is working quite well, and handles over-saturated reds and blues pretty nicely. Looking forward to the official lut

I think that tools for-, and fast delivery capability in general, today are in extremely different situation than at the time of C100. Not just time, but easiness of achieving great results. Practically any top of the line mirrorless camera gets remarkable broadcasting result with one corrective lut. Slow computer dealing with codecs now is past, but at C100 time didn't exist laptop enough powerful to deal with Premier's or FinalCut's must-render-to-see-in-real-time demand: even Resolve, once upon a time mythic software for wider user base, now go smoothly on modest laptop in 4k timeline, ready to deliver everything instantly on plethora media indeed cheap by any standard. Small and cheap and powerful Saramonic or Beactech XLR recorders/preamps are easy to put on smallest rig. What at the time for NX1 was bizarre codec decision, now is fast delivery standard. What I wanted to point to, is that trend of upping comparative price level for Panasonic tools, even just in regard to its biggest hits - say GH4 - doesn't look so promising not just for buyers, but for Panasonic also... regardless of reliability of their products. My opinion is that Panasonic management simply lost balance and don't enough accurate listens arising competitors. Probably Fuji is at the best position and the most progressive between bigger name - but, alas, I'm not Fuji user.

Yes, BMPCC and BMMCC was very often used as a B cam and crash camera, as a supplement to Alexa mainly for a similar picture, And They are small to fit everywhere ? on the net, I did not find any example of Canon Magic latern RAW which I would like more than the BMPCC image. Yes there is a ton of garbage from both cameras but what is shining is always BMCC, BMPCC or BMMCC I do not think so, I have GH5 + 18-35 more than two years. And the colors and Look of the orig.BMPCC and BMMCC are somewhere else! I have BMMCC and BMPCC for half a year and it's beautiful, I've been looking for in the last 100 cameras! p.s. I always take GH5 for a wedding ? it is more comfortable

GH5 with metabones speed booster and sigma 18-35 lens combined with Emotive Color from @Sage gives a great cinematic image in my opinion.

You might be confusing sharpness with detail and/or resolution. They aren't the same thing.

Hungry is just a metaphor of greedy. The problem of China is that she ruins her natural resource and intelligent people instead of doing sustainable development or encourage innovation such as protecting intellectual property. The CCP and some people in China are just too harsh to be success in every aspect, especially in technology and military because both help to build up the prestige of CCP and usually being used as a patriotic propaganda. If they can’t get in pace with other countries, just steal it. This kind of thought is quite common to Mainland Chinese because of some historical reasons. About 150 years ago, China was still under the regime of Ching Dynasty. Eight-Nation Alliance used to rip off China causing certain degree of damage by stealing the properties from the emperor. That’s one of the reason behind the thought. Another reason is the damage during WWII. Japanese troops invaded China for almost 8 years. These two reasons of being humiliated by the foreign countries are always manipulated to advocate the revenging emotion of general people. Indeed, IP theft is the result of this kind of thought. Mainland Chinese just believe stealing can compensate their loss in hundred years ago and being seen as patriotism. Another problem of China is that after they ruin the nature resource and agriculture for infrastructure that they need to find other resource to meet the market demand. Thus, they exploit other countries’ resource aggressively, especially the ocean and wildlife in Africa. It causes tension in South East Asia and lead to species extinction. That’s why I said let the hungry people suffer. They cause their own problem but try to fix it by exploiting other countries. That’s shame for a so called intelligence race on earth. Mainland Chinese never learn fair-play and respect their companions. When Germany and Japan proof themselves can be good to the world after WWII, China just still stays victimized herself but not to improve their morality all because it is under the regime of CCP. Chinese can be good. Taiwan just proves herself that a proper democracy system can help a nation and country stay strong. But I believe most of the people in Taiwan prefer to claim themselves Taiwanese whatever their roots are from China. I think Mainland Chinese should learn a good lesson from the trade war. By the way, when you meet a Chinese someday, try to ask where the person came from. Chinese as a nation is widespread in the world but it doesn’t mean all Chinese are from Mainland China. Try to be subtle, you may find a lot of different between Hongkonger, Taiwanese, Singaporean and Malaysian Chinese. That’s complicated but that’s still the best way to avoid being racist. Whatever you hate Trump, please let him stay in his position until he put president Xi and CCP down. After that just go fxck him whatever your like.

I know it has its faults and doesn't get much love but, purely in terms of what I've seen people shoot with them, I've never seen much from the BM 4K Production Camera that I didn't think looked pretty good. I saw one in the window at a CEX branch a while ago for £650 and I see MPB have got one now for £709. Won't be long before they reach my totally arbitrary "oh go on then" price of £500!

Totally agree about the 5D2 I love the 3K, such a pain in the ass to use, but really rewarding. I recently fell on my 5D2 and broke it (crunch), I could now upgrade to a 5D3, but I think I may just get another mark 2. Also - update on the 50D - the guy who's been working on the 5D2 seems to be getting somewhere: https://www.magiclantern.fm/forum/index.php?topic=19336.msg216752#msg216752 3200x1268 resolution may be possible (!)

WTH... and Trump is your friend...?! C'mon, give us all a break and yourself too to begin with BTW : ) Stop to be naif! : -)

You can choose 4:3 in 4K or 6K photo mode. Here's a short vid using 4k Photo mode with 4:3 aspect ratio, Mamiya 105mm and Möller 32/2x Anamorphot. There's no colour correction just very slight exposure adjustments on a few different picture profiles. It would be nice to get 25fps (or 24) atm it's 30 or 60p in 4K and 30 in 6K. It would also be nice to have HLG for this mode. Also, I wonder what bit rate and colour space the file records at in photo mode, anyone know? https://youtu.be/jbZ1AFM2kA8

Close is a real stretch here though. Nowhere near the DR, colors, latitude or that 3D pop the Alexa gives. But agree the camera is too heavy to handle without any crew/the needed support.

Went out to shoot this mornings game, new rig (as posted above) and new monopod (one of ebay's cheapest). I didn't have time to test the rig out before going to the game, and the verdict is.... The head on the new monopod is an example of you-get-what-you-pay-for and overall it's slightly too long, and moving the mic forwards resolved the conflict with my forehead, but not the conflict with the brim of my hat. DOH!! New plan is to move the mic to the side to make it hat-compatible, and to modify the monopod to remove the head. This is my first attempt at putting the mic to the side: I've disassembled the monopod, but unfortunately the head didn't mount to the body via a 1/4-20 so I'll have to order a 1/4-20 and install one myself. I figure I'll be using it with the monopod basically vertical anyway as I'll be panning basically the whole time, so I won't need the head. Watch this space...

Not nearly as beautiful as that Patagonia piece. But we just got back from a weekend trip to Vietnam. Filmed on XT-3 F-Log, used the Eterna LUT. Canon 17-55 f/2.8 with Fringer adapter and a super cheap and ugly variable ND.

I'm not sure if it's because I've finally upgraded to the paid Studio version of Davinci Resolve, but my NX1 footage plays flawlessly... YES! No more transcoding to DNxHR and ProRes... hot damn. This frees up a LOT of Hard Drive space. I'm using Davinci Resolve Studio - Public Beta 2 I maybe late to the party here, but this is great. My hacked NX1 with NX-L speed booster still holds up great in 2019. The dynamic range is a little weak, however the detail retention is awesome.