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Those stills look great, but if you turn all the lights off, zoom in to 500%, strain your eyes and sit 2 inches away from the screen, the image really falls apart. Such a shame because the camera was so close to being perfect, but it's really just overpriced.

A few stills using the BMPCC 4K for a corporate promotional video. Shot in DCI 4K ProRes LT with the Tokina 28-70 2.6, Speedbooster XL (maybe a Tiffen VND on some of the shots.)

I think the whole world needs to wake up and understand depending pretty much on China to make their stuff is a huge mistake. I am not talking as a personal insult to China. I respect what they have done. But the whole damn world is putting their eggs in one basket here. Nations are loosing their national identity, people out of work. This is leading to a F ing total disaster. You can't have one country making everything and the rest just going belly up, and not abide by the rules. That is the trouble with this crap. Trump is just a small ass piece of all of this. Britain is just about to be a nobody country soon. Other European countries are nearly in a worse shape. This is all some serious shit. South America is going to shit also. It Ain't going to get better keeping it the way it is. This has no good end without some big ass change. A hell of a lot of countries are to blame for letting this crap happen.

Its not Trump's decision. It's a decision made by many people in the government, including democrats, to stop China breaking the "global industrial democracy" rules. Trump just loved to approve it. Its not about market domination (Obama sided with Apple in their fight with Samsung, and it didn't stop Samsung from gaining market share in the US), its not about lagging behind tech (Taiwan is already ahead of Intel), its about respecting the rules. Whatever they are.

6k Photo Mode conformed to 23.976 with some correction in Premiere

Those look pretty amazing as is. I finished the first tungsten conversion today (mostly). Still have some refinement to do. Here is an idea of it, a sample slice from both cams:

Super bummed to hear it's L-Mount. I could care less for full frame, Micro 4/3 is spectacular especially for the small form factor. Super 35 is perfect for bigger productions. Full frame doesnt hold a place in my book.

You might be able to get a good deal on the 'bay if you're a little patient. I just won an auction on the Micro WITH an Olympus 17mm 1.8 bundled for $555, and I immediately resold the lens for $250 and used that to put together a solid rig (Smallrig cage/monitor mount, wooden rosette handle, NP-F bridge with NP-F batteries) that makes it very functional and usable. It's like a little baby Red camera now.

Yes, since Resolve 15.1 BUT you want 15.2.3 or higher for Pocket 4K Blackmagic RAW support.

Yeah, the biggest problem with my Micro is that it is literally the most difficult camera to use in the history of cameras... and that's from an owner of the original BMPCC. To get my Micro to work for my run-and-gun style, I've needed 1) A cage 2) an HDMI cable lock 3) a Blackmagic URSA Mini handle, with LANC cable 4) an offset Arri rosette, purchased from a guy who makes them in Russia 5) a right angle-to-straight HDMI cable for the monitor 6) a monitor, with 6B) a battery sled 7) a Sony battery (and charger) for the monitor 8} a One Little Remote control box, and 8B) a separate mounting screw for the cage 9) a Sennheiser MKE400 small shotgun mic for usable sound, with 9B) a screw-in cold shoe mount This rig took me a ton of research and about 3 months to get together. And the camera is still barely usable - even the One Little Remote (which is great, compared to the laughable buttons on the front of the Micro) doesn't have a screen, so you have to guess if you've pressed a button once or twice or 3 times to figure out which parameter you're on. He's made a new one with a screen, but I don't want to buy yet another thing (though at some point I will). And nothing's worse than having your monitor run out of juice... and realize that your camera is still going strong, but there's no way to see what you're shooting. Now, to get a fully useable rig for my BMPCC4K, I've had to buy... 1) Nothing. Yep. Great (stereo!) audio from in camera, huge built-in monitor, tons of easy access buttons, plus a touch screen and amazing UI. I literally have NOTHING on the camera. And it's about 2 lbs. lighter than my Micro. The Micro's image quality is indeed delicious, but it's a preposterously huge hassle to shoot with, comparatively. Nonetheless, you'll never get me to sell it

Loving Fuji right now - they are doing some amazing things. I think this camera will sell really well - especially in the advertising world. Medium format that seems way easier to use than previous medium format cameras - with IBIS and PDAF. Impressive.

I had a TM-2X that I bought to use with a Tascam DR-60D mk2 -- I turned on the plug-in power and was set to go, but the noise floor was not good. I do understand that the preamp for input 3/4 on the DR-60D is not the best, but I returned the TM-2X immediately. That said, might be just the thing for a wrestling film. "Noise floor? What? I can't hear you!"

Hmm, I'll wait for the next sensor.

Then you better be willing to pay higher prices for your goods. Trump wants everything made in America because it sounds good and wins him votes because people think it will create jobs. Yet, almost no one is willing to pay higher prices because they want a “decent” wage too. You can’t have both. China has cheap labor. China is also looking at Africa for its cheap labor. This is when you realize most things in this world have been built off the down trodden and less fortunate.

The Input color space is the camera color space : Rec.2020 (Scene) for F-log Rec.709 Gamma 2.4 for film simulations Rec.2020 ARIB STD-B67 for HLG

What rules? New (state) terrorism rule over free market they learned Chinese to make it, better than anyone else in the world?? Shame on these bureaucrats! They deserve a fine kick in their ass instead. This is not free world nor democracy. This is anything but a corporate declaration of war, moreover, pretending to be on people's defense is really worse, just a totalitarian act in disguise. To play very low and dirty. PS: " (...) the P30 Pro won't be available to US buyers for political reasons" https://www.cnet.com/news/reasons-buy-huawei-p30-pro-vs-galaxy-s10-plus/ Yup, 5G. This reminds me Warsaw Pact period or more recently DPRK (for some reason, that orange baby started to praise the rocket man...) People gave their own lives to change all that political crap which contaminated the planet for decades... Restraining Economy and cut lives of hundreds of millions of people for several generations without clue what yogurt was, go figure diversity of different types, limited to milk and bread produced by the usual suspects when not famine. Sustained and redefined now by actual morons! This is a very serious attack against progress, development, equity and finally the humankind itself as a whole. E : -)

The "need" for full frame is largely manufactured by camera companies looking to charge you a premium and people have bought into it. The profit margins are greater for full frame cameras and lenses, so it makes sense. But as this push for "bigger is better" unfolds, sensor technology has improved by leaps and bounds. While camera phones have hurt the camera market, that so much is able to be squeezed out of these tiny sensors tells me that there's still tons of more progress that can be achieved.

So basically Huawei is the leader in 5g but without american components that tech just can't be used. How is this not a good thing for the americans? 5g is the future of tech. I don't think the short-term loss for these chip makers matters compared to the advantages of being no 1 in 5g. And if you think the americans aren't playing fair then the same can be said about the chinese. Just consider how they got to this point.

Had another gig where it saved the day. Fast paced interviews in a cafe, followed by B-roll in a kitchen. Tight, cramped, not much time to shoot. They only wanted 1080p, so I could easily bounce between a few primes with regular and ETC mode, all 10bit V-log. Steady handheld even with a 60mm sigma in ETC.

Hi everybody! last thing I publish with GH5 Alexa. https://youtu.be/mFdDYp4pgrU

$10,000 USD

I don't shoot these so I can't provide examples, but the suggestion of watching the news seems like a sound one. I think it's really a question about how to learn a particular genre or style, which I have some random thoughts on: Find good examples (which you're looking for) Pull them apart in every way to understand them: What angles do they use? How long are the shots? What are the shots? Talking-head, B-roll, etc What is the sound doing? How much time are people talking and how much is SFX (kind of the B-roll of audio) What is the story like? Does it represent a three-act structure? Some other structure? What similarities are there? How would you shoot such a thing? What does the set look like? What equipment is required? Camera? Audio? Rigging? Lighting? Watch BTS videos to see what people are doing. Find wide shots in the BTS, pause the video, study the frame and see what you can see. By analysing deeply you will uncover the details, by analysing many examples you will notice patterns and themes. Think of it as studying. Learning doesn't stop when you leave school, so studying and the techniques we used in school also shouldn't stop

LF is 4x5" and above.

I agree completely with all of this. I haven't built my micro up to the extent of yours. (Still pressing those horrible buttons on the camera) The image with the micro and Pocket is beautiful, but when I go out to shoot, the P4k goes with me. Usability is becoming more and more important for me these days. Until I come up with that artsy project where that image of old is a must, these guys are watching over all my shelved gear. The thought of what it takes to use them and rigging them up makes me lose interest quick when deciding which cam to take.

Yeah, that's not an issue in sports venues that have people in spandex throwing each other around and fans hooting and hollering?

Amazing! It looks like the lens runs out of resolving power way before the sensor does. It’s still incredible, but Fuji needs better glass to match this level of sensor.

omg theres a few stills samples on fujis page warning: LARGE jpg https://www.fujifilm.com/products/digital_cameras/gfx/fujifilm_gfx100/sample_images/img/index/ff_gfx100_001.JPG

You can put a a speedbooster on this thing too. Imax.

I have been watching a lot of comparison videos with the GoPro, and I feel DJI can improve thed Dynamic Range in Cinelike, just a little bit more (they should make it more Log like). Everything else seems pretty amazing to be honest. Especially with the dual screen and this price point.

You should look for something you're passionate about before embarking on a project like that.

You just look more stupid every time something comes out of your mouth. You don't know your ass from a hole in the ground about this stuff.

Gotta give that to the lens! I only used the built in Blackmagic film - extended video LUT!

Here's a screen grab of the images in Resolve, the left screen is the XT3 file and the right is from the Ninja. I set them both to 300 and lined them up to form basically one image with a line in the middle. I thought that would be the easiest way to see if there's any difference in the colour. - both are set to Full in Clip Attributes. To my eyes, they're exactly the same, but if there is a difference, I wouldn't even think about it while shooting. One thing I did notice though, is the capture from the Atomos is 2 or 3 frames behind the file straight from the camera, nothing major, and I'm sure it's not camera / recorder specific, but worth noting. Edit: If people want, I could also post screen grabs from the colour page, showing the histogram, vector scope, curves etc. But they don't change at all between the clips. Safe to say they're exactly the same image from that perspective too...

@JordanWright great images. I like the grade, you managed a clean, modern image with some character.

Unfortunately I don't have time to go into the details right now, but I recommend you watch the video in the thread I linked earlier (previous page), it has the answers to most of your questions. I like the oval, but the color transitions are a bit harsh around the sun. Nothing serious though, nice colors overall.

Thanks Attila, I used F-Log for this one and graded with Venice Cine lut; https://www.sierracreativeco.com. The oval at 2:10 is from the lens, colours from the lut.

The dynamic range and highlight roll-off look better than the X-T3 to my eyes. The greater dof and wider field of view (without barrel distortion) make the footage appear almost anamorphic. Granted without the typical oval bokeh and lens streaks. It's a distinctly different look to anything out of the X-T3. Mind you I did like the footage from the X-T3, and found it "fun" to shoot with. But this GFX100 seems to render a very unique look imo. The only problem I have with it is there is sooo much on the horizon atm. The new Hasselblad will likely bring huge improvements now that they are owned by DJI. Also we have the soon to be announced Panasonic... that frankly no one expected. We can only ponder what that will bring to the table? Until those question are answered I will hold off on adopting a new system. As for the price... well what else can match these spec for less? And the $10K become close to $15K once you start adding lenses... which you will of course need.

Both of those films have strong characteristics of those formats. I don't think any Marvel movies would be satisfied with the look of 28 Days Later, they'd rather use cameras with more dynamic range and less noise. A lot of projects want the clean noise floor and higher dynamic range of larger sensors. I agree that 8k is pretty much useless. However, 4k is not being used to its potential. You can easily tell 1080p from 4k in a video game game from normal viewing distance on a TV. I think that with recorded video, a combination of lens softness, missed focus, CFAs, motion blur, and compression is the limiting factor that makes it so hard to tell the difference. So while 1080p is almost always "enough" resolution, I think there is still plenty of room to improve 4k. 4k isn't intrinsically overrated, but the compromised 4k video we see isn't maximizing the image size's potential.

great work

Yeah, if the industry moves towards full frame it will do so because the camera and sensor companies have moved them in that direction as opposed to a genuine overwhelming demand. All the films that inspired us didn't need full frame. Heck a lot of them didn't need Super 35; The Texas Chainsaw Massacre is one of my favorite films of all time and is Super 16. Another favorite, 28 Days Later, was shot on a standard definition DV camcorder! It reminds me of this manufacturered need for 8K. Are there genuine reasons someone might need 8K? Absolutely. For visual effects, etc. the more resolution to work with the better. But when most of us are still exporting for clients / web use at 1080p, 4K is more than enough. And as I've said before, even 4K is overrated, given I don't think any of us have large enough televisions to actually truly appreciate it! ? If I'm not within 3 feet of my 55 inch 4K screen the difference is virtually impossible to see!

This is a bit oversimplified, a lot of cameras use the full range in their video files. Fuji is one of them.

It has a 4:3 sensor, would be great to record video open gate when shooting anamorphic. Stills anamorphic open gate would be nice too, of course.

I had no complaints with the previous firmware. That said, the AF, especially in dim situations, is faster more decisive. Eye AF was something I didn't even know I wanted but its very nice to not have to think about where the focus point is. Reminds me of working with manual focus in the way I am not being interrupted by having to consider AF focus points. The automatic switching between mechanical and electronic first curtain is also very welcome. Another thing I now don't have to think about. 12 FPS with full AE/AF auto is not relevant for me but should be useful for the thousands out there who apparently are forced to use the Z6 to photograph birds in flight

Although I'm not at all Hollywood industry judge, but what I have seen dealing with industry so far - necessity of full frame for movie making is extremely marginal, some sort of special effects toy for certain look. Actually, from artistic side, need for it for actual film making is far less than for nobles s16 sensor cameras. Of course, if and when advertising industry collects enough numbers of bored brainwashed users, we all have to listen and view world by eyes of, say, lemurs (or just my myopic eyes without lenses but with extremely capable shallow depth of field).

And yet you can shoot a professional film or short or Indy film with a P4K and no one will notice while watching that it wasn’t shot on a “professional” camera. They won’t even care if the story is good.

M43 isn't moving backwards, it's merely different. As long as there are cameras being made with smaller sensors there will always be people shooting with them. The success of the Pocket4K should tell you all you need to know on whether there's room for M43 cameras in professional productions. Because it's probably more than just the EVA with the new mount?

@kye Definitely appreciate it! I'm just a hungry 22 year old kid. Its possibly the hyped of music. Sorta the new age going forward with sports videography vs the traditional NFL films chill slow motion edit. Most people that want to work in sports have a degree so I have to work harder to stand out. A lot of pro teams and colleges teams would rather hire someone with a college degree and an average reel than someone with an excellent reel and no degree. I've found shooting HLG is fantastic for harsh mid day game lighting. (I try to avoid LOG as much as possible).

I'm talking about this: See how the gimbal shot bobs up and down? A slider (or dolly) won't let the camera move up/down or perpendicular to the track.

But it requires ridiculous amounts of training to get good results. Gimbals smooth where the camera points, but not if the camera wobbles when it moves. Stick with the tripod on wheels approach if you want a flawless result I think.

Saw that. Impressive, but 999$ for a gadget that will be surprassed with anyone's next release is a bit too much. And internal memory only??!! (Am I right? Does this have only internal memory? And just 19GB?). Internal battery too. I got the Insta X 360 and is good to play with. This market is just in its infancy so I am not in the hurry to spend big money yet.