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I saw that video when it first came out. That is the video that I was talking about in my post. I have three P4Ks and have tested all of them. Mine don't lose footage when they lose power. I wonder if his camera was defective or if that was an early firmware issue. All I can say is none of my three P4Ks behave that way.

me neither, not even Braw nor ProRes

Anamorphic lens users might want to look very closely at their Panasonic S1 menus, and even the manual on page 143. Read the full article

I'm not sure why this keeps being said. I set BOTH clips (h265 AND ProRes) to FULL LEVELS and they matched in 16b3.

Well if you had spent the money to do this shit years ago you might have a different attitude. But it is changing, look at me. This stuff is free compared to when I was young. ?

Even the wording in the phrase "full frame" is itself one of the biggest marketing wins Canikon has ever pulled off! Making many newbie (and not so newbie!) photographers (has leaked over and infected filmmakers too) feel inadequate if they have anything less than their "full" frame.

Impressive indeed. 200Mbit 10bit! There is a very small crop in the 6K mode. Let's call it 5K actually, because that's what it is. I still don't know where Panasonic get their 6K from!? With K you only measure horizontally. The 30p is a shame... I wish it were 25p at least, to avoid flickering in PAL countries and get it closer to the cinema look of 24p. I think it's worth waiting for the V-LOG update, which should bring a similarly high bitrate to the 4K mode... As well as 10bit 4:2:2 not just 4:2:0. Hopefully they will also add an anamorphic mode... if the Cinema Lumix camera doesn't get there first, that is!

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

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 literally ignored every thing I wrote, including examples, that show you're wrong. In fact, your entire argument, which I reiterate is dumb, has changed from "no one will use these cameras for professional productions" to "no one will use these as A cams." What does "bigger budget" even mean??? That's such a blanket statement. $2,000,000 is "bigger budget" work for a lot of people. All you need to do is go through Blackmagic's old press releases to see the projects that used the original pocket, since BMD promoted pretty much every project that uses a product of theirs, to see that these cameras get used on major projects, including on an Avengers film, A cam or not.

Not sure how much I'll use this feature, but now that I've used the S1 on a couple of professional shoots, I am very very very impressed with this camera. The V-Log/10-bit update will only make it even more incredible. The image, in my opinion, is leaps and bounds ahead of the A7III and EOS R (haven't used the Nikon...). And now there is an even more capable video camera coming out from Panasonic? They seem to be on a roll. Also, for all the talk on autofocus, if someone is paying me for a job, there isn't a camera out there that I would trust for video AF - even the EOS R and C200 failed or pulsated or focused on the background too many times. -- I'll also note that in photo mode with native glass, the AF is lightning fast. Just as fast (if not faster) than anything else I've used.

I can tell you from my ENG days you better have a Thick Hide and be able to hold your tongue. That kind of stuff can get heated as hell. The people you are going to interview are a bit over the edge, and they are balls to the wall, gung-ho into it. It can get ugly. If you are a small person you might look for other work lol. ?

Still people find a reason to complain Unbelievable.

Ive also never lost any footage after the camera has lost power

In drm's defense. Sorry about the shaky phone clip. batterytest.mp4

Of course, Shijan (that's his name, I believe). I may have to get this...

That comparison video up there hints the findings I guess you'll reach. God bless India because either Bollywood, digital projection (I worked with Qube in their European expansion), now these revolutionary devices, the contribution of your market is priceless and unique to the world, this industry and the digital age in particular (E : -)

I'm not giving a pass to Fuji, just saying what I see. It could be the lens for sure. It's definitely not as sharp as the studio image.

Wow

I obviously agree with you : ) The point is when you see the Redmi Note 7 Pro (IMX586) and the 7S (in India, without the letter S for the rest of the world) with the Samsung version, then you see Sony's beats the competitor. Smartphones with the Camera2 API provides up to 200Mbps bit rate + log higher DR + manual settings. With a competent sensor, you're able to match a decent outcome. Amazing combos IMHO : -)

No. The P4K does not lose all of the footage if the power goes off when recording ProRes or BMRaw. I don't know what happens if the power goes off with CDNG as I didn't test that and I have now upgraded all three of my cameras to the latest firmware. I have had a battery die several times and I have never lost a file. I usually record to an external SSD (Samsung 1TB T5) but I have also recorded to SD cards. You may lose a few seconds at the end of the footage, but you should not lose the entire file. I remember seeing a YouTube video where the person lost their file when pulling the battery, but even the comments on that video had people saying it didn't happen to them. I just recorded a 15 second clip with BRAW. I pulled the battery while the camera was recording. The clip is still there and it plays properly. At most, you should lose a tiny bit from the end of the file if you lose power. I also recorded a 15 second clip with ProRes. I pulled the battery while the camera was recording. The ProRes clip is still there and plays properly BUT it seems to be about 5 seconds shorter. I think that ProRes writes the file to disk every 5 seconds, so you may lose a few seconds of the end of a ProRes clip if you lose power.

The latest rumor is the new camera will be bigger than the Panasonic S1. If you add up the rumor "built like a tank", a new name Cine Lumix, and bigger than a S1, perhaps the new camera will have a different form. Maybe like Kinifinity, or EZ-CAM?

Ehm, I don't see the problem in that glitter women picture, I think it's perfectly sharp, look at the nose, those hairs. That's typical bayer pattern detail. Maybe you are not used to DOF in medium format, portrait shots are more like macro shots DOF wise.

Yup, I wonder if its traceable to see who was first to rename it from "Small Picture" or "Tiny Picture" as it is/was called in most countries. To "Full Frame" or the now quite common here in Sweden "Full Format". Older professional photographers and those of us still shooting film still say "Small Picture" (småbild) but youngsters and newcomers all say "Full Format".

Is a local band that brings together rock and comedy theater. We made the whole video for free. The story is about a modern quixote who from so much watching CSI Shows on TV thought himself a detective and finds crimes where there are not. In the minute 2'46" (making if) you can see me before the difficult situation of passing between the electronic piano and the chorus girl dancing the mambo. ???

That's awesome. I can't wait for 100 MP video to be streamed over fleets of 7G directly into my VR headset so I can watch movies like this from bed. True, but in real use I like the sensor to outresolve the lens, so the lens acts as an OLPF or anti aliasing filter. Optical imperfections add character, digital imperfections mess up the image. Unless you need to actually resolve 100 million individual dots in which case... wow.

“The US has transitioned very successfully to a services based economy. I don't understand why so many Americans want the polluting labour intensive factories back and to plunder the land for massive amounts of raw material. That's why you have China, they are willing to do all of this and pollute their environment, so you don't have to, and so your kids can go to a nice school, get a good education and have a nice job that doesn't depend on manual labour.” The desire for cheap gear does not justify moving laborious polluting industries. The American government and industry need to take responsibility and develop procedures and methods to mitigate and manage harmful side effects to manufacturing. The fact that the polluting has been moved offshore thousands of miles away does not mean it does not effect you. The pollutants find there way here much like the cheap gear did. I have been to Guangzhou, I have seen the polluted air, it’s a sad realization when you see millions of young people being sacrificed in order to generate revenue for the country. Pollution doesn’t just go off into space it follows trade winds and ocean currents eventually normalizes in the atmosphere and ecosystem. Not only does China steal IP, force technology transfer and not open their market they damage your air and ocean all while making money off of you. No one holds them accountable because the people who should be doing that are busy making money from it and the everyday consumer is happy with their latest cheap gadget. Donald trump is a silly incompetent individual and is probably doing this out of a temper tantrum but it is the right thing to do. Everything has a cost and sooner or later people realize it. Millions of people rush to shop at Walmart and target then they wonder where their jobs went.

Nope, but thanks for trying!

I’ve had a few cameras with IBIS and it’s one of the best features ever implemented. The ability to stabilize my favorite vintage lenses truly is amazing and that is a major reason the GH5 is on my short list plus after using the 5D3 for a couple years, I think the ultra clean, modern look of the GH5 is a positive. I think the BMPCC 4K is just a little too much camera for a 2nd camera especially since I’d most likely shoot 1080p with it. But if I find a deal, you never know. As of now, I am wavering between the GH5, the BMMCC and the Z Cam E2C. We’ll see.

True. I love MFT and if they had a EVA-1 style video camera, I probably would be using MFT fully, especially once the 10-25mm f1.7 lands. But, without really knowing what's ahead for MFT and Panasonic, hard to justify buying what will probably be a $2k+ lens.

That is the problem with the Micro to me over the BMPCC, you might as well have a Canon C300. I, at my age, can't hardly shoot with a Smartphone, let alone a Camera Rig. The world has changed big time. Nobody trusts anyone anymore. When i was young Everyone trusted everyone. Complete opposite then. You young people are screwed big time.

I feel bad I never did this. Going to head out after dinner and grab some clips with a Micro and a P4k. Both RAW 3:1 to start.

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

I love the GH5 because I can shoot handheld and get a handheld but not shaky look, like when people shoot handheld with a cinema camera that smooths movement a bit due to its weight. I worked out early on that I can't stand the aesthetic of the micro-jitters you get when shooting without IBIS or OIS or a rig, so for me it's an aesthetic choice. Considering you're enjoying your 5D+ML setup (and don't use huge rigs) I'd suggest that you don't need the IBIS in the GH5. Of course, having to rig it out completely vs the GH5 which has a screen, nice UI, buttons galore, etc is another matter. From that perspective the P4K might be the best of both worlds - not requiring a huge rig but still having BM IQ. I'm still keen to try to make the P4K match the older BM cameras in post-production. If anyone has the ability to film some useful test footage with the P4K and an older BM camera and can upload it then I'll put in some serious work to see if we can match the old aesthetic from the new camera. My theory is that we should be able to, because going from more resolution to less is possible, and having good bit-depth should be sufficient to grade and match colours etc. Thread is here: I don't have a BM camera of any kind, but if I can work out how to make the P4K have the magic of older BM cameras then I think I will learn a bunch trying to figure it out, and I'll get all kinds of interesting techniques to use with my GH5 footage, so I'm definitely up for it. I feel your pain. I also shoot my family a lot when we travel in privately controlled venues like skating rinks, museums, art galleries, parks, water parks, etc where the normal rules about the right to film in public don't apply. This is why I'm trying to keep my setups to be as minimal as possible. I think it's having a microphone, and having it look big and complicated that are the issues. Just wait for 8K - we'll be writing essays!!

Exactly. No possible to live without them, isn't it? ; ) So, why to go lower and exclude the upper? Why to ignore the most crucial clientele basis interest only to unilaterally impose some self-centered business aim or/and corporate agenda? Why to not comply the full specs, prior-advertised, launched and released as well PURCHASED CinemaDNG camera, as due? Why to not let people to keep the chance for choice and use whatever they/we want? Why to keep and extend such cut-off with the new display firmware now, practically towards a P4K Mark *Minus* II? Why such lack of respect with the customers who pay the existence of the brand, after all? Why telling us lies like we are all naive consumers with a prosumer toy in hands? Why to tell advantage in a pathetic show off presenting the whole thing as the most important invention since Steven Sasson when it's not consensual if we can all call it raw? More questions we could address here... nuff said for now though. Pictures still worth a thousand words. They speak by themselves. Useless the usual childish denial. It simply doesn't work out. E : -)

In Resolve I want to use RCM without LUT. Now I have to choose for the input colorspace REC2020 scene (gamma around 1.9) or REC2020 gamma 2.4. Both are correct for gammut but the two gammas are neither completely wrong nor completely right. We know the conversion formula in Fuji data sheet but I can’t write this formula in Resolve. Same thing for the data levels. But I think it's more easy to compensate for not very accurate data levels than to correct the gamma.

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...

Uh just look at the news..

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.)

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!

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

First test I saw of the z6 in low light for video with firmware 2.0. I would call it impressive.

Exactly the world is not like back then (as in a year ego even). The United States, Europe, South America, etc have a choice of which businesses they let operate in their respective countries. So if for example European countries decide that it's unfair that their citizens have to pay social security, health care, etc and Chinese workers don't have equal protection they can decide to block Chinese products from their markets. If they find that German companies are forced to share their know-how with a Chinese company, know-how that may have taken decades to develop, and are subsequently used in a 100% Chinese company to compete against the join-venture then Germany may say that this Chinese company may not import it's goods in Germany/Europe. What the world is like is exactly what is being reevaluated. European bureaucrats even before Trump were starting to reevaluate their economic dealings with China and what the cost was to European business. This will only accelerate it. China won't have it as easy in the future. But the Chinese government is at this point still one step ahead. Their Silkroad initiative is all about extending it's economic power to the world and making entire economic regions like Africa dependent on them. Note that some African countries are already voting differently in the UN on issues like Taiwain, Tibet, Uighurs, etc because of China's growing influence. Chinese companies are never truly independent of the state. So Huawei isn't just a company ... it's a tool to extend the Chinese way of doing business.

Not a great stuff, but we had a good time that day.?

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.

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.

I'd love to buy a used Alexa as a studio camera. Why not! Loving my stupid little 1DC again. There was something great about the effort it took for me to use it. I'm starting to go back to my original reason why I started making youtube videos again...and Im excited to be using the 1DC. Sold my EOS R and will be shooting on the GH5 and 1DC primarily now for a while.....with the exception of gear I will be reviewing. If I can get an Alexa for $5k I'll jump on it.

A couple of stills resized only from the little SX410IS. I am looking for something to video with it to post frame grabs from at various points along its zoom range. Not that old but probably has a sensor a few years older (20mp CCD). A LOT more useful to me (and most people I think) than an Alexa, even for video and even though it has little control and only 720 HD.