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I think I’ve seen better images coming out of the S1. Dont worry guys, in a few days Tony will release a completely contradictory video about the same topic so he effectively covers the entire clickbait spectrum.

There are lots of tiny cameras that can deliver professional or semi-professional images, but they still stop short of being an all-in-one solution that offers acceptable image quality, stabilisation, and audio quality. For this we still need a rig of some kind. This thread is about creating hand-held rigs that deliver: Good to very good image quality Sufficient stabilisation for hand-holding (movement is fine, but it can't be too jittery) Good to very good sound quality that is directional (or at least separates the subject from the background) Fits in a pocket Minimal time to start recording (have little to no setup time) I'm building a rig around my new Sony X3000, but this thread could easily apply to anyone using a GoPro, DJI Osmo Action, or RX0, would also extend to point-and-shoot cameras, and even the smallest mirrorless cameras if the lens they choose is small enough (lots of pancake lenses would be borderline pocketable). These might be an A-cam rig for vloggers, travel film-makers, backpackers, minimalists, or (like me) a B-cam setup for use in conjunction with a larger more complicated rig. We've touched on these topics before, @Don Kotlos shared this great (borderline pocketable) example: I mucked around with my GF3 (which lacks the required audio quality, or image quality): and people are out there taking tiny cameras and making rigs that are 10x the size of the camera: I'm still waiting for items to arrive, but I'm starting with the X3000, Rode Videomicro, an ebay microphone windsock which will help with wind noise but will also be a shock-mount, but have more bits on order, so updates to follow. Who else here is pushing the limits of quality vs size?

From last summer, finally a bit time to edit. Iscorama Cinegon mounted at Voigtlander Ultron 40/2 on Samsung NX1

At first glance I thought that was some sort of Lake Placid Blue coloured fin tailed 50s car with its brake light on !

Nice! The pink highlights gave the EOS M away. But it can be fixed immediately in MLV App if the RAW White level is changed from the original "16200" to "15000". I also purchased the Orginal BMPCC for peanuts, though haven't used it much yet as I still need a few extra pieces of equipment (one being a "powerbank"). Few test footage looks quite nice though.

Nikkor 24mm f/2 wide open, at 800 ISO. This is a test shot of the 14bit Lossless Raw setting in Magic Lantern on the 5D Mark III. I was really trying to push the exposure and stress test the codec.

Looks pretty good to me! Considering the grain from ML raw is so nice, and considering that any compressed delivery format normally kills most texture anyway, I'd say you've got a huge amount of latitude. Try pushing it in steps as far as ML will let you take it, then grade it like you would for getting levels and saturation etc right, then upload to YT as a private video and see how it turns out. In other news, here are a few test shots from my new Sun Zoom MC 70-210mm f3.8 lens. I could tell the moment that it arrived that it was a winner, and I'm sure that after I tell @BTM_Pix how much it cost then the result will be unanimous! ??? Images from GH5 raw converted to JPG in post but otherwise untouched... Apologies for the fading light, so best to ignore slight colour changes. 70mm f3.8: 70mm F8: ~130mm f3.8 ~130mm f8 200mm f3.8 200mm f8: and a bit more graduation in DOF, with highlights off-camera.. 70mm f3.8: 70mm f8: 200mm f3.8: 200mm f8: and a few random screen grabs from this mornings game: Overall it seems like a nice lens to use, but because it's not parfocal and I'm not practiced with it, if I'm tracking action and I zoom then I lose focus and don't know which way to go to get it back. If only my eyes had phase detect and weren't limited to contrast detect!

Love what you’re doing with the EOS-M, zeek! The Milvus/Samyang comparison was great. I look forward to your BMPCC videos!!

Funnily enough, he landed here in it yesterday so he must be coming to pre-order it. We also had an earthquake at roughly the same time, though his hair remained unmoved obviously.

I know that Tony is going to catch a lot of flack for his views, but he does make some valid points. The overall dslr/mirrorless market sales are falling and have been for a while. I think that many of the camera companies didn't expect the decline to be that severe or rapid. This trend is also likely to continue since many (most?) people are happy with the images and videos produced by their phones. The phones are also continuing to make remarkable progress in image quality and they will continue to improve in the future. The camera companies are making and selling cameras in order to make a profit. If they are losing money on a product, they will eventually reduce their losses on that venture. I think that simple economics will dictate many fewer "big" camera choices for us in the future. They will still be around for many years, but the innovation is likely to slow down in favor of smartphone tech. Hopefully some of the smartphone camera tech trickles up to the "big" bodies

I hope that in the final version of resolve 16, there will be a F-log preset in the input color space. Now, you have to tinker. A possible solution, in the RCM input color space, I choose ArriLogC (this log is very close to F-log) and I add an OFX gamut mapping (tone mapping simple method) and I get a good starting point for grading, without LUT. On stills, you can compare this method to a delog with the LUT WDR Fuji. (the green on the pullover is more accurate with ArrilogC)

I can not imagine trying to shoot sports video with prime lenses or even manual focus zooms. Easy with still photography (I would much rather a fast manual focus lens on a good low light camera than the latest greatest not so good low light and/or slow lens for stills) but for video? I think I would need/rather something like a decent AF point and shoot with a long lens for that (and just realise evening sports will suck). For pro use it would be more. That said, I have never really tried to video sports (just an old amateur but have had sports shots in a national greyhound racing paper and football shots in a decent size daily newspaper). Shot with my long dead A7s (may it rest in pieces) and my old Tamron 300 2.8 MF adaptall lens (that has followed me for decades between systems).

I personally went the mirrorless route because of the versatility and flexibility it gives me, even though for sports a camcorder is probably more ideal. But I shoot interview, corporate, wedding and commercial video too, so investing into camcorders just didn't make sense for my personal work. I did, however, go the camcorder route for the pro wrestling live streaming company I co founded, because they were only going to be used for sports.

You can get dedicated PTZ cameras from Panasonic, Sony etc but they are pretty expensive. If you want to use your GH5 then Panasonic do two powered zoom lenses (Lumix Vario PZ and 14-42mm and 45-150mm) so you would be able to control exposure, focus and zoom remotely over wifi from the app if you used those. The primary problem with those lenses, aside from the speed, is that they don't cover enough of a range in one unit and the long end is not long enough for a lot of sports. A better solution would be a Panasonic FZ2000/2500 which has the entire zoom range in one integrated unit and goes out to 480mm equivalent on the long end with additional digital zoom if you need it. https://www.panasonic.com/uk/consumer/cameras-camcorders/lumix-digital-cameras/bridge-cameras/dmc-fz2000.html It also has a ton of other features including in built ND, OIS and a paid V-LOG upgrade if you want it. Again, using the Panasonic app, you will be able to control focus, exposure and zoom over wifi. The missing piece of the puzzle then would be the tripod head and I would definitely have a look at the Bescor/Hague head for that which has both wired and wireless options for controlling them. Its not a totally integrated solution as the camera and head controls are separate but its as close as you are going to get without buying a dedicated PTZ camera and certainly a lot cheaper. It also has the advantage of giving you a standalone second camera for use in other projects rather than just being a single use device. Coincidentally, I walked past a glass windowed studio here the other day where they are using two of the heads to do a live show with.

I think hybrid cameras are definitely more suited to narrative film making. If you got them on sticks, or a gimbal or dolly they work perfectly. Not so much for handheld. That said I am really impressed with what I can get from the XT3 plus OIS 18-55. For B-roll its almost an ideal setup. I think for anything critical I want a 1st AC focus pulling. That said if I am going solo switching between AF and manual focus is just a matter of hitting a button. For certain shots you can't go wrong with AF.

I wish I had access to an old 50s car... my film could really use it.

I agree. I am sick and tired of the stupid floating look. It is un natural as hell. Like I have said you can look at the evening news with crews using heavy ENG cameras and you Rarely see any screw ups on dumb looking motion on them, and as I have stated you spend more time walking backwards doing that than going forward doing ENG work. These light as heck setups may be nice for some things but for serious work you need a seriously heavy camera or a really damn good Tripod. I just don't think IBIS, or OIS, even AF is going to really get the job done if you are serious about this stuff. There is no free lunch for quality output. Maybe a full blown Stedicam rig that cost 20,000 Dollars can, but.. Sure it can look pretty good showing your Mom your footage, but having knowledgeable people scrutinizing it, trying to make money from it, hmm not sure about that..

The floaty image-stabilized look has come to define this level of filmmaking. I would like to build out a proper shoulder rig with some weight to get a higher-production value look with unstabilized primes and the x-t3.

Well we are both looking at China for a whole different environment from the EU and here in America. I personally think past CEO's ought to have their ass beat to put profits ahead of jobs here. The god damn stock market is close to the worse thing ever invented in this county, and setting CEO's wages to it was just about the dumbest ass thing you could ever do. It is all about greed, and greed just screws the average person down the line. Like I have said before, it is all about the money. Rich people would sell their Grandmother for 2 Dollars if they could. I have met and worked around several rich as hell people, and on average they are a total horses ass. They don't give a shit about Anyone, they just use you to make money plain and simple. They make me look like Pope Francis.

Despite my disdain for the Portuguese Prime Minister of the previous years to that period, responding nowadays in Courts to the most severe accusations of bribery, corruption, money laundering and tax evasion (the main investigator is one of my childhood's best friends BTW), his crazy debt illness also found grounds from the most terrible economic crisis in US and its international turmoil since World War II with higher interest rates to put his national debt on red. What affects America, affects the world. Perhaps U.S. President should be elected for a wider population in fact. Clinton's: "economic growth (around 4% annually) and record job creation (22.7 million)" This is real world. E : -)

Looks great! Dig the lighting. I think you desqueezed it too much, though. Original: At 86% width:

Honestly, I think you’re splitting hairs. I’d go with the K&F of that lot for the hard stops. I really like my cheap Bower Variable NDs... hard stops, neutral color... based off the default numbers in Resolve’s Raw Panel, it’ll be within 100 Kelvin with WB and less than 1 with Tint from my target, they’re less than 30 bucks a piece, 2 to 8 stops of ND, they do soften the image a touch but I’d say it’s more like a digital diffusion. I also have two B+W Vario NDs at my two most common filter diameters and they’re equally neutral as the Bower but do not soften the image as much... but they’re only 1-5 stops. I’ve also heard good things about the Simmod Variable ND. If I decide I want a sharper ND than my Bower, for my 77mm filter thread lenses, I may give it a try, but for now, the cheapie works fine. But I can attest to Simmod as a company, they do really nice work and are very pleasant to deal with.

Really pretty damn good. I like it a lot. Good song also.

Shot in two days, with the Panasonic GH5, Viltrox EF-2, Helios 44M/Canon 85mm, Isco Ultra Star, Rapido FVD 16A » [yt is not allowing me to embed the video] What do you think?

ok i know your all been waiting with bated breath. Picked up the anamorphic mount this morning the first couple of pics show the old projector mount. I had the old positioning arm machined off and one additional 3mm grub screw machined into the bottom of the mount and three bolts machined through the anamorphic lens leg holder into the old mount. The bolt pattern was offset about 30 degrees to stop bolts from hitting the grub screws. the first time i fitted it together the anamorphic and bmp4k, i had a real issue with alignment. The bmp4k was not parallel to the smallrig. It was leaning backwoods quite noticeably. I then tried the canon 60d and it was closer to parallel. I then pulled it all apart upon inspection the cheap quick release tripod rocks a little when placed on a table top so that might be my problem. I did turn the tripod release around and now its alot closer to parallel close enough for me to play with anyway. there's also an issue with the bmp4k spinning a little on the quick release, i put it down to the small contact suface of the quick release and the bmp4k base plate has a recessed area with a high ridges around the edge. Its not a major issue, so far its kinda my only gripe with the camera and as gripes go in the overall scheme of things its a pretty small one The bmp4k has one small hole each side of the socket. i'm willing to bet good money that any accessory that bm brings out has prongs on it that slot into those holes next to the tripod socket and prevent any slippage. Because i plan on shooting anamorphic, once i get a threaded connection between the anamorphic and the taking lens, i think the camera twisting issue will go away. i did get a couple of quick backyard shots late in the day. First thing i notice with the canon connected to the anamorphic was that i get the confirm beep and focus mark regardless of whether its actually focused or not, which i found rather intriguing. I guess its the anamorphic optics confusing the camera somehow. I also had the el nikor 63mm enlarger lens and bmp4k connected briefly and i could get focus peaking on some clouds and trees in the distance but it was getting late by then. the el nikor 63mm doesn't vignette on the bmp4k. The standard 18-55mm canon kit lens vignettes from bad at the wide end and a litle bit when zoomed in. I'll get some photos next week as i have just about run out of weekend. not sure if i saved the cat and yard pictures correctly photoshop displays them correctly but i think i need to crop them maybe will have to investigate more hmm those last two pics do look odd, i guess i have some homework, looks like photoshop displays them ok but it doesn't save them in that format.

Realistically the US economy isnt doing that well. If you plot the US public fiscal deficit against unemployment ,,,, ..you will see that the deficit is 'rising' near 'full employment' - essentially the economy is being 'pump primed' at its limits unlike '2000' and '2006'. Essentially it isnt difficult to show the appearance of 'growth' if you cut taxes and increase spending (or simply borrow more) but you are simply spending at the expense of future generations.

This has NOTHING to do with any regulations that have been lifted under the current administration. From the article you posted: "Reserve sits in the heart of an industrial corridor between New Orleans and Baton Rouge. For more than 30 years, it has been known to many of its residents as “Cancer Alley”. That designation stems from the toxic pollution that is belched out from chemical plants along the serpentine squiggles of the lower Mississippi River." I'll add one additional thought... by an intriguing coincidence Michigan has solidly voted Democate for the past 30 years; It was flipped by the narrowest margin ( less than 1%) in 2016. Thank goodness the air in the USA hasn't fallen to UK air quality levels. Seriously, what the heck is going on there?

New setup went well today. I'm not sure I would change anything, at least based on todays shoot. The worst part about the shoot today was that I forgot to take my hat! The setup consists of: GH5 Rode VMP+ Sun 70-210 f3.8 lens (sample images to come) cheap ebay monopod (modified with the head removed) The mic is mounted on the side and forward which pushes the camera back from the monopod allowing easy access to the viewfinder. It's a cheap ebay flash adapter like below, with the camera QR plate on one end, a cold shoe adapter on the other for the mic, and the monopod in the centre mount: The tripod is modified with the head completely removed and a screw installed in the 'cap' that used to support the head. It's not quite straight but, oh well, whatever! The screw is actually the screw part from one of these, which I used epoxy glue to hold in place, and the flat part meant for the cold shoe provides a strong connection for the whole thing. I still have a niggling want for a lens longer than 200mm, maybe a 100-400 zoom, but there don't seem to be any cheap fully manual ones around. The players at the other end of the field are pretty small in the frame even at 210mm (420mm equivalent).

Thanks, Mercer, the Eos m raw can really shine if the RAW is manipulated properly, i'm still learning anyway. I'm really impressed with the bmpcc original as well. The proress HQ looks very close to RAW, and the RAW, when upscaled to 4K resolution in Davinci Resolve, looks quite close to the BMPCC 4K. Cheers!

It seems to be more front to back than side to side. Anyone else think that, or do I need a better crystal ball?

Yeah, but it's also $700. (II)

Fuji GF lenses of course. Some full frame vintage lenses will also cover medium format, like minolta.

Well Tony says the Fuji GFX mount is a dead duck down the road, L mount also. Don't put any, much money into it. No real market for it, probably true. Interesting video.

Metabones didn't invent focalreducers.

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

Russian Femen. You can shoot activism and naked girls at the same time!

Good to know, thanks. I shot h.265 extensively with the NX500 and had to transcode the files to ProRes before bringing into FCPX and the process took forever... processing my 14bit uncompressed Raw files take less time. Now I know you can edit h.265 natively but I prefer to transcode to ProRes before ingesting into FCPX.

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.

I don’t agree with Donald Trump on most anything, however I do agree with him on this. China has stolen trillions of dollars in technology and put up obstacles for fair trade and open markets that they themselves agreed to. No one has done anything about Chinas empty promises and back peddling on opening their markets until Donald. In essence you are saying that you getting cheap gear is more important than the livelihood that was stolen from your neighbors, your sisters, your father because of Chinas actions. The revenue that was lost for your local schools, hospitals, police and fire dept. or elder care home. Donald Trump acts like a small minded child and is a TV presenter but in this article you insult him much like what he does to others. You also put your immediate gratification above the well being and stability of other people and communities and that makes you appear like the one with a single celled brain.

I'm very curious (and excited!) about what this will be, what it will look like, and where it will fit in Panasonic's lineup. If it is just an S1-C (cinema) with minor upgrades, that would be a bummer. However, if they could add internal NDs, I'm all in right away. Surely they'll add at least the higher-end codecs and All-I of the GH5, but that alone wouldn't excite me much. I tend to use the 10-bit 150mbps on the GH5 more often anyway for space reasons (and the S1 is already getting that with full V-Log). And, as Andrew noted, the H265 already on the camera is excellent. So, I would think this camera would have to be something quite a bit more to be appealing - hoping for a FS5-sized full frame camera or an XC-15 style camera. Internal NDs, IBIS, 120fps in 4K, and an efficient raw codec (please BM Raw and not ProRes Raw), are all high on my wish list. I just hope it's more of an FS5/EVA-1 form factor (or smaller, more LUMIX-y) and not a FS7 shoulder cam. -- Also excited that they'll have a working DP talking about her experience using it at CineGear, which may mean it is closer to being ready to roll than the GH5, EVA-1, or S1 were when they were announced (all announced with just basic details to sit there for 3-5 months).

There is no perfect camera but you have to give credit to Panasonic for offering so much in an affordable form factor that is the GH5 workhorse.

I'm still surprised by my sigma 18-35, it's the most versatile of all ? close up or wide view.. no problem (BMMCC)

BMPCC 4K Color Grade in 15 Seconds using my BozBMDFilm_P4K LUT in Davinci Resolve - Ungraded Footage Courtesy of Les Visuals. LUT Download Page: https://bulentozdemirfilms.wordpress.com/bozbmdfilm_p4k-to-rec709-lut/

Snow is probably one of the toughest stress tests a LUT can be put through in terms of highlight detail retention. Let's see how we did ?

You mean this scene or all of them?

Also, the only time I've ever been shut down for shooting something was with my Micro rig. And I was just filming my family ice skating! Granted, I live in LA, so people are more attuned to this stuff, but here I am, filming my family skating at an outdoor rink around Christmas, and the Manager comes up to me... "Hey man, you can't shoot with that thing here." "What? Why not? Everybody here is filming their family on their phones, etc." "Yeah, but you've got a whole professional camera deal. We've got rules about that." "Look, that guy over there is filming with a Canon 5D Mk IV, that camera costs three times as much as mine!" "Yeah, but you got this mic and stuff, it's making people nervous. Sorry dude." ...So, of course, I pretended to agree, waited til he left, then shot at waist level, glancing down at my monitor surreptitiously... Two minutes later... "No, dude. I can still tell you're filming. You gotta put it away or leave." "ARE YOU KIDDING ME? WITH ALL THE STUFF IN THE WORLD THAT HAPPENS, YOU GOTTA SHUT DOWN A DAD FILMING HIS FAMILY?! C'MON EVERYONE, GET THE SKATES OFF, WE'RE LEAVING. THIS IS AN OUTRAGE!" ?