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It begins. Evaluating new cameras isn't my favorite thing, so I thought I'd share the pain. I've got a lot of work on ATM, so this will be an ongoing project. I might even end up making a youtube vid ?. I've been shooting with the 5DMk3 ML raw exclusively for many years, you can check out some of my recent work here: A few contenders have come along over the years like the A7s and BMMCC, but all have failed to measure up to the 5DMk3 with Magic Lantern raw. These jobs I did recently were particularly gruelling, up to 19 hour days, days on end, uncontrollable lighting, no recce, no crew, constantly on the move, a great stress test for any camera or operator. The weaknesses of the 5D have never been more apparent. With a slight lull in the storm, and some technical hurdles in upcoming work, I took the plunge and bought these two sought after bodies. Not being able to get a Pocket 4K for like 8 months allows a lot of time to pixel peep and contemplate the future. Pixel peeping is one thing, but you really don't know if it's for you until you test it for yourself, or wait for a crash test dummy like me to do the work for you. Very early impressions: I have to say that of the 2 cameras, I was more excited about the arrival of the Pocket 4K, at least until I remembered the lens adapters I ordered haven't arrived yet. I rummaged through one of my four film detritus drawers and found 5, yes 5 ? Nex adapters (remnants from a brief Sony affair) but not a single M4/3 adapter of course. So I unboxed the P4K, grabbed one of my Canon batteries, and fired up the little beast. The fan: super quiet, probably the quietest fan I've ever heard, a non issue. The firmware: 6.2.1, no CDNG for me. For those who haven't heard: BMD have put a new touchscreen in the latest cameras that only works with 6.2.1 firmware. I'm not really fussed, the Braw stuff I've seen looks really good, and the file sizes are amazing, 4K Braw files are smaller than 5DMk3 raw 1080p files. UHD 12:1 Braw files are roughly the same size as 1080p ProRes HQ files,and 200Mbit/s 1080p X-T3 HEVC files. I've had the X-T3 for a couple of days and I got an 18-55mm f/2.8-4 OIS lens with it. This lens is fantastic, creamy bokeh, and the OIS is amazing, I can get super steady shots at the long end handheld, I know I'm very late to the party with OIS, but wow. Can't wait to put an Iscorama anamorphic on this puppy, no 58-52mm step down rings in the detritus drawers either ?. Low light on the X-T3 is a mixed bag: up to 8000 ISO the noise is tolerable, film-like chroma grain, no fixed pattern noise, however: the X-T3 image falls apart in the shadows, that's a big minus. The other image related issue that comes to mind is: white balance. I had to go digging into the detritus drawer for a grey card! I mean srsly, what's the world coming to? I haven't used a grey card in years; I'm so accustomed to shooting raw I just don't even think about white balancing anymore. I haven't drawn any conclusions on custom white balancing yet other than it's absolutely necessary with the X-T3 ?. Ergonomics: the X-T3 is terrible in big hands, I rarely handhold a camera, rolling shutter micro jitters are a thing, but the OIS lens makes it doable. The Smallrig cage has a handgrip extension, so that may help. The P4K is much better in the hand. Stay tuned.

I blame @kye for this ?

Almost looks a little Too 3D a bit to me. Looks like he is walking on the water lol.

Great stuff, keep us informed. PS, I like your writing style, direct with lots of info in few words. Keep it up!

I think its because all these new features are more geared towards the prosumer and run and gun market. People in a professional setting tend to see cameras as just tools. I think its geeks like the people on here, me included, that are cumming over every new release. For someone like myself who is often doing 3 jobs at once shooting with a 2 person crew, these type of advances are automatically useful for me. In a professional setting you are shooting on say a RED or Arri, all kitted out. You have a 1st AC pulling focus. That type of system has been in place for a long time. I think that's why you hear people saying, auto focus is useless if you are a professional. Why fix what isn't broken. Of course when people actually use new tech and discover that you can do a three man job with just one guy that starts to change things.

Haha... it’s all part of the story.

Nikkor ai-s 35mm 1.4

to be fair, the new monitor DOES come with a free cleaning cloth

Does it even output 10bit over HDMI?? Probably does, but I wouldn't want to assume it! Don't think that using a Ninja V is the right approach to recording with a Varicam LT

I missed the "raw" discussions between you, Mercer and co, that I enjoyed for months and months... Coming back with this is so great. And I was thinking about those three cameras, for when I will be able to buy one again. Thank you !

My finger grip for the X3000 arrived yesterday, it is a very interesting and well designed accessory. The unfortunate aspect of it is that it completely obscures the rear door, prohibiting the use of an external microphone. I've examined it with the intent to drill a hole in order to get a 3.5mm mic jack through the rig and into the camera, but it doesn't look like that is too feasible. I will do some testing with the built-in mics and see what I think. My uses for this camera are mostly without dialogue so ambient (non-directional) audio is probably fine. I think this rig might be one of the most interesting from a "nano-rig" perspective, and it might also be why there are hardly any third-party rigs for this thing - it covers the tiny rig category and if you are fine with larger rigs then the 1/4-20 mount provides you with all the options you would need.

A while ago started to develop an app, which now can also load 3D cube LUTs, edit them, and export as cube or hald. Of course creating LUTs based on a source image/frame is the main functionality, which evolved a lot since the app first started. Android: Google version, size 1M (running on System): https://play.google.com/store/apps/details?id=com.kinoseed.photomatch Mozilla version, size 40+ M (with built-in GeckoView): https://play.google.com/store/apps/details?id=com.kinoseed.matchcolor You can use the app via any modern browser or Android device. Web: https://kinoseed.com/ If your try the google version, and the sliders don't move smoothly, it's a bug that google is still fixing, try the Mozilla version, as it works for all devices. Let me know what you think.

I have been thoroghly enjoying fast editing with Lumafusion on my iPad Pro 2018. As we already know, it handles multiple 4K tracks with ease, making the editing part of the project a breeze, compared to the sluggish performance from Premiere in particular. File managment is however, as we also already know, a fucking nightmare on the current OS. Hopefully this will be rectified with the upcoming new iPad OS (Apple is however flaky as usual about it). But if external storage will work properly with this update I really feel the iPad Pro is becoming a very good option when it comes to creating on the fly, with minimal hassle. As a journalist I see many benefits from a fast and light weight option like this on the field, when speed and quick turnaround is key. What do you guys think? And here's hoping Lumafusion adds waveforms and scopes ASAP. https://appleinsider.com/articles/19/06/03/apple-supplements-ios-13-with-new-tablet-specific-ipad-os-branch

Looks like the consumer shift to streaming is having a major impact on the hard drive market (one major component supplier is already positioning itself away from the market) which will very likely in turn impact the price of hard drives in a negative way. Personally, there's no way I'm putting my trust in a cloud service, so I guess I'll just have to be more thoughtful about my storage strategies and take whatever price increases might be coming down the pipe. https://www.techspot.com/amp/news/79938-pc-hard-drive-shipments-could-fall-50-percent.html

Oh, we did say; ergonomics, menu system, touch interface, battery life and heat dissipation were industry best until recently, and still are in some of them. Also the 70minutes continuous recording was a first at the time. I have used the NX1 cameras for hours in the warmest (and saltiest) Mediterranean conditions. Not even a hiccough. Ever. Enjoy your NX combo. I am sure it will set some standards for you.

Thanks Chris, I appreciate your, and all the other thoughtful comments. I get the niche here that thebrothersthre3 mentions, after all it's the eos forum. I've been a camera geek for a long time and have a large collection of all ages and kinds. most are things of beauty... except for the plastic stuff with microscopic buttons and menus from the past 20 or so years which barely got used before being replaced by the next best thing - DSLRs and HDV etc. I understand these cameras form the majority of profits for these companies and offer the flexibility of shooting both stills and video - although we are quickly approaching resolutions that offer a 4k+ frame grab sufficing for a photo - depending. I started as an assistant photographer, became a photographer and mostly shot medium format and have used them all. I then became a commercial director and have used all the great cameras along the way (even owned a 435 package) and forced to sometimes shoot on video... back in the day... we all knew the main problem was interlacing and sensor size. Those problems have been addressed along with many others and color space is really getting there. I rode the DSLR wave, but didn't try to bring that to anything serious as it just isn't built for it. Occasionally only if a super small camera was needed for some reason. I've had many chuckles watching the proliferation of cheap gear suddenly available to bolt on and "build" these DSLRs into cinema style rigs... often just as large... scratches head. Arri got it right and as soon as they could ditch the mags and add the sound - moved to the ENG style. It almost feels to me that there is a generation of videographers who grew up on DSLR form factor and have never thought to try anything else. But Skip77 is right and the 5D was the inflection point. I love wonderful production design and deeply crafting an image, however recently I had to do a small documentary job in Paris with lots of interviews and run and gun street stuff, and shoot it myself, traveling with just one other writer, so I had to be very self contained. I chose to rent two of these small newer 1 inch cameras I think they were Canon FC405 or something like that. Cheap consumer crap... BUT, actually perfect for this job. Never had to dig for a lens, used the hell out of all 4 of the ND filters, the really good auto focus and always had great mics plugged directly in. I did all the research, talked to my AC and DP geeks who tended to always want to over complicate it. I guess this sensor is somewhere between full frame and APSC but Low light performance was weak and there supports my argument to just put the DSLR guts into this form factor. If they actually ever made one with a great build quality (the old JVC GYHD ?? series made of metal with everything laid out logically comes to mind) they could just offer basically the "VIDEO" version of these new twin pairs of cameras in a form factor that is friendly to video instead of these outwardly identical R or S or whatever... it's just confusing. Imagine if you have both in your bag. That's what I thought Canon would do as they were launching the C - series... but they should have kept price (and sensor) identical to the 5D at the time. Everyone would have bought it. I guess Black Magic is the only one really trying to fill that space, but for whatever reason... I've never used one either. I'm not actually sure which kit of those two you mention you'd rather carry. I mean weight is just one consideration... and a big one for this Paris job, but usually much lower on my list. Any job with at least one AC mitigates that for anything but remote adventure. But if you mean needing to respond and react quickly... I don't know what could beat these tiny ENG style cameras. Like most of these kinds of problems... it's about marketing and tiering and not really building the ultimate tool... because that might last for a few years.

A couple of stills extracted from videos. Minolta 58/1.4 at f/2, Samsung NX1, mostly at ISO 1600, but few shots required ISO 3200, no hacks. Perfectly happy with the results, shadows on this camera are so deep and rich.. Lovin' it.

A couple of stills extracted from videos. Minolta 58/1.4 at f/2, Samsung NX1, mostly at ISO 1600, but few shots required ISO 3200, no hacks. Perfectly happy with the results, shadows on this camera are so deep and rich.. Lovin' it.

$1000 for a monitor stand... that tells you all you need to know about Apple.

the dock must be just out of the frame haha

Why? Two different bodies means it's not a hybrid and they can do video and stills really well. The super fast A9 does great looking video, etc, etc. The day it happened and Canon introduced good video in a DSLR it was all over. We can't go back.

Because photo/video hybrids sell in numbers many times greater than dedicated video cameras, and get far more coverage than something like a Varicam or EOS Cinema camera. Plus the two worlds have been converging for quite some time, its a natural progression. If you shoot stills and video, in many cases carrying two different kits really makes no sense these days. With the S1R/H combo, you have both bases covered and there's easy backup/B-cam capabilities with each. I just worked with a a couple guys from the Matador Network, one was carrying a FS5/28-135 for video and a 1dx plus the f/2.8 zoom trinity for stills. The other had the a73 and a few GM lenses, plus a Ronin S mostly for video, but also grabbing stills. I know which kit I'd rather carry. If Panasonic had a competent AF system, I'd be all-in on the L-mount since I fall into the photo/video camp. As it stands I'm waiting to see what Sony does with the a7s3 before doing anything, since the various E-mount bodies serve my needs well. Chris

Can someone please explain to me why all the new VIDEO features these days make their debut in DSLRs... and then tend to migrate toward video style cameras? Still cameras are/were purpose built for one type of usage, (though I could argue holding one is still not ergonomic as the hand is forced forward at the wrist) holding and rigging while the modern digital cinema camera layout has evolved mostly from ENG style because everything is where one would expect it and is just so much better to operate and work with without the need to rig a small awkward DSLR body out for this.... for example the ever useful top handle, zoom control handle in natural ergonomic position, ND filters and xlr inputs to mention a few. And a long camera doest require as much stabilization. Lens coverage need no longer be an issue and new full frame lenses are released constantly now. Why don't all the big makers (canon sort of tries to) simply make two body choices with essentially the same guts? Please someone give me an answer that makes real pro and marketing sense.

FYI:

The CEX website has some good deals but I'm not sure everything in the stores is up there. You have to ask where some of this stuff comes from if someone can walk in off the street with a bit of kit and then walk out with some cash.........

You apparently have never seen the stupid ass rig they had to use to make it happen. That thing has been around for years. https://***URL not allowed***/canon-8k-cinema-camera-first-official-footage/

My hackintoshes were always a pain to set up, but once they run they run. Just NEVER update the OS! :-) my first one was going for 5 years straight without any issues, upgraded cpu and OS last Fall, no problems since. Extremely reliable. Running an 8core xeon and a gtx780. can play 4k dngs in 24p in resolve. Basically the performance of the 2013 mac pro for very cheap. That's all that I need. Am still editing prores and grade in raw later.

You’re in luck... I have cats that sit by the window. I wish I was in the market for one because you just described every scenario that it would be a blessing for me.

Just got a set of Manfrotto feet for 32£, they work a treat. https://www.amazon.co.uk/Manfrotto-565-Rubber-Shoes-Spiked/dp/B00131GCAC/ref=sr_1_5?keywords=manfrotto+feet+rubber&qid=1559735204&s=gateway&sr=8-5 Thank you for the suggestion xx London, UK. It's a tedious work looking for these deals

What a ridiculous situation. Who thought that was a good idea? I'd be tempted to look to see if anyone has done a 3D printed version of their own as it would be an easy edit to remove a suitably sized opening and then have it printed by someone you know who has a 3D printer or send it off to a commercial bureau to have done. This one for example could be a starting point https://www.thingiverse.com/thing:3659415 And remember to have it printed in electric blue.

Or this.............I want one.

back in my day, my parents bought the house i grew up in for $150k. its worth $750k now apple completely went back to their old design! ? talk about admitting defeat lol

That is what the C200 is good at imo, providing a good image without much of a crew. On the other hand, it lacks input/output/monitoring options, codecs, ergonomic designs, etc. that become more important and more desirable with a larger crew and on a larger production. I'm a little underwhelmed by DPAF, it's just hit or miss. It could work very well for simple steadicam moves and handheld follows and on tricky long lens shots and complement pulling focus manually on simpler shots imo. Definitely very useful in certain contexts and pretty natural and a great option to have, but it's still a poor replacement for an AC. I suspect most pro owner/ops would be better served with an FS7. Ergonomics and codec options and monitoring options are more in line with industry standards. And I prefer the "look" of the EVA1 out of camera, but the canon raw image is so flexible in post that it's not a big deal if it looks flatter/duller imo. It also looks closer to an Alexa, which is nice for B roll or shooting plates. (And it responds better to S curves and an Arri LUT than to Canon's sort of ugly wide DR LUT.) But for your needs the C200 might be a lot better than an FS7. The image continues to impress me a lot, it's in the same class as much more expensive cinema cameras, I think, though it's subjective. From what I heard from Canon, it's the same sensor as the C700, just without the look around room, and I have every reason to believe it. Don't bother with the B model though imo, the EVF is too useful.

8K camera from Nikon at Apple event............ https://www.techradar.com/news/did-apple-just-blow-the-lid-on-a-new-nikon-8k-camera

Ha! I get to wear my old man badge now! "Back in my day we spent over 100K for shitty 640x480 non-linear editing and we LIKED it!" Hey, things are pretty sweet when you're on the other side of the gate.

It's just to test the workflow so anything really. High DR is always useful and cats are cool

Color Matching Algorithm Updated: vE23 62314360_2257168497702381_3219863108302284978_n.mp4

I laughed so hard. Especially the no rolling shutter part, deserves an award! That Canon is the worst piece of junk I have ever tried. If you have no choice but using that camera we definitely don’t live in the same world, and I am thankful for that!

I hate you!

Where do you live to see such great deals? I have Never been that lucky lol.

Yeah sure cause taped up connectors sure do look professional. While we are at it, why bother with cages, tripod plates, rigs and magic arms? You can just gaff it all up!

SLR Magic MicroPrime 18mm

For a cheap (just over £20) handle with start stop, these are OK I think. https://www.amazon.co.uk/JJC-HR-DV-Remote-Handle-Pistol/dp/B00MRNP2LA Well, I was in Tokyo so maybe the smog takes care of it automatically

I am really curious about this, but I definitely do not need a full frame video camera, I do not even for pro photo work. The L mount doesn't seem like a strong mount for video so far. I wonder what the specs and the pricing and the form factor would be. Definitely the pressure from P4K and Z sales really affect the industry, and this L camera has to be responded by Canon/Sony somehow. Imagine that Canon has the XC15 and then the next one is the C100mkII! There is like a huge gap in between, with both these cameras needed a replacement a year or two ago, but, do they even have a replacement on track? And where is this new Sony?

I think this might finally fill that $3-6k gap of a highly capable, small cinema camera that I’ve been waiting for for a few years. Definitely high expectations though.

A small body with all the things we want but a changing mount (L-Mount, EF, Micro 4/3) ala LS300

Panasonic DC-GH5 SLR Magic Anamorphot-50 1.33x Anamorphic Adapter Zhiyun Crane v2