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There may not ever be a GH6, who knows. I don't see how they can sell a m4/3 camera for as much or more than the S1 FF is. Panasonic has put their ass in a peculiar spot. What, they going to admit the GH5 was too expensive and come out with a GH6 for 1500 Dollars? They may just give up on m4/3. I don't see how you can sell them when the XT-3, Canon RS is so damn cheap now. Look at the A6400, 900 dollars. Yeah we might not think the A6400 is the best thing since sliced bread, but to the average person getting into video it seems like a better buy being APSC than any m4/3 camera. And a lot of people don't even know Panasonic Makes cameras.

If you watch enough hours of walking gimbal shots then you'll end up learning by DJI Osmosis.

Mostly the 10bit 240fps and the built in variable ND filter also would like to see how well I can do with Cache recording vs continuous. It would be nice to not have to scrub through 5 hours of conformed 120fps anymore.

I shot this in 2k if that helps at all I am really not sure what to tell you dude. Might advise just sticking with what you have if there is no big reason to upgrade. Unless you like throwing money into the wind. The XT3 is a great camera though. The Z6 is better if you need that low light full frame performance.

I love the clickbait-ey thumbnail... because people just don't care about secrets if they're only revealed in 1080 ???

I don't listen to people with baseball caps on backwards.

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.

Yes but most of the video centric versions ditch IBIS.. GH5S(No IBIS) S1H(No IBIS) etc... Certainly no professional cinema cameras have IBIS. For me I see IBIS as great for stills... horrible for video; it can sometimes warp the image and ruin the shot. This is understandable as the sensor is also correcting for yaw and pitch. If IBIS only corrected for X Y axises. I believe this would not be such a problem. I feel ultimately, EIS, as seen on the Osmo Action and GoPro... but with better quality, will be the future for cinema. And with large sensors like this, it would be very feasible.

The Canon 70-210 F4 is one of the best bargain modern zoom lenses you can buy. I am sure you will love it.

Not a rumor but more of a fantasy speculation. Ignoring the fabled organic sensor, I was thinking about what Panasonic could do to keep pace and perhaps surpass full frame performance. With the release of new quad-Bayer sensors in smart phones that drastically increases lowlight performance, I materialized a fantasy spec sheet for the GH6. Micro 4/3 48Mpx quad-bayer sensor This would kill two birds with one stone. This would drastically improve lowlight performance by offering a mode that would “sacrifice” megapixels for better lowlight performance. The final product would be 12Mpx, enough for a 4K video resolution in lowlight situations. When there is enough light the full 48Mpx could be used for greater resolution photos or 8K video. 6.5 stops of IBIS in-body with upto 7 stops with a good OIS lens This is a strength of M43. Build upon it. HEVC 10-bit high bitrate codec An ALL-I codec is great but for HFR 4K and 8K I think having HEVC for storage efficiency is crucial. Dual CFast/Express slots At least 14 stops of DR Improved autofocus Some surprises ?

Lol.... I'm on the low end also trying to create great work..... I also edit, storyboard and handle creative so the word "try" covers a lot of areas.

Saw Kinson Loo‎ post that to Facebook. Wow. Claiming 14+ spots of DR

In the spirit of "the more you look, the more you will see", I was wondering if I should just pick something brilliantly made and just watch it over and over and over again. Kind of learning by osmosis. I'm thinking that at first you'll see the story, but after a while once you get bored of that, you'll start noticing more and more, and eventually you'll be aware of framing, lighting, dialogue, pacing, editing, music, sfx, vfx, grading, etc etc. Instead, we watch things once, or maybe a few times, but never enough time to notice everything about it. Has anyone done this? What would you watch? Could you watch it 100 times? or more?

SQUIGGGGGGGGGGG

The cool thing about them is that they are making full use of the sensor. Where as other companies gimp their cameras for no good reason. At least we can use the 240fps lineskipping crap recording if we so choose. ?

? Thank you @androidlad for all that you share here.

Odin, your thoughts make my day : ) Life is much darker and a boring place without them... ; -)

kinda why I plan to go with a A6400 over an A6500 for my B cam.

Yeah if Fujifilm puts out there own compressed RAW format I will probably die.

I think 120fps will still be my go to but its fun to experiment. I only ever do 60fps in low light as I feel its not slow enough. Once you go 120 or higher its hard to go back. There's a high school lacrosse tournament going on today and tomorrow, I might roll up and test the FS5 to see how fares to my old A6300 and former Z90

I have been playing with the X-T30, and it's even more of a bargain than X-T3. However, it's so small and light that it doesn't work well with larger lenses. The Fuji 18-55mm is a stunner on the X-T30 for documentary use though. It feels small enough to be balanced with the camera controls, and it's not always trying to escape forward and downwards from your grip. The OIS is amazing. The AF is amazing. It is even parfocal and you do not see it trying to refocus during a zoom. So you can do the odd zoom or even fast crash zoom and focus stays nailed on the subject the whole time. The image has all the same qualities as the X-T3 and I can hardly tell difference between the 8bit and 10bit 4K. Also the X-E3 does 4K, and although the detail and rolling shutter isn't up to the X-T30, it's even cheaper and I prefer the ergonomics. You don't get F-LOG but with Fuji film simulations, who needs to spend hours grading?! Yes it is surprising how the 10bit RAW stands up. You only notice the difference in the very deepest shadows and a slightly harsher highlight roll off, but since both ends are usually junk on even a sensor as good as the 5D Mark III's, and I prefer a lot of nice colour and contrast from my raw files rather than the HDR-puke look, it doesn't matter... Better to have the smaller file sizes, although 14bit lossless compression also stands up well in Magic Lantern. Still by one of the best non-4K cinematic images for the money which is competitive with Digital Bolex and Alexa for a film-like look.

Already have the Small HD focus which I love. I've dabbled in external recorders, they are not worth the hassle for me to own sperate media and add another layer of complications to my setup. I can never trust the HDMI and setting up rigging to lock it in place is overkill. Just never worth it for me.

After a couple of days playing around with the 3, I can get them all to match up pretty well with Filmconvert and a bit of tweaking, sometimes I couldn't tell which was which. What made the P4K and X-T3 shine was my old Leica 35mm Summicron-r, it really helps take the 4K digital edge off, and adds some nice flare, not always welcome on run and gun doco work, but that's why I carry a mattebox. I've got a 1/8 Black Promist filter on order, it will be interesting to see how that works with the 18-55mm Fujinon. What did surprise me is the X-T3 is cleaner and sharper than the P4K at high ISO, my Viltrox speed booster hasn't arrived yet, that extra stop of light and S35 crop should even things up a bit. At 3200 ISO the P4K looks to be on par with the 5DMk3 noise wise, albeit without the fixed pattern noise. I'm shooting some stuff for a doco next week where the P4K will be on sticks shooting a 2 hour 12:1 Braw master, whilst I move around a dining table with the X-T3 shooting FHD on a monopod to get close ups. It's been overcast here, I'm waiting for the sun to come out so I can do some definitive dynamic range tests. The 5DMk3 still has the edge in terms of post manipulation, Braw doesn't have as much highlight control. 10bit HEVC and Braw are quite close in post. The P4K and the X-T3 both lose saturation and detail in the shadows, the 5DMk3 does better there, but it's noisier in the shadows. I saw a test on the X-T3 vs the Nikon Z6, the Nikon did much better than the X-T3 in the shadows, if only Nikon would bring out an update with a good internal 10bit codec, with an XQD or CFexpress card, it could do internal raw ?.

Ive watched this NSX edit probably 35 times always seem to find another aspect I like about it. Lighting ratios, color temp, color grading, focus, sound, audio, camera movement, rule of 3rds, location, depth of field etc etc. BY FAR my favorite car edit.

To me, the more brilliant stuff you watch, the more easy and natural it gets to replicate it, even subconsciously. I've been 'collecting' short videos / ads / specs on vimeo and YouTube for a while and every time I watch them, I notice something new. It doesn't necessarily mean it taught me something new, but at least I start paying attention to these details. Photography (and therefore a good portion of cinematography) is made of learning how to see (and then capturing it). After seeing millions of well-composed scenes, with great lighting, etc, you start thinking like all these new neural networks. I know, it's a brutal comparison, but how do we (as humanity) learn if not by listening to others and watching how they work / accomplish something?

To me, the rules: Help out professional drone pilots (or will create a domestic marketplace) Hinder the average YT person that wants high IQ but won't become a pilot Help to shift demand from mid-sized drones (eg, Mavic) to tiny drones that are below the maximum weight for unrestricted drone use (normally something like under 250-300g IIRC)

There is/was an ML version for EOSM firmware 2.0.3. ML developer Daniel Fort has a 2.0.3 ML version from January 2017 on his bitbucket download page (scroll down to "magiclantern-Nightly.2017Jan13.EOSM203.zip"), Here is Daniel Fort's tutorial on how to downgrade Canon firmware. It is fairly easy, once you have the firmware (.fir) file -- just reflash the firmware the same way you would flash ML (except the SD card should not have the "boot flag" enabled). Always make sure that your battery is fully charged before you attempt a firmware update. Canon doesn't seem to have the EOSM 2.0.2 firmware posted for download, but it is available on this page. Scroll down to the firmware download link near the bottom of the page (it's not the "ksd291a_installer.zip" file near the top of the page). In Daniel Fort's firmware downgrade tutorial, he seems to suggest that it is very unlikely that someone would/could tamper with compressed Canon firmware files (.fir).

Calling it now.. Blue balls thread!

The drone market is a strange one. Simultaneously you've got DJI pumping out better, faster, cheaper drones with higher and higher image quality, while simultaneously countries are bring in legislation that prohibits anyone flying them unless they're basically a pilot. eg (ignore the click-bait title) I see a collision of supply and demand that won't end well for DJI stock prices.

Thanks for doing this test. I'm seeing very nothing here that I could not achieve with the D750. Thanks guys, every so often I need to get my GAS under control. Love the image from the D750, and my deliverable will not benefit from 4K very much. Support gear and lighting it is!

I am pretty excited about the ipadOD (long time since I have thought that about an Apple announcement. Now that ipad has its own OS, it is no longer shackled to the iphoneOS and can evolve into an OS for content creators as well as content consumers. So the announced features should only be the beginning - and from what I have seen so far they look pretty good.

It can only get you so far tho!

That's easy : ) I'd buy the X-T3 if not for much else aside the 10-bit internal and FujiFilm color science, let alone 4K60p for the price, well... : -)

Odin... Humm, got a perfect nick, mate! LOL : -)

Out of curiosity, is asking a question like "When will the XT-4 come out?" a Troll question?

Seems like it is another Sony hater thread on your part. Give it a rest, Jesus. If you don't like them fine, don't buy one or use one. End of story. How hard is that. Christ use your God Damn XT-3 and be happy. Hell have sex with it, you can probably find a way somehow. ? And where is that Snowmobile footage you promised using the Osmo Pocket!

They Need to come out with a 1" sensor Osmo Pocket. That is what I want.

The app with built-in GeckoView should perform solid and fast, but that comes with the price of 40Mb. As we move to Fenix launch, GeckoView is being optimized, however aarch64 is lagging, and as such only 32bit version is delivered trough the store. Using android's built-in library is less reliable, and performance depends on specific device, as there are still some bugs related to specific hardware, which are still pending. As such, I recommend you stick with Mozilla's GeckoView version for now. Here's today's test using a Mi9 sample image, with the updated back-engine vE25 color match.mp4

Kind of funny in almost the same year, 1981 as he did I paid $7000.00 Dollars for nearly the same system! So he might be right It could be a bargain. I made a Lot of money with mine.

I get that, who wouldn’t want more DR? I’ve just found, in most instances, 12 is enough for me. If I’m being honest with myself, which I try to, any limitation I currently have, has more to do with my own skills than the 5D3. Obviously, DPAF would make my life easier and smaller file sizes, but ML solved that with 14 bit Lossless and I’m getting double the storage now. I’m also slowly building a small, BMMCC rig for certain projects where ProRes LT or 422, to SD cards, is more than enough... plus I get to dust off my small collection of c-mount lenses. I hear you about the 5D4, I’ve been hoping for a breakthrough, but I don’t know if the interest is there. Everybody at ML seems more intrigued with the smaller cameras. I think I read that one of the guys has stopped working on the 5D3 to concentrate on the M50. To add about DR on the 5D3, I think the 14bit color offers a little more texture which gives the perception of more DR. For instance, in this frame, the texture of my actor’s skin would be way smoother with a compressed codec that had more DR than the 5D3 so, with my limited tech knowledge, I can only attribute it to the extra color tonality of 14 bit...

Some 14bit lossless frames from my 70D. No sensor crop, full width Super 35mm. Continuous with SD UHS hack (approx. 50MB per sec) It's very filmic. No anti-aliasing filter used, just classic EF 28-70mm F2.8 with ND. Digital Bolex with AF finally here! What are the advantages of the 7D? One more... Seems VAF isn't even really needed! (all frame grabs exported from DNGs as upscaled 4K JPEGs)

So terrible we have to scroll past it twice.