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Just found his review from Curtis st

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

So the nikon z6 is now around 12 stops. but with the raw update beeing raw and all, and photo's are 14 stops of DR. We will get 14 stops of DR out of the nikon Z6 right? Which would make this a 2,5K $ FF raw camera(with the atamos recorder included). Which is even only half the price of the zcam F6. This could be the next best thing and blows everything in the near range out of the water, or am I missing something here. What are the downsides of the Z6, as I never used it or saw it really? (I have a shitton EF glass, are there decent adapters out there?) I went on to check some quick footage online. If its looks this good crippled, I can only imagine how good the RAW will look like.

1) drunk (nah, I kid, would have bought it sober too! Just was mildly surprising to me when I woke up and discovered I had won a Maxx...) 2) was a good price!

Lo siento, no volverá a ocurrir!

I understand. I don't appreciate downvotes at all. Pretty coward stuff to be sincere. They might be banned for once IMO. I also approve your fair concern on topic now. Lack of personal consideration cannot be tolerated at any rate. It is not a matter of opinion, but decency actually.

@kye totally. ive done that with my favorite shows particularly the x-files for me. also the sopranos – a show like that, thats so well made, i can watch it over and over and learn stuff all the time i credit that practice with a lot of my understanding of filmmaking. it really is this invisible art that no one really knows exists, but when you start to watch films and see the blocking, the sound design, etc etc, thats a total game changer today, i can get something out of watching OLD films that i never wouldve watched in the past, that i absolutely love now~! like, once you can see through the "movie magic", black and white films become a lot more contemporary, a lot less alien. for me at least

Am joining the Zaxcom family!

Travel - Michael Palin, Anthony Bourdain or Simon Reeve. Nature - David Attenborough. Sport - ESPN's 30 for 30 series, A Sunday In Hell, TT3D Closer To The Edge, When We Were Kings, Johan Cruijff: En un momento dado

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.

Considering who it was he was trying to emulate with his look at me antics, I'd have titled it "Suitcasey Righttwat" if I had been fast enough to film it.

For mirrorless AF Sony is way ahead in first, Nikon is second, Canon Third. The AF between Nikon and Canon is pretty damn close though. Canon is kicking ass in primes but Nikon is making incredible zooms. I'm trying to hold out until generation 2 of Canon/Nikon and generation 4 from Sony, hoping for 10-bit 4:2:2 internal from all of them.

Fire away, I've just seen a grown man riding a skateboard through an airport while pulling his suitcase fall off it and take out another grown man on a skateboard filming him so nothing is going to impact my bliss now.

No worries, next time you'll be shot dead! ; -)

I agree. The downvoting option is not a good option to have.

Full frame. I'm also tempted by the Z6, my great dislike for external recorders ( unless it's SDI) has prevented me from pulling the trigger.

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?

IMO, no better place to start learning about "making something out of something" with no more than a camera and a mic for outdoors sport activities than Warren Miller's work... warren miller - YouTube: https://www.youtube.com/results?search_query=warren+miller ...first hit there (this morning) brings up... . . . Like There's No Tomorrow Official Trailer - YouTube: ...and ought to get anyone's juices (creative, and otherwise) flowing! As for travelogues, a personal fave of mine (again, just camera and mic and whatever nature gave them on any given day for light and adventure) and a personal "repeat go to"... 180 South HD Trailer Official - YouTube: ...great reminders for me that there's a world of personal adventures to be had and that I need to get up off my ass and go do something! Hope that helps. :)

Either that, or this:

noooooooooooooooooo :( We're talking about the FF cameras. The Nikon Z6 with a Ninja V is definitely a lot cheaper than the Z Cams from the pricing indications they've given us. And a BNC connection for timecode.

You can find the latest firmware here: https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/index.html I could download version 2.4 fine from that page.

Its definitely on my watch list. Especially at that price. From what I've seen of Prores RAW it only yields slightly more dynamic range than native. So probably like 12.5 maybe 13 stops if the camera is doing 12 in H264. Still thats 12 bit 4K full frame.

For motorsports, ΤT isle of man Closer to the edge and Senna are completely different but brilliant.

Well, there definitely has to be a structural approach to learning. Even if you keep watching the same film over and over again, perhaps this time without the sound. You'll notice things you otherwise would not have. Perhaps the next time, maybe try reediting the movie to see how it works worse or better. Etc. I personally dip back into Scorsese films every year. I'm a fan of his characters, editing and structure. Can't ever learn enough from his films.

to put it another way, a front anamorphic 100mm lens has a cone of light in image space that is vertically a 100mm image, and horizontally a 50mm image. Since a 100mm lens has 4x less depth of field as a 50mm, it will defocus at 4x the rate of the horizontal axis, while the image will be desqueezed at a constant 2x, meaning the further you throw something out of focus, the taller it will get. Conversely, a rear anamorphic 100mm lens has a cone of light in image space that is 100mm vertically and horizontally, and is then squeezed at a constant 2x, so you wouldn’t have the same asymmetric depth of field.

All or nothing is what I say. They would be no other reason to release it otherwise.

I think one of the key benefits of going to film school is that they force you to look at films and analyse them, force you to make films of different kinds, force you to use each type of shot, each type of lighting setup, each type of whatever. In this sense, if you can overcome the laziness and also push yourself out of your comfort zone and try new things then this is the answer. I'm a big fan of just making lots of videos, and also of making different types of videos. However, this is only half of the picture. The analysis of what other people did is the issue for me, thus the idea of just watching something over and over again. I make videos of my family, so in terms of genres, its: travel docos (when we travel), nature docos (when we visit zoos and wildlife sanctuaries), action/hype videos (when we swim, or when we attend sports events like bull riding), and sports videos (when the kids play sport). What are the finest examples of those genres I should be watching 100 times over?

Bump. Overlooked it for entirety of 2018 but I now realise along with the Olympus E-M10 III, the X-E3 might deserve an EOSHD Total Bargain award. As well as the price, it's the size and weight... might be smallest super 35mm 4k mirrorless camera yet? When I tested the X-T20, the 4K was fine. I recently also tested the X-T30 and although it is as good as the X-T3, I still feel both the X-Pro 2 with 4K firmware upgrade and X-T20 hold their own. Pixel binning is no longer a sin. Canon should try it. Gets rid of the 1:1 crop and reduces rolling shutter. All cameras should have choice between full pixel readout and pixel binning. I prefer the form factor of the E-M3 to the X-T30.... But of course X-T30, although more expensive, brings 1080/120p slow-mo and F-LOG to the table. X-E3 is phase-detect AF, but not as good as X-T30's newer AF engine. Review soon.

People certainly discuss codecs like there are lives at stake, but this is the first evidence I've seen of it being true!

I am pretty sure there will be a GH6, but what price? I guess it depends on what they add to it over the GH5. But I still don't see how they can charge Any more than the S1.

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

I totally forgot the Pocket could do this. Yeah this would be a wonderful option to have. I highly doubt we will se BRAW in anything but a blackmagic camera. I also don’t think we will see internal RAW in a camera this cheap in any camera besides blackmagic except for maybe FUJIFILM. FUJIFILM could really move into a great video solution position. They already kinda are. Great color science, built-in film emulation, vastly improving video codecs and capabilities with each release.

Super interesting the option for micro 4/3 mount on it. Ala LS300 I'm assuming?

I think people can get a bit precious when talking about bit depths for colour, when I think that above 10-bit it's the compression and codec that is much more important. If someone reading this disagrees then I'd highly encourage them to get your hands on some 14-bit RAW files and export them to a 10-bit, 12-bit and 14-bit uncompressed files and then compare those files in post. There's lots of debate about if 8-bit is enough or if 10-bit is required, but there's no huge emotions in talking about 10 and up. I shot a bunch of RAW test clips with ML at different bit depths and decided that 10-bit was all I needed, and coming from that footage to the 10-bit files from my GH5 I don't miss anything in terms of colour grading ability. What I do miss is the RAW image quality and how analogue it is in comparison to h264 and even h265.

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.

In s35 mode on the EOS-R I don't think you could get five out of five on a blind test next to the C100mkii. I did some side by side with my BMMCC as well and the R has more detail and almost identical DR to the BMDs Prores HQ. Personally I use it in full frame HD for mini docs all the time. It's either going online for social media or projected on big movie screens. So no need for anymore detail. I always have my BMD on standby but so far I just keep using the R.

Calling it now.. Blue balls thread!

I agree. Just like with the S1, Panasonic has built a body that can and will be able to handle heavier loads in the future. So while Sony will surely have to start from scratch to match even the 10-bit, 60fps S1 specs with the A7sIII body, Panasonic has already built a larger body with a vent and cooling system for even more intensive work loads than the S1 - the S1H. Which means we'll see at least 10-bit 4K All-I 400mbps, probably in 60p as well, plus the 6K already announced (hopefully in 10-bit H265 or compressed raw) and any other firmware updates they want to throw in there as competitors release their own high-end video hybrids - their system is already built for future processing loads.

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.

Unfortunately it looks like they have cancelled plans to release the S6 in MFT mount. The MFT mount would allow a speedbooster to be used - also certain mirrorless only lenses (meike cine, fujinon zooms, slr magic primes) would have been mountable. A damn shame!

Curtis review: