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I did a double take on this because I thought this thread might be 3 years old. 'Torrenting' as a percentage of total internet usage has been increasing since 2015 - precisely because of the rise of streaming services. 4 years ago Netflix had a virtual monopoly and so you could watch pretty much anything decent on the service. The rise of competitors - Prime, Disney, HBO, Apple etc - means now if you want to watch the best shows you either have to subscribe to half a dozen services, torrent or miss out..... https://www.vice.com/en_us/article/d3q45v/bittorrent-usage-increases-netflix-streaming-sites

The funny thing is I don't think you can go wrong with almost any current camera nowadays. You'll kind of be set unless things change so much that people only watch things in 3D or something. Creativity is the biggest limit. Imagine 25 years ago when all you had to make a quality looking movie was shooting on film. We have it incredibly easy nowadays.

AIVASCOPE 1.5x anamorphic lens, 1st hands-on https://vimeo.com/341289409 I just had the chance to film with the new Aivascope 1.5x anamorphic lens on my Panasonic GH4. It’s a very sharp lens working great with some of my primes. It’s a single focus lens (you do the focus on it and let the prime on infinity) In this movie you will see different shots done with : GH4 4K uhd (no CC) 24p Lumix 20mm f1.7 btw f1.7 and f4 Pentax-m 40mm pancake f2.8 at f4 Sicor-XL MC 28mm f2.8 at f5.6 Despite the fact the Pentax-m 40mm is less wider than the others, I like the result with it and the Avaiscope. I’ve used a Dorr variable ND lens, on the GH4 the picture mode is on « portrait » with slight ajustments. I did no color corrections at all. I will do some test on full frame camera later. Thanks for watching. Heres is the characteristics of the Aivascope 1.5x lens : Designed for Full Frame systems. Recommended taking lenses for full frame (16:9 aspect ratio) from 50mm to 90mm Single focus From 80cm to infinity. Non rotating front element. Focus ring rotate 190 degrees. Lens mounting clamp 52mm Filter size 82mm Weight 700 gr. Integrated focus gear. Price : 2 250,00 € Aivascope facebook page : https://www.facebook.com/aivascope/ thanks to Aivascope, Marguerite, Nina, the graphers and the people of Bordeaux and Floirac. a Seb Farges Movie music : Corrina Repp "The Beast Lives In The Same Place" Amplitude Problem "Into The Night (Instrumental)" 08th june, 2019

Perhaps we want to say: that the samples seen so far are not so "exceptional" there is still a long way to go

That is true. I guess its just the difference from a camera that gives you a nice image easily vs something you have to work a bit more to get it. Maybe Canon vs Sony. Sometimes it might come down to something as simple as one camera having better auto white balance than another, at least when it comes to these quick tests you see online. That said there is no reason you can't get a good image out of the Zcam or really any other camera.

I recently compiled a small list which you can view here http://sandladan.com/camera/gear/field-monitors/ It's nothing fancy, just an aid to get a easier overview on brightness/weight etc. However I think you'll be perfectly fine with the smallhd focus.

This debate was settled a long time ago, but just to recap: ML raw is true 14bit raw, you can open a ML CDNG file in ACR and manipulate it just like a Canon CR2 raw photo file, the DR is identical, and there's no noticeable loss of DR in 12bit. More bit depth is good, but there are other factors that determine available dynamic range: https://www.magiclantern.fm/forum/index.php?topic=11097.0 I haven't worked with ProRes raw, how well FCPX recovers highlights and shadows on ProRes raw files will be a bigger determining factor than whether the Z6 is outputting 12bit or 14bit raw video.

Everyone will have a slightly different opinion on this, but I would pretty much say if you’re after anamorphic in 2019, it is for the stylistic optical idiosyncrasies historically associated with Hollywood’s long-standing use of 2X squeeze factor lenses. 1.33X squeeze factor lenses will get you a very mild/watered down version of that look, and in most cases will end up being almost as expensive as 2X options, or will be poor quality optically. 1.5X lenses can be great, but there were never many made, so they fetch a high price. Good 2X adapters are well-regraded at this point, and you’ll be hard pressed to get one for a truly “budget” price. But there are still a decent quantity of quality examples floating around. All this being said, they are priced as they are because the resulting look is absolutely worth it, and they are still priced low enough that they are accessible. Your best compromise is probably a smaller 2X, for example, a Sankor or Kowa 16-s. You won’t be able to use as wide of back lenses without vignetting, but the image quality is still top notch. If you decide to jump right in, the top dogs would be the Kowa Bell and Howell, Kowa 16-H, and the Isco Ultra-Star. If you are seriously shopping, get the @Andrew Reid anamorphic guide, and watch @Tito Ferradans YouTube channel. To use these projection scopes reliably, you need good clamps. Redstan are top of the line for Kowas, and HTN has a great locking front replacement lens body that gives you standard threads while also locking the focus. The budget variable diopter is the SLR Magic Rangefinder. It resolves excellently and increases vignetting minimally, but the coatings produce flaring that some find difficult to work with. The king of variable diopters is the Rectilux Hardcore DNA, but it is priced accordingly and is only made in small batches with a waiting list. You are going to want one of these two. Double focusing is a pain and almost impossible to get perfect. It can be the last item you buy, and you can get used to anamorphic without it, but you will need one. Expect to spend at least $1500 by the time you have a scope, clamps, variable diopter, and a prime taking lens that plays nice with your scope. That’s scraping the bottom of the barrel and getting lucky, but as lens prices go, that’s really not crazy money. $2500 or maybe a couple hundred more should be enough to get you into a good Kowa with a desqueezing monitor and all the extra goodies. There is a new line of 1.8X primes coming out that’s running just over $3000 per lens. I’m planning on transitioning to a set of those, but they’re for m4/3 sizes sensors. There’s a certain economy about the projection adapters, considering the same anamorphic block can be attached to your prime lens of choice for the various focal lengths, but at a certain point, dealing with countless clamps and adapters can get tiresome, and the lens rigs can get long and heavy. Ultimately, projection scopes are not well-suited to a truly professional style production. They’re perfect for passion projects and style-centric work like music videos, short films, etc. A crafty person who has good problem-solving skills can absolutely DIY some of these things and potentially save a little bit of money, but as I’ve pointed out, there are tried-and-true solutions already on the market for reasonable prices. I for one would say you’re lucky, even if the prices are now higher on the actual scopes. when I got into it, Redstan was the only good clamp option even though they didn’t have support brackets back then, and variable diopters weren’t even a thing. There were no affordable monitors with anamorphic desqueeze. now you can pick up a SmallHD Focus (which I would highly suggest you do), and it will serve you well in all your production, not just for anamorphic desqueezing. If I have one serious piece of advice, it is that cheap clamps will make your experience miserable. Get a lens clamp that can clamp down to 15mm rods. Sloppy loose lens rigs make for unusable footage with jolts in it, and clamping to rails ensures that, once aligned, your anamorphic will remain aligned. No “parallelogrammed” footage.

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.

I agree the one x style cameras is the future of action cam and for some usage even normal camera. I have one and once reframed the quality is just barely usable but it is so much easier to film especially for things that you cannot retake.... making timeshift with this is soo easy... you can also mimic gimbal and drone shoot (using a long pole) with ease. Workflow could be better... lcd is almost useless as lowlight.... but reframing in post is just more easy and convenient.... similar form factor with 1inch 8k 24/5 fps and 5.7k 50/60fps I would buy even for 4 time the price

Well, SLR Magic products are convenient to use but they are not the best in terms of optics. It's a bit difficult to find a really good 1.33x adapter, people usually choose either 2x (quite affordable) or 1.5x (not affordable XD ).

Then that would seem to suggest these are not very good cameras.... wouldn't it? I'll give them the benefit of the doubt and assume that these are quick test with a non-production ready unit. I do hope these cameras are amazing. For now though it's more something I will just keep an eye on and see how it develops.

If you want to look at some handheld setups, this thread is a good start: It can weigh a little (around 1 - 1.5 kg), but if you don't mind the bulkiness, there is no reason you couldn't handhold it. I sometimes wish I had a third arm (one is used to support the rig, the other for operating the camera), which I could use to focus, but I guess it's a matter of experience. As did others, I highly advise against double focusing. Even if you do get used to it, it's very time consuming.

I have the focus and it works well. 720p really does not make a difference at that size. For example the Blackmagic Recorder is 1080p but far worse of a screen. Brightness on it is good enough for most daylight usage.

On the other hand if you can get good results from a camera with a quick test that probably means it is a pretty good camera. I know some people have looking at specs but it seems like any camera these days you can get good results with if you know what you are doing.

Even if they aren't - the ability to get good results in seriously difficult situations is what separates the amateurs from the pros. Even if they just commissioned a few short films by hiring a respected DoP, a good editor, and a great colourist, it might make all the difference. With how cameras are tested nowadays it's really hard to tell what is the weakness of the camera, what is the weakness of the professional YT, and what is "I only had this camera for 17 minutes and only had 12 minutes to edit and grade because I wanted to upload before I got on the flight to the next fully-paid camera launch trip".

I do like my Lilliput A5, dirt cheap too! Although I guess not as bright as what you want to get.

I have yet to see any great footage from these cameras...

https://www.magiclantern.fm/forum/index.php?topic=9741.msg217375#msg217375

Why not? Magic Lantern raw matches photo raw dynamic range. The visual difference between 14bit raw and 12bit raw on the 5D Mk3 is imperceptible.

Depends but usually its a 2 to 4 minute mashup sometimes I'll do a 30 sec or 1 minute Instagram cut.

Well you really Have to believe in some things or you never do anything. But the money you have is a pretty big factor in all things in life. If you have Millions of Dollars loosing 50,000 Dollars is no big deal. If you are making 40,000 Dollars a year, loosing 50,000 you are probably nearly bankrupt. So everyone has different thresholds.

Shot yesterdays game in 125p (for 5x reduction to 25p) and you were absolutely bang on - I'm definitely not going back. Now to learn how to edit this stuff nicely... ??? oh, and you weren't wrong about scrubbing through the conformed media - I only rolled when my son was doing something interesting. I can't imagine if you shot the whole game! What do you deliver to the client, eg, every game there's a 4 minute highlights reel, or every game you deliver 2x 30s hype videos for social media, or...?

All tech is a dead down the road, and your thinking is faulty if you don't understand this. The third biggest gamble in this stuff is buying into a system with the assumption that the extra lenses or features you need will be released at some point in the future, the second biggest gamble is that this is the right tech for your particular needs, and the biggest gamble of all is that you'll be able to create work that justifies spending all this money in the first place.

@Cinegain I hear you.. Reminds me of this video which was also posted very recently, where he had visa trouble because the government didn't understand that someone would do video work for free.

I'll take two!

Very nice! Shot on GH5 and GH5S.

Here we go! I like the looks of it, minimal focus distance and minimal breathing.

So terrible we have to scroll past it twice.

Wow, the 2,500 rumors was way off. I’ll wait to see a confirmation but man 1,800 is pretty tasty for committed m43 owners.

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