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Some excerpts from a video I recorded with the EOS M and Magic Lantern RAW (June 16, 2019). I was at a mini carnival and these two Transformers came out of nowhere and started dancing and taking photos with people. They thought I was taking a photo of them, but little did they know I was recording them with Magic Lantern. A once in a lifetime shot to get close with Hollywood Transformers LOL. The whole video that goes for about 2 minutes will be uploaded on Youtube soon...Great Camera! An anamorphic lens would have done a little better maybe with the flares.

You're probably right, but there's no harm in being welcoming. If we can influence any of them to do tests with a grey-card then instead of lamenting the decline of industry journalism we can enjoy videos that are useful and informative, but that's probably not going to happen if all we do is unconstructive hyperbolic criticisms.

Max doesn’t even come close to Tony and Fro. While I agree perhaps the tests were flawed and not scientific enough for this audience I wouldn’t use that same brush on all of Max’s videos. I find his hardware tests focused around video editing helpful and a timesaver. I would also say the system is horribly broken if Max has to alter facts to get clicks. I also share Andrew’s distaste for YouTubes influencer bullshit that goes on, like claiming impartiality when they receive free gear for “good words” (see Matti Haapojas “Most Underated camera of 2019” video; hint the answer is in the title. We aren’t even half way through 2019 yet) But they are just riding the wave before it comes crashing down and they are out a job when YouTube cancels their channel or people get tired of navigating the bullshit.

Matthew Libatique is the director and the DOP of this short. I’m not sure is a great director but a great DOP, yes. Serious team for grading . Fuji says about this short : « A Different Beyond” was lensed with FUJIFILM/FUJINON MKX cinema zoom lenses, FUJINON Premiere PL Cabrio zooms, and Zeiss Super Speed PL-mount primes in order to show the feasibility of using varied professional optics with the new FUJIFILM X-Trans 4 sensor. Most of the movie was recorded into the Fujifilm Log (“F-Log”) Rec2020 color space, both to internal SD cards and Atomos Ninja Inferno devices, and then professionally color graded. However, several of the scenes were recorded using FUJIFILM Film Simulations directly (ETERNA, Velvia and CLASSIC CHROME) to show their suitability for projects that don’t have time or budget for color grading. « You can dislike the grad but I think it is a serious work.

If I had to choose between 6K - S35 variable, or 4K full frame, then I would vote 100% for 6K-S35. More than 1 reasons! For economical reasons a S35 sensor makes far more sense also, Lets see the Z cameras that are more a sensor in a box than a traditional design. The price difference from m43 to S35 and full frame is "huge" and huge. Also, I believe the market here are people buying 1/3,2/3,1" camcorders, anything more will be just heavenly to them and ,maybe, good enough for some of us.

I like having a few cameras but even at 3000 dollars I think 2000 of them is a bit excessive Don With regard to the 6K or 8K issue, one of the drawbacks with the LS300 when you are in 4K is that the Prime Zoom function only gives you 1.25x zoom versus 2.3x zoom when you are in HD so the additional resolution would be of great benefit for that if not necessarily as a recording format.

After much time spent editing and even more gnashing of teeth in the colour grade, here's a teaser edit I did from the bull ride adventure. GH5... Voigtlander 17.5mm F0.95... Minolta Rokkor-PF 135mm F2.8... Rode VMP+ I wish I was better at this!

It was disturbing how many questions were about an EF Mount... So I made sure to keep it clear in my answers we want MICRO FOUR THIRDS MOUNT! (plus Timecode I/O, and ND filters!) Ohhhhh...... nice: Main features: 10-bit ProRes 422/422HQ/422LT, at 4K UHD resolution and 59.94p/50p/29.97p/25p/23.98p recording to M.2 SSD** 4K UHD 29.97p/25p/23.98p 4:2:2 10-bit or 4:2:0 8-bit (150Mbps) and various HD recording to SDHC/SDXC card* HDR recording, HLG or J-Log1 (10-bit)

Nice one, it actually works really nicely! I use a Macbook PRO 2012 with 16gb ram and 512gb ssd and upscaling to 3840x2160 is fine. I exported a total 114 clips with that resolution. The trick is that I record for no more than 6 seconds per shot or below 10 seconds at max which is all I need. So it exports quickly per clip when upscaling to 4K. Longer clips will take a long time.

I shot a 48p 720p test on my 5D3 last year and was pleasantly surprised by it... That 50mm Nikkor is great piece of cheap glass. It pairs nicely with the 28mm f/2 because they’re both so contrasty wide open. Does the 4ak upscale in MLV App take a long time to process?

Thanks. The whole video was shot with just one Nikkor 50mm F/2 lens which was pretty amazing. Surprisingly no LUT was used for this, files were placed into MLV App, basic color correction e.g. white balance, exposure etc, sharpness 50% clarity -40, exported as Prores4444, RAW Linear, Upscaled to 3840X2160 and then exported from Final Cut Pro X as 4K.

i am just putting this here, for all of us to understand where JVC stands at the moment. http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102557 The SSD slot is another great innovation by JVC. The price is 3900$ though.

I said "amateurs". Know what I mean! @BTM_Pix i always use SmallHD Focus, and never an EVF, even if it comes without any of those and I save 200-300€ I will be extremely happy! @Alt Shoo 6K yes, full frame - NO! I seriously doubt a full frame such camera would be useful or necessary or even competitively priced which is the key point here. Ursa mini pro cameras, EVA, C cameras, FS cameras AREN'T full frame and they own 99,9% of their market.. P4K, Z, GH cameras are owning a huge portion of their market too with "only" being m43.. When I use full frame cameras I always go to 5.6f or more, to have reasonable depth of field, and newer smaller sensors have great high ISO performance.. The sensor with the m43 mount was/ is an amazing solution for me and speedboosted can cover all bases! This was a plus for me on the previous camera, the company that owns the LS300 I am using since then acquired 2 more GH5 and a Pocket 4K, before the LS300 they were only buying Canon/Sony..

Give me that Super 35 sensor and M43 mount and take my money.

Please submit your suggestions and remember to make it good! http://pro.jvc.com/survey

One of THE most important questions is; Who's sensor is going in this thing. Everything starts with a great image sensor. If JVC can buy Sony sensors, right off the bat they will have a camera that wipes out BlackMagic's super35 cameras.

Thanks a lot for sharing the survey link. This is a great opportunity. I own a JVC LS-300 and I love it. A better quality camera of that type with a better screen and (very important) a simpler and more logical menu would be a great and unique C4K camera with XLR, BNC, internal ND filter... The association of a S35 sensor with M43 mount is an amazing feature, as I discovered that many M43 lenses are able (or almost able) to cover the S35 sensor size, widening everything... Voigtlander 17.5 mm, 25 mm and Panasonic 42.5 mm f/1.2 are among them And with a speedbooster and FX lenses, you get that "Full Frame" look on demand. No camera on the market are offering such a flexibility from S16 crop view at 120 fps ( I am using my vintage Cine Nikkor tiny lenses), M43 convenient compactness to FF look.

Yeah depends on what you need it for. RED's don't have great rolling shutter but are being used everywhere. The newer full frame cameras like the Z6 or A7III seem pretty decent. Faster processors should help though like you said. The G2 rolling shutter is super minimal, Alexa territory almost.

Looking forward to the July update. This was shot handled in 4K 8-bit with the Natural profile and still gets plenty of dynamic range. Minor exposure adjustments and a touch of Saturation:

For me if it delivers RAW, S35, ND's, prores, 4K 60P in a more professional form factor its a win. Anything more like full frame or 4k 120fps or 300fps is all icing on the cake, not a requirement though. If the price goes about $4000 than my interest starts to be lost, especially when you are competing against say the URSA G2 and BRAW or even the Pocket 4k at $1300. You could have two pocket 4k's for $2600, thats hard to beat.

I think they'd looked at what Leica were up to with Panasonic and sought a similar path with Sony but unlike Leica they used the same mount which kind of gave the game away that it was a NEX-7 with an overcoat on ! As is often the way with these brands though, if you picked a Lunar up during the fire sales that went on with them then you'd be sitting on a profit now from collectors whereas with "real" Hasselblad digitals from the same era you'll have lost most of the original price. I'm fascinated by where they will be going with this new camera as Fuji have given them a bit of a caning with the GFX but as the first new Hasselblad product post DJI then there could be some surprises not least in terms of price.

Not that I know of. There are some de-flicker plugins that might speed up your exposure adjustments though, if they've got a long enough time-base built into their algorithm.

Well its the 50th anniversary next month of Hasselblad's most famous field trip so it would be nice to see them tie it in to returning to that iconic form factor. I'm surprised they haven't actually timed this launch date with that launch date to exploit the link but maybe the imminent arrival of the Fuji has forced their hand. Mind you, the last time they tried to tip their hat to the space programme they made a right shambles of it with the Lunar. Although the design does look somewhat reminiscent of a more recent popular camera....

This is what my Editing Board looks like in Final Cut PRO X. Typically the same format for all my videos. I use Davinci Resolve for the BMPCC.

Yeah, if you put "camera rain cover" into aliexpress you'll find the same ones that ship to Australia. Half the price as well.

What a great looking video.. so jealous I can't make things that nice!!

No, no slow motion was used in the video "quick night test", it's just really slow movement from myself and a bit of stabilisation. The Tamron 85mm f1.8 VC is a renown lens, should be good, although it will make footage look a little compressed if that's what you're after. The VC is really good on it, I used to have the 45mm F1.8 a while back with my 5DIII.

I used the ThinkTank Hydrophobia range which are great but have a price tag to match, although when you factor in the cost of the cameras and lens combos they were protecting they are a bargain You can get generic versions that will do the job for you for a lot less money and this one has the advantage of having a two stage lens portion to accommodate different lens lengths https://www.amazon.co.uk/2-Stage-Camera-Protector-Foldable-Cameras/dp/B01HRGPDKQ

Thanks glad you like it. Curious to hear what you mean by lite setting. Thanks Zeek! Bought the EOS M because of your great video's ? Yeah, it was my first time shooting and was a bit enthusiastic. Already filled a 64GB card as soon as we left the house... Super cool framegrabs with the Transformers by the way! Looking forward to your new video. Forgot to mention I used the Viltrox speedbooster too.

Thanks for the tip! Perhaps that 45fps option in 1080p for 2 seconds max could still be useful if slowed down to 50%. Four second B roll clips are very short but if you take enough of them, you could still end up with enough material for decent B roll. I don't know if that's what you used but you look to utilise some slow motion from the EOS M in your "Quick Night Test" video - near the start with the traffic lights, the phone box clip, and on the shoes. I'm about to next try out the Tamron 85 1.8 SP VC, which arrived today.

Another XT3 user and vote here. Originally with the Fringer Pro adapter and Sigma 18-35mm f1.8 but swapped back to the 18-55 f2.8-4 (plus some Canon f1.8 primes) which is a compromise on being able to capture a very shallow DOF (unless using the primes), but a winner everywhere else. Also dumped HLG which I dumped Flog for because when trying to grade with DJI products (Pocket, Action and Mavic Air), it's all been a pain in the derriere so shooting tweaked Eterna again. Happier.

I agree! Unless it is Game of Thrones...

I agree with @webrunner5, it's too dark and doesn't look good. Kind of like that Game of Thrones episode we had a topic about recently. I'm also watching on a color calibrated monitor. I even turned the lights off to give them an extra benefit. Subjectively, I think it was poorly done, the the fact that they had an extensive, professional team and used such amazing gear makes me sad. The thing about darkness is you always need a point of reference. Like that image @Anaconda_ posted from 12 years a slave. That lantern blows out, showing just how dark it really is in the environment, and you get that wonderful, insane lowlit glimmer on the eye from the lantern. You still see the characters standing out against the background, giving your eyes a focal point. What it does do is give you outlines that your imagination works with. The almost pitch black background closes in around the protagonist. The two faces show expressions, but your mind puts in the details. A lot of the frames from the Fuji video were just normal images, but dark. Instead of using darkness to occlude something that your mind fills in, it's just an ordinary shot, darker. Like the two shot at 1:22. It's not just dark, it's flat. No highlights, no eyes, no backlighting, really just a completely ordinary two shot where you can't quite see it comfortably. And again at 2:28 the guy with the bat. No contrast to pull the character out of the scene, or to give your eyes a place to go. There's no sense of the lighting drawing your eye to a person in a dark world, it's just an ordinary shot of a guy in a garage that's underexposed.

720p is a no-go with RAW on any ML Capable camera as it will produce aliasing like crazy! Aliasing is common nature for digital cameras, some more than others. There is aliasing even with Blackmagic RAW Cameras. I wouldn't touch 720p at all. I also have the nifty fifty STM and that lens is really great, but aliasing can be quite pronounce depending on how you use it (e.g. infinity focus or wide open).

Wow that would be a pretty sweet camera. Too bad it isn't 1000 dollars cheaper. Kind of high for a 1'' sensor. But it has some nice specs. You kind of figure it is sort of a Sony RX 10 mk IV in a bigger body. Can't cost more than twice as much money to do that. PK4 proves you can do stuff cheaper if you really want to.

http://yedlin.net/ResDemo/# I actually prefer the look of the 2k images in that demo to the 6k images.

The A6400 could have been a great contender but the rolling shutter and subpar 1080 is kind of crippling. The 18-55 is really awesome. I don't miss IBIS when I have it on. They also go for really cheap used.

I'd agree with that. A7 III ripped a hole in the full frame market pricing and we see a race to the bottom, but Fuji is doing something far more interesting with insane value for money APS-C cameras that simulate the look of film. The 18-55mm OIS works incredibly well, it's as good at run & gun (great AF, par focal) as it is at cinema.

This is a pretty ludicrous response. First off, grading is, beyond anything else, a subjective matter. So you didn't like the way they used shadows and concealment to draw the viewer in. I happened to love it. In no universe is there a definitive 'too dark' in these matters. Not to your taste? Fine. Simply wrong? That I don't accept. That character's first scene, which is the one I imagine you have most objection too, uses concealment to draw the viewer in, and does a pretty good job of it imo. There are highlights that flash up here and there that give glimpses of the pressure the character is under, and then they use motivated light for a great reveal (when the headlight splashes through the window and you finally get a full glimpse of his fear). It's not the most devastatingly amazing cinematography I've even seen, but it does a very good job. Secondly, the image you've posted up as a comparison is so different in tone and feel it's more or less irrelevant. It's not going for anywhere near the same kind of atmospheric sense of dread. It's shot in a completely different set of lighting conditions, so of course the exposure looks different. Added to that, it's not even technically that accomplished of an image (though it may work perfectly well in the context it was intended). I genuinely wonder if the gamma is a bit off on whatever screen you're viewing on, cos that can make moody stuff look impenetrable.

Even if it was exactly the same but with dual ISO and additionally a good 10bit codec, I would buy that camera for 3500€ and I believe this is the market they have to attend, a good work horse camera around 3000-4000€$£. Cine cameras like the Z and P4K are good enough for most, but I still haven't bought my P4K cause I do not really need it. A C100mkII with 4K and some more modern features or an even cheaper FS5 with less features is more the market for me. There is not such a camera at the moment, the JVC LS300 was/is the only one in the market but there are a few shortcomings that can't make it a best buy ever. Their "lite" codecs right now are very "lite" at times, and not Canon C100mkII good-lite! Also, the low light performance is not good for 2019 (or even '18). I know most people here want a cheap and incredible cine camera, but there are; Z and P4K can offer you whatever cine you want. Seriously, they are that good and that cheap, what else do you need from one for an indie short or a crash cam of a bigger production? What I am missing, which is the HUGE BULK of video productions around the world, is a reasonable priced workhorse camera under 5.000$€£. Changes happen so fast now, that big "investments" in camera bodies are not easy to make, and the lower segments of the market are growing rapidly. There are literally legions of low budgeted video makers from villages to huge metropolises (Mumbai, Kuala Lumpur, Mexico city, Cairo, etc etc) that want a dependable tool that will bring food to the table and now most served by various flavors of Canon (C100, 70/80D, camcorders even..). LS300 sold more than we thought, because of some of those people, but still was some kind of an afterthought or one of its shortcomings was a deal breaker for some (e.g terrible monitoring, and those people do not want extra bulk, or extra expenses). They can make it right this time, but the key here is "pricing", and they know it, and that is good. Edit: it is interesting that they do not allow "amateurs" to take the survey. It shows to me that are targeting specifically the gap in the market I mentioned above. My impression is that they will try to fit in as much as they could for the most economical price.

I think I kind of agree with them. You're right that a hobbyist could make a good suggestion, but in a way we could also make a bad one, and in that sense it's better to keep us out of the data. I mean, how many times have you been talking about something and had people coming into the conversation with bone-headed ideas and you've just felt like saying "THIS ISN'T FOR YOU.. FRACK OFF!!" ???

You can rent glass, you know? I know places where you can get a set of Lomos for $500 for the weekend. For a specific project, it can be doable. Also adaptors. The new Aivascope is looking scrumptous. Anamorphic and auto focus in the same sentence is decades away. It's hard to put into words how hard it is to grind bent glass, but that's the reason it's so expensive. Also, auto focus and cinema do not belong in the same sentence. No serious film crew uses auto focus. It's an amateur tool that works ok for documentaries. But if you're shooting actors and needs graceful, predictable transitions, turn the damn focus ring. Makes no sense to demand manual control of every other parameter, but then leave your sharpness to a dumb computer.

Yeah, basically XT3 image quality and recording formats inside a GY-LS300 body would be ideal. Adding ProRes in addition to HEVC would make it very flexible and scalable.

I'd love a camera that can easily be mounted on the shoulder. The issue is it makes mounting on a gimbal a no go, at least affordable ones.

I chimed in and left my two cents. Full frame, anamorphic support, SDI, color science, etc, etc. I also insisted that the camera have a shoulder-mounted form factor. I simply do not understand why people have their arms wrapped around the mirrorless style even for dedicated cinema cameras. We have 100+ years of cinema camera design behind us, and none of them looked like a stills camera. In case you forgot what a real cinema camera looks like:

Lol once you experience SDI you never wanna go back to crappy HDMI even HDMI type A

A73 is going to give you a noise free image past 12,800 iso. Color is pretty good with HLG. Definitely a lot of lens options going into the future like webrunner said. The XT3 was my camera of choice for its internal 10 bit and high speed recording, as well as its color science. Kind of depends on your needs though. The XT30 plus the fuji 18-55 is a hell of a combo for anyone on a budget.

Something like an XT3 with RAW output, prores, SDI's, and internal ND's would be a winner in my book.

Done, maybe they will make something good enough to get me to switch off the FS5

Wow really harsh words... The test is not perfect, but I'm not sure what test would be. When planning for this video I had a lot of thought on how to do it, but settled on this method since it has the least user input. As you know, both the Fuji and Sony can be tweaked like crazy inside of camera, and of course in post but I chose to mess with the cameras the least. I'm not sure why you say the results are unstated or unknown. I explained the profiles, settings, and why I used them at the start. Of course the with a few presses the results would change, that why I tried not to do customize things so we can see the cameras colors instead of my tweaks. This is not a perfect test, but I did try to make it a fair one. I shot different exposures to get them to best match up since you can't just get the same exposure by matching settings. The first 4 tests are right out of the camera just like you would grab and shoot (other than setting the correct WB preset). The next 6 where using a flatter subdued profile. Sony is terrible with their profiles but PP6 is fairly popular and is what I use most often. It also reminds me a bit of Eterna which is also popular. With both I usually add contrast and saturation (for my taste) but for this test I wanted to keep Eterna at the default and only boosted PP6 to match up with Eterna or else the Sony would be really really flat. I think the contrast and saturation was matched up quite well, some colors pop more on the Sony and others on Fuji but the point is to compare colors and each camera has its own profiles. I could have used more profiles or added LOG, but then I don't think the results would be as accurate since LOG really depends on how you grade and the video would be really long and most people would end up not doing the test for themselves which is the point. Yes the thumbnail was exaggerated. Unfortunately unlike having your own site on YT we are at the Marits of the algorithm and if the thumbnail is flat then your videos dies with 5K views instead of 50-100K. None of the tests were touched. If they would you would think I being so called "Sony biased" would make the Sony look better LOL, but I'm not in that game. Like I said at the end I prefer the fuji colors and they are definitely ahead if you're not going to do color correction/grading in post. Surprisingly a majority of people preferred the Sony look. I am not a Fuji hater, I have reviewed them really highly. Saying things like "If the fuji is too green... You know what to do" makes it seem like you're Fuji biased. The Sony's can be tweaked too and you have guides for that (which I purchased) thank you btw. Whats funny is if you see my comparisons where I say Fuji is better I am called a Fuji loved and biased. Same thing goes for the Sony videos, the Panasonic videos, and back in the day when I was praising the NX1 (which I still own 3 of btw) I was told that I'm really biased against Canon, Sony, and Panasonic for praising the AF and Colors of the NX1. Sure I have my biases as we all do (to not admit it means your a liar) but typically they are preferences and I try to point those out and why I have them, and if you watch my comparison i'll often point out the flaws of Sony and areas where other brands really excel. Anyways, if you would be willing to do a similar color science test I would absolutely love to see it, and if you have constructive criticism on how I could improve in future versions of this video (say a Sony vs Canon video) I would love to hear and implement it.