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Small Bluetooth remote Record/Stop button controller with screen to provide real time status from camera of : Aperture Shutter Angle ISO Temperature Tint Integral bright LED illuminates to show record status. Kickstarter in August. Price will be €60 Production version will not be orange.

https://noamkroll.com/building-a-more-affordable-alexa-with-arri-cpo-leica-r-lenses-the-leitax-mount/ Exactly what I've been talking about in the past! Arri Alexa Classic + Affordable Glass

While a lot of very capable camera companies apart from the Major Players are now entering the affordable cinema camera market, it's always nice to have more players, more choice of cameras and more options for sensors, codecs etc. This one seems interesting, but right now the codecs are very heavy for a budget cinema camera with no compressed RAW option. Also, these will release some time next year, so the wait could be long (new entrants have delays, more often I guess). Hopefully they will have some great sensor options (in addition to the ones they already have) and superb codecs, by the time these hit the market. Ah yes, and great prices. https://www.newsshooter.com/2019/06/19/octopus-camera-open-platform-with-swappable-sensors/

lol what a great thread title ? GUYS!!! did you know that there are these things called state film commissions where they give out location permits?? ? i forgot that they existed lolol but little did i know that places where i thought that filming would ~never~ be allowed, may be allowed, with a permit, under the right circumstances~! oh, i forgot to mention, im currently obsessed with caves. i wanna shoot something in a cave i got into the idea of building a fake cave, which is borderline easy in that i already know how to make stuff out of foam/plaster/chicken wire/whatever, but to make the amount of rocks and stuff i would need for my shots would be a TON of work. id be making boulders for a year ? so then i started looking at actual caves, which i figured would just be all blocked off bc... idk why?? like, ppl could hurt themselves? the state i live in has a lot of laws... anyway, come to find out that THIS exists https://ca.reel-scout.com/loc_detail.aspx?parent=loc_results.aspx&id=1059&cid=50&search=cave&rgn=All Regions&rgnid=&cnty=All Counties&cntyid=&city=All Cities / Towns&cityid=&subcat=&style=&lname=&lid=&dist=&zip=&mat=all not to mention THIS (??!!!!) https://ca.reel-scout.com/loc_detail.aspx?parent=loc_results.aspx&id=10120444&cid=50&search=cave&rgn=All Regions&rgnid=&cnty=All Counties&cntyid=&city=All Cities / Towns&cityid=&subcat=&style=&lname=&lid=&dist=&zip=&mat=all i was like... how in the heck could a film crew possibly be allowed in that place ??? so, heres my question: can i actually do this? whats stopping me? besides money my understanding is that they assess fees based on your project, havent found any firm info on that yet ...im guessing that some of you guys have dealt with film commissions, or state parks, or something of that nature...??? lookit this pic tho

Already ordered an EM1 Mkii from B&H....gonna do a vid about it! I think this is now going to be a way better option for people than the EM1X...WAY cheaper. Paid $1,100 for it used. If the AF is as good as the EM1X there is no reason to get the EM1X for video...other than the limited 120fps mode. EM1 Mkii may be the best option for solo content creators who want best bang for buck in both price and size.

The beauty of the modern Panasonic cameras now is you can use the footage right out of the box if it is not super important. That is a huge time saver and a God Send for people not too familiar with Grading. Sort of a modern Canon C100 in that aspect. Their CS has gotten really good as of late. The Panny S1 I think is amazingly good. Well to be honest most of the top name cameras now have gotten very good CS wise. Glad to see it happening.

So, technically, it is 100MP. Divided into 2 bodies.

I now have two NX1 bodies, in case one of them goes kaput. I plan to continue using the NX1 until both of them go kaput or a miracle happens and Samsung return to the market. A full frame version with L-mount in that NX1 body would be a dream ticket in ergonomics and image quality. Samsung offer wonderful technological prowess. The Japanese need the competition. 5 years later, the NX1 still has so many merits. The shooting experience is incredibly enjoyable. Of the high-end 4K Super 35mm mirrorless cameras only the Fuji X-H1 comes close. Sure the 2018/19 breed offer even more in way of specs now. IBIS and LOG. But not much else. So I still use the NX1 which has to tell you something. I have still not found another 4K mirrorless camera with as comfortable grip as the NX1 either, or the instant one-press video mode, let alone one which is $800 used and runs a full computer OS under the hood, with all sorts of hacks possible to improve it even further. The dedicated hardware in there is bespoke and pretty special, to handle different tasks like AF and stabilisation which really help responsiveness. Hardware accelerated digital stabilisation as good as Warp Stabiliser right there in-camera with minimal crop and no loss of image quality. The codec with the higher bitrate hack is amazing. Looks like ProRes. Colour science. Detail. The AOLED screen on the back. Very good stills. Exceptional 16-55mm F2.0-2.8 lens (and 50-150mm). Extremely high build quality. It's a real shame more bloggers didn't champion the NX1. Philip Bloom bought one but did barely anything with it!

If he made an L mount version of the original AF adapter I think he could probably name his price with SL/CL/TL owners to get AF capability with their M lenses. Conspiracy theorist in me suspects thats why Leica shit on the MC21 compatibility as an adapter like that exposes a bit too much that would enable reverse engineering. I need to resume my pin blanking experiments with the MC21 and the SL but from the ones I did its pretty clear its just a simple lockout based on the ID returned by the lens not being in the camera's list, hence why they had to do a firmware update after Panasonic released their lenses and presumably will have to for every new lens as well. So if we could find a way to inject the ID of a lens that it DOES have in its list via the MC21's return line then we could spoof it into working

I hope they do keep the MFT mount as one aspect that seldom gets mentioned about the LS300 (although I'm going to do it again verbatim here ) is that if you want you can actually use an APS-C lens on a Speedbooster to make it faster and then use the VSM to crop back into it to counteract the vignetting. So, for example, I have a Tamron 16-300mm all purpose travel zoom that is a bit slow at f3.5-f5.6 but on a Speedbooster it becomes a far healthier f2.8-f4 and I set the VSM to 85% to take out the vignetting. Ditto for the Sigma ART 18-35mm f1.8 it becomes f1.2 and the VSM at 85% maintains its field of view as though it were on an APS-C camera.

It’s not too known that JVC’s now defunct subsidiary company AltaSens created the sensor that is inside the LS300. Maybe JVC designs their own sensor again!

There was no change in "highlights" to our log curves or otherwise. The previous manual dynamic range chart was incorrect, and was corrected. There is also no inherent "highlight rolloff" in digital cameras from the sensor. They are all (mostly) linear capture devices. Same with Alexa, Red, etc. When they all clip in linear, they all clip suddenly/harshly. All of them. "Highlight rolloff" is really about total dynamic range, how you expose, and curves (which you can manipulate yourself). Our log curves are optimized to store data in 10bit SDI and video files so the highlight roll off in our existing log curves is merely a function of optimising the dynamic range to fit in this data range with relation to the "native sensitivity" and desired ISO. The more dynamic range the sensor has the more highlights will roll off in the log curves, the same with Alexa/Red/etc. You want to use your own curves after in grading to create the roll off you want. Expose the sensor so middle grey is lower and leave more dynamic range in the highlights, and you can create a very nice gradual highlight rolloff in grading - with mostly any modern digital camera. But it's pretty much all down to total dynamic range, exposure, and curves.

You're welcome! Video is tricky and colour and colour science is especially tricky because it's a very very deep subject. The main levels I see in colour are: Use camera on full-auto in standard colour profile, don't adjust in post Dial in a profile to get the results you want in-camera, maybe using a grey-card and maybe not Shoot log using a grey-card and grade in post using LUTs and basic adjustments Grade manually without relying on LUTs to do the work Professional colourists I also hang out on liftgammagain.com which is aimed at professional colourists and in many ways the gap in skill level and knowledge between 3 and 5 (or even 4 and 5) is larger than the gap between 1 and 3. If you're curious to have a tiny taste of what a professional colourist skill level might be like, check out Juan Melara on YT. It's a fundamentally different kind of skill level. Here's a couple of videos to get you started: In talking to the professional colourists I've come to understand that the world of Hollywood and the real pros has basically no overlap with the YT world - if all you know is YT then you've never seen a glimpse of how that other world works, with the only exception I know of being Juan Melara. I'm happy to point you to other resources where pros hang out if you're curious. In this sense I appreciate that you're torn between people that haven't got a clue how little they know and probably complain about anything resembling work, and those with more knowledge criticising you for not catering to a more informed audience.

The hasselblad is great looking and well made. it‘s small while not light making it dense. This makes it feels well made, just like a Leica M. Are all other cameras toys? Maybe. But then again, there are multiple orders of magnitute of pro photographers using those toy sony, fuji, canon, nikon ... cameras, then there are hasselblad x1d users. and tbh, many would choose features and handling over that feeling. when it comes to image quality I would argue, that capture one is superior to phocus, thus the fujis are at least on par. Being polemical as well I‘d say the toy camera is the one, that rich dentists and lawers buy as a status symbol

Tbh the Fujifilm cameras feel like toys compared to the X1D. Very clear when you handle both next to each other. The build quality of the Fuji isn't even close. Of course, if all we ever want to discuss is paper specs then it doesn't look so good. As I see it the Hasselblad is something you buy because you appreciate the experience of it all, as well as the picture quality (nobody beats Hasselblad colours).

Yes, I've watched quite a few videos shot by the GH5 which is why I'm interested in it as a future camera. And what you have said on other threads about grading makes a lot of sense to me. An attractive straight out of camera look is nice to have (I'm thinking of Fuji or Olympus), but not so important as grading (knowing what you want and being able to achieve it using the software of your choice). And camera usability now becomes more important to me since the technical threshold of UHD resolution has been met for most cheap cameras. I favour Panny because they just get out of the way to let you go to work (I owned a GH1 years ago and have a G7 now). Regardless of what may come next, I think the GH5 will remain a viable camera for some time because of it's high levels of usability and economic 10-bit codec for advanced post flexibility. The GH5 is as close to the mythical pocket cinema camera as I am likely to need for my skill level; what it makes available answers a lot of video shooting questions.

"Video: To be enabled at a later date." ?

No problem. It's cheap as chips, you can't go wrong. I used to have a Panasonic G85, I'd choose the EOS M with ML any day of the week for my purposes. The EOS M2 is also developing with it's magic lantern capability, though not sure if it's fully ready as I haven't seen any examples anywhere. It has a little more Dynamic Range (11.4 vs 11.1 on the original M). Not a world of a difference though.

Thanks a lot! Seems its time to get a Eos-M then.

Many thanks, mate. Might be looking at getting this one later in the year (going to sell some lenses and books to help off-set the cost), so I wanted to get familiar with it early -- I have some reading to do ?

Yes you can in ML Menu, not sure about the normal EOS M Menu.

possibly the best for any mirrorless/dslr type camera

Why not? Just do it. Don't be sexist, treat everyone the same way! (with politeness and respect)

Use Tascam DR10L at least, which are purpose built and designed for their usage as a bodypack recorder would be an improvement. Using wireless such as Sony UWP-D11 / Deity Connect Wirelesss / etc running into a Zoom F8n using Timecode would be even better.

Thanks for input and help @webrunner5 I am going to see what I can when I get State side. Leaving Thailand in about 20 hours so I'll pack it up and see what I can once I get there.

It's a ton of fun Kye. I find the best practice is to try and encourage anyone/everyone speaking to do so from a single point and indeed, fixed speaking mic (if used) on a stand. But then best laid plans of mice and men and all that... I have had fathers of brides with lav mic on jacket decide to take jacket off just before or during and hang it on the back of their chair. Best men that feel the need to widely roam the room. All kinds of nooooooooooooo moments. This is why I am thinking about one single central vintage stylee mic as a focal point in order to take as much human randomness out of the equation as poss.

Yeah, sports at night is a tough gig technically, and I realised when I got there that I should have brought a lens in-between the 17.5mm and the 135mm. Ideally it would have been the 85mm F2 lens that I have thought about buying but can't justify, lol. Even the Helios 58mm F2 would have been useful as the longest lens I have less than the 135mm. [Edit: anyway, it's all a learning experience..]

No Luma range option (yet, firmware was still very early). I'll dig into this deeper if the problem still rears its head on the production models. F-Log was functional (you can see an uninspired example of it in our Japan field test episode), but I was advised that Eterna was much closer to being final, so I stuck with that. It helps that I love Eterna for quick turnaround.

If you set the VSM to 100% then its just like putting a FF lens on any other APS-C sensor via a Speebooster so like an EF lens on an EOS-M etc.

I don't have a Naim Muso to compare to but I had a go at the Resolve keyboard at Broadcast Asia and the jog dial was smooth!

You are wrong in multiple levels! Ofcourse I live in Europe, so I don't really have a clue about the US market, but here, everything you said in the above statement is false. Olympus is very popular with the "hip" crowd here, also their representative is very aggresive with marketing and very reliable with service and repairs, unlike Sony and Panasonic. Most of the GH pro's here are buying Olympus lenses. There are literally unlimited GH5 sold here and most bought at 1999€. Now, all these people are buying P4K cameras and keep their GH5 for run n gun and workhorse ones. Yes, "we" buy those cameras, I do not think that BM wanted to sell the P4K to bakers or fishermen. "We", including the young generation are more than what "we" were 20 or 30 years ago. How many youngsters knew in the 80s and 90s doing videos and posting them on youtube? There are hundrends of thousands now. Z is a sensor in a box and will cost 5000£€$. LS300 is a real workhorse camera, and it has to be less than 4000$€£ to be competitive. No full frame. No need, no sense.

it's not my video, but I wanted to show, The GH5 is great after three years of launch , and basically has no direct competition! (usable colors, good dynamic range, great battery, excellent stabilization, 180fps, 4K 10bit internally, unlimited recording, no overheating , dual slot SD, articulating screen, great sound internal mic or DMW-XLR1E, and much more) no other run & shoot machine will give you that!

Always good info from Captain Hook. An asset to this forum.

There is no way in hell that camera has 10.7 stops of DR @ 25,600 ISO. If it had 8 it would be amazing.

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.

Put it in full manual, auto iso should never be on when doing any kind of video work. Maybe look for or a buy an XT3 camera user guide dedicated for video.

Now and then you make strange posts which surprise me when you've been around so long on this forum and so much. Of course a focal reducer can not be used on an EF mount camera. Why wait? Get it now: https://www.amazon.com/Zoom-F8-MultiTrack-Field-Recorder/dp/B012XFT0XC ? ? ?

First proper video I've shot on the GFX 100: Didn't have much to knock this together, but the camera did a pretty respectable job, especially as the last two shots are at 2000 ISO. The whole video was shot in Eterna. Unfortunately, the DR+ profile did not seem to be functioning properly, so blacks were quite crushed in the captured footage, unlike what I was seeing in my histogram and external monitor. I'm optimistic that this will be fixed when we get production cameras.

Slightly related as an alternative/supplement are programmable keypads so you can create your own surface. It has 23 programmable keys (ignore the keycaps as you also get a set of blanks) and these can be set to single keys or multi stroke macros. You can also setup four layers to increase the flexibility and it is very reasonably priced at £34, particularly when compared to something like the X-Keys products. https://www.amazon.co.uk/Mechanical-Keyboard-Koolertron-Programmable-Portable-23keys-Blue-Switches-Blue-Backlit/dp/B07SFFHQCJ