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Apparently RED isn't done with its attempt at the Smartphone business. It claims the industrial designers(?) screwed up the first phone, and that this time they will nail it. Good for people who have money lying around to waste. "HYDROGEN has been the single most exciting project I have ever worked on. It has also proven to be the single most challenging program I have ever been a part of. While Oakley sunglasses and RED cameras were (and are) built in our own factories in Orange County, building a smartphone with challenging and new disruptive technologies at the RED factory just wasn’t possible given the competitive nature of the the market. We chose an ODM in China to prepare the HYDROGEN One for manufacture at Foxconn. While Foxconn has been fantastic, our ODM, which was responsible for the mechanical packaging of our design including new technologies along with all software integration with the Qualcomm processor, has significantly under-performed. Getting our ODM in China to finish the committed features and fix known issues on the HYDROGEN One has proven to be beyond challenging. Impossible actually. This has been irritating me to death and flooding our reactor. For this reason, after months of vetting a new design to manufacture house, we have begun the work on the HYDROGEN Two, virtually from scratch, at a new ODM that is clearly more capable of building and supporting the product we (and our customers) demand. We also have put into place a new internal execution team along with world class design-partners that we have carefully selected. The HYDROGEN Two is being methodically designed and crafted to surprise and exceed expectations… again, just as you would expect from us. Additionally, we eventually realized that the original camera module would have to change due to the fact our ODM was not going to competently complete the module that they committed and guaranteed to do. Our best option was to modify the program and bring it back into the RED house. We have completed the new and extraordinary sensor and redesigned the package. Jarred at RED will be posting about Komodo fairly soon. Its capability will vastly exceed the originally planned module. The HYDROGEN One and Two will integrate with this new camera. While it does not replace its big RED brothers, it will certainly be a complimentary camera for cinema grade images at the highest level at lower pricing. We fully understand the frustrations of our customers since I am one as well. While issues have been the result of our original ODM’s short comings, we also understand that customers solely look to us for their satisfaction. We remain committed to taking care of our customers the best way we can given all the circumstances. To that end, every HYDROGEN One owner will get significant preferential treatment for the HYDROGEN Two and/or new Cinema Camera model, both in delivery allocations and pricing. HYDROGEN is still the most exciting project I have ever worked on. We continue to be committed to further advancing the “image capture in your pocket” device as well as providing the highest quality image capture devices to more people than ever before. We are not done…" Jim Jannard https://h4vuser.net/t/july-23rd-update-discussion/10046/59

Got lucky with the weather yesterday out filming my piece! Definitely a challenge using my chosen camera body and was wary of it's pitfalls. In keeping with the rules, I'm not revealing my choice but the only thing I will say is that I use the latest version of this model in my professional work and boy do we have it lucky now!! The technology has definitely moved on considerably in a relatively short period of time. Looking forward to the results from the judging phase!

https://www.facebook.com/VICE/videos/345786596351138/UzpfSTEwMDAwMzA5NTc4ODA1ODpWSzoyMzgzOTkyNTc4MzM3MDQ5/ @webrunner5 will approve the choice of camera used by the director! ?

So you don't understand how DR is measured but came onto a thread about using manual focus to tell us all that Panasonic is deceiving us. OK, as you were....

This is EOSHD. We tangent pretty hard around here.

I see RED is passing the buck along! "Not their fault" RED: the gift that keeps on giving (also, new videos are up from Jinni as well!)

@mercer I have used the Rokinon 12mm f/2 extensively, I really like it. Tiny, bright, plenty sharp, great minimum focus distance, a no-brainer really. Flares are a little bit messy. Mine got damaged somehow and the internal focusing elements got all messed up, but after I took it to a lens technician the infinity focus is bang-on so it's a cinch to get shots really quickly. Here are a couple stills that I think show off the versatility of the lens, flares, bokeh, etc.

Don't get the fuss over Red (only marginally better than Bmpcc as far as real results go. for a billion times the price). No independent film maker needs one. So many people shooting movies with £50,000 + Red packages and a script worth about 15 pence.

They will probably go the Minimag way: pack a Galaxy S10 inside a new shell and charge it triple the price.

Weren't you guys bagging on this dude's earlier P4K video where he blew out the highlights?

Yo fam! Waz gud. Dang. Geez nuggets ma dude. He ain't got no chill. Like yo... eazy there homez. Oi... Brap brap. Skrrt. Ey, can I get another hit? Mmmkai. ? This generation is f0oked

Hey @Rikoshet The reason I don't love big anamorphics is because although they cost you less at first, in the long run you'll be wrecked by hauling them around. Plus support gear and stress on your taking lens and camera mount. They usually have far minimum focus (past 4m), and not necessarily go wider than their smaller counterparts. Flares are a different universe and I lack info on that from lack of experimentation. Good luck!

Truth. For them it's like taking candy from a baby. Why make the effort, when you can sit back and still watch the money come in. Though you'd think at some point we've hit the point of no return, when they seriously miscalculated their luck and it finally runs out and are surpassed from all sides by the competition with people now jumping over to the latest greatest shiny toy to never look back. Though, admittedly I'm getting my first Canon in years with the PowerShot G7 X Mark III. Sure, in true Canon fashion it lacks 24p, rather than Canon's own benchmark DPAF it has quite shoddy contrast based C-AF, does have a mic-in, but nowhere to place an external mic for instance... but Sony doesn't exactly come through with their RX100-series either and the latest Panasonic LX100 iteration was a laughable update. The thing seems killer for social media content creation, maybe not the best thing for actual video production and cinematography, but then again it's a compact cam for crying out loud. Canon is pretty much the epidemy of 'point-n-shoot'. And we live in a world where videos shot on shaky potatoes go viral, so, picture quality really isn't the end all when you've got the right content. It's more about going the shortest distance from hitting the record button to the upload one (saves you time endlessly pixel peeping/grading/managing storage etc too) and that's where they're winning the crowd over. They're the no0b's choice. But I have no interest whatsoever in their EOS-M or EOS-R line-ups. For actual video production and cinematography I'd still pick up a feature-rich Panasonic.

Definitely SC, i used to have weebill but sold it and got S to fly my S1 and Eos R. There is still features missing in action that is stated on their promo and a silent update on weebill (so there is a secret new version that they dont want people to know about) . But yeah it is nicknamed wobble for a reason, it is not as stable as the ronin which is much more smoother when u fly the cam.

Some wide angle lenses have rear filter holders or you can buy purpose made adapter filters now or kludge together the glass from various filters into the space in some adapters (see the thread on the new filters for adapters).

http://bullettmedia.com/article/pixelface-is-the-loudest-artist-on-the-internet/ some backstory on the director. Reading that, maybe the BTS video is the art... maybe there isn’t even a music video.

I have nothing against it. If a camera can handle 8k it means it can handle every other smaller resolutions at higher framerate and bitrate. I can even imagine using 8k myself once in a year to do a smooth dolly zoom effect

Thanks, and I agree. I am slowly warming up to B&W as a “why not” choice in my filmmaking instead of a “why” choice. I wont bore people with too many of the B&W conversions I did in the LR App, but the nuances in tones of 14bit color really helps to create a beautiful B&W image... much better than I am capable of doing with colorgrading. This shot was from a Nikkor 28mm f/2 lens. I graded it in FCPX with just the color board and some light curves. The B&W was converted in LR on my phone and I adjusted some of the Luminosity controls, added a touch of contrast and clarity... And this frame was shot with the Zeiss 25mm ZF... with the same workflow from color to B&W... I actually like the color version of those shots, which is a rarity for me, but I feel the B&W levels the field between my low rent hobby quality and something that could be seen in a real production... They still suck though and I have a lot of practicing to do. Anyway, it’s good to know that I can use LR in some capacity for future work. I assume once I get my new monitor/computer, I will download a trial version of the Adobe suite to see how I like it.

Gerald Undone: Exposure Tips for the BMPCC4K & Why I Don’t Use ProRes So, according to Gerald, there are several things with the P4K that I didn't know about that are very important: 1. Exposure with ProRes on the P4K can be problematic. To fix this you should use RAW, not ProRes, or be *very* careful when setting your exposure. 2. The maximum clipping point *changes* as you change the ISO, if you reduce your ISO from the "native" ISO levels (400, ~3200). At ISO 100, it clips at 83%! I am familiar with the chart showing the steps above and below middle gray, but I didn't realize they were just clipping the top at lower ISOs. 3. Highlight recovery seems to work differently than I had thought and should apparently not be used much of the time. Highlight recovery appears to cause problems with the image when you use it at ISOs >= native ISOs. I had heard that the highlight recovery used the data from other channels when a color had clipped to rebuild that clipped channel. If you have a P4K you should watch this video! I am really curious to hear other's thoughts on this material. Thanks @kye for telling me how to embed the video!

At a certain point, I can only invest so much into this camera, my 5D3 is still my camera of choice for any major project I work on. I have some c-mounts that I can use and I have a growing collection of Nikkor lenses, so maybe a metabones speedbooster makes more sense... I saw one sell for $125 the other day. Well... to be fair... with the Micro you need to let in as much light as possible so a VND is necessary to minutely control the light and an IR Cut filter is an absolute necessity, so filter threads are kinda important.

Well this might give you some idea what it is and how it is done by certain sites. Most all of the sites have had to update their equipment, because the older tests seems way off compared to an Arri Alexa which is probably the king of the hill DR wise. Realistically between 14 to 15 real stops of DR. They are really one of the few that states the truth. https://***URL not allowed***/the-cinema5d-camera-lab-is-back-dynamic-range-tests/ http://www.xdcam-user.com/2013/11/whats-the-difference-between-latitude-and-dynamic-range/

I am also picking up my S1 later today. Glad and nervous - big shift. (And a return to Panasonic after a bunch of years away with Canon and Fuji.) Looking around for VLog exposure guides (other than what is available for the GH5/-s) and happened upon this - https://na.panasonic.com/ns/253602_V-Log_Excerpt.pdf - which may not be anything new for many on this thread, but might be helpful for others. It was for me - some good reminders. Curious about sharpening Vlog shots vs. the same shots in CineD or Flat - needed?

I have both and for me regardless of specs the Ronin-SC supports more weight. For one of my cams the z6 and 24-70 f4, the webill is at the absolute limit and a bit shaky but the ronin sc handles it no problem. As well the xt3 only works with the lightest of lenses on the webill (16mm f2, 35mm 1.4) but the ronin-sc handles more of the heavier lenses. Although still would need the ronin-s for very heavy ones. Think it's the distribution of weight. The ronin-sc seems to handle higher lens weight vs the webill. You mentioned eos-r, I think the webill could do the canon 40mm pancake and maybe ? , but anything else will likely give problems on the webill. I had the 6dmkii and the 40mm pancake on the webill and was ok.

Agree with this. Run & Gun Anamorphic is the way to go with all these new, light weight, mirrorless cameras these days. Having great luck with the MOSTY SE 16mm 2x [GOLD], very nice anamorphic adapter indeed, rally sharp wide open, faster focus than my taking lens.

I do agree that "kinda of feels too good to be true" (ESPECIALLY from Canon! They're not going to give away the farm). However, the state of the industry means they need to start consolidating their DSLR range and one option could be by merging the 7D2 and 80D series together with a higher priced 90D that sits in the middle between those two lines. I expect Nikon to do the same. For instance we saw the D7500 move a bit down market from the D7x00 series in the past, by losing a card slot. The next D7600 might carry on this trend in the D7x00 series, it will remain as Nikon's budget priced semi pro DSLR DX camera, but will be positioned such that Nikon can abolish the D5x00 series? With the D500 above (with a very slow refresh rate in bringing out a D550 update in say 2022) and the cheapie D3x00 entry point below it. Although this is just one option of how Nikon might restructure it. (they'll restructure their FX range as well, the D760 will replace the both the D750 & D610 sometime in the next 18 months. And all of the FX range will see a slower and slower refresh rate of updating to newer models)

Yikes! Let's have a moment of silence for those 1st ACs who are working with these lenses wide open at T2.5 but still need to deal with a very shallow DoF.....

Very easy reason why: PRICE!! The Panasonic S1R is US$3.7K At $2.5K the S1 is a *lot* cheaper! And there are heaps of other tempting cameras around that much lower price point of US$2.5K, or even sub $2K. Such as Z Cam E2 / BMPCC4K / Sony a7 mk3 / Panasonic GH5S / GH5 / Fujifilm X-T3 / Nikon Z6 / etc We're really spoiled for choice! If someone wishes to spend much less than what a S1R costs. And if a person does want to spend somewhere around that US3.7K price point that a S1R costs, then they've got plenty of other choices there as well to tempt them away, for example: The Sony FS5 is cheaper (and is MUCH cheaper if buying secondhand on eBay) Also did you know the Panasonic EVA1 has dropped in price to sub $4K new? That is only marginally more expensive than the S1R (cheaper than the S1R when you consider how much it would cost to make the S1R a bit more fictional!). And the EVA1 would put the operator into a totally different class of work than owning the S1R, that the ROI from an EVA1 would undoubtedly be better than owning a S1R. And if you carry on looking up, the Canon C200B has dropped to sub $5K new as well, which from a professional working perspective is not really that much more than an S1R either. I could go on and on. But basically the Panasonic S1R is too expensive for both amateur and semi professional filmmakers, unless you first and foremost are going to get a lot of value at of its stills capabilities as well (perhaps you're an ex Sony a7R, Canon 5DS, or Nikon D810 shooter etc). If you are a photographer hybrid who can justify the expensive of a stills orientated S1R then sure, go for it! Although personally I'd probably rather get two cameras instead (is always handy to own two! A back up for each, or for multi cam shoots), which each dedicated to the task at hand. (videography or stills) Such as a Nikon D810 + Z6, or a Sony FS5 + a7R mk2 would be a waaaay nicer combo to use for shoots than a single Panasonic S1R! (and yet, the total cost would be very similar for any of these three options from Nikon / Sony / Panasonic )

I'm shooting today xD just waiting for my fiancée to come home ?

Just paste the URL into the message window, hit enter/return and after a few seconds it should expand out to embed the video

@mercer I really loved my SLR Magic 12mm. Much nicer render than the Olympus or Rokinon, and truly lovely bokeh. Awesome close focus, too.

Thanks. Maybe it's just nostalgic but I really like this camera even though it lacks tons of features that I can't live without ?. It reminds me of my very first camera and the first video my friends and I made back at 2006. Oh the good old days when 720P was considered as cutting edge technology ?. Thank you. I nearly got assaulted. Thank god I went home 15 mins earlier that night! And my girlfriend decided she was going to be lazy that night and not walk the dogs. One of the victims was attacked at the place we usually walk our dogs ?. The camera is just 1080P. I tried to shoot for more dynamic range but it is no match for our modern cameras. But the colour rendition is surprisingly good ?.

plus maybe a pana 25mm 1.7

I think I may extend it a few days, not too long, but people who were first to post their videos, definitely have bonus points in my eyes.

Consider my mind blown... I will have to do some testing with my cameras now. Native ISO is really 400 and 4000, and it clips at lower levels as the ISO drops below the default ISOs. ISO 100 = 83% clipping point. https://www.youtube.com/embed/hV7ixU2AmLE Gerald Undone: Exposure Tips for the BMPCC4K & Why I Don’t Use ProRes Note: How to I embed a YouTube video?

This is why ALL videographers should have decent manual focusing skills regardless of what camera system they use.

Its not the camera its the system, With its price point its an entry level luxury camera system - ALL of the lenses are hilariously priced (must be a leica tax) Besides autofocus - The S1 is the best mirrorless camera on the market for video, but its the L mount system that is currently holding it back.

I was originally planing to shoot a short "music video" for one of my vocal cover. However, an event very bad happened to my city and the region I live so I didn't have the opportunity to do a proper video. Luckily I have brought the camera with me on a half-day trip to Hong Kong Disneyland. I was filming my girlfriend, as usual, and her good friend. I wasn't planing to use these footage for the challenge, so... hopefully I wouldn't get the last place because I really like this new camera! Anyway, this is a very fun competition indeed. Would love to take part again!

Haha... another hopeful... The enthusiast crowd are very vocal, but Canon knows that its all talk and no walk... Their bread and butter are consumers... and who do the Consumers follow??? The pros... Even if the enthusiasts were able to sway the pros or the general publics opinion, then you get some crippled version of what what we really want.... only 4K/24p with 1.5 crop.... no 1080/24p.... no 1080/120.... so and so forth. Just look at the RP as an example... its not going to be better than that...

An excellent channel; very well spoken. His lighting reviews have been a great resource for me So cool man, very metal ?

Finally got a bit to take a walk and shoot on a hot/grey evening on Sunday. Had a lot of fun putting this together and am ready for more challenges/different stipulations or price brackets hahaha Or just round 2 of this same challenge

@Skip77 You are not trying to help. You are jerking your ego with an argument, soapboxing, being disparaging to others, and dragging all of us thru it. That's my experience of your presence and intention anyway. So how about F*CK OFF this thread and give users who either own or are genuinely interested in the camera the opportunity to share and work with one another to get the most out of the tool. Minimally, I will ignore you and I suggest others not reply or quote you unless you are posting something constructive.

This is fantastic work

No worries! Cool B&W frame. There's richness and depth in the subtle shading that is very nice After messing around with B&W in the cheap camera challenge I've gained a new appreciation for it. I recall a famous photographer once saying that things should always be B&W unless they're better in colour, and that that's the logic that should be used when deciding which way to go. Interesting perspective.

A codec is a codec. Job of a codec is to encode (hence the name) an image. Compression is a form of encoding an image. No need to separate the terms. H.265 is a codec, simple as that. Not helpful to say it's not a video camera codec when it's used in video cameras. It has hardware acceleration on a GPU. That doesn't make it exclusively a computer GPU codec. Stop reading what ever you have been doing, because it's a load of twaddle. It's designed for delivery and acquisition... Acquisition of high resolution with small file sizes, especially on smartphones, and delivery of the same. Makes no sense to say it is designed for only one part of the job. If it is doing something it isn't designed to do, it's doing it pretty well. Like H.264, these things aren't designed with just the decoding and streaming side in mind, they are designed for acquisition and encoding in a device as well.

Just like Dan, I've also been a long time lurker of the blog and the forums, and the challenge seemed fun. I shot this yesterday and edited it in the evening. I think it turned out OK. Unfortunately I didn't have an ND, so that meant infinite DoF and fast shutter speeds.

Here goes nothin'........ Camera #2

With the overall positive reception of the S1 firmware update and the very pleasing image coming out of Panasonic’s new full frame camera, I’m thinking the S1H is going to be something special. The L-mount is building a lot of momentum with Sigmas fp and forthcoming glass and Panasonic’s usual firmware feature bonanza. Really quite impressed with Panasonic’s push here in a crowded full frame market and grim camera industry outlook.

Andrew, your test isn't fair. As the other forumer said, there's one photo shot with soft light in the shade and the other one with direct sunlight and green reflection from the grass. I totally agree with you about Canon (and Nikon, and even fuji) having better colors straight out of the camera than Sony, but the gap isn't as wide as those photos want it to be. And now with presets in lightroom, you can easily turn any camera into anything. And applying it to series of photos takes one clic. I wasn't liking my RX100 V photos because of the colors. I purchased VSCO presets to try them out, and I was stunned at the results. With just a bit of fiddling, and a few clicks, my RX100 turned into a fuji camera ! With a classic chrome esthetic. And the latest sony cameras have tremendously improved their color science. But again, I prefer Canon jpegs. No actually I prefer Fuji jpegs :P