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Nearly done putting every video into a poll. Took ages! Hopefully get everything tied up tomorrow. Cheers for waiting!

Technically, speedboosters actually add sharpness and detail while minimizing lens imperfections, the exact opposite (for the same optical reasons) that teleconverters degrade IQ by softening, enlarging the image, more pronounced CA, etc. Cheaper focal reducers can show soft corners, but Metabones are usually razor sharp edge-to-edge.

Someone call 911? Why? You can do it... with your camera!! Seriously though, get a good app like Filmic Pro or MoviePro which will give you manual controls, higher bitrates, focus peaking and all kinds of extra stuff. Get a rig of some kind, even just a tripod, or mount it on a shoulder-rig - the worst thing is camera shake (unless it's deliberate and artistically appropriate). If you're going with a 180 shutter then you will need to get an ND filter of some kind and the rig will need to hold that securely too. I'd suggest using USB power banks so that you've always got enough battery life. Get good sound the same way you would on any other camera. Basically it's a fixed camera/lens but the same as any other camera/lens combo you might shoot with, so you'll want to do everything else the same. ...and make sure to put the phone on airplane mode before hitting record so you don't get a text/call and ruin a shot

It's a numbers game, yes, but still braindead. I am just not sold. 85" utterly dominates a normal room. It's an omnipresent black mirror. 65" is my limit. Most people's limit is 55". Bigger number not always better. There is barely any 8K content at the moment worth watching. Most TV is still 1080p. There is no big amazing image quality difference between 8K content at 85" and 4K content at 85" when you are watching at normal viewing distances. I've seen the same Samsung 85" you did. Nobody watches TV from 1-2ft away from an 85" screen. When it comes down to the real world all these numbers are meaningless. For displays, motion cadence matters more and nobody talks about it. For going large, projectors are more cinematic than large TVs. Colour, HDR, 10bit, contrast, matter more than resolution on an LCD panel for the living room. Resolution matters most on a desktop monitor with close viewing distance, not in the living room. Whole industry shift to 8K is flawed and will end like 3D did.

And 5 minute time limit, with screen blackout during it. Only YEARS after Panasonic did with their GH5. Bet the Panasonic GH6 will crush it when it gets released next year. To reign dominant again like the GH5 has for the next couple of years. a) C Mount can't be put on a 90D's EF Mount b) DPAF doesn't work with a C Mount lens

The mighty Tito wrote in one of his comments that he is preparing an 'Anamorfake Guide'. So, I highly recommend just waiting a little, since there is no better person that could answer your questions. But, if you only want to 'enhance' your flares, then putting an UV filter (or two) between your taking lens and anamorphic adapter really works wonders. Fishing line is also a good idea, but its distinct shape is often visible in bokeh. Not a deal breaker, but for purists - meh. Don't know anything about being able to influence flare color by painting over it.

that strap is for one of these and the extra batteries you will need for shooting and editing 6k ?

Luca is forum member here on the site, he created custom speedboosters for the NX1 a couple years ago (I bought one from him, and still use it all the time) and he has since created very similar focal reducers for the Ursa mini/pro. He can absolutely be trusted, he's a good dude.

back in the days of film i remember that people used too stretch pantyhose across the lens to soften it. you could try different colours but i favoured black ?

Yeah honestly the camera matters so little with a production. A crew is what makes everything happen. That said RAW is definitely nice for whoever is editing it lol

I'm not here to defend my purchase.....I'm here to hopefully make people who have the P4K feel better about their purchase after being told by you that their camera now 'sucks' or that it 'sucks' to be them. I've had the P4K for over 6 months now and it has paid for itself many times over. I'll never loose money on it because it is still being requested on shoots by DP's who know the deal and know how great and flexible the camera is. Those same DP's and producers are not going to suddenly stop requesting it now that the 6K is out because it still delivers exactly what is necessary for production. My P4K has been used as an A Cam and as a B Cam along side Ursa Mini Pro, Alexa Mini, Sony F5, Sony FS7, Canon C300II..... as an aside, there are many DP's earning good money who shoot Sony and use optical adaptors on the FS7, F5, FS5 etc. Optical adaptors are widely accepted professionally. Not once has the MFT sensor been a bottleneck, quite the contrary, it has meant that the camera has been more versatile. I always use it with a speedbooster because it means I have great flexibility in the lenses I can use. Shooting PL on the Alexa Mini? Sure, I can use the same lenses on the Pocket4k. Shooting EF, No problem, i can use EF....or pretty much any other lens under the sun. I have received many compliments on the pictures I have shot with the P4K, the release of the P6K does not mean those same images are any less good or negate the compliments I received from clients and producers. Those same producers have never requested anything greater than 4K files so the P6K would have no advantages and I have used the P4k on everything from Netflix Docs to Sports documentary for National TV. FOR ME......I just don't see ANY advantages to the P6K. If you are a one man band and shoot/edit your own films and use EF glass exclusively while editing in Resolve and need the extra 2k resolution, sure get the P6K if you want to spend the extra money. It's going to be a great camera. If you have the P4K and all of a sudden feel like you have been short changed....don't. It's a cheaper camera by a substantial amount (even if you do buy a speed booster, that can be had for $200), still shoots great images and is far more versatile. The 6K does not replace it. Hell, the Alexa Mini LF 'Only' shoots 4K so does the P6K suddenly mean the MiniLF is outdated? If you want to future proof your investment then maybe 6K will be better in a year or two's time when BRAW is widely accepted, but by then, BMD will have released another camera (or two even, at the rate they are going!) with hopefully a more future proof mount. The only people making the P4K obsolete are those that spend all their time on forums agonising over specs. In the real world, the P4K will still earn you money in a year's time....by then, there will be a new BMD camera more worthy of upgrading to. A Viltrox adaptor will cost you $150 at works a treat. Also, you will need a beefier setup to edit those 6K files over the 4K ones so factor that in as well.

We took a trip to Best Buy yesterday to check out the new Samsung Galaxy Note 10 series. After playing with the phone... which looks next gen btw, we decided to have a look around. We eventually found ourselves in the TV department, where we were surprised to see they had an 8K television on display. It was a Samsung QLed 85" model. Even a couple of feet from the screen the image looked sharp. You can pull that off with a 4K screen at 65"... but at 85" the 8k resolution makes a noticable difference. Now to the punchline... the 8K models start at a reasonable price... only $15,999 ? just kidding ... they start at $2999. My conclusion: $hit just got real... 4K is dead... long live 8K.

Just do it!!!!™ comments welcome

With great surprises already in and more to come I would say this is a good year gear wise. Nokishita (reliable rumor) confirmed the EOS90D and M6 are coming this month. According to Canon Rumors they will feature 4K60p and FHD 180p and DPAF, which sounds surprising (wait for that 3x crop...). If not in those at least one camera from canon should feature it soon. It seems confirmed that 2 new E-mount cameras will come on August 28th, including the A6500 replacement with finally 4K60 from Sony. The A7SIII as well as a pro body (EOS R X ?) from Canon are due this year as well. It will be the year of 4K60p which we will finally see on bodies with IBIS (unlike XT3) and good AF (unlike S1) so that’s great. This and the massive amount of proper video cameras released this year (E2, Pocket 6K, Red Komodo,...) and it seems that everybody will have a good shoe to their foot. 2020 is therefore the year I stop complaining about gear on EOSHD, after 3 years of asking 4K60 - good AF - IBIS in an APSC/FF affordable mirrorless camera. Or not

? bring a bearcat (vehicle). and some indica. and an iced coffee w almond milk (e-z ice) plssssss

Braindead numbers game.

Already hacked it?

absolutely!!! thats the plan: the guy whos actually shooting this (im in it as an actor) is a v talented filmmaker... so HE gets what you just said @kye~! ofc the average person could shoot some pretty appalling footage that could be hard to cut together, even unusable, but my boy is gonna hook it up proper ??? im gonna start saying "proper" in the second half of 2019 – im bringing it back. and im gonna say "props". props, kye~!

I can cross being called "mighty" off my bucket list! Thanks @heart0less! The guide will be awesome, I'm just adding in the final images this week. As for the issue at hand, the fishing line indeed makes a cut through bokeh, but for a goPro it shouldn't be noticeable. The downside is that the gopro's lens is crazy wide and the fishing line technique doesn't usually play nice with wide angles. I can't think of much to do to make it flare more except working in post-production...

Yeah even the Verge is writing about it. Either slow news day or they are pushing these sensors hard. https://www.theverge.com/2019/8/12/20801750/samsung-108-megapixel-smartphone-camera-sensor-xiaomi-100-million-pixels-6k-video-recording

That's a Sony exclusive so I think Canon will avoid it unless they want a lawsuit.

Blackmagic Design really dropped a nuke with the new Pocket Cinema Camera (BMPCC 6K). What a time for filmmakers! Color Grade/Edit by Bulent Ozdemir

I actually was in support of IronFilm there. ? I mean... sure I still have my good ol' GH2 for nostalgia's sake. And there's something magical about that Sony PMW-F3 that I actually would not mind taking for a spin once... But... to jump through all those hoops and make all that effort... for what I think is not particularly mind-blowing quality... energy spent VS reward, I don't necessarily see. Though... that's highly subjective of course. And even if agreeing on image quality being so-so, which could work for a project you need a Lo-Fi look for I suppose, it can just be a fun hobby for the curious mind. Guess it's more productive and interesting than collecting lawn gnomes. ? There's this fella doing videos on old audio tech, in a way it's a sort of time capsule or a museum visit, having such videos of old tech online for everyone to see and educate themselves and realize how far we actually have come. Here's Techmoan's channel should you feel interested: https://www.youtube.com/user/Techmoan/videos . Guess it's a good thing that there are some people that still care and keep these things from being forgotten entirely. Though, personally, I'll stick to older lenses, not so much the cameras.

I think the day where we have oleds in place of windows will be here before you know it. In some cases this will take the form of transparent oled screens, so your window will be smart. The resolution needed to drive an entire wall could easily exceed 8K. Imagine a room with any background you want. For those that think 8K is overrated you aren’t thinking ahead.

If you're going for the hand-holding look then yeah, hand holding the phone is probably a good idea. I'd suggest the camera person trying not to get too much camera shake in it though - if you cut together normal phone footage that the average person shot it would make most people vomit in a few minutes, so I'd suggest trying to tone it down a little. If it doesn't look amateur / genuine enough then you can crunch it up in Resolve to compensate, but doing stabilisation to take away some movement has limits and looks processed, and not in a good way!

Samsung seems to have Finally revealed details of its latest 108MP sensor. The Pixel size is 0.8um (luckily), so the sensor is a 1/1.33" sensor, and it also seems to have some tricks for better lowlight photography including atleast dual ISO. I am guessing Samsung will disclose more details of the sensor in installments and hopefully we see a lot of newer sensor technologies in this. "In bright environments, the Smart-ISO, a mechanism that intelligently selects the level of amplifier gains according to the illumination of the environment for optimal light-to-electric signal conversion, switches to a low ISO to improve pixel saturation and produce vivid photographs. The mechanism uses a high ISO in darker settings that helps reduce noise, resulting in clearer pictures." It also does 6k video (I was hoping it does 8k, but most systems may not be able to process that much data). "For advanced filming, the HMX supports video recording without losses in field-of-view at resolutions up to 6K (6016 x 3384) 30-frames-per-second (fps)." https://news.samsung.com/global/samsung-takes-mobile-photography-to-the-next-level-with-industrys-first-108mp-image-sensor-for-smartphones

Regarding how to make it look more amateurish: If you use Resolve, then just browse through its OpenFX effects. They're not that cheesy, some are even amazing. I really like JPEG Damage (adds a lot of blotchiness, artifacts, etc) and Analog Damage (you can make anything look like VHS, a TV from 70s and so on).

awww thank u sm @heart0less. thats so sweet. i kinda wear my heart on my sleeve huh ? re: this project, i must say: there is no reason for me to use a rig/tripod/anything like that: its SUPPOSED to look like it was filmed by a common person with a smartphone~! phone peasant! easy! im just trynna get the most out of the image in post, but tbh, for this shoot it doesnt rlly matter ? i just like having options "in the darkroom", as it were dynamic range is not funny. highlight rolloff isnt funny. i mean THATS kinda funny but........... i digress lol

I once used my phone as a substitute for a video camera and I was quite surprised to see that the quality wasn't that bad. But it was unbelievably uncomfortable to use, hahaha. Just like kye said - definitely get some rig / a tripod and you'll be good to go. Recently, I also edited a quick short recorded on iPhone 7 and, once again, I was surprised at how robust the codec was. I managed to slightly alter white balance, raise shadows, lower highlights, add some tracking masks to faces and I still couldn't see anything falling apart. It was shot in 4K/30 fps. Nothing more to say other than: GOOD LUCK, YOU GOT THIS. PS: I just love the way you write, kaylee, hahaha. It's emotional, but still amazingly clear and easy to comprehend / read. So refreshing.

Trying to get it to be digital but subtle may be a factor of just processing it subtly many times over. Apply a LUT at 5%, then apply another one, then another one, and if you save each time then the files will be being compressed and re-compressed over and over again. It will probably fall apart relatively quickly, but you can probably just put it over the top of a clean grade and adjust the opacity of the crunched one then that might allow you to dial in how much crunch you want? It's probably a case of just trying stuff and seeing what happens. Making higher quality digital look worse isn't hard, it's processing digital and NOT making it look worse that is the hard thing!!

great points @kye, thank you. i will ask my DP what ~app~ he likes just kinda wondering if theres some latest greatest trick for the LATEST iphone, u kno? but if its p much the same story it has been, ill be good ? also: it has to be shot with smartphones. not my call! ALSO (can i do this??): >>> what software/plugins/filters/etc would u guys recommend if i want to roughen up the footage in post, to MAKE it look more amateurish, lower res, more video-y, but in a subtle way that isnt retro or ironic. the iphone RS has a piercingly sharp image out of the box, and i wanna take the edge off that, but not in a filmic way, the opposite. make it kinda lofi, but digital. kno what i mean? YIKES! this is mind bogglingly sharp my eyes are bleeding. ugh. i want the final product to look more video-y. yuk. hmmm

here is a thread over at https://***URL removed***/forums/thread/4189446#forum-post-59934159 about the konicas you might like to peruse it i did have a very good website on the konicas however the desktop has died and i cant remember the webpage name. i bought the 50mm 1.7 years ago after a little research more research would have revealed, because of the flange distance i couldn't mount it to the 60d and get infinity focus without an adapter that had a glass element in it. Back then there were a lot of questions about the quality of optics in adapters. so thats about as far as i went i could probably get something to fit the p4k however i haven't worked for three weeks so i'm a bit constrained at the moment. the hexanon lenses have a short flange distance if not the shortest i think. Which might potentially give you grief further down the track if you were to change systems perhaps. this might be the sight i was thinking of but it seems to be changed or updated from what i remember.http://www.konicafiles.com/

this thread inspired me to make these icons smaller it only took like ten seconds omg tysm guys this is where things dematerialize a bit i carved that pumkin tho tbh

Frequently, a larger sensor is better in low light, but much of the gain is a result of the larger sensor usually having larger photosites (e.g. A7SII, GH5s). Better lowlight performance is one of the reasons why many of the smart phones are going to larger and larger sensors, but the megapixel count isn't drastically increasing anymore. In the case of the P4K vs. the P6K, the sensor on the P6K is a little larger (23.1mm x 12.99mm VS. 18.96mm x 10mm), but they also increased pixel count on the P6K. In this case, the photosites on the P6K end up being smaller (~19%) than on the P4K. Based on just this aspect, I would expect the P4K to perform slightly better than the P6K. I know from the charts released by BM that the P6K has slightly more dynamic range below ISO 1250 (P6K: 13.3 vs. P4K: 13.1), but above ISO 1250, the P4K has slightly better dynamic range (P6K: 12.1 vs. P4K: 12.3). I imagine that in a blind comparison, you couldn't tell them apart. I am a little surprised that the P6K drops from 13.3 stops of dynamic range down to 12.1 @ ISO 1250. I suppose that I will have to be a little bit more careful to keep the ISO in the 100-1000 range on the P6K. @JordanWright Having both the GH5 & the GH5s, the GH5s is at least a couple of stops better than the GH5. With the GH5, I try to max out at 1600 on video. The GH5s looks about the same around 10,000. The GH5 is 20.3 Megapixels (17.3mm x 13mm) vs. the GH5s is 10.28 Megapixels (17.3mm x 13mm) so the GH5s has much larger photosites. I think that the sensor in the GH5s is also a newer model from Sony with some technical improvements. I am sure that you already know this, but for everyone else's benefit, we call the pixel size the: Pixel Pitch Pixel pitch is the distance from the center of one pixel to the center of the next measured in micrometers (µm). It can be calculated with the following formula: Pixel pitch = sensor width in mm / sensor resolution width in pixels × 1000 The GH5s has a pixel pitch of 4.68 micrometers. The P4K is ~4.6 micrometers & the P6K is ~3.76 micrometers. The larger the pixel pitch, generally the better the low light performance.

Facts have no power here...

Okay the P4K should have better lowlight than the P6K despite being a smaller sensor. like you said the GH5&GH5S have almost the same sensor size but one is much better. Where are you getting this information anyway?

OK, so I'm not massively keen to get too involved in this at all while I've got so much other stuff going on but..... Just having a look at this with my GX80 and you can forget the 709Like colour profile but something is going on with that higher bitrate command switching it into the extended mode. I thought that people had exhausted all of the permutations but if you do use that FZ2000 command that puts it into the editable formats mode ([MP4 (LPCM)] as Panasonic refer to it) then something does happen on the GX80. Namely, it displays the codec on the rear screen as being FHD50P but as AVCHD rather than MP4. It also blanks out the other recording options in the menu (though it does display it at 28Mbps) until you switch to and from MP4 and when you try and record then sometimes it will and sometimes it won't or stops quite quickly. If it does record properly though, it puts the file in the AVCHD collection file. For the GX80, I don't think this is a rabbit hole that is particularly worth going too deeply down (and I certainly won't be) but for anyone who does want to then you may (though probably may not) find something using a combination of http://192.168.54.1/cam.cgi?mode=setsetting&type=videoformat&value=mp4ed to place it into what would be the MP4 LPCM mode and then using variations on this command http://192.168.54.1/cam.cgi?mode=setsetting&type=videoquality&value=mov_50p_100mbps changing the value of "mov_50p_100mbps" for those of different formats extracted from previous capture sessions of the GH5 etc on previous pages. If your menus for the formats disappear then you can get back to them with a "safe" command of a valid format by sending this : http://192.168.54.1/cam.cgi?mode=setsetting&type=videoquality&value=mp4_24p_100mbps_4k As I say, I don't think there is much mileage for the GX80 so its not something I'm going to be spending any time on myself but based on the change of sensor in the GX9 offering newer possibilities then I definitely think that anyone with an LX100 Mark 2 might well benefit from a bit of digging with this.

WOW! ? gorgeous omg. actually i only want to live in remote areas from now on, and im moving from my current mtn to a snowier, crappier, more remote one 500 miles away THEn im going to transition to miles of property when im rich (a sq mile is 640 acres btw) so im REALLY isolated then ill be happy. with my wifi

I would argue that with a proper cage that has support for hard mounting a booster, the cine locking EF (or PL I suppose) booster actually makes the P4K MORE of a cinema camera than the P6K would ever be. I don’t care how well-machined a standard SLR bayonet is, a positive locking cine mount is infinitely superior for any real cinema camera work with follow focus units. The Metabones optics are already fantastic, and now they have versions specifically for the thinner sensor stack of the P4K. There are a million things to worry about when doing cinema work other than 6K resolution. Sure, the oversample is a nice perk, but 4K is plenty. Again, I feel like an SLR mount on a mirrorless camera is low-key stupidity. Let me put on a dummy EF adapter! Maybe even one with ND or a booster... but I digress. I prefer the form factor of the ZCam stuff for sure, but their pricing I think is awful ambitious for a new company, no matter how good the cameras are. At the very least, the P6K will change the market’s price tiers for the better

My friend, it took you one year after I started this beautiful thread to ask me that question. I love the idea of 3ccd 10bit raw with a beautiful stabilized zoom lens and the classic ergos of this camera. So, cannot wait to see what shortfilms @tktagmedia is gonna shoot with it. I already loved the SD DV cam DX1 from Panny, 3 ccd beauty in colors but interlaced and DV compression. So call me anyone.:) No, Cine, you and me are already two, if I may suggest, that´s what you are talking about.:) the dvx is fully capable of 24p output. Never had one, but that´s what this cam was famous for back then. David Lynch shot Inland Empire with it I think. Now, render that beautiful footage of yours, please.:) You got the only legit digital super8 camera in your hands!

The funny thing is that as soon as this new camera was announced, all the hurt feelings about BM stripping CDNG evaporated. BRAW it is then!

Well that's one of them. Currently using the Note 8. I don't have the iPhone handy. Just preordered the Note 10 Plus 5G... but that's not arriving until the 23rd.

It's probably too late for enter the competition but I leave here a link to my footage:) Captured 6years ago with my first camera with stock firmware plus 2 cheap chinese lenses and cheap wide angle converter. Edited 1 year ago but it was private footage on my vimeo channel - today I made it public:)

Shot this film in Botswana and I have to say that the BM cinema camera works perfectly for wildlife filming. You will need an external monitor because the screen on the back acts more as a mirror than as a display but other than that it has been great. It eats a lot of hard drive space so a few extra ssd's are needed. Let me know what you guys think.

A couple of days ago I recorded a conference on the g7 in 4K 24fps with the unlimited recording hack. Firmware version was 2.2 and color of g7 is black. The camera successfully recorded close to 40 minutes of 4K video before the conference ended and I stopped recording. No overheating, and the camera was not hot. The files were successfully recorded, and when pieces together in DaVinci resolve I did not detect any dropped or skipped frames from one clip to another (the camera splits clips after a certain file size).

I'm submitting this 50 mins after the deadline, I don't know if I'm in or if I'm out... Damn, I know that this thread has been open since around a month, but didn't had time, didn't thought on participate, and last week I thought about it and said "let's give it a try".. unfortunately didn't had any time, and just today I was able to sit in front of the computer to edit.. so sorry for the quality, I tried to do the best I could on the image part but didn't even had time to normalize and do something with the audio ?‍♂️ I hope it's good enough. The camera used can be bought used from $124 very used, and all the way up to $200 in mint condition. I aded a BONUS SHOTS part where I put some unrelated and random shots with different lighting conditions to see how the camera performs on those situations. Here is the link, it's still uploading:

Hallo friends, here is my contribution. I hope you like my final film. Looking forward to the great pleasure of exchanging experiences and technical odditities and tricks once Andrew gives the signal for releasing info next week. Thank you for your beautiful films, discussion and the awesome spirit. Thanks Andrew and everyone for inspiring us to film something personal. Here is my labour of love, shot last week and edited over night until just now cheers! Thank you very much!