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Ask me any questions you have. Disclaimer: I wasn’t able to get 6k raw to work and need to spend some time getting it in Resolve. For now... here is a first look and impression video with some footage. Some 6k raw was able to be transcoded to 1080p... but that’s it. Seriously been a pain in the neck but it is what it is.... https://youtu.be/jvnf02X3EhU

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

OK for @jase or anyone else who wants to prod about in a bit more of a structured manner on their Lumix device, I have just knocked up this rough and ready Lumix Video Format Explorer app for Android. Usual story, attach your camera to your device over wifi and then open the app and hit the CONNECT button and your camera should clear its wifi screen and show that it is under remote control. If you want to see if the 709Like profile works on your camera then just hit the 709Like button and see what happens. Certainly does nothing on the GX80 but it seems to on the GX9 so its worth a go on similar later cameras. The next 4 buttons switch the video format of the camera and the MP4ED appears to populate the GX9 with additional options but again, nothing on the GX80. Next up, we have the SELECT FORMAT button. When you press that, you get this list (which scrolls to several pages). This is the list of every format returned from a probe of the GH5 so select the one you want to try and it will return you to the main screen with that one now shown in the blue banner beneath the SELECT FORMAT and SEND button. Obviously to send the currently selected recording format you then hit SEND. Beneath the blue banner are the PREVIOUS and NEXT buttons which will select the next recording format in the list and then automatically send it to the camera. The reason for the two different methods is obviously so you can use the list selection to get to a specific one you want rather than scrolling through and the PREVIOUS/NEXT auto method is better for stepping through regions of formats (i.e just the AVCHD ones). Finally, the RECORD button is a bit self explanatory and switches between red and green depending on status. The purpose of having the file name in the bigger banner is so that for testing you can point the camera at the phone (on a stand or propped up ideally) and then when you review the recorded file you will have a visual indicator of what file format you had told it to record in for easier confirmation. If you send the camera some file formats it really doesn't like then certainly on the GX80 this can sometimes result it in de-populating its list inside the camera (i.e. you can select MP4 but there are no different formats listed) but this can easily be resolved by choosing a known working format from the list and sending it which will restore the list. For the GX80 an example of this will be mp4_24p_100mbps_4k As this contains the full list of all 202 GH5 format variants, I'd probably say this is the definitive last hurrah for anyone trying to find any hidden type inside their Lumix cameras and is obviously fastest and the most structured way to do it so will be less painful than having to paste hundreds of commands into a browser. I think that this will be more fruitful for the latter cameras based on what seems to be happening with the GX9 so if you have one of those then using this you might be able to find more gold with that one a bit quicker. Also, if you come across someone with an LX100 Mark 2 then this app will let us quickly establish if there is anything in there as I now have a sneaking feeling there might be. Usual caveats regarding use of this app is that it doesn't send any commands other than those sent by the Panasonic app but obviously use of it is at your own risk. Your Android device should auto install the attached apk file when you download it but make sure you have your security settings set to allow installation of apps from “Unknown sources“. LumixVideoFormats.apk

Here are my early impressions of the pocket 6k - My camera came with scuffs and scratches all over the body. It looked like it has been used for months. Went on FB and saw several people complaining and posting pictures of very bad scratches and even dents all over the body. Check out the official Facebook group to see more info on this. - Vmount or some other solution is needed. I fall into the prefer pocket full of batteries category, as I like to keep it compact. But I am not even sure I made it 15 minutes before it died with an official canon batter (newest version). It was really bad. I need to do more tests on this. I was shooting 6k braw for what it’s worth - Motion cadence and overall look still doesn’t really do it for me. It looks fantastic, but it doesn’t have the magic older blackmagic sensors had. Maybe it’s the resolution bump and it’s just the way it is with these modern sensors. So far, nothing in the consumer/prosumer price range beats my blackmagic micro cinema camera as far as motion cadence and nailing the filmic look with ease. I feel cameras now days nail the specs on paper, but they lack feel/organic quality/smooth motion cadence, etc. Often people get up and arms when the word “cinematic” is brought up. Yes you can make cinematic footage with the pocket 6 or prob any camera for that matter. Yes lighting impacts it and proper grade does as well. And yes it’s a term that is overused and misused. But I think their is definitely an organic feel missing from these often sterile modern sensors. Sure you can throw a pro-mist filter on it, some vintage glass, and massage it to look great. The sensor kind of reminds me of my old Red Raven. Which isn’t really a bad thing (or great). Just has a slightly similar look and feel to it. - Having a dedicated ef Mount is wonderful. Much better not dealing with an adapter. TL;DR Overall, it’s a great camera and just like the pocket 4k - it’s great when rigged up. Battery life seems much worse than the 4k when using canon batteries - but I need to do more testing. Overall look and feel is sharp and impressive, but lacks an organic quality which can be attributed by slightly video-esque motion cadence, modern sensor, and higher resolution.

To be honest, I did not see the P6K coming. I received mine yesterday and haven't even had time to open the box yet. I am curious about using it along side the P4Ks with and without boosters. But after seeing the P6K, you *know* there is a P8K coming just as soon as BM can get a sensor (full frame?) that has the appropriate specs and makes the ~3500 price point. They already have the EF mount and there should be enough room in the body for the larger sensor. I bet the P8K is out inside 15 months at $3495. What do you guys think? Also, I got a huge kick out of the fact that Blackmagic had it in stock the DAY it was released at the major dealers. I got mine from B&H. That will teach us to talk smack about Blackmagic's legendary lack of timeliness (or not.... )

1) technically BMPCC 4k with an XL Speedbooster will give you a "larger sensor" than the BMPCC 6k....but with LucAdapter Magicbooster....you can make the BMPCC 6k FULL FRAME potentially! 2) no workflow isn't ready yet. Resolve is still super buggy cause its in beta and 6k didn't work well on my machine. I am not going to mess with it till it gets better. 3)low light is great! 4) 4k ProRes uses the full sensor

heart0less The Citadel Park Kye The most cinematic video ever made AND A rainy morning mrjim Bexhill July 2019 Snowfun Good Morning Esguelha $200 challenge entry Michi Homestar Kevin aaa123jc A Trip to Hong Kong Disneyland Framed By Dan theraywong mkabi Nordee Wronzoff TrueIndigo PannySVHS Sama Kotka Matias Mayolo m.maksym Better together anax276 The Garden Leslie Apples Well done to everyone who contributed. I had a lot of fun watching the results come in. I had some fun shooting my own as well, but I've not edited it yet and decided to let the competition vote run without my entry for now. In the main blog post coming out, you'll see what I bought and what I got up to. I'll let the vote run for a few days, then we can reveal the cameras which is the even more fun part Please vote once for your favourite of the videos (and not your own!!) - no gaming the system If I missed anyone on the list, let me know.

I have tried all the combinations in my G80 and all. mov generate files that the camera cannot play. It also accepts some 200mbps that are not real hight bitrates in the corrupt file recorded.

Not to mention it wasn't full frame it was APSH iirc

Not to get too off topic but you mentioned the blackmagic micro cinema camera. Everytime I use it I think I should just throw all my other cameras (z6, xt3, etc) in the trash. For me too it has the best look to it by far. But, you really have to work to use that camera with all of it's quirks. Folks say you can soften modern cameras in post, but I've never seen good examples of that to match something like the bmmcc. I wish BM or another co. would just package that same sensor into a newer body with all the ergonomics and battery life of a modern cam.

I’m a MFT fan but I can only see the GH6 being successful if it really pushes the envelope for what we expect in a hybrid mirrorless of its size, like the GH5 did for its time. In my opinion it has to have: A built in ND function of some kind, wether on sensor, or in place of mechanical shutter (with a global shutter to take its place). First to offer 4K 120p in a hybrid mirrorless. At least 6K or better a 8K open gate mode. RAW or a very beefy HEVC codec of some kind with 10bit in all shooting modes. Next generation IBIS + EIS that offers benefits over the already excellent G9 and GH5. At least 14 stops dynamic range with full VLog and some kind of extended HDR shooting mode. Vastly improved AF wether PDAF or next gen DFD (the S1 is way better than I thought). I think anything less and people will ignore it because of the maligned sensor size ?

By doing nothing until after the S1H, the Sigma FP and the ProResRAW update for the Nikon Z6 are released? Or in the case of the last one, waiting for Elvis to re-appear saying "Fooled ya !" whichever comes first.

Yes, right, like when the Hydrogen project went down it was some Chinese's fault, when everything goes well is 100% Red.. Do we even believe this guy anymore?

Guys give it a break and write a film ffs! I watched The Godfather (again) recently. This film probably has as much detail as a poor 720p camera. The highlights are often blown out and it looks like the dynamic range of that film is no more than 6-8 stops. It is yellow as fuck. And still, it's a beautiful movie. And almost everyone agrees. I realised that, including for myself, this obsession with gear, pixel peeping and resolution is a race to the creative bottom.

What will have stunned them is that BM were able to deliver the camera the day after the announcement while RED are only in the position to show off teaser pictures of theirs. I don't know how long RED intend to let this routine of putting out teasers go on for but if it continues much longer we'll have to start calling it the Komodo Drag On.

Most studios do not accept unsolicited material. So you would need an agent/manager to get you a meeting. Check our NYTVF.

If you bought a C200 and the pocket was even on your radar, then you probably bought the wrong camera regardless. The benefits of the c200 are the ergonomics, auto focus, battery life, Internal NDs and reliability. The pocket can probably get close strictly image wise, but it’s a lot harder to get there.

I think rather than pitching the idea to Netflix, you may be better off making some sort of pilot episode that you can shop around, enter in festivals, etc. Another possibility would be to find a list of the production companies that have deals with Netflix and contact them directly, or see if they’re signed up with Virtual Pitch Fest. As far as emailing Mr. Netflix and pitching him your idea, you may have as good of a chance selling it by going to the Hollywood Sign to ask Hollywood to greenlight your project. Dont get me wrong, I appreciate your enthusiasm and confidence but I think your approach may be a little naive. But if you figure it out, pass it along because I’d love to find another way to break through the door. Btw, don’t you live outside of LA? Do you know anybody who knows anybody that has an agent or knows an agent? Try networking?

Oh well, at least this is a quicker way to find out none of them work So thats G80 and GX80 done and dusted. Hopefully we can get something back from owners of the newer cameras.

For me, the mount is what is holding me back from getting this cam. I don't own any EF lenses and would rather invest in PL or L/RF. The P4k w/ an adapter sounds great, but unfortunately the only PL lenses that works with the speedboosters are the CP2s

Congrats and good luck to all participants!!!

Patrick - you really shouldn't let the usability turn you away - the only must have is an external monitor - if you have that already, there is no reason to not buy one for how cheap they area. If you need more info or have questions, just send me a PM and I can help assist.

Come on, there is not too much depth in capitalists, profit is always the target. If Jannard is Ghandi, then Grant Petty is God himself, of all universes and all planets, ever.. ..but no, he has a plan to bring profit to his company, a better plan from Jannard I must say. How many people do you known with a Red product? How many with a BM one? Software? Hardware? The whole workflow! Red is sueing the whole industry (like Apple does), BM gives braw for free (ofcourse not because they are good, but they have a masterplan), there is the controversy with the "specialized" media which aren't very special and so many things at red forums. Also a comment I read in newsshooter, the first part is Jarred's instagram post for the latest Komodo teaser, the second part the Ed Andrews interpretation: "Ed Andrews 6 hours ago "During prep late last week with one of our favorite teams of course an impossible request comes in which had about a 4% probability of getting done in time. Low and behold... a few dedicated rockstars from the RED engineering team worked around the clock to get it done and they just got it done." I read this as 'boss boasting about the amount of pressure they are putting on their staff.' They must be rattled by the BMPCC6k with all these 'teasers" There are no Angels in this world.

Tom Antos has posted his review of the 6K. He's definitely the Youtuber who's done the most work for a Pocket 6K review thus far. Pretty comprehensive.

That was me.

Voted. I am really looking forward to the reveal part! ? Can't wait to see what kind of camera and lens were used to shot all these beautiful videos (except mine, probably)!

Really tough to decide. Should I go for abstract emotional value or pure cinematography.

He didn't targeted the chinese builder for the sensor but for complete build and support. Especially Jannard is a camera pioneer for our age and I feel extremely thankfull to him and his dream. New RED is Blackmagic after all but you cannnot erase the past and what they have achieved.

I’ve returned or sold many cameras in the past few years and have kept my micro the entire time. I agree with the quirks, but for me they are solvable. For example only shoot raw and manual focus lenses, so I have no need to ever even go into the menus - besides maybe to format a card once in awhile. So the menu buttons don’t bother me. I also have the NPF adapter, so battery life is great. So the micro is more compact, battery life is better, it has in my opinion the better raw codec, and a better filmic quality to it and also records to regular SD cards. Yet, nobody talks about it because of the way blackmagic promoted it as almost a drone only/go pro-ish brain. When in reality it’s an amazing filmic camera perfect for rigging. It’s truly one of the most insanely under-appreciated hidden gems in the consumer/prosumer film/video industry. Also, with resolve superscale - you can upscale it to 4k with amazing results. @Skip77 120hz only makes it look worse to me. It’s not the motion cadence being bad. Most starting out in the past few years won’t tell a difference. For us old timers, the motion cadence we are speaking of gives a bit more cinematic feel to it. For example the micros motion cadence seems slower, with more natural blur, which I find more pleasing.

Their CEO posted somewhere that it's a new sensor made by Red like all their previous ones.

No but have we seen the price of the Leica version ? The 7Artisans is 3.5% of the price of it Based on my experiences with the 50mm f1.1 and the 28mm f1.4 it will hopefully be decent enough for me at least.

If they can fit in the E-mount of the FS5 they can fit it into a compact body.

UPDATE: this is just what i needed. tysm ???

Canon is definitely way ahead then, 4K60P on a Full frame camera in 2016. And this thread always bring me laughter, 2 and half years later and the mystical A7SIII still no where to be seen.

Hope that every man and their dog will get rid of the totally under gunned p4k now.

Hopefully he wasn’t drunk enough and it will be even cheaper. With the screen, it could be the FF version of the BMMCC but even better. I can only imagine the plans you have for it... other than your affinity for Sigma products in general. I think I mentioned that I’ve been wanting to get into still photography, so if I do end up with an FP, I may use the unique still/cine mode as a parlay into using it as a hybrid camera. Btw, I was reading more about it on their web page and was surprised to learn that it looks like it will have a solid all-i h.264 codec and a “cine” picture profile, so that could be interesting as well. I was also over at Red User and the conspiracy theorist in me thinks the P6K could be a big middle finger to Red over that lawsuit. Obviously, that is unlikely but the Komodo doesn’t seem as appealing to even some of the diehard Red fans over there.

Cool stuff if true. I tried finding the source of this, but didn't succeed. Could you point us to the source of this, I would like te learn more. Thx!

I've got two responses to this topic Consider that in terms of resolution, for stills, a 6 Mp CCD camera equaled 35mm film 10 years ago in terms of resolution. Not in terms of colour.. It seems to me modern 100mbs super 35 at 1080p from a prosumer camera is equal to 35mm film stock in terms of resolution. I've shot quality 4k and displayed it 4k on a big screen and it looks impressive. However, I'm happy with quality 1080p. I've heard annocdotally that for major studios VFX is done at 2k and rezzed up. It wouldn't surprise me. Also, what's the point of 6k if it's broadcast at 8Mbs? I mean really.. The limitation is not in the number of pixels but the size of the pipe. it's just a case of give me MOARRR!

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.

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...

That whisper may well prove to have been drunken slurring but I think its on the money. I think I've said to you before but the FP has the potential to be the full frame version of the BMMCC. For a few reasons, I await it with probably a little more interest than most

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

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.

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

You can always tell who lives in a bubble and who doesn't by threads like this. Most people I know don't even have room for an 85 inch TV. The vast majority of people will never own a television that can benefit from 8k. Hell, I don't know that most will ever own a TV that displays the benefits of 4K.

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:)

I suggest you carefully read my post again - many of your points are arguments against points I didn't make, but you obviously thought that I did. Also, I'm aware that GH5 files aren't 6K RAW, but the logic you're failing to recognise is that a 4K crop is to 6K the same that a 150% crop of 4K is to straight 4K. The argument goes that if you're outputting 4K and are going to crop in by 150% then you need 6K, but what the logic fails to recognise is that you can scale 4K by the same amount and if you add a small amount of sharpening then it's practically indistinguishable from the straight 4K file. Therefore the argument that 6K is required for reframing and keeping similar image quality doesn't really stack up. It's funny when discussing things like this - you and @thephoenix both went to the extreme and then criticised that. That is called a 'straw-man' argument, and although neither of you did it explicitly, you both reacted like I had said things I didn't actually say. Let's examine the title of this thread and break it down: "6K RAW is over-rated. Here's why..." 6K RAW I'm not really talking about compressed 6K. If you're delivering 4K it will likely be compressed. If you're shooting compressed 4K then grading it and then re-compressing it to deliver codec then that's a lot of damage to the image. If you're shooting 4K RAW then you're already miles ahead of compressed 4K. 6K RAW is miles ahead of that and yet apparently it's "argue on the internet" levels of critical, despite that 4K RAW is already miles above the compressed 4K files that the world is awash in. overrated This is a key point - I'm not saying it's useless, I'm saying that it's overrated. To break this down further, I'm saying that there's a rating of some kind (in the direction of shiny-thing mania), and that that level of rating is above what rating it should have. Not that it should be zero, just that it should be below what is has. Here's why This is where the arguments live, and I don't mean people fighting, I mean rational points designed to explore and explain thinking. In terms of context, yes, it depends on what you're shooting and what it's for, but if I was a betting man I'd bet a serious amount of money that you're not delivering anything in 6K and couldn't tell a 2.5K crop upscaled to 4K from a 4K source in a blind test.

I’ll keep that in mind next time I’m live streaming a corporate meeting. You seen to assume the use of this gear is making independent shorts.

i was out and about today, found out there was a road up to the radio tower thats on the eastern side of town from talk at the local mens shed. They have actually put in a lookout up near the top as well this may be my new favorite spot. Had the p4k with me so here's a still from it. The tokina at the 28mm end of things

Hello EOSHD community! I must admit that although I follow your website on a daily basis, Andrew, I haven't really commented or posted much on these forums. Regardless, a big thank you for all the honest, passionate, critical, informative and damned funny content you've shared over the years! In any case, here is my offering, for what it's worth. This was a great little project to focus the mind and soul!