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They can try and sue us about the glue. It'll never stick.

Well their own higher end cameras have EF mount of course so there is the gateway drug/B camera aspect to it as well. Also, as has been seen with the LS300, this is the sort of reaction that you get from a lot of people when explaining that you can have a larger sensor sat behind an MFT mount. The connection between lens mount and sensor size is so fixed in so many minds that it would actually present a bit of a challenge to market it. If you've only got EF mount lenses (and I've actually got more of those than MFT ones) and never intend to put PL lenses on it or need the option of smaller MFT lenses then its likely not worth a second thought. BM have far more research data than any of us about what people want in a camera and it might well be that the unbreakable link in a lot of people's minds between mount and sensor isn't a battle worth having for them. I'd be curious to know whether JVC would do it again either as, even though for the people that did buy it that aspect of it was genius, it likely put off an equal or more number who didn't get it or need it. If the Pocket6K had an MFT mount, did a simple 90% crop when you put on an MFT lens (and it can auto detect this) and did 100% otherwise then I doubt it would've raised nearly as much debate though. Which is why we will see exactly that in the version they release at NAB

Newer cameras have 24p included... Canon really sorta is the only exception. If there was such a weird thing as 24p codec licensing, which is an utter B$ of an assumption, then why-o-why is Panasonic including it? Why does Sony still fit 24p in all their cameras? Why does stills heritage Fujifilm care about 24p video? Nikon? Heck, even bloody Pentax... and nobody is even using those to shoot video. Yet... it's a Canon strategy that we've seen time and time again. Seemingly purposely crippling cameras, withholding certain features. Playing the infamous segmentation game. You want X? Buy Z! Heavy crops, 24p, limited recording times, DPAF C-AF during 4K, inclusion of a mic-input/headphone port, display type (front-facing), etc... all to differentiate cameras, pushing you to buy certain cameras if you want certain features. It's sorta the same we see Pansonic do diversifying their flagship line-up not to just be the one GH-camera. Now there's the G9 if you want the best in stills, with that top LCD, huge EVF, 6.5-stops of stabiization, USB-C charging and schtuff. The GH5S if you want the absolute best in image quality... dual native ISO benefit. GH5 if you think the GH5S sounds exciting, but rather have IBIS going on and pay less. I mean... it's working, I have 2 out of the 3. Pricing of the GH5S pushed me into getting the BMPCC4K instead. But yeah, definitely manufacturers are giving certain cameras certain features to set it apart, which I find disturbing. At least Panasonic/Sony still give you quite a bit more than the average consumer would ever need, but enthusiasts and pros would love to have. Canon? Not so much. They're trying to figure out what they can leave out of next camera releases instead of looking what to include. They don't have much going on for them anymore, they're just playing catch up. Others all are doing sensor stabilization cameras, have come a long way in color science, so that's not really a factor anymore, Sony's C-AF is in Canon's DualPixel AF league (rest perhaps not so much yet), ease of use? Well, maybe not Sony, but others are a delight and offer so much control and customization. Lenses? Give me a break. Nobody actually likes red ring lenses that much anymore, definitely not the pinnacle of the industry now. Like honestly, why even bother getting a Canon interchangeable lens camera these days? I know I wouldn't... then again I never saw the appeal throughout the years. The value proposition just isn't there. Seems to be a brand for sheeple chasing to be the next Casey Nicetatt, Matti Hapoopoo or Peter McCanon.

Hi, congrats to all the participants. The reveal is really entertaining. My story: Based on recent improvement with Magic Lantern I purchased an EOS M to do some experiment a month ago, then the EOSHD challenge appeared (but with the Magic Lantern restriction ?). The EOS M was $150, still $50 left for the lens. The easy choice was a Canon FD, Minolta Rokkor, or the mighty soviet Helios or any vintage lens under $50. But I wanted to try something "different" to stay on the challenge track. A round trip to my treasure chest (my wife has a different name for that box) and I found something quite interesting, an enlarger lens : Beseler-HD 50mm 2.8 - I remember paying something around $30 max. but after checking the invoice and I actually payed $9 + $8 shipping - Then ordered an adapter in Russia - M42x1 to Canon EOS-M for $25. After 2 weeks, I received a snail mail with some nice Russian stamps and the adapter inside the letter. Added a 17-31 helicoid for focusing infinity and voila an unusual bokeh. Cheers.

At least Canon won't sue you if you say something bad about their cameras ? Ted

Your favs? Anything by the living legend Ennio Morricone: And from a collaboration comprehending some native people close of my own and I've personally had the fortune to be in touch with (the magistral voice of Dulce Pontes over the work of Antonio Tabucchi) : And here's one from another but with a dear old instructor of mine -- the producer Fernando Ghia I truly miss and one of my main references with whom I had the luck to listen those passionate words I'll always keep deep inside me:

Made to eliminate gamut clipping issues in the first place, but also eliminates the brown cast of BMD Film V4 for the BMPCC 4K and 6K (soon), provides a nicer roll-off for skin, red lights, tungsten, blue lights etc, fixes incorrect color and targets IPP2 Soft Rec709 conversion. A BMD FILM V4 to RedWideGamutRGB/RedLog3G10 conversion to work with inside a native IPP2 workflow is included as well. Pocket 6K version coming soon: More information: http://55media.net/55m-p4k-color/

Is there still an appeal for ML hacking? I just feel like alot of cameras have caught up. Although no dslr is shooting raw at the moment but the margin in trade off is getting shorter. Not sure what people are really looking for in canon cameras these days. There message as been clear from day. You either shoot on the C line for video or DSLR for pics

Looks good, nice work!

Because black magic markets their cameras as cinema cameras. Panasonic falls in with the rest of the DSLR type cameras, which all have superior auto focus.

Am in two minds keeping my gh5 with gh5s or sell and move to fullframe S1 ? the only thing is there are only few native lenses to pick from pana and they cost leg & arm

For me, the value of a GoPro is that it's small, robust, waterproof and "fire-and-forget". Modding it with a new mount removes all of those advantages. I guess it would still be the smallest camera with 4k60p at a high bitrate, but for most practical cases, a GH5 would make more sense. Then there is of course the entertainment aspect of doing camera mods.

The S1 is $300 cheaper right now in the US (maybe elsewhere too?) I'm not sure though if it's permanent. Yeah, that's one of the reasons I haven't pulled the trigger. It's nice to be able to adapt lenses but I'd like to have some decent afford native lenses to use too.

separate it into its various bits (not pull it apart ). i mean disconnect the supperscope then the rangefinder. just have the red anamorphic mounted to the taking lens, take some photos add on the rangfinder take some photos and the add the superscope by process of elimination you should be able to narrow the culprit down. Maybe try other taking lenses if you can. does your monitor allow you to de squeeze the image ? how does the image look de squeezed in post ?

If we are using anecdotal evidence here... I went to Center Island (here in Toronto) about 2 weeks ago... and I saw zero Canon or Nikon, but I did see 2 Sony a7 cameras and 1 olympus... about 1 month ago when I visited Niagara Falls, Ontario with the family.... I saw 2 Canons, 1 Nikon and 1 Fuji.... with those kind of evidences, I predict that given that these are high traffic tourist areas, people are dumping their Canons/Nikons/Fujis for Sonys and olympus camera within a 2 week period.

With the price reduction it's really tempting but the cost of lenses is just way too hard to swallow. I'm so impressed with the stabilization. What a feat, really.

I've seen a lot of Canon apologists but this 24p stuff might take the cake.

All it is is literally a sensor readout change to shoot 24fps. The codec used stays IDENTICAL otherwise. Why could licensing be the reason then? The canon t2i has 24fps. Did canon have to pay 5 million bucks? If so, why did they do so on their cheap plastic dslr?! Someone tell me the logic here lol

I reckon the 30p lovers should all go and tell Hollywood and Netflix to switch. I don't care if the camera is aimed at me or not, only Canon's marketing people do. The founding principals of the cinema look include 24p and it's as important as dynamic range, RAW, etc., 25p looks similar but 24p is the standard and you can't mix the two on one timeline. Canon know this which is why it's another Protect the Cinema EOS margins cripple. Which is a shame because the new sensor technology looks good, and has finally caught up to the readout speed of others. If you are calling yourself a filmmaker but prefer to shoot 30p over 24p you should be a bit embarrassed. 25p is another matter, that has the same cinematic feel to 24p. I shoot 25p quite a lot because I live in a PAL region. I am glad it has 25p. But I'm not happy with the 24p bullshit spreading on this forum and screen Hz judder-stutter-bullshit. Stop doing it. Tiresome to read.

Costs a DoP's day rate! ;-)

Ah but the F3 doesn't need any hack. And you're getting: Great low light. Timecode / SDI / NDs 1080 resolution Super 35mm resolution. I think if the DVX100 only missed out on one or two of those factors then perhaps I could still see the appeal of the DVX100, but at the moment it just seems too outdated compared to the competition (such as an F3.... of even FS100/FS700, or heck an AF100 also from Panasonic)

you're mistaking hate with making fun of which is justified The lack of 24p is funny because it's literally one frame less than 25p which you can shoot. So what about 24p makes it impossible to write? Nothing. It's entirely doable. They've done it in the past. They can do it now. Why isn't it there then? Because they're stupid. And this is why we're making fun of Canon.

lmao, Ima wait for the official announcement. Cause if no 24fps YT finna explode.

Unlike the others here, I've had pretty good luck with Ribcage products... to as much of an extent as can be reasonably expected. I first bought their kit to convert a Yi 4K+ to C mount and I somehow botched the installation, but they were willing to help me un-botch it in the end. Ultimately, I found that C mount lenses were extremely difficult to use with the Yi because... The internal screen is tiny and not very high-resolution. This made critical focus nearly impossible, even when using a loupe. There is no HDMI output option to use an external screen to check critical focus. It is possible to use an adapter to get composite output, but none of my external screens are composite... More recently, I bought a pre-assembled kit with a Hero 7 Black. This is a vastly better experience. The internal screen on the Hero 7 is much better-quality than the Yi and there is an option to digitally zoom in which is very useful for focusing. This is a little bit awkward, but works OK The camera has HDMI output which can be useful for focusing if I already have another screen, but this has limits - in video mode, the HDMI output is very laggy. In photo mode and timelapse mode it's very fast... but it is pretty awkward to have to change modes constantly in order to focus. Image stabilization is not very well-optimized for longer lenses so they end up still feeling sort of shaky I have found that a number of D mount lenses have sufficient coverage for the 1/2.3" sensor in the Hero 7. I'm still looking for a wide angle option without a hard vignette, but lenses in the 10mm and longer range seem to cover sufficiently... which is at least enough for a very minor telephoto with around a 10mm lens. I'm hoping, though, to find a 5mm or so D mount lens with enough coverage. Unfortunately, D mount lenses aren't super common on the used market. In this regard, the 1" sensor (2.7x crop) in the RX0 would be very strongly preferable. Whatever the Ribcage looks like internally or how much electronics purists turn up their nose at it, the camera feels plenty solid from the outside and mine has been banged around quite a bit. It still seems to be doing alright. The Hero 7 has HEVC at around 78 megabits/second. I would be curious to compare its output vs the RX0 with semi-cruddy HEVC-S at 100 megabits/second. In addition, the Hero 7 can handle 60 fps in 4k where the RX0 is only capable of 30 fps. On the other hand, the RX0 can output 4K at 422 for external recording if you don't mind bulking it up a little bit. The Hero 7 also has 2.7kp120 and 1080p240 options and I think both can be used continuously. The RX0 has 1080p240. Assuming that it's like my RX100 V, this mode will be limited to only a few seconds. I'm not sure how much any of this matters since the quality of all of the above is fairly mediocre. The RX0 has Slog. The Hero 7 has ProTune. I think both are usable enough with moderate dynamic range scenes. The RX0 almost definitely will work better in low light than the Hero 7 - and in addition, it's possible to use a speed booster with the Micro 4/3 mount where I am not aware of any decent-quality C mount speed boosters. In the end, I thought about buying the Ribcage RX0... but ended up deciding it didn't have enough advantages over the Ribcage Hero 7 to make it worth the swap. This is reminding me that I want to use the Hero 7 variant more... I suppose I'll make an effort to bring it with me the next time I go shooting.

Wow - I looked at these on ebay and IIRC couldn't find anything within the price limit. I liked the look of your footage - soft but in an organic kind of way. I also liked your image because it was soft in an organic kind of way, and the colours were definitely very nice. It's hard to tell from YT but it looks like this image would respond well to colour grading if you were so inclined too.

I am pretty sure since 2016 when David Bowie left us and Trump got elected we have been living in a different parallel universe where nothing makes sense any more. 24p now the stuff of 'film wannabes' is it? You are a big old troll. And you need to fuck off.

Maybe a sticky thread, not really enough posts about Z-cam for an entire sub forum.

Same, it was definitely one of my tops for cinematography. The camera image quality didn't do anything for me, though.

Looks like I can keep my camera! ? Congrats to the winner! And to others as well. You guys are all amazing. My setup is a Canon EOS M and a 7Artisans 25mm F1.8. I got the EOS M in a local store in Hong Kong. It costs me HKD $680, so bascially USD $86. Of course it is a used camera but I don't think the original owner used it much. As for the lens, I brought it from my friend. It is HKD $400, so about USD $ 50. It is really amazing that one can buy such a capable setup in under $150 US dollars! The moment I picked this camera up I fell in love with it. Even though it doesn't have the best ergonomics, I just want to shoot something with it immediately. And the colors is great. The auto white balance is actually really accurate. I would say even better than the other Canon cameras I have used! While the 1080P is quite soft, in my opinion, it looks more vintage than cheap. That are plenty of details. I don't personally like overly sharp image anyway. The lens is a manual prime lens but that isn't a problem. The focus ring is quite smooth. The build quality is nice enough. The vignette is very pronounced but I think it looks good so that doesn't bother me at all. At first I was planning to do a simple and low budget "music video". But due to some horrific things happening in Hong Kong, I didn't have the time and opportunity to do it. So I have to use the footage I shoot during a trip to Disneyland with my girlfriend and her friend. That was my very first time using the camera. My biggest challenge is that the EOS M does not have focus peaking. My eyes are quite bad. I need to rely on focus peaking to manual focus. That's why I missed my focus quite a lot in the video ?. Other than that I find this setup really easy to use. I shoot the whole video handheld. 1080P 24P. I even use auto white balance exclusively and it just works. I did a little bit of color grading and some stabilization in post (only for those panning shots). Many people buy the EOS M to use it with Magic Lantern. But for me, even without the Magic Lantern, the camera still works very well, even in 2019. It just becomes my new favorite!

The camera used was a compact stills camera, the Fuji FinePix E900. I bought it new for £140 in May 2007 and haven't used it for seven years (the first thing I had to do was reset the clock!). The 4:3 video it shoots (auto exposure only) is 640 x 480 x 30p. I enlarged this with a video utility to make it 1440 x 1080 x 30p before editing on a 1920 x 1080 timeline, so the "Academy" shape was retained. But absolutely no exposure or colour changes were made, so the colours you see are straight from the camera. Interestingly, it's the auto exposure (and it's sudden changes within a shot) that makes it look amateur, more so perhaps than the ultra low resolution. A sad sign of the times regarding increasing obsolescence: I took out the xD card to put in my computer multi-memory card reader, only to find that xD was not one of them! Luckily, the camera features a USB socket, so I could connect the camera directly to access the files. Michi: "I'm particularly curious to see what camera @TrueIndigo has used. I liked the colours of that one the most." -- This camera features a 9MP 5th generation Super CCD HR sensor. From the days when Fuji photsites were octagonal in shape and some were of a different size -- wild times!

Congratulations to the winners! Well deserved! The spirit of the competition was really fun, actually go out there and create content. I hope there will be more challenges like this in the future. Now, onto the reveal: I shot on a Panasonic GF5, picked up for about 50-60$ in a used store in Hong Kong: Locked the SS to 40 or 50 like recommended in your old article Andrew. A fun little portable camera to shoot on, and the small size of the files make them superfast and easy to edit. Also put a LUT over the finished edit. I also used a 10$ tripod and a vintage 70-210 Tokina/Vivitar tele lens with OM mount, bought for maybe 10-15$. Now PannySVHS, if you want me to send the camera, PM your adress. Best regards!

How much more technical? hahahaha.. just wait! I liked your video - it looked vintage in both the colours as well as lens. Interestingly I didn't spot the Helios despite having done lots of lens comparisons and owning two of them myself! Great stuff! You absolutely win my vote for Most Off The Wall Choice!! I am going to claim that I had the thought of a webcam running to a laptop, but not with an anamorphic adapter! and of course, I only thought about it, you did it, so big credit to you! If only you'd pummelled the image to death in Resolve like I did!! You did well on the IQ - fourth place well earned! Plus you were the only person to include a Dalek, so special bonus points for that!! I voted for you in the IQ category - excellent choice. This has great IQ, nice colours and contrast, and getting that SOOC is impressive! Nice!! These old cameras are still pretty good! I like it! Of course, I don't own a GH2 and wouldn't buy one so would keep my current strategy of using the cheapest camera on ebay and grading it within an inch of its life! I am hatching plans for how we can do this again in some way. I have an action camera I don't want, so maybe the rule will be "everyone must enter this competition because if you don't I'll mail you this action camera" ???

Hi! My camera is an Olympus OM-D E-M5 (2012) with an old Canon FD 50/1.4 lens, used with a basic, cheap adapter. With a bit of luck and searching you can find an E-M5 for €200 (or a bit less) on eBay. I bought the lens also on eBay for a low price (I don’t remember exactly how much). No other equipment or colour grading was used.

i got a bit fixated on the losing camera bit, completely missed the fine print about entering just for the judges category. But thats life. I'm a bit surprised with the amount of entries or lack thereof, as i bid on 3 or 4 cameras but was out bid on everything. I was sure you guys must have been buying everything up for the competition. The old video camera segment of ebay must be quite abit more active than one would have thought. Too cut a long story short i ended up using a logitech c920 webcam with a letus anamorphic adapter taped to the front. My reasoning for using the letus was to help differentiate my entry from the others. i figure if speedboosters were allowed if you already had them an anamorphic should be ok as well. Not sure if anyone else shot anamorphicaly. Considering i went to the trouble of using the letus i did forget to get any footage of the lens flaring which was kinda dumb. Since my entry has proved surprisingly unlikely to win the point is moot i guess. I'm glad i entered i learned a whole bunch of things that i can apply to the next challenge. i am fairly confident i can increase my vote rate by at least a 100% next time round ? So dan the man pm me your address if you need a webcam for the odd late night online dalliance. Mind you, you can keep those tips,tricks and footage for your own personal gratuitousness ok ?

Now, that's called dedication! Great work, kye. Here is a picture of my setup: NEX5 (the original one, not N /R /T), which I bought for ~40 $ (it was missing battery, charger and, supposedly, its battery doors wouldn't close [they do, though]) + Helios 44-4 (which I bought many years ago in a combination with working Zenit ET for 20 $) and a cheap (10$) ND filter. It's got one of the quirkest video modes. You can lock the exposure during recording only by holding down the shutter button, otherwise it's full auto and shows a tendency to quickly ramp your ISO quite high. That's why some people came up with and idea like this: https://www.thingiverse.com/thing:8270 Waiting for next reveals. (( :

Congrats to the winners - well deserved! I figured I would lose the competition so would have some fun with it, so went very very budget. I also wanted to see how far I could 'improve' the footage in Resolve. Camera #1: Fujifilm J20 Point and shoot - 2009 - 640x480 30p (final video was cropped to 16:9) Price is about $15-30 on ebay (mine was purchased by my wife when new, so has been sitting in a drawer for about a decade) Final video: Unprocessed footage: Camera #2: Fake action camera It claims 1080p, but is FAKE and shoots the worst 640x480 30p I have ever seen (final video was cropped to 16:9) Price was AU$17 brand new on ebay (which included free shipping across Australia - about 5000kms) Final video: Unprocessed footage: Camera #3 was going to be a D-Mount lens on my old GoPro, but sadly didn't survive the modifications..

Seems he couldn't mount those PL lenses on that Pocket6K then

that looks to be a fairly decent gouge. i guess theres some mount intolerance going on, or maybe a pin or guide is the wrong hardness, if thats the correct wording. Id be a bit proactive and fire of a email the respective manufacturers letting them know whats happening. it may or may not be an issue. if something breaks later on or the contact wears down sufficiently you may lose functionality and be with out a camera or lens which could be a real bummer. not sure where you got the lens are you able to take it back to the retailer for them to inspect ? at least then you have covered your bases if there is an issue and or things do go pear shaped later.

Anyone interested? This Lut fixes the brown tint, gamut clipping, roll-off issues, skin etc. and is made to look similar to RED IPP2 Soft Rec709 conversion - a conversion Lut to RedWideGamut/RedLog3G10 for a native IPP2 workflow is also provided. Can't wait to hold the Pocket 6K in my own hands - seems like it's more color accurate.

You'll want those Resolve CM settings at default; the entirety of the data is accessible. One can think of the input and output settings in Resolve CM as a 'global CST', so to speak. For 2020, one could then use Arri's 2020 from their generator after the converted LogC. Granted, accurate post monitoring workflows can be challenging to set up. https://www.arri.com/en/learn-help/learn-help-camera-system/tools/lut-generator

Nice work guys; sure, Aces is a viable route (VLog -> LogC -> Aces). With the next release though, EC will really exceed the aesthetics of standard LogC routes in every way Well, I've certainly blown through my own deadlines. Best steer clear of further prediction until the exact date can be guaranteed beyond a doubt. Progress on the P4K is good (which directly benefits the S, and 5). Here is the first 'P4Ka in the wild': EC MAIN EC LINEAR

I don't have an S1 but out of curiosity I downloaded the v1.2 and v1.1 bin files. I wasn't particularly surprised that they would be different sizes but hadn't expected the v1.2 file to be 4.5x bigger than v1.1.... Upon, erm, closer inspection, v1.2 contains multiple loaders and post boot references which might suggest that there is more to come in terms of additional functionality via additional license fees. Let the RAW speculation commence