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I decided for the P4K last week, pre-ordered it and no regrets here. Do not need 6K, the file sizes are enormous. Braw in 6K only and Prores only on other resolutions. I already own the super wooper dooper Olympus 12-100 for run n gun and already own Lens Regain M43/EF adapter for my EF lenses. Half the price helps also, as I also ordered a full Tilta cage with some accessories, HawksWood NPF battery adapter and Tilta Nucleus N with the rest of the money. 8K will be here before next summer, the game never stops..

Nice pic! I really like the 35mm FF equiv focal length. That said, I really think that any focal length is very personal and it depends on what you shoot, how you shoot it, and under which conditions you shoot. For example, I shoot holiday videos of my family, which is essentially environmental portraiture. In this sense, I want to see my family members interacting with the environment they are in. This could be people or the place itself. In this sense, I want a FOV that allows for two or three people in the frame. I also shoot fairly close as we're in public, so the lens has to be at the wider end, otherwise I couldn't get far enough back / people would walk in-between. Also, I have discovered that when doing portraiture, we tend to frame up the people in the shot in roughly the same size, and when we do this over different focal lengths the distortion of that focal length comes into play. Lenses longer than 'normal' create a distant feeling with a compressed background and lenses wider than normal create a 'you are in the scene' / up close and personal feeling. In my videos I want them to feel like you're there with us, rather than somewhere nearby watching us, so I like a lens wider than normal, but not too wide. Here are a couple of examples I've shared previously from a 35mm FOV lens: In terms of using this as your ONLY lens, I guess you could, but you'd either have to have the ability to create the set around the lens, or be the kind of film-maker who is looking for subjects that fit that lens and ignore great shots that don't work on it. I've worked out for me that my kit is equivalents of a 16mm, a 35mm and an 80mm. The feel of those lenses is exactly what I want - the 16mm gives those WOW shots, the 35mm gives those "you're here with us" environmental portraits, and the 80mm gives a feeling of looking at that thing over there, wether that thing is something in the distance, or if it's a stolen moment from a bit further away when no-one saw you watching. In this sense, the lenses give the same feeling as you get in person, so for me they match what I shoot (people I love in interesting situations), how I shoot it (while I'm there enjoying the experience with them - and also enjoying the film-making immensely too), and under the conditions that I shoot (in public, often in crowded or restrictive circumstances where you don't have freedom to get into the right spot for the right composition). In terms of what is right for everyone else, that's not for me to judge, but for anyone who hasn't already worked out what focal lengths they like, I would encourage them to think about the feeling they want to create and look for the lens that gives that feel while composing how they like to compose.

Probably lots of us do camera tests, but who does experiments? Like, make a film: using only one lens (or with that crazy lens) only looking up / down with no people with only people walking away with only peoples faces only close-ups non-standard compositions (mostly sky and everything in the bottom quarter of the screen) multiple shots at the same time (eg, like Sliding Doors, or 24) strange speeds, like all footage is sped up or run backwards nothing is in-focus no dialogue dialogue without any pauses in-between start with music or soundscapes you've never worked with and shoot something to match them etc and by 'make a film' I just mean take a bunch of shots and put them together, it doesn't have to have narrative or anything. I guess in a way these might be experimental or even abstract films. I'm thinking about doing more of these myself, just to do things and see what happens. Explore new angles and ideas. Learn how they feel and what they do. It's only trying new things that we can find things to add to our normal style.

screenshot from a film I am now editing. Halfway the hike in Austria the SSD from my Ninja V was full, so I stored new footage on SD card. In Premiere CC I edit both and Ninja files are faster to render than H265 from card....

Thanks, Yeah focal length choice IS personal and I agree about framing to the same size. Just remembered I HAVE had a 35mm prime- I had an old MF Nikon 35 1.4 briefly but it was one I got cheap as it had some issues and I never really got on with it anyway. I usually use a wider lens for environmental portraits. For stills portraits I usually use (on both APSC and FF though without FF for now) 50/55mm, 150mm 2.8 and 300mm 2.8 lenses though I also love 85mm (pretty much any lens 70mm and up) but do not have any of those to use right now (I do have an FD 85 1.2L I love but it still needs repair as the focus throw is very loose due to dissolving bearings and I still have to find somewhere to repair it in Australia and then afford the repair cost). My favourite lens for groups of people is my 17mm tilt shift though I also like using longer lenses from further back when I have the room. 24/55/85/150/300 I will pretty much have the same sort of framing for portraits including both head shots and full body. It is not so easy to carry around and in crowds it makes me a bit self conscious but I do love using my old MF Tamron 300 2.8 for stills portraits outdoors. For VIDEO, I really only use shorter focal lengths unless it is something specific that will be used on a tripod. I have a one day festival next month and will probably take this 24 1.4, my 55 1.8 for an AF lens and the 300 2.8 (plus a little superzoom Canon camera for day time use). Since it seems I am pretty much now going to be stuck with APSC, I should get FD to E and EF to E focal reducers ASAP.

Yeah, I had real high hopes for this because Panasonic gets so much right. But these kind of problems make a camera unusable in many situations.

I want colors close to this (not that much warm though).. but straight out of camera! Wish Nikon let us import luts.. someday.

With WB at 5600K and underexpose 2 stops the clipping goes away in HLG.But is not a solution if you have other things then blue leds in Scene ☹️ With the flat profil, the blue channel clips only a little bit and you can lower exposure or correct it in post

Sin City...Sin City wedding, Sin City documentary, Sin City corporate video...maybe this is what Panasonic had in mind?

First of all, I apologize for the delay with which I reply but I am very busy and I will be so for a long time. The new Magicobooster for Pocket 6K is similar to that of Ursa Mini Pro, the internal support is replaced with a threaded one, the IR filter, unlike the Production Camera, Ursa 4K and Ursa 4.6K is installed inside in a support of black round aluminum and construction to be replaced, this means that Blackmagic has planned to replace the IR filter. The very positive thing is that the Magicbooster will be installed inside with a threaded body and it can be easily removed whenever you want. For the warranty, it will depend on the user's technical capacity. If you follow the instructions correctly and leave no signs of tampering, the warranty will not be invalidated, otherwise even without using the Magicbooster there may be cases of damage not covered by the warranty. In any case, the Magicbooster will not damage your camera. Thank you.

@deezid Can you shoot with a warmer WB to compensate, or even tweak the WB Matrix like you can with Panasonic MFT cameras, then correct in post?

I was always very curious about this lens that seem extremely versatile! How does it work in term of stabilization and IQ for video?

Yeah, I did this and the final movie was a mess and I didn't like it. Not because of technical choices, but because I started shooting without a shot list, just a generic story line. Sometimes you capture stuff that's compelling, other times it just never really gels. Went into it hoping it might flow together somehow and I'd get lucky. Nope. I chalk it up to my wife and I not really being "into it" once boots were on the ground. We were crew and cast, so it just went sideways from the start as we both don't really like being on camera. So, no dialog, no nat sound, only one crazy lens (pentax a110 f2.8 with an adapter that light leaked), started with music or soundscapes you've never worked with and then was shooting something to match the music, no scouting, found locations that looked cool and used them. Whew. I can't even go watch the thing now 'kuz it's so cringy to me. Learned a lot about myself and the wife though!

That will be a very hard decision, because then you are making a documentary. Didn't mind the "narration" vs the "interview", but you got something here, maybe you can show the talkers doing some action similar to the context on screen. @kye travel videos used to be very rich in content, from ethnography and social films (with actual film in the film era) to the more modern Lonely Planet travel guides of the video era. There is also this https://m.imdb.com/title/tt3303422/ Now we are at the "postcard" or selfie era, with both of those lack depth. In the era of social media and instagram, a short impressive video is all that counts, a society always looking at the surface, I do not have any social media accounts, I search for information and knowledge. @mojo43 I wanted to add that maybe you should up your sound game now. Creative sound design but sometimes it didn't work for me. Maybe you should try to catch more natural sounds next time.

I'm not sure if the idea of mashing these two genres together is obvious to everyone else but it's new to me, and it seems very interesting. The travel film seems to be a relatively new genre somewhere between location documentary and a marketing video and made popular by the rise of video on social media. I wonder then what interesting ideas formed in this new style of film-making that could be brought back into traditional travel documentaries to move the genre forwards? They say there's nothing new under the sun, but I believe the hyperlapse is something new (or at least new since the travel / location documentary genre was established), so maybe there are other things too. When I think about what travel films used to be (I'm thinking of Around the World in 80 Days and others with Michael Palin) then we've certainly learned a bunch of things since then. and when I say I'm interested, please reply as I make mostly travel videos of my family on holiday, so it would be interesting to incorporate other touches to get a sense of place, rather than 'we went here, we went here, we went here'

Some new source material. ( :

This clipping issue sucks badly. Pretty much a no go as I do wedding videos. Hello blue DJ light clipping

hey. Appreciate it. Dynamic range on this camera is incredible so it's actually way harder to under- or overexpose than let's say a GH5. I usually just keep exposure around 0 and make sure nothing clips.

@TurboRat you've resumed the whole thing pretty well, man : ) Other than that, it is a mere useless exercise. Typical forums empty talk or non-buyer(s) remorse, that is, nonsense excuses far from real to be plain honest here (and this is written by an early P4K user : -)

I have never really used 35mm (FF angle of view) lenses very often, not something I every really wanted I guess and my only lenses that covered that are/were zooms. I have never got what many saw in it to the point some use it as their ONLY lens. That said, I have started putting my ancient Canon FD 24 1.4 L on my little APSC (1.5x crop) Sony Nex and I think I am really going to like it. I do like it on FF at 24mm but I think it will get used a lot more now on crop. Way too shallow DOF close in for video for me at 1.4 or even f2 I think but fine for stills and stopped down will have its uses for video. I should have stopped this down a bit I think.

If you go a little bit further you are reaching documentary territory! I never watch travel videos, they are empty to me, this one has content and very clever ideas to communicate a message or ones truth. Maybe a bit less impressive than other postcard travel videos, but more diachronic. John 1:1 "In the beginning was the Word" I will be looking for your videos a lot more now to see the evolution of your style.

The small hole is actually to reduce the amount of material required, thus saving 0.23 cents/unit on manufacturing costs. It's the compromise they made in order to afford the 24p license.

Only that potentially drunken whisper I had that it would be ¥180,000/$1700 for the body and ¥300,000 in a bundle with the yet to be released 24-70mm f2.8. That 45mm f2.8 is ¥55,000 so a bundle around ¥225,000/$2150 would seem likely if the body price is right. I fully expect this message from my source though when the actual prices are officially announced though

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.

No, I have dual solid academic and professional backgrounds in film and law. For two and three decades now. I just don't buy your argument on distinct nationalities. Mere BS, call it poor narrative but never non-fiction as you wish. Borders don't break my heart at all. That wall the orange man wants to build is a shame and a civilization setback. Ends in those sad killings who make the news of "your country" nowadays...

You should steer away from those 2.4GHz solutions. The band is just too crowded and range too limited. Thanks for the warning, would have expected better from Rode.

I feel like if they included 4k60p it would have sold a hell of a lot more. I for sure would have bought one to replace my walk about camera. I'm still kind of hoping it'll be in a firmware update, in the same way 4K was in an update for the XPro 2. I'm loving mine too, and it's so easy to pass to someone with no prior experience of cameras without overwhelming them even a little bit. The only downfall for me is the price of the audio input jack. I'm refusing to buy one for now, hoping someone will make a 3rd party version that works. Of course, DJI couldn't care less about my protest and the only person it's affecting is myself... So not sure how much longer I'm willing to fight.

It's really sad. This camera could've been fantastic. The S1H seems to do the same processing and therefor has the same issues as the S1. That means only recording RAW externally may help...

True... that would require some creative art direction... “In a world where the colors yellow and blue do not exist...” ?

The yellow clipping can be seen even on yellow blossoms in the sun. The blue clipping appeared in one of my clips with a colorful blue shirt in direct sunlight also. Blue lights and logos in the streets can't be turned off in general. The blue clipping also appears when something blue is shown on TVs, phones etc. And it happens with proper exposure without any ETTR. It really shouldn't

Renting the XT-3 this upcoming week. Smashed my Nikon 24-70 that I use on my Z6, and it's potential replacement cost has me reconsidering my whole setup. Nikon Z Lens Kit: $5450 Nikon NIKKOR Z 24-70mm f/2.8 S $2,300 Nikon 70-200 Z Probably at least $2300 Nikon 35mm Z $850 Fuji XT-3 Lens Kit: $3250 ( I know I would not get the same look, but coverage right now is more important.) Fuji 16-55 2.8 $1200 Fuji 50-140 2.8 $1600 Fuji 23mm $450 Not to mention Fuji's cheaper and much lighter primes. We shall see....