Leaderboard

Also for the first time it has PDAF and some type of software IBIS. Plus Venice mojo and higher dynamic range. Some big updates there. It will also be significantly less money than the C500 II, so I say it's competitive and will sell really well.

Meh, I just use it as my "drinking camera", the only sluggishness with operation here is coming from the drunk operator.... Nope, it shouldn't. (other than adding in another point of failure that is)

Fuji didn't get the memo, that 24p adds a lot of cost to the camera. They just introduced their entry level camera. 6K to 4K downsampling, 23.98p, 24p, 25p, 30p, all without a crop it seems. 699$ including kit lens. No 120p Full HD slow mo though. It's said, that will come early 2020 with an update.

Is it Netflix approved?? ? Nice thing is they kept sensors low resolution. I don't want my phone to make 25Mb JPGs.

Interesting. I’ve tried this aspect ratio and found that it makes my footage so cinematic on my Canon Kiss M! Better than Peter McKinnon! And yes, I shoot in 30p because I luv it and not because canon removed 24fps

Whatabout the 007 aspect ratio? Cinematic no matter what you're shooting:

Sometimes it feels like some people will never be happy. This is great news, whether you buy it or not. That affordable anamorphic lenses are hitting the market is a big deal and a sign of things to come.

I personally use the hexagon aspect ratio. It allows up to 6X better footage because it has 6X the amount of black bars.

I literally just sold my BMPCC4K to get the Leica 10-25mm f/1.7. I figured the camera wasn't worth my hassle and I much rather have a convenient and awesome lens. ?

I bought the Pocket Cinema Camera 6K recently and decided to take it on a shoot at Monza, to film last weekend's Formula One race and famous old banking (where sequences for 1966's John Frankenheimer film Grand Prix were shot). I also had a few stills cameras with me including the Canon EOS RP, and considerably more capable Fuji X-T30 and Samsung's famous last camera, the NX1, the only good one they ever made. These are super-fast small bodies for travelling light and the NX1 in particular with it's stunning 4K quality turned out to be perfect for sports photography with the 15fps continuous shooting rate. Read the full article

It definitely is my favorite to work with from the Sound Department perspective, is the friendliest of all the ARRIs Never been on set with a F35, is that F35 is a much tougher camera to work with during a shoot. While the AMIRA at a biiiiiiiiiiiig stretch it could be used by a "solo operator" Agreed, but none the less I'm glad the new Sound Devices 833 is going to be recording to TRIPLE media!

No. The SL2 can shoot 1080/24p. ?

You could take a decently bright LCD projector and aim it at a diffuser or backprojection(for a bright backdrop) depending on the need. Then make a fiery looking thing to play on it. Should be pretty cheap to find some older low res but bright one too as a dynamic light source. Black level probably not going to be an issue when used in this way. Btw I meant to use the projected image as a light source and not shining the projector directly at the subject, although that could be useful too. With some masking you could add reflectors and add "virtual" lights and many other neat things, imagination and time/skill it the limit.

I checked BH Photo and it is still $2499, maybe we will see a price drop tomorrow - first day of IBC. Seems like a good move for Blackmagic to make though I don't think they needed to lower the pock to $1036 to sell it, but still great news for those how were considering purchasing either one.

This is what a $62K setup looks like on a Canon M50. IMHO by far the most important aspect of that setup was the lens. Buy lenses, not cameras.

The T2i codec was probably better quality than the YT 1080 level of compression, so maybe it would be more similar than you might think!! ???

I wonder how those would look like on a T2i.. ( :

Look more attractive than A6100 for sure! That screen is sexy!

Just arrived. Going to test it out this evening after work and when I get some free time. First thing I noticed after snapping it on to my GH5S...its so wide that my 82mm Nd filter (with a 77mm to 82mm step-up ring) heavily vignettes at anything below 12mm. Bummer. Also, the 50-200 has better build quality. They really tried to control the weight of this lens. Which, btw, is nicely balanced on my GH5S with cage.

OMG this is AMAZING! Best thing I have seen a long while!

I was not aware that Fuji cameras uses Windows Me as operational system.

As an X-A3 owner I welcome the price drops on the X-A5 caused by the announcement of the X-A7, as that is what I'll get next once I lose my X-A3

The name's Winky. Tinky Winky. I think Tinky Winky would naturally gravitate towards using the glory hole.

omgggg ????????

"quiet something"? Or "quite something"? Or both? ? I am myself tempted by their DIY Schoeps clone, but I certainly won't be buying it any time soon! Not after the 833 has made me broke as a pauper

Hmmmm.... I personally would definitely not call the F6 an "upgrade" Depends a lot on what your line of work is, for the kind of work I do professionally then hands down I'd choose the F4 over the F6

There are many people who are not fans of the 633 pre amps, or its (lack of) limiters One of the many things the 833 fixes about the 633, as Scorpio has the best pre amps Sound Devices has ever made

Your proving my point. Imagine what the bmpcc would look like if instead of "upgrading" to the p6k you bought all the stuff and made a great bmpcc rig instead. Which would win between a p6k with only a cheap lens and a bmpcc with lenses and a rig to the value of the p6k retail price. And also don't think badly about vintage lenses, the absolute legendary vintage lenses are worth more now than they were new, but everything else is worth a tiny fraction of how much it cost new because demand has plummeted. Vintage lenses aren't 'cheap' they are spectacular bargains

Despite the silly branding, many tests have shown the Polar Pro to be one of the top variable NDs out there. And I'll attest that it has WAY less color cast and vignetting than my Tiffen variable ND. Along with not affecting picture quality that much, the Polar Pro also has very nice hard stops so you never get the dreaded x-pattern or really strong corner vignettes. Another ND I'd recommend is the Aurora PowerXND Mark II - also has great hard stops and very easy to change ND strength with no x-pattern or vignetting. A bit more expensive than the Tiffen, but much cheaper than the Polar Pro.

how can i say it, what would we be without honesty ?

It's terrific news. Frankly I can't understand why we don't have any AF anamorphic lenses, especially as AI becomes more of a thing in cameras. Those are garbage.

wasn't the mix pre line targeted more to the prosumer market with the 633 still being in their pro range..

It shows how technologically advanced we have been since the start of digital cameras.

The telephoto camera all have smaller sensors, no OIS in some cases and slower aperture lenses than the wide lens on the iphone. This applies to all android phones as well. What this means is that you need to shoot at higher shutter speeds and that combined with the smaller sensor introduces a lot more noise (especially in low light), almost negating the benefit of telephoto lens due to heaver Noise Reduction. I still question the benefit of these telephoto lenses although at least the new iphone's telephoto camera now has a faster lens.

Yes, what I was getting at was that by doing this you would be able to: Shoot a real project with a C200 Get 8-bit footage from a real job that you can do test grading on (instead of setting up a fake job and not getting paid for it) Not risk stuffing up a real job if the 8-bit footage wasn't good enough Get a taste of how difficult the RAW workflow is (maybe it's not as bad as you think..) Edit: Depending on your NLE you could deliver the project to the client from the RAW files and then just swap in the 8-bit files to the same grade and see how they hold up. It's not about comparing them to the RAW, but by processing them how you would normally and then working out if they're good enough.

It's nice to have a nice camera, but a lot has to do what is happening in front and behind (!) the camera body. It's like when you were a kid shooting silly videos with your friends, playing out a combat scene perhaps or something. First thing that ruins it is an inadequate casting/wardrobe/location. A battlescene with 12 yr olds running around in casual clothing in a suburb neighbourhood with cringy acting doesn't really sell it. Same for the post production with too epic music thrown over it and Red Giant Magic Bullet Looks set to overdrive on the 'Michael Bay'-setting. But you live and you learn. Get the right talent in front of the camera, put 'em in a convincing setting, with the mood set right from the get-go and suddenly it's already much better. You change the kit zoom to a set of primes. You're giving camera movement more thought. In post you still stylize, but you don't go overboard. It's those touches that have little to do with the camera body itself that make the biggest difference. So when the title of this thread says 'everything else instead', indeed, ND filters and audio gear are exactly those kind of things. I just got a little too carried away with pixel squeezing and forgot about the time and effort it takes to obtain and work with such thicc footage. And for what? So it looks slightly better to the 1% that would actually be able to tell a difference. I realized that I enjoy the shooting process the most. Thinking carefully about the scene, what it needs in terms of lighting, what look am I going for, what lens would suit that? That sorta thing. I actually don't enjoy just about anything that happens in post, so it was a bit foolish of me to get a new and exciting camera that would however make that whole part more tedious, but it's an easy trap to fall into. Atleast I realized it. ? Maybe I'll consider it once I can afford to have an editor work for me (that shares a similar mindset/creative vision).

Imo posting frame grabs from a video is meaningless. Because it does not score motion. I could stills from a Leica M10 as proof... but that wouldn't make a case for it being a great video camera.

Panasonic G85 + 12-60 or 25/1.7 + Pro Mist 1/4 http://reddit.com/r/cinematography/comments/d2hbmy/three_frames_from_a_project_shot_by_me_panasonic/

I dont understand this blue clipping problem at all. On the S1 and S1H, while in VLog, the green and red channel have the very mild, saturation they are supposed to have. Those two have a perfectly normal response. However, blue is completely different than red and green, it just floods in with this crazy saturation that is 10 times more than red and green have. I dont get it...blue, why does THAT color respond soooo much more differently then red and green? I did some more blue light tests last night: S1 - Vlog = Blue 100% destroyed S1 - HLG = Blue 100% destroyed GH5 - VLog-l = Blue = Excellent! GH5- HLG = Blue = Excellent! Sony Z150 - HLG = Blue is very bad but not completely destroyed Sony NX80 - SLOG-2 = Blue is somewhat "OK" but responds weird. Sony NX80 - HLG = Blue is excellent! Sony RX10-III - SLOG-2 = Blue is 100% destroyed. Sony RX100 VII SLOG-2 (uses new Sony "Venice" color science) = Blue is excellent!! Sony RX100 VII HLG (uses new Sony "Venice" color science) = Blue is excellent!! All these cameras got the EXACT same blue light scene test. I dont know what to think but the GH5 is great and Sony's new color science seems to beat the problem too. This really blows my mind. CT

Granted, a hypercardioid is generally preferable to a shotgun indoors (reflections 'hollow out' the sound of a shotgun; hypercardioids incorporate reflections in a more natural way). One can put up sound dampening material, but it's production time (better to just have a hyper at hand). An MKH50 would have been a better match to the NTG3 methinks, and safer indoors. The SCX1 would be preferable to the average shotgun indoors (NTG3 is exceptional). In a tile bathroom with a deep voice, the SCX1 would have been noticeably richer than the NTG3

ykno what beats a great lens...? great crew ?

Lots to digest here and it's late. Thanks for all the feedback!I will think things over and reply tomorrow. Now I will go upstairs and watch my new 4K UHD copy of Apocalypse Now, on my 65" OLED 4K LG TV, but running through an external 3D LUT box outputting at 1080p It looks better 1000x better, as Rec.709 is something all TVs can display and be calibrated for, while UHD Rec.2020/P3 is a mess on consumer displays

well dammnnnnn!!! That will lead to big price falls of secondhand FS7 cameras, which will tempt me once again to buy them! Sony is still there, and has been for a long time, the FS7 just can't be beat. But smart of Sony to bring out the next gen now before the FS7 truly becomes far too long in the tooth and gets finally overtaken. That is an interesting and logical theory. The FF cinema cameras won't be the end of the S35 cameras from Sony, they'll likely launch a FS7mk3 with a S35 sensor at an affordable price? One can only hope! (if you're a S35 fan) On the high end VENICE will smash the C500mk2, and on the budget end the FS7mk3 / FX9 will dominate instead of Canon. C500mk2 will find itself squeezed in between those two options, with no room left to breath.

Yeah if anything this is looking good for A7S3 release. Sony had to give FS line a substantial overhaul before introducing a lower-tier alpha bombshell.

Starting with the A7III they have all had significantly better colour.

all of the latest Sony bodies have significantly better looking skin, not just the Venice. (RX100mk6 and Mk7, FS5mkii, A7iii, Riii - R4, RXOmkii etc)

Looks like Sony let Panasonic be the king on video mirrorless camera, they have their own niche which is superior AF and not competing on video spec.

I hadn't been paying attention this but that 'Kepler 138' film is very impressive.

I''m firmly in the camp of more DR, better ISO performance, built-in ND than more MP or 8K for the GH6. A derivative of the industrial STARVIS sensor above would be good in something like the G9 successor. I mean, the GH5 was doing open gate 5K in 2017. Just give us a global shutter sensor then remove the mechanical shutter and add a built-in ND mechanism. Include better noise performance, their next gen IBIS tech, 14-stops DR, and FULL VLOG and varicam color science to match with the S1H.

Well since we're hammering away at this, I'll chime in. I'm all for the democratization of technology. I saw these (FM whosawhatzit) and immediately started pouring over patents and the such, shortly finding that Iscos are afocal blocks with a variable diopter in the front. So here we have to individuals capitalizing on this "revelation." God Bless America. I, on the other hand, and planning on finding a cheaper solution with some "surplus" (surplusshed.com) and some shoddy test builds. Lucky for me, I have a friend that currently has a satellite (imaging, of course) in orbit and he's more than happy to hash out some details. Once I have some concrete findings, I'm sharing it with the world wide web. Every creative can benefit from this. Preach on @tonydtv!