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I just bought my first fullframe toy? Now i need That piss a shit Vlog card!!!

These new recorders are HUGE, in my opinion. Black Magic Raw is perhaps the best codec currently available that isn't made by Red. Beautiful 12-bit raw footage that can actually take up less space than ProRes LT or All-I 10-bit H264. I have almost bought Black Magic cameras many times just for the codec, but I edit in Premiere and don't particularly love their cameras. With today's update, I can continue to use the EVA-1 or C300 Mark II, record everything in the amazing BM Raw AND still edit in Premiere (though I should just switch to Da Vinci)! These recorders breathe some serious life back into cameras like the EVA-1 and C300II. Pretty amazing that Black Magic would do this. They are really working to get people into their full workflow and using some part of their tools. They will sell a lot of these recorders, probably at the expense of a few Ursas and Pockets, but they will have a lot more people in their ecosystem now. Hats off, BMD. This is amazing.

Played with a Sigma FP today. Its a thing of potential beauty but as it stands it raised more questions than answers for me to be honest and I definitely think a couple of things might have to change between now and the release. My whispering source needs to stay off the sauce as well.

Yeah,...for me the Lumix S1H, a 10bit camera with great internal CODECs, no overheating and no recording limits and almost 6k raw? For $4,000,....is the most exciting camera I have seen in years. They just need to fix that one glaring problem with their color science and nasty blue channel clipping problem. I already have an S1 and now the S1H is on my radar as a replacement.

I wouldn't mind paying $100 for BRAW on the GH5 (and GH6 when it releases).

Every time the NX1 gets mentioned, I return.

Not stupid question at all, are u in manual mode? Go into main menu and have look if you are not in aperture priority or any other mode

It depends on the project. You can't create universal rules, because as soon as you do, it's open season for everyone to try to break that rule. Like if you try to define film genres, someone will make a crossover. The only real rule is that you need to be able to watch your own work and evaluate what feeling a tool creates in the specific case of your project. But anyway, here are some examples off the top of my head: - In Children of Men, there are amazing long takes that show the real-time unfolding of events. Slow motion would be inappropriate as it would eliminate the realism. - Thor Raganarok uses extreme slow motion at a few key moments to show look like a slightly moving 2D image, like a comic page brought to life. It's a montage use, where we've got Led Zeppelin, popcorn, and are ready to groove with the movie. - In Leone westerns, like Once Upon a Time in the West, I don't believe any slow motion is used. Instead, the actors move slowly as they feel out each other's defenses in these drawn out duels. And then it's over in the blink of an eye. Slow motion would take away from the blink-and-you-miss-it tension, and would sacrifice that overwhelming tension for visual spectacle - Hacksaw Ridge used a lot of slow motion in battle scenes. I thought it was a bad choice, as it turned this terrible, violent war into a Hollywood action spectacle. The story is about a pacifist medic, and instead it's like "whoa! look at that explosion! that dude is flying! Yeah, action movie!" It looked cool, but was at odds with the movie's theme. - Action movies almost always use slow motion for really cool set pieces so we can better see the effects or action. Terminator 2, when the frozen terminator explodes, is a good example. It's entirely about pacing: A single slow motion shot to wrap up an intense action scene, a moment that tells you to breath after you've been holding your breath.

Anytime someone is questioning why there's shots in slo-mo, it's cheating.

Nice upgrade but some strange omissions indeed. No touchscreen for that A9 AF also seems like a gross oversight (when the $6,500 C200 does it). Guess we’ll now have to wait & see what the FX6 will bring to the table..

No new camera. P4k update is firmware. Grant said it'll come in a couple weeks.

When is using salt and pepper in cooking considered cheating? I mean it completely changes the taste of the dish!

When it gets caught.

@kaylee , you took the pic at the wrong moment. A second later you'd see the plane flying in from the right..... Edit: Ehhh, maybe my comment there should be ignored! Because 9/11 jokes are just plane wrong.

https://www.blackmagicdesign.com/products/blackmagicvideoassist Monitor/recorder, 5 and 7 inch models, HDR support, scopes, etc. A blazing 2500 nits for both options. $800 and $1000 respectively The most interesting part is you can record BRAW with it. I wonder how this will work with other cameras from diff manufactures. Also Blackmagic RAW is officially supported in Avid and Premiere Pro.

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

Isn’t DaVinci Resolves superscale feature already amazingly awesome?

This sentence is rich with things to ponder... EOSHD forums are The Pub, but now I hear there's a couch recliner?? and that it's possible to leave here as a better adjusted member of society??? I guess you learn something every day!

That 50mm bro!

Very nice! I am very tempted to buy one, but will probably just get an atomos recorder for my XT30.

Would be cool if the S1H could do BRAW or the S1

5.9K 30fps ProRes RAW not bad, not bad at all.

I found that video not very impressive to sell a 10k camera , it could have been shoot a A7iii, the colors and the DR look very similar from what I got from the A7iii I had. Since I switched to a ursa G2 I realized that sony not only have issue with colors, but also with contrast, the skin color range have a lot more of contrast on sony camera, that create a harsh impression of sharpness and make the structures of the facial features more visible, that rarely faltering to anyone. I get the trend/push for full frame, I like the look, but in restricted professional use it is more of an issue than a bonus, It s much harder to keep things in focus, you need to close more your aperture, so then you either need more light or push your iso....the autofocus will help in some case but still, when it jump focus your take is ruined, I found a subject going slightly in and out of focus less disturbing than a jumpy autofocus. I find those mid-range full frame pro camera odd, for super high end production why not ( but then you go for a venice/C700/Alexa LF) but for a small crew I have more doubts.

I did look it up, and for those interested this is a great place to read about it with links to sources: https://www.provideocoalition.com/can-4k-4-2-0-8-bit-become-1080p-4-4-4-10-bit-does-it-matter/ What it comes down to (besides the math and all) is that it's always best to shoot in the highest format your camera offers, and downsample later in post if needed. I think we all know and agree on this. My question has to do with Canon and their 1080p internal downsampling algorithms, that seem to make it soft on several of their cameras. In this case, is shooting 4K YCC422 10bit on the C300MKII and converting to 2K/1080p in post better than shooting in 2K/1080p RGB444 12bit? I will assume shooting in 2K/1080p RGB444 12bit should be better. Just as I assume the 2K/1080p RGB444 12bit from the C300MKII should be better than shooting 4K YCC420 8bit on the C200 and converting to 2K/1080p 444 8-10bit in post (in theory per the above) .

Looks Panasonic is going to beat Nikon to the punch. And at 6k raw too. This is pretty incredible for a $4,000 FULL FRAME camera: https://www.atomos.com/press-releases/atomos-panasonic-lumixSH1-6K35mmFFR

Another cool video using GHAlexa

Braw is also officially supported in Avid and Premiere Pro CC now

https://vimeo.com/359469997

16 is out of beta now. 16.1 is the version in beta currently. Another thing on everyone’s mind is if the discounted prices that B&H mistakenly published for the UMPG2, P4K, & P6K today, will be announced as a temporary sale or permanent price drop in anticipation of something new in the line-up.

It looks like they really hit it out of the park with this one. Really excited to see what the XH2 is going to be

When you down convert 4K 8-bit down to 1080 you get 4:4:4 colour space and depending on a bunch of different factors, you will get a result that is somewhere between 8-bit and 10-bit. Going into the technicalities of why this occurs will derail the thread somewhat so I'd suggest looking it up and reading about it to anyone that questions this.

I always shoot all my b-roll at 60p, especially for corporate projects, just makes everything easier and feel a bit more glossy. I think most clips running at 40% speed are actually very subtle most of the time, it looks and feels better in the edit but most ordinary viewers would be hard pressed to call it out as actual "slow motion," especially when it's just office-style b-roll of workers typing, using the phone, their computers, etc. That being said I rarely use 120p or higher, unless the shot really calls for it, and I want it to be noticeable, like obviously stylized speed ramping on movement, fountains, sparks, etc.

Use it a TON when doing corporate because the clients like it. Otherwise, when I have the leeway, regular speed is default mode. It is nice to bust it out for sentimental dramatic moments in a doc. But you need to be judicious with it, just like drone shots.

Everyone needs to follow Fuji with 1000 nit screens

"Why isn’t the screen articulated? Why isn’t it visible in even moderate sunlight? For those used to the convenience of shooting cinematic video on mirrorless cameras, it breaks every simple convention." Apparently the EVA1 screen is also a piece of garbage: too small, not bright enough and very reflective. This is just dumbfounding for $6,500 camera that came out after the GH5 which has a much better screen. All they had to do is to recycle the GH5 screen.

Rigging it up is not a problem for most people. The image quality is still worlds better than anything you can get from something like a gh5. And there are a lot who do use it for paid work. More importantly, it levels the field for indie film-makers like never before. I'm sure the Gh5 is a better in a lot of things, like corporate work (if that is your cup of tea), but image is king imo. Get a T5, external monitor and a power solution and you are good to go. It will still end up being more compact than a lot of other cinema cameras.

Those are solid choices. For the budget side, K&F is not bad for $50. I wouldn't recommended the Tiffen at all. Horrible blue cast at all settings. I would get the polar pro's but $300 is hard to swallow, especially when there is finally some innovation in the space. The drop-in filters that sit very close to the sensor are a neat idea. I wish they could somehow make them variable. I just think we are going to see some long term, solid solutions soon.

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

I wouldn't have them if they paid me. Useless with a matte box, focus gear moves as focus shifts, so no follow focus works. And last but not least horrendous image quality.

We've all been there! You might have noticed the vitriol earlier in the thread about Canon crippling it's lineup. I don't know if you've ever seen the RAW footage from a Canon camera with the Magic Lantern hack, but it really is something quite special, so there is no technical reason that Canon couldn't have taken a good quality 1080 readout (at 10 or even 12-bit) and put it through a nice h264 compression to give a lovely image. Of course, is having an 80D with DPAF in video, great CS and a wonderful and robust image a good business idea for them? Well.... I own a Canon XC10 and it outputs the kind of image the C100 gives, only it does it in 4K at 305Mbps. It's a wonderful camera, except for the fixed lens which limits creative choice in that department.

What was up with some of the sites saying there was around a 500 dollar price drop on the P6K and then deleting the articles? The text still populates in a Google search description for Cinema 5D, but they deleted the article. New Shooter was reporting the same thing.

If you def need dual slots then C300II is your boy. I can't speak for the 1080 on the C200 but on the C300II it's definitely sharp. You should test it.

It's a calculator... It's a pager... it's a word processor... What really is a smartphone? It's a computer with a bunch of sensors and transceivers attached to it. They are whatever the software dictates they are. One day the major camera manufacturers are going to catch on to this fact, and then we can start to reap the benefits of computational photography on a real camera.

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)

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

How to add n Articulating Flip Monitor Screen to your blackmagic design pocket cinema camera 4k or camera 6k. BMPCC4K/6K Tilt screen+M.2 SSD _DIY https://youtu.be/CUyCyAmQilg

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....