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I continue to explore F-Log grading with RCM without LUT. I think I'm getting better results (colors, highlights roll off). F-log is very good; Fuji LUTs are not so good. I'm more excited about the definitive release of Resolve 16.1 than the XT3 firmware update.

Put a Canon on every bracket and you will hit 4/5 for sure!

@kye Yes, you are correct. In your post you had said 150Mpbs for the 4K, but yeah, the 4K should be 4x the compression of the 1080p to look properly better. I say in general because there are other things at play in compression, but yeah. Perhaps it would have been better to have a 400Mpbs 4K and a 100Mbps 1080p on the GH5, because if done right, 100Mbps 1080p is quite excellent and no need for more really unless 12bit 444. It's always a trick what to use, how to implement the compression, etc. And I believe it's also a marketing thing, in the case of Canon, a way to separate their model lineup. This is why the C300MKII is attractive, as it has many options. And the C200 is really meant for RAW/CRL, which I also believe is the future as @mrtreve also believes. But the future is not Cfast cards unfortunately, so that was not a good decision. C500MKII got it right with the cards. In the end, I may just get the C100MKII and wait things out, as I believe now the next C300, will have CRL and even perhaps FF - two of the things where the industry is heading, as I said in my post above. FF and RAW for the "masses", meaning at $10K and under. Yes we'll have the Arris and others, and also the smaller Super35, M43, etc. sensors, just like we still have FF and APS-C in DSLRs, but FF needs to be more affordable in cinema cameras, and RAW the norm.

A Komode might be more apt as when you see the price of the FP you might well shit yourself. However... We have just been back to have a longer chat with them and something caught our eye on it that might cause a re-think in a good way. More from @Andrew Reid on that upcoming tomorrow or Monday.

If you have the V-Log upgrade, it may be a good idea to skip it. Shoot in Cine-D and it will be less noisy. Use an f/1.7 or faster lens if you have it. There are really cheap Canon FD-Mount 50mm f/1.4 lenses ($50 USD on eBay). Also, I second using the Aputure AL-F7 ($100 USD) as it's bi-color and gives off a ton of light. I also recommend the Aputure Space Light modifier. Although it is a bowens mount modifier, you can just drop the AL-F7 in the opening an secure it with some tape for an amazing lightweight, portable and cheap soft light.

I think it depends. Partly because the compression may not treat each mode equally (4K has 4x the number of pixels as 2K, but may not have 4x the bitrate), plus other factors. I shoot with the GH5, which downsamples everything from a 5K signal, so I've played in this space and recently did a resolution/detail comparison on that camera between the 5K 200Mbps h265, the 4K 150Mbps h264, and the 1080 200Mbps ALL-I h264 modes (all 25fps and 10-bit) and I found that there was no visible differences between the 5K and 4K, and when downsampled to 1080 there was no visible differences between the three modes. This test was with real-world lenses and wasn't in lab conditions, so it was imperfect, but it was of a real person in real conditions so it was applicable to what I do. In the end I chose to shoot 4K because h264 is easier to edit than the h265 codec (my main computer is a laptop), the framing on the 4K is easier to use for me in-camera, and even if posted in 1080, it would still be advantageous to me to shoot in 4K because I do a lot of stabilisation in post, so the extra resolution can help with this. Also, if I'm recording in 4K and processing in 4K then I might as well publish in 4K so that I'm kind of future-proofing my projects. As I record my family history there is a chance that these videos will still have some usefulness in years or decades, when 25K-3D-VR-AI-recreation-immersion-whatever will be a thing, so 4K won't be a "but can you see any difference" question anymore. I'd suggest just trying them and seeing what you see.

Video files are just data. Every operating system has a software tool that you can enter in any machine language data you like. So according to your logic, I don't need a camera, crew, lighting, sound equipment or anything - I should just start typing away, then hit save on Masterpiece.MOV and I'm done! What's that? Having to understand and memorise the MOV container is cramping your ability to get convincing dialogue? Understanding the header flags on codec container formats in HEX when converting from long_integer binary encoded data shells distracting you from getting good wardrobe? You said it yourself.... You are forgetting that film-making isn't just about using a camera. It's about many many many things, and if the camera can do something for me then maybe that means that I can take my finite capacity and concentrate on something I wasn't able to put my attention to. I understand your sentiment, but randomly assuming that limitations you're able to compensate for should be accepted by other people just because you say so is pretty arrogant, and also pretty ignorant and just tells me you don't know shit about real film-making or how other people do it.

Held the camera at ibc today, really nice little camera with great specs.

They can, by offering Red the license fee for compressed raw or some sort of cross license deal that Canon and Red have done, or wait til Apple win the suit.

The 200 f/2 is better IMHO with IS too. Still, it's very much a specialty lens. For sure a 300 2.8 with a 1.4xTC is a much better option for any sport. I want to see the videos!!

There is a fuji summit x summit in shibuya, JP on Sep 20. Supposedly on the rumor sites a new mysterious fuji cam has been registered, and at last years summit they took feedback on future xt3 firmware and said they would implement one. So rumors at the moment.

Doing shoots and interviews quick and the faster I can go on set and in post for them the better. I have unfortunately had this setup in the past and would forget to hit record on the audio while being in a rush. Would rather press one button to record than 2, and eliminate points of failure during a shoot.

I would wait till September 20 when fuji is announcing some new stuff. Likely xt3 firmware and maybe new cams.

Tempted to wait until the XH2, I thought about the XH1 but the worse video specs and inferior AF turned me off of it.

Maybe the next EOSHD camera challenge should be: Make a video with your smartphone (have a list of approved phones; several generations of android and iPhone). For example, no models lower than an iPhone 7. Make it as cinematic as possible. Make another video with the camera you own with a cap of nothing more expensive than say $2500. Don’t tell people what the videos where filmed on then ask them to guess: phone or DSLR? Have a vote ranking for each. Not sure what the prizes should be. Pretty sure I saw a picturing showing they filmed some of these promos with a wonkier cinema lens setup hooked up to an iPhone and said it was filmed on an iPhone. ?

I'm considering shooting blindfolded and trusting "the force" ?

Setup details: you can indeed live on one kidney. I’m joking of course. I’m a one screen loser.

well ive decided that im gonna start dressing like Sloogan Floogan asap we all should – pls post links to that yakuza/cosby sweater thank u

fantastic info guys, thank you SO much~! ill go over this at length tomorrow~!!!! ?????

Said no daughter of mine ever.

No and very much yes.

Right, but then you only have 1 D-tap and half the capacity. If it's not for you that's cool, I just thought it was a compact solution that offers a lot.

I've shot with the GH2 at night as well as GH4 in low light. If you can light your scenes it doesn't matter. Its fine under 1000 iso

Small LED lights like the Aputure AL-M9 aren't expensive and put out a high CRI light, so maybe a few of those might be good if you need to stay ultra-portable. Obviously wall powered lights would be better though.

Both of these are really useful and will be really great.. my GH5 isn't that wonderful in low light, so better NR would be great. and of course the GH5 needs AI superscaling because it's only 5K and everyone knows you need FF 8K, so that probably means that I need MFT 16K to not be completely kicked off the internet!! ???

Think about it like this, to get the 200Mbps 1080 file, what happens is: Camera captures a 5K image Camera downscales the 5K image to 1080 Camera compresses 1080 to 200Mbps That's not that different to this workflow: Camera captures a 5K image Camera downscales the 5K image to 4K Camera compresses 4K to 200Mbps Person downscales the 4K to 1080 in post Both of these image pipelines start with 5K, both are limited to broadly similar levels of compression. We know that a 200Mbps 4K image won't be as great at 100% as a 200Mbps 1080 image at 100%, but when you downscale the 4K to 1080, it takes 4 pixels from the 4K image to make 1 pixel in the 1080 image, so the amount of data per 1080 pixel is broadly the same. There's also the point of diminishing returns with this stuff - try encoding a h264 file at something decent and then try at double or triple that bitrate and see what differences there are. You may find they're less than you think.

Agreed. If Panasonic uses an EF-mount once again (in spite of the fact that they already utilize the shallow and more versatile L-mount), that is truly something insane!

I don’t regret my purchase. There are a few quirks that bother me though. There is weird horizontal noise pattern on certain VFR combinations in VLOG and Cinelike D. Don’t expect to shoot at 6400 ISO 120fps without this weird noise pattern. Panasonic has released a fix for it but it’s still an issue. The dual gain circuit has some weird quirks at certain ISOs. If noise is an issue in the shot and you don’t require the optimal DR (night time street or scenes with a lot of shadows) I’ve found ISO 1600 and 6400 have the least noise (extra internal noise reduction I’m guessing). The native ISOs tend to have more noise in shadows but offer best DR when you have enough light. Just requires extra forethought and maybe shooting at a higher ISO, say 6400, when a lower ISO will suffice for exposure but doesn’t for noise performance. I’ve shot in candle light no problem with a f2.8 lens at 6400 and 8000 ISO. Video AF is ever so slightly better than GH5, especially at 60fps. HLG as a log capture format is quite awesome and, I have heard, gives better DR. In practice, the difference is so slight it’s a mute point. It does have better noise performance in the shadows though so I use it over vlogl. It has a 14-bit sensor and a ever so slightly weighter image than the GH5. It’s surprisingly a good stills camera as well with 14-bit RAW and impressive burst rates with 12fps in single shot and 8fps continuous AF. All with that dual gain ISO. I’ve printed an 8x10 photo and you can’t tell. Would be more than enough for web and Instagram as well. It’s great that it has a 1.8x crop when shooting 16:9 video. Attach a 0.64x speed booster and you basically have a full frame field of view at 1.1x Attach an external recorder and the images coming out of it with something like ProRes HQ are nothing to sneeze at. With a speed booster and a good full frame lens it runs with the big boys, no problem. In my opinion it’s an under rated camera that is often overlooked because Panasonic didn’t do enough to educate people about it. Too many people compared it to GH5 and said, NO IBIS no good. The size of the sensor is misquoted on every single photo store. If IBIS isn’t essential or if you see yourself mounting it on a gimbal anyway (because IBIS won’t be enough) or 5K anamorphic isn’t high on your list then it’s clearly the better camera than the GH5 if you shoot a lot of video. Would love for Panasonic to shoot it some love. I just have a feeling it can do a bit more.

The GH4 obviously isn't a great low light camera, but it's weakness there has always been overblown. If you're relying on only available light you'll run into problems, but anyone should be able to get fine results doing even minimal lighting. $7 dollar clamp lights with CFL bulbs or $25 LED lights from one of the many Chinese manufacturers will go a long ways in lighting a "low light" scene. Even in 2019 the GH4 is more than capable for that kind of work. My friend's production house still uses the GH4 for most of their work, opting to rent if necessary. I still occasionally work with one when helping him out. If the bulk of my work wasn't event related I'd have bought one, but ibis is a huge help for my work. What lenses do you have? The Panasonic 25mm f/1.7 is really cheap new or used. There's also a lot of fast vintage glass out there: you can get the Minolta Rokkor-X 50mm f/1.7 for well under $50, or the 50mm f/1.4 for around $50-75. I am just getting my feet wet in some narrative work and I love my Minolta primes; they have such great character. Just lovely glass. Tl;dr: rock n roll with that GH4 girl!

It sounds like they need a “profile” of the sensor to “tune” BRAW for the camera and to have RAW sensor data. Hence, also why we are probably seeing a Nikon hardware upgrade to enable it. Or so I gathered from BMs product announcement video when he was talking about support for EVA1 and Canon C300mkii. I really, really wish and hope we see something like this come to GH5(S). Would be such a nice package. But I’m guessing we won’t see it until GH6 because it has so be designed for it from the get go. I would happily pay a few hundred dollars to Panasonic to send my camera in for cleaning and to have it upgrades to have this capability. Would breathe a bit more life into the models. Having the hassle of a external recorder for ProRes 422 HQ is really not worth it. Getting BRAW...totally worth it. The new 5” Video Assist HDR is the perfect match. Plus you get a great audio recorder too! Not to mention being able to record to the excellent and cheap T5 SSD.

So a small update. After having played around with the lens on firmware 1.2 and now after updating to 1.3 I honestly think there has been an AF performance regression with 1.3. I was getting acceptable AF performance at 4K 24p prior to 1.3, now its noticeably non responsive in the same shooting scenario (5 mins apart). When shooting 60p, however, the AF is very snappy and accurate—more so than I remembered. DfD really likes a higher sample rate. On first impression the lens is great, like many have said. I can definitely hear and feel the AF motors compared to some other lenses. The parfocal-ness claims I’ve seen are strange. It doesn’t hold focus when zooming in or out at all. Focus breathing is non-existent however. Hoping to put together a video soon.

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.

Honestly, I think the Canon C500 Mk2 is a better choice. Great AF, Anamorphic support, similar DR, better highlight roll off, smaller, larger LCD, touch screen, switchable lens mounts. Barring some crazy breakthrough... which I'm always good with, one will find it's way into my waiting arms.

That 200 1.8 would be a fantastic lens for live music in smallish venues (pub and club low light gigs especially). While I am envious and would love to have one and use it there, I can not help but think a much cheaper EF 300 2.8 AF of the same vintage would do as well if not better at Monza (as well as being lighter though longer).

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

Every time the NX1 gets mentioned, I return.

Wow, fingers crossed for Sony cameras to get BRAW.

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) .

Cameras are tools though. These updates in technology are simply there to make life easier.

They MUST have the focus zoom check available DURING recording. They MUST have some kind of usable output via HDMI DURING recording of opengate mode for focus check. PLEASE!

@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.

Neat Video.

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.

Tamron will announce the new 70-180mm f/2.8 FE zoom in October! Honestly Tamron makes Sony so much more appealing to me. Previously I was put off by the price of the Sony lenses

It's funny. Zillions of people are waiting and waiting for the A7S-III. Its like Charlie Brown in his field waiting for the Great Pumpkin! The A7S-III is HERE and it's right under everybody'nose! It has: Full frame sensor (Very likely Sony Exmor) 6k full pixel readout to 4k scaling 14+ stops of dynamic range 10bit 4:2:2 4k with clean HDMI out 4k 30p 4:2:2 full frame no time limit internal recording. 4k 60p in "Hollywood" Cine super35 frame size. Full size HDMI with 4k raw on the way. Waveform scopes Huge battery Varicam color science....so delicious!!! NO OVERHEATING! Boom!.....that's 99% of what we wanted in the A7S-III....yet nobody is paying any attention to the S1 yet. (Only some people) The S1 should be the industry talk of the town but too many people seem to be unaware of it still. Sony is going to target the S1, not the S1H. I dont know if they can match the S1 using their tiny A7 bodies but lets see how far they go. S1H?....haha...Sony wont touch it! With 6k raw, Its going to be WAY over spec'd for Sony to even attempt to try. They dont have the bawls and XDCAM + Sony internal politics will never allow Alpha the chance.

I can't laugh at a tragedy The price we were discussing was in pounds so as the camera won't be released before the Brexit date, it could literally be meaningless and you can come to London and buy one with four bunches of bananas, three pairs of nylons, two bars of candy, a carton of cigarettes and a couple of tins of spam like the old days. If I do, it will be in a mount adapter for L mount...

I agree with a loy of the article. BM cameras still have FAR to many issues to be considered for prime time paid work imo, I believe the GH5 is a better option. The EOS rp is literally just a full frame SL2/SL3 lmao