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Long interview with Sigma coming up from me with Sam Smith, one of the UK guys who really knew his stuff on the video side. Stay tuned. Also this guy was there:

Just a few stills from my first proper anamorphic video and first video shot with X-T3. A friend of mine asked me to document a graffiti jam that he organised. Managed to get some nice shots, but getting a correct exposure during a sunny day was a huge PITA. Need to work on it. X-T3 (cropped 16:9 video, shot with HLG), Zhongyi Lens Turbo II, Minolta 58/1.4 (used at f/2.8), Isco Ultra Star, myFM, Tiffen Vari ND.

I've heard the peelers you need for those are just generic ones from Lidl wrapped in Waitrose packaging.

I would suggest the S1 and the 24-105 f4. Ibis is excellent battery life is excellent (2+ hours per battery) No record limit (or overheating) AF is good Great in low light Shoots in UHD 10 bit 422 to sd card 14 stops of V-LOG (optional) Very good skin tones Is a 6k sensor so you can do a APSC crop in camera so that 105mm becomes a 157.5mm and the lens is parfocal. Because fo the S1H and all the other cameras you can find them used for $2500 now for the camera/lens combo. I do a lot of corporate events (trade shows or conferences kinda thing), and it really works well.

GH4? How about the ancient GH2 at 10,000 ISO....

Would a MixPre3 help swing the decision in favor of the Nikon Z6 again? The MixPre3 would auto stop/start recording over the HDMI TC trigger. And timecode means everything would sync up in post faster than you can snap your fingers.

This posts sounds like you're getting a little obsessed with seeking out "the best" image quality, and forgetting that this is but one aspect of the overall big picture. What does it matter if one camera has 1% better image quality over another if you give up a million other things? (features that might lead towards a better image in the long run... far exceeding that 1% theoretical gap) Plus there is the tricky problem of how do you even define what is "the best" (which in itself is very subjective), the best SOOC when perfectly shot? The best looking image after you've fv%ked up everything possible on the shoot day then spend a hundred hours in post trying to "save" the image? The best image under circumstances somewhere between those two extreme scenarios?

I use it daily. It is fantastic. It is on my P4K and GH5(s) much of the time.

https://www.kinotehnik.com/lcdvfbm5/

Don't let amaducers and unproduckies get to ya! ? Amaduce ~ when professional settings turns into amature hour ?; the inability to produce results Unproduck ~ someone unprofessional and unproductive; one who quacks like a duck, walks like a duck and probably doesn't do a single fuck ?

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

@Andrew ReidDear Andrew, from the article it seems that you are in a good contact with Panasonic reps. Could you please ask them to include a focus assist (magnification) during recording or at least ask why this so important feature is not included in the gh5(s) and also not in the S1? Sony with their A7x line has it included and you find this feature in all broadcast cameras (Sony fs5,fs7, Canon C100-500) It is such an important feature for so many people who are shooting documentary, reports, television and so on. If you can't plan a scene focus wise you really need this feature to be sure you are in focus. You can't really judge focus even in Full HD but especially not in 4k. Also the great viewfinder of the S1 will not help. Its not about the resolution of a EVF or LCD, its about the inability of the human eye to really be sure you are focused. We really need a focus magnification during recording (even 2x would be great and enough, if more is not possible). It would be so nice if you could come up with this issue if it happens that you talk with them again. If I write them an email it will not get to the right people. I think it is so easy to implement via firmware upgrade and processing power can't be an issue anymore (at least in the s1) to include it also during recording. Thank you so much if you could do that. I love the GH5 and will love the S1. But this is such an important feature it nearly lets me switch back to cameras like the FS5/7, C300... Best Jakob

So in terms of hybrid cameras - and including the BMPCC4K even though it isn't a hybrid camera - is the a7 III still tops when it comes to dynamic range? Purely dynamic range. Not colors, not ergonomics, not soul, not flame-proof-ness. Just DR. I've read Sony a7 III with slog 2 has close to 14 stops of DR. Is the BMPCC4K able to compete / beat it when shooting in RAW? (New BMRAW firmware was just released, BTW). Will Z6 beat it once it gets ability to shoot in RAW via hdmi out? (I am reluctant to spend $1,000 getting a recorder, battery and SSD card for it). What's the DR of the Panasonic S1 cameras like? Another site said that it had 12.2 stops when shooting HLG at ISO 400. I think V Log is a paid firmware update coming down the road, right? (Hopefully it won't be dependent upon the US Postal Service for delivery). ALSO: I thought someone on this forum posted a few months back that the 8-bit codec of the a7 III actually helped increase dynamic range when compared to 10-bit codecs. Was I dreaming? Was I on drugs? Was my mind being controlled by @mercer cat??? (P.S. I know that Sony cameras - much like my wardrobe choices - have many serious flaws. No need to comment on either of those things here.)

I disagree. The future is 360 VR and 3D, and depending on the potato, it can have multiple eyes on all sides!!

You might be about to cop one on ebay for around $4500

Unless its a RED One.

I shot an entire video duel focusing with the Bolex 16/32. It's not that bad once you get the hang. I was blind by the end of the day. Vision totally blurred. I use a ProtoDNA variable diopter now with a 40mm on GH5. I would recommend getting a single focus solution because of where and tear on the Bolex.

on the upside you can at least boil and eat a potato. While lots of cameras do get roasted on the forum from time to time i have yet to hear of someone actually eating one ?

What about the nikon z6? Anybody got experience with this one. Imagewise its ahead of the other mentioned cameras.

Yes it is. In ofx color space transform : input color space is only about input gamut and input color gamma is about gamma. You can find flog in input gamma only because it 's about gamma. And for input color space you need to choose REC 2020 because it's the gamut of flog.

The guy has done his homework.. he is heavily invested in Canon glass, that’s why he chose 5D4 & 1DX2. Sony/Nikon DXO scores are therefore irrelevant. He wants the best FHD in Canon ecosystem. 5D4 & 1DX2 are soft in 1080p & shoot 4K in MJPEG making downscaling cumbersome to say the least. Cinema line models pros/cons have already been covered and he’s not interested in switching systems as you lose Canon DPAF/CS. EOS R is I think the only option that hasn’t been mentioned. In FHD crop mode it shoots a very detailed 1080p downscaled from 4K. Unfortunately it retains the severe RS and heavy crop.

Their apps are really nice though, simple to use. Am using them every day with my current Tentacle Sync E timecode boxes. Not really limiting at all, for most applications you'd only be wanting to directly press that "record button" but once a day. So to use the app instead? Not a big deal at all. Because you don't want to be digging under the actor's clothes multiple times a day to stop start it! And actually, this is where the app comes in very very very handy....... as then you can remotely start/stop them all at once! (I do greatly hope there is a batch option in the app)

They wouldn't be the "LEAST bang for you buck"

The new mark 2 Mix Pre's also have floating point I believe. Any useful comparison between the two?

Got a used G80 for 500usd and the OG BMPCC is under 500usd nowadays so no

Well I've obviously never used it (but would be keen to be a beta tester!), as they only got their working prototype literally days before IBC, and it is planned to be shipped out in 2020. However I own the original Tentacle: And I've got their latest timecode box, the Tentacle Sync E: Thus I know their products well, plus Tentacle has a very good reputation in the industry and they've been revolutionary, so I'm certainly feeling optimistic about how awesome the Tentacle Sync Track E will be! Yes, for many many ultra low budget videomakers (such as your average wedding videographer) then these will be a godsend! Plus I can see handy uses for it in a professional setting as well. I don't think I've seen a start/stop button on the Tentacle itself? Is all controlled via the app instead I think. But even if there is a button for that on the Tentacle itself, I'm sure they could come up with an override feature via the app.

8-16-24-26 and 31! Previous ones were so niche and sold so little that is a safe bet. As when I predicted that P6K thread will be a lot smaller than the P4K one, and it does..

I don't know you can get some pretty damn good M43 cameras under $500 that do 4k with IBIS

C100mkII is still a classic and for the money the best Canon C deal. ISO capabilities far exceed everything else in their hybrid line up anyway. C200 is NOT going to be a classic, but of course it is 4K, for some this is enough to go that route. Here is double the money and a bit more of an C100mkII.

Just add support for FS Raw please BMD! Like Atomos has

Well this is a "gear advice" thread, so yeah! Of course it's one aspect, but right now the costly aspect. Give up what million things for example? What features specifically? Should I talk instead about lighting and composition in this thread? Sound? No, no need for that here. I know what you mean, but again, this is about the best Canon camera for 1080p. I said earlier on, I want the best 1080p camera Canon has to offer. After 5 pages, it's still not very clear , and it should easily be. And Canon is to blame for that, but yeah...8bit crippled here, 10bit there, RAW somewhere else, etc. I'm just navigating the Canon landscape, marketing decisions and all leaving consumers scratching their heads. So it takes some time to figure it out, which is OK. I'm appreciative of the people contributing to this thread. It's all good. The other things - the feel, the ergonomics, button layout, other features one camera may have over another - things I spoke about, are personal decisions I will (and already have for many) figure out on my own. Usually those take longer but in this case it's the other way around. The tech stuff should have clear answers. It was very easy for me to choose my 1DXMKII or 5DMK4 for stills work, even if there were better sensors out there or whatever. It was not a mystery like the cinema stuff!

One of the (many) problems with the patent system is that the patent holder has the full power of the government behind them to enforce it, and if you think their patent is based on bullsh*t then you have a very tough, very expensive, uphill battle to be free of their patent. So if you're an extremely small and niche company such as Sonosax then it makes no sense at all to even try to fight Zaxcom just to be able to sell your product in one particular market, even if you feel their patent was granted on the most flimsy of reasons. Even Tascam, who is a much much much bigger company than Zaxcom, still saw no point in trying to fight it out with Zaxcom because their patent only impact just one product that Tascam makes, which represents but the tiniest fraction of the overall company. Is much easier for them to just tweak the design so the patent can be ignored than to fight the legal case. Seems though that one company has finally said enough is enough, and is going to battle it out, when Zaxcom picked a fight with Lectrosonics. Am sure all the other companies are just holding their breath to see how this turns out, if Lectrosonics wins, expect heaps of firmware updates overnight for all the various recording/transmitting products to be fully enabled such as from Audio Ltd and Deity.

That is why the standard version of the Sonosax SX-R4+ can't be sold in the USA! And they had to make a special (read: crippled) version for the USA. Zaxcom patents/lawyers have meddled in lots of other ways too, such as with the Tascam DR10, Audio Ltd A10, or the Lectrosonics PDR, or harassing Newsshooter.com And we're holding our breath to see if Zaxcom responds legally against the new MixPre Gen 2 or the Zoom F6

Not that it matters to anyone, but my brother’s and I launched into video production back in 1985 when my dad brought home a Sears VHS camcorder. How he did that on a blue collar paycheck I’ll never know. What did we do with this awesome blessing? Produced wrastlin’ videos. Hundreds of them. Story arcs, reoccurring character fueds, the whole bit. My role was the interviewer “Mystical Marvin,” and I modeled the character after Mean Gene —with a little bit of Koko B. Ware and The Million Dollar Man for my occasional wrastlin’ appearances. Good times. So RIP, Harvey, owner, executive producer, and camera supplier of the LBWF! Still talking about you all these years later.

That dude’s a freaking genius.

I think the z cam WDR mode uses two shutter speeds, instead of two gains. Thats why you get strange motion artifacts. It also has dual native ISOs in additionb but no simultaneous dual gain.

On the XT3, 2K DCI is not as good as 4KDCI because they are not done the same way. (Skipping/binning vs downscale full read out sensor) Consequently on 2K there is often moiré on hairs and sometimes a severe moiré on certain tissues. For important work I shoot in 4K and I do postproduction (edit, colorgrading and output) on a 2K timeline.

And yet I see this pattern repeated over and over and over again! Almost as common as people buying Canons.

Narcisists. Stau away, no cure, only Bad things.

SDI - cables lock in, you can run the cables significantly longer (several hundred feet) HDMI - cables don't lock in place (micro and mini are even flimsier) max out at around 50 feet Its just like comparing XLR audio cables to 3.5mm mini jack cables. Once you experience the pro grade XLR connectors its hard to go back to shitty 3.5mm audio cables. - At least if your a working pro..

They’re nuts if they think will sell a lot of those at that price. I’m only half kidding about the Komodo at those prices.

The could be very interesting IF I'm understanding correctly:

The best thing about the G95 is that it stopped the G85 being a current model, I am looking forward to the ebay price drops.

I mean it's easy to crap on Canon but it's true. I'd have to say they'd take up most of the list. I'd also put the Panasonic G95 on there, as though it's a great camera it's a marginal upgrade over the G85 and you can get the G85 for so little now that there's not a lot of reasons to get the G95. Probably not a worse value than any of the Canons in that price range, but it was a disappointing release and I've heard almost nothing about it since release, which isn't a good sign given how popular the G85 ended up being.

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’s tough to compare the any model in the pocket range to DSLRs. It’s not a dslr. It’s a cinema camera that’s shaped like a dslr and the battery life has always sucked... because it’s a cinema camera. It’s powering four onboard microphones (which sound pretty fantastic for what they are), plus everything needed to run a 6k s35 sensor in raw, continuously. Name a cinema camera that doesn’t require an external battery. Complaining about the battery life and memory usage is like complaining about the crappy gas mileage in a heavy SUV. you’re not getting it for the battery life, you’re getting it for the top-notch video quality in a DSLR form factor. Get yourself a juice box battery, a proper CFast card, and an atomos monitor, and now you have a Cinema quality rig that rivals that of high end cameras in a size you can fit in a backpack. One that records extremely versatile codecs, continuously (without having to stop and create a new clip every 15min), and with one of the most user-friendly user interfaces in this range, where you don’t have to weed your way through photo settings and enable different modes to transform it into a video camera (why I will never go back to the GH5).

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

I don't know about the A7iii but my A7sii could not touch the DR of the 13stop BMCC, D750 or even the 12stop XC10 and 5Dmkiii raw. So I doubt the A7iii could match a BMPC4K. At least I haven't seen any footage that points to it being able to. Would love it if it could. Maybe then I could justify it's imo to high price.