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I snapped these quick shots at 12mm, 18mm, & 25mm. I will do one of the "brick wall" tests at some point. I had no idea that the GH5 & GH5s were correcting things that much. Check out the curve in the crown moulding. Three shots are the Oly 12-100 on the P4K, the 4 are the Oly 12-100 on a GH5. Olympus-12-100-at-12mm-P4K Olympus-12-100-at-12mm-#1-GH5 Olympus-12-100-at-12mm-#2-GH5 Olympus-12-100-at-18mm-P4K Olympus-12-100-at-18mm-GH5 Olympus-12-100-at-25mm-P4K Olympus-12-100-at-25mm-GH5

He's the Clapperboard guy. Also responsible for rentals, charging batteries etc.

Those new Vlogging features and improved Hypersmooth are great. Audio sounds a lot better too. I'd really like changeable lenses, though

Music is very personal to the writer and the listener for different reasons, and for me, this song can never be beaten. The whole album is fantastic and I urge anyone who hasn't heard it to give it a go at least once. EDIT: they also soundtracked the 1929 film 'Man With a Movie Camera' and that's a great album too, especially if you can find it synced to the film.

24mm equv on this bad boy and your pretty much sorted with strap on neck for good oul steady ready ? ⁸

Yup, I am familiar, assuming you mean how the focus peaking dims after you hit record? I have not had that issue on the S1H - but just to make sure I am not crazy and spoke too soon, I will try when I get home tonight and report back with 100 percent certainty that this issue does not exist.

@kaylee what did you eventually do with the scene (bedroom?) with the camera heading skywards through the ceiling/roof? Sorry, I cant recall the details but it sounded a fun challenge you were confronted with and I wonder what you achieved. Any possibility of seeing the result? [Apologies - it’s off topic!]

I have an S1H and I have not seen any focus peaking issues. I only use manual focus lenses, so I would definitely notice. Camera is wonderful.

Reframing is just so convenient problem is it needs 8k to be able to get a decent quality

Maybe ZCam E2 with speedbooster if BMs are not available. Would also suggest GH5s + speedbooster

We see more and more computer generated effects in movies these days and less and less practical. Its certainly likely at some point Computational photography will replace practical lighting effects as well. However at this point in time adding a few lights is way quicker than trying to do it in post and less expensive. I think he did more than just grading on that footage.

Entrances & exits for one thing... as one of those 'hybrid' wedding photographer/vidiots, I shoot both stills and video at the same time. Most of the day, I can flip between camera types (XT3's for video duty and XH1 & X100F stills) but there are times when I need to both at the same time such as entrances and exits, confetti tunnels etc. I used to stick the Action on top of the XT3 on a monopod so when they got too close for the 50mm prime, the wider angle action camera captured the last few feet of their walk. I also use it to follow trays of canapes or plates of food in motion where anything bigger is a pain in the wotsits. I also shoot band/dancing footage and for first dance especially, it's my wide. I'm not that creative with it and it's more filling a hole but in a limited way. Same as the drone, - just a very small part of the day, especially as the footage of both is not in the same league as that from the XT3. I tried the Pocket previously. Wasn't for me. Better low light but for my needs, the Action works better.

Happy Valley - two-season box set (small town realistic police procedural investigation). Such good writing by Sally Wainwright; she seems to understand that not only does something need to be interesting, but the main characters need to be likeable too. Many times I find this is not achieved in TV drama - there's action, production values, hip cinematography, smart one-liners, but it goes for nothing because you just don't care about the people enough. It's almost as if aliens had written them and in a subtle way, got the wrong idea about us. The main characters in Happy Valley are ordinary, realistic, but we want to be with them because we care. So when we see a big close up of Sarah Lancashire with a bloodshot eye, it means something. This is old school drama at its best, with excellent actors to bring it out. Strongly recommended.

AH melancholy... for me at the moment its been martika, toy soldiers. It plays on my mind alot, so much so that i even have a rough draft for a video. I have to flesh it out abit more and build a set. Ironfilms will get a giggle out of this, but i was inspired by dave dobbyns loyal video in which the whole thing is one take. Not sure how many videos are one take but considering that it was made in 1988, it made an impression i guess...

@kaylee TenPole Tudor et al. Names from my past...

No matter what I sit down to listen to I always seem to end up listening to Green Day or the Pistols. Might be via Aida or Cash or Dylan or YT videos of the Barmy Army... but it’ll end in the same place.

A couple of very interesting reviews from Lok and Kai. Kai struggled to think of any real problems with the $2K one and especially liked the 709 profile and the 4k160 mode.

Disenchanted and Shameless lol

i googled it, found a few videos on it. Here is one vid that might give you some idea of how bad it is or whether you could live with it or not https://youtu.be/uGLx5plyZg0 . Talk about the blue spot starts just after halfway. Since i plan on using it with anamorphic lenses i hope that it either gets hidden in the lens flares or compliments the lens flares but thats my enthusiastic newbie attitude talking ? time will tell

Large leaps in Dynamic range will be a game changer. If you have a camera that shoots 20 stops of DR, you could pretty much get away with not lighting your scenes. That said you still have to light if you want any kind of style. Tough we've been at the point for years, now more than ever where cameras are really cheap and really good. Yet still a lot of indie filmmakers would rather use 80% of their budget renting a RED camera.

I'm actually not that surprised. People need to fit in to get in. With digital photography people are still trying to emulate film stocks (among other things). It's still new, and an imitation game for now. It will take a while until people stop trying to copy and emulate the past with current tools, and use the current tools for what they have to offer instead - different and unique ways of looking at things (not just low light abilities, technical advantages, etc.). But it will happen once the romance with the past is gone. But my post was really more as it pertains to this thread - shoot for your audience - 6K -> 2K or even less. And the audience is more and more watching on phones. That means you need to change how you think, compose, expose, grade, etc. Wide, very detailed shots? Not so good on small phones. Shadow detail? Hmm..Same with photos. Vertical vs. 2x3 landscape. I can go on and on because I'm living it with my photography work somewhat. Reminds me of the cinematographer who shot that super-dark Game of Thrones episode - I forget the one. He was saying he was shooting it for a large "canvas" (he was shooting for HBO...), and that people should not be watching on phones, they should calibrate their OLED TVs, etc. I get it - he wants the best quality. But the reality is you have to shoot for your audience if you want your stuff seen and out there. Look at the legitimate backlash that guy got over that episode. And understandably so. I'm not saying shoot for crap, and compromise your vision or artistic integrity, but think differently if you want to stay relevant.

On low/no budget everyone is doing multiple jobs. Maybe it's the director, or maybe it's the DP, but SOMEBODY needs to be looking at the location and saying "lets move that table over there because it looks too modern" or "lets put a cheap rug on the floor to make it look more like grandmas dingy living room" or "he's the bad guy so he's going to wear the black hoodie". My point was more that people thinking creatively and doing there jobs well are going to have a lot more impact on the final product than whether you shoot on the newest iPhone or on my crappy Huawei or on an old DVX100 you borrowed from your school. Oh and by the way, it's the 1st AC that pull focus.

Great entry, Eugenia! You're an asset to every community as always : ) Posted in this another thread: It's a joy to have you among us, @Eugenia ! : -)

Well here mine ?

Very interesting. My thoughts. 1. Boy am I glad I sold my second BMPCC4K before this was announced. 2. I don't care one bit about 6K. 3. But I care a lot about the bigger sensor and EF mount. Getting a good combo of lenses and/or adapters on the BMPCC4K that didn't vingette and didn't have massive barrel distortion was a PITA. I'm already kitted for EF. The Tamron 17-50/2.8 VC will probably live on it.