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They are different. The Micro nails a filmic look that none of these modern cameras achieve out the box. Its gritty, raw, and has a very organic feel to it. But, it doesn't have IBIS, does not shoot photos, shoot 4k, etc. The S1H has a very nice cinematic look to it as well, but it's not as "filmic" and gritty like the micro. Colors of the S1H still amazing though and I prefer the colors of the S1H more than the Pocket 4k/6k new color science (I owned both). With all that said, the S1H has so much going for it that my micro will only get used for certain situations and most likely not run and gun anymore. I have to use the micro on a ronin-s as there are way too many micro jitters hand held. Coming from Blackmagic and Sony cameras, I can't stress enough how unbelievable the IBIS of the S1H is, especially dual IS with their 24-105. There is no need for a gimbal unless you need slider like shots or walking shots. For stationary, short walks, pans, etc., there is no absolutely no need for a gimbal/monopod/shoulder rig, that's how steady it is. The footage looks incredible, especially if you know what you are doing and how to properly expose vlog and convert it rec. 709 with the proper varicam LUTs. More importantly for my decision to make this my main camera is that I take photos as well and the one thing I was pleasantly surprised about with this camera is how good the autofocus for photos is considering all the complaints. The autofocus for video is horrible, but I manual focus for video. But for photos, it was MUCH better than I thought after listening to everyone complain. Eye auto focus works great as well. Not as good as my A7R3, but still really good. Another thing I haven't heard anyone talk about is how fast it can switch between custom modes, for example I have a video mode on the dial and a photo mode that I switch between. Video mode has vlog, 180 degree shutter, different settings etc that I keep static and photo mode has none of that. When I switch between them it is seamless, no loading, no screen blackout, none of that. It is instant and quick and I can switch back and forth instantly. To me, I look at the cost of $4000 different than most. Unlike when I shot with a pocket 4/6k or even the micro - I don't need to carry a gimbal or shoulder rig, I don't need to mount a heavy v-mount battery on the back, I don't need an external monitor if I want to tilt or rotate it (I still do for the large screen, but its not necessary), and I don't need to bring a second body and lenses if I want to take photos. On top of all that - I prefer the video image over the blackmagic pocket 4k and 6k. It has a nicer highlight roll off, seems like better dynamic range, and I prefer the colors. All this without shooting RAW yet. I know that was way more info than you needed, but we are so lucky to have all these tools as filmmakers now days and this is the first camera in a very very long time that has me excited like this. I have owned or shot with the Canon C200, URSA Mini Pro 4.6k, Micro Cinema Camera, Pocket 4k/6k, Red Raven, A7R3, A7S2, A73. This is the first camera out of all of those where I can simply pack the camera and a lens and have what I need for a day of video and photos without a bag full of stabilization gear and photo gear mixed with video gear.

Here are Martin Scorsese's words: [the magazine in question is Empire Magazine] Surely, people are outraged. But, in my view, he is quite right. He took care not to hurt the MCU creators by saying: 'as well made as they are', so I don't see why he is accused of being insulting.

Wow, that is the most accurate summary of the MCU that I've seen. Like Scorsese says, they are not poorly made. Most MCU movies are clearly made with a lot of care and loving attention to detail, just not the details us snobs are looking for. Conveying "emotional, psychological experiences" is their antithesis. There's just the faintest scattering of storytelling: 3 acts, a villain, a half dozen callbacks to Act 1 in Act 3, and the rest is precisely a theme park ride. There is no attempt to communicate an abstract idea or feeling, all information presented by the movie is describing events as they occur, humorous one liners*, and information about the exact extents of a character's physical capabilities. And it's not that fantasy or blockbuster movies are necessarily theme parkish. The Lord of the Rings conveyed an enormous amount of emotion. The Star Wars prequels -tried- to convey emotion, but were hit or miss on execution. Nolan's Batman films were entirely character driven, delivering on the psychological experience moreso than emotional. *With the exception of Thor Ragnarok, and moments in Guardians, the one liners aren't even character-based. Any character could say any of the jokes and it would make sense. I'll also say that Thor is the only MCU movie I've seen that has recurring character jokes that genuinely advance our understanding of the characters and work off of previous content.

Beg to differ, my experience is just the reverse one. With P4K (Braw) one can do what ones wants, go in both directions ("organic" vs "digital"); not with GH5. Yellow-red shift could depend on lenses, settings, lights etc. "Run & Gun" section also depends on what one is shooting.

Would never scrap it, I keep my word. The S is getting an update directly from the P4K variation - which is a lot better than V3 (gamut/smoothness/a certain new feature, its not just the P4K variation; its gen 4). Its taken a lot longer than I anticipated, as I had no idea how much it would improve (P4K, XT3, S1, Sony, all waiting). I am one person, working day and night, weekends included - and I won't stop until its done.

It’s a fantastic looking camera. Unfortunately most the people uploading footage with it on YouTube (this video being the exception) have no clue what they are doing. From incorrect shutter angles, horrible rec 709 LUTs, no clue how to grade or expose, etc. I am blown away by the colors and look.

Be careful with the E2-C. Make sure that you check out the reviews before buying it. I believe that it has terrible rolling shutter and very limited dynamic range. The E2 might be ok, but the E2-C is not in the same league.

I’m posting this because I’m excited that JVC shared my project on their Facebook page! Honestly this camera is one of the best tools I’ve used! If you’re in the market for a very versatile cinema camera I recommend this amazing and affordable device!

Yes, otherwise known as the empty bank account strategy, AKA: homeless man strategy.

Still 24mp, 4k30p 420 8bit, and no log

V2 of our 3C Cinema Camera Control App now includes support for the Tilta Nucleus Nano focus controller. The Nucleus Nano wheel connects wirelessly to the 3C app over Bluetooth LE and enables you to use the wheel to electronically control focus of your native MFT and adapted EF (with smart adapter) lenses on the Pocket 4K without using a motor. Electronic control of the lenses can be a big advantage when using the Pocket4K on a gimbal to keep the weight down or to keep any rig smaller and not require additional powering for the motors. In addition, it also circumvents issues that arise when using the motor with small native lenses that don't lend themselves particularly well to using focus gear straps and often have limited manual throw. It also enables you use the hardware REC button on the Nucleus Nano wheel to control the Start/Stop of the camera and the record status is returned back to the wheel to illuminate the switch when the camera is recording. As the Nucleus Nano wheel is fully integrated into 3C it also enables you use it to create the 6 focus storage positions which you can then choose to automatically switch to either in Snap mode or multi speed Transition modes. The Setup screen of 3C now includes two scanners for easy selection of the camera and the Nucleus Nano wheel once Bluetooth mode is selected in the wheel. V2 will be submitted to the Play Store for publication on the 11th October and will be available as a free automatic update for existing users.

Where all in part began... : -)

It's all about the pleasure to shoot... : ) I simply stop to shoot with my dozen of Panasonic camera units when started to put my hands on P4K -- how can I read here this is unnecessary?? It just puzzles me!

Marvel, Andrew : ) https://en.wikipedia.org/wiki/Marvel_Cinematic_Universe I FULLY agree with him : -) That's disgusting content, as simple as that. Fortunately, cinema will never be destroyed by these silly attempts to pollute our time and universe... : P Funny you Andrew didn't notice the acronym if not ultimate sarcasm : D which is symptomatic everything is not yet lost, after all, there's still hope for this planet ; -) So BTW, I don't even watch them either!

MCU?

Found a universal solution: place bounds *before resolution, and domain *after, with the same values. I've tested in Premiere, Resolve and FCPX. One caveat though - Atomos can only accept one definition. I haven't tested in Avid etc., so there will be a compatibility fallback option.

For my personal photo stuff I am using 35 and 90 summicrons, with the vast majority being on the 35 ( both on an M6 so full frame ), I find anymore choice than that and I get a bit of decision paralysis. It also helps that the photos don't really matter - if I get the shot I get the shot and if I don't I don't have a client asking why. I used to use a 5D and zooms but found I wasn't really present for the event that I happened to be photographing because I was thinking about it too much, it just wasn't fun anymore - I had become a bad event photographer. My "professional" work is training videos that I am in and I use a GH3 and 12-35 but probably soon to be a C300 with something like the 24-105 and 16-35. I like having lots of options when I'm doing videos that are a pain to reshoot and my performance is far more important than the cinematography in this case. The zooms really help because I shoot in a workshop and often can't get the camera where I would like it so the zoom really helps to get the So I suppose my strategy is to limit my variables so I can't get too distracted, in the first case the lenses and in the second limiting what is important to me. It seems to be quite a common theme in this thread to limit the variables, which is encouraging! Pretty sure I'd curl up in a little ball with a full set of cine primes with a new focal length every 2mm ! I think it's interesting that the professionals who have to get the shot and can't control all the variables need technology to help them with RAW, higher dynamic range and, for some, autofocus. I have read a few things recently that joke about how the people who can afford cameras with RAW and massive dynamic ranges and amazing autofocus are often exactly the people that don't need them because they have a crew that can control all the variables and a focus puller.

anyone heard from sloogan floogan lately

I know its taking approximately forever; I just added a feature that I think will be a significant step forward, people are going to love the practicality of it. A couple weeks ago I rewrote smoothing, and that was an absolute revelation. I also learned some interesting things, now that I've had a chance to do a new round of tests for the upcoming update: Premiere ProRes does not have a color space distortion - I originally assumed this was the case from using Alexa ProRes as my test material. This time, I tested FCPX encoded ProRes, and Atomos ProRes, and discovered that the problem is specifically with Alexa ProRes .mov files (scissor-like Vscope distortion). Other ProRes sources are fine in Premiere, FCPX, and Resolve (no new Pre will be needed here) DNxHD does have a distortion in Premiere Premiere can't accept Wide Range Luts. This will preclude P4K users from tapping into the entirety of the Highlight Recovery mode, now that BMD has added BRaw support to Premiere natively. This will also slightly impact the new feature I mentioned earlier. Neither of these issues are that major in the overall scope of things, but it may be worth making a request to Adobe to add support for this new type of look-up (it would be relatively simple to do in terms of code; it essentially took me a morning). Resolve, FCPX, and Atomos are all coded properly for it. There will be P4K news soon.

I believe it was the Panasonic 24-105mm f/4.

I've built a Canon FD set with 20/2.8, 28/2, 35/2, 50/1.4, 85/1.2 and 135/2 that I use for all my professional shoots which are mid-tier commercials mostly. If I can get away with the characteristics I keep them wide open and if I need sharpness I stop down to an F4 or so. Long-term plan is to have them re-housed to PL by P+S Technik. I like the look and they cover FF to follow the camera trend. Edit: ...with focusgears from followfocusgears.com and fronts from Simmod to make them somewhat usable in a professional setting. Only downside is the fiddly process of swapping lenses ?

Reading these may prove to be a good starting point:

I think it is. I'm seriously thinking of adding a Shinobi, when I don't need the ProRes recording of my Ninja V and I want to get rid of the Ninja's horrendous fan noise.

Also weight, size, ergonomics, best cold shoe mount, touch screen interface..

A monitor is a lot more than nit per $ ratio.

This track is a recent addition to my playlist at the moment:

Meh... Every new Sony announcement has me feeling like the a7s3 is going to be a major dud - from rolling out the same damn sensors across the board except for the a7r4 and the endless 8-bit parade, I'm expecting very little from the s3 beyond the Z battery and the new AF. Chris

So your using the museum strategy right ?

I just buy a lot of lenses and then only use one or two of them.

I have 5 Samyang primes, and a few more EF lenses (the newer 70-200mm 4f among them), and the 12-100mm for run and gun. The lens is very small and light for the range with great stabilization. I already own Lens Regain and Viltrox adapters. I would never shoot on 6K and I wouldn't buy the Italian speedbooster, so what is the point to spend double the money - 1420euros the P4K and 2799euros the P6K, for things I wouldn't use or need? If the camera ain't here in a couple of weeks I will just invest on something else, it is a pity to spend the money on a rented camera, while I can buy a new one, even if it ain't the one I really needed, it is an opportunity I can not miss. I may even consider the newer EF-M if it is really worth it! How worst it is against the C200 8bit codec? My point here is that is really disappointing that BM may loose a customer, and I am sure I am not the only one.

Pair of Fuji XT3’s for weddings. Left unit with Fringer Pro and choice of: Sigma 18-35 f1.8, Canon 50 f1.8 or Canon 85 f1.8 with Rode Wireless Go to transmitter with fluffy/lav/shotgun. On tripod. Ceremony, speeches and dancing only, ie, static. Right unit with Fuji 50 f2 and Zhiyun Weebill Lab on monopod with Anker battery pack. Moves with me throughout the entire day. I also have a Sony 1" camcorder on another tripod with shotgun as a ceremony & speeches back up, plus the OSMO Action for some B roll stuff plus Mavic Air.

ok guys i MAY have sent a message to Sloogan Floogan on fb. may have idek updates as events warrant!! *wonders aloud* who is this man of mystery...? ? personal life update: IM IN LOVE WITH THIS HOUSE

Yes, because successful music videos are sooooo original.... on which point, this would be my favorite music video of the month:

Here is also BMMCC overexpose test. Technically digital sensors don't have such a thing as overexposure and there is nothing to test there because sensors itself don't have any highlights rolloff. They capture light in linear gamma and hard clipped in one single point. Next that linear data converted to LOG gamma specially designed for each sensor model. And next Color Science converts Log to normal gamma and shapes final image look. So mostly overexpose look is a part of software, but not a part of a sensor hardware itself I use different lighting direction in this test to provide extreme bright light, so these images don't exact match to previous tests. As before i use REDLog3G10/REDWideGamutRGB as timeline gamma. Other gammas and other Log to Rec conversion methods may provide different look of highlight rolloff clipping. And the same with Highlights Recovery turned OFF:

Regarding shooting music videos: Love it! BTS:

and proving that creativity knows no boundaries, I share with you all this. The most epic and philosophical song about radiators ever written.

today's test: BMMCC - best colors and overall look , a little noisy picture, but the noise is pleasant. Moire problem. But overall he is the winner! (Slowmo 60p) at ISO 400 is slightly cleaner in the shadows. (Native is 800) . It is not a modern clear picture, but as a best film emulation. BMPCC (orig) - same as BMMCC but only 30p (a little more noise and moire than BMMCC) BMPCC4K - worse colors and overall picture is shifted to yellow-red? sharp highlights rolloff ? the picture is far more difficult to correct and color than the old pocket ? the picture is cleaner , but it gets a "video look" , The shape of the body is terrible. I gave a second chance and really didn't ... I put it back. GH5 - The best tool for run & shot - Worse colors than BMPCC4K but not much, excelent IBIS ! , battery life, adjustable display and viewfinder. Very economical codec for all day shooting. It's a winner if you need quick and comfortable shooting. It is a modern clear picture. Winner for RUN & GUN Shooting So everything stays the same, I keep GH5 for modern picture style, BMMCC for film emulation project. BMPCC4K - not necessary ?

No, the look is different, the new pocket 4k is worse... today's test: BMMCC - best colors and overall look , a little noisy picture, but the noise is pleasant. Moire problem. But overall he is the winner! (Slowmo 60p) at ISO 400 is slightly cleaner in the shadows. (Native is 800) . It is not a modern clear picture, but as a best film emulation. BMPCC (orig) - same as BMMCC but only 30p (a little more noise and moire than BMMCC) BMPCC4K - worse colors and overall picture is shifted to yellow-red? sharp highlights rolloff ? the picture is far more difficult to correct and color than the old pocket ? the picture is cleaner , but it gets a "video look" , The shape of the body is terrible. I gave a second chance and really didn't ... I put it back. GH5 - The best tool for run & shot - Worse colors than BMPCC4K but not much, excelent IBIS ! , battery life, adjustable display and viewfinder. Very economical codec for all day shooting. It's a winner if you need quick and comfortable shooting. It is a modern clear picture. Winner for RUN & GUN Shooting So everything stays the same, I keep GH5 for modern picture style, BMMCC for film emulation project. BMPCC4K - not necessary ?