Leaderboard

Ok. I am going to come out and admit that I am floored by this camera. I have been a Canon hater, but this camera is an absolute beast. To have a pro body and amazing photo capabilities - which most already know the 1D line has and then on top of that have internal RAW and amazing DPAF?! It has dpaf autofocus and shoots internal raw and I think the most exciting part for me, is it FINALLY has focus peaking. That was the one thing that was going to make this a non purchase as I use a lot of vintage manual focus glass. Though this prices a lot of people out, if you are a serious hybrid shooter - meaning you do a lot of both - this is a dream camera for you. Obviously there a few downsides, such as the screen for video - but most have external monitors.

Adorama just sent an e-mail out. $6499 in the states. This will be a very popular camera!

1-inch edition co-engineered with Leica. Stereo setup module available! 5.3K@30fps Sold. A couple of units coming soon ; -) https://www.insta360.com/product/insta360-oner_1inch-edition https://www.insta360.com/product/insta360-oner_twin-edition https://www.theverge.com/2020/1/7/21048536/insta360-one-r-360-4k-action-camera-modular-price-specs-features-photos-hands-on https://***URL removed***/news/3082563124/the-insta360-one-r-is-a-super-versatile-action-360-cam-system https://***URL not allowed***/insta360-one-r-modular-action-360-camera-first-hands-on-impressions/

Ha ha very nice Sony, now get back to work https://www.bbc.co.uk/news/technology-51015921

The only tool here is Peter McKinnon thinking he needs a 2400Mbit codec for YouTube vlogs.

* 13 mins is for 5.5K RAW 60p, yes the 24p will give you more time on a card... still expensive though to get through a shoot with 1800Mbit to some of the most expensive cards on the market. In my opinion yes there are, and they are cheaper. Panasonic S1 gives you 1D X Mark III rivalling codec and image quality for around $2k (with V-LOG update). Although none of them marry 4K 60p 10bit full frame with Dual Pixel AF, they are better in other areas. Principal one being usability and feature-set. Yes you can argue Canon has made the first 4K/60p/10bit/full frame/DPAF camera and those are all headline features, if you wanted all that on a Panasonic or Sony you may have to wait another year or 2. Panasonic S1H however does all the 10bit 4K stuff better aside from FF 60p and the AF...But it is $3.5K and Netflix approved, the image is blazing a trail. This has advantage of IBIS and an EVF too, as well as articulated screen and more adaptable lens mount, cheaper media costs, more options. Leica SL2 is a sexier camera to use, sex on legs, sexier than anything I have personally handled It offers full frame (well, near full frame 1.1x crop) 4K/60p in 8bit and 4K/24p full frame 10bit ALL-I 400Mbit. No RAW but an extensive feature set - very in-depth. Like a supercharged S1R for video. A7R IV is a contender for hybrid stills / video use. The stills side is beyond compare, 60 megapixels, cutting edge AF, large EVF and very good IBIS... although not as steady as Leica SL2 or S1H. Remember the A7S III is on the horizon which is likely to give you the full frame 10bit 4K 60p for $3k mark along with Canon beating AF... Canon 1D X Mark III might be short lived at the top for people who want 4K/60p/DPAF and RAW.

An in-depth look at the white paper and 1D X Mark III codec https://www.eoshd.com/2020/01/canon-1d-x-mark-iii-finally-canon-get-serious-about-dslr-video/ Certainly the best DSLR (note... "DSLR"!) for video on the market at the moment... But those file sizes are media costs are eye-watering for the 5.5K RAW. In region of $500 for 13 minutes. The 4K 10bit is more tempting and it's 60p, no crop. Still, it is in the wrong form factor... Needs to be in a mirrorless camera. I think the 1D X Mark III will be a great shot getter and sexy gimbal camera though.

My gear of the decade is also the gear that started my career: the GH2. That camera came around at the precise moment I started making the transition from photography to videography. It offered superb image quality with the hacks, but it wasn't magic. You still had to work hard for it to deliver the goods. It sucked in low light and had sub-par audio. I was a poor college student so I had to learn how to light with work lights and shower curtain diffusers and sync audio from a handy recorder. The GH2 made it all worth it though. I've always said that I couldn't have gotten my start at any other time in history. Any earlier and I wouldn't have been able to commit to the time and energy of cutting together DV clips. Any later and things would be too easy and I wouldn't be at the level I am today. The GH2 was the catalyst to everything for me.

To put some reality in to the crippling story, I really think that this time Canon did the max that was possible in a FF weather sealed fan less hybrid DSLR. There is no other Full Frame camera < 10k usd that come close to these rumored specs Full frame camera that can record internally > 5k RAW 60fps + good video AF: Canon C700 FF >33k usd (only with optional codex recorder 7k >usd) Canon C500 II 16k usd Full frame camera that can record internally > 5k RAW 60fps: RED MONSTRO 8K VV >54K usd Canon C700 FF >33k usd (only with optional codex recorder 7k >usd) Kinefinity Mavo LF >12k usd Canon C500 II 16k usd Canon 1Dx III 6.5k usd Full frame camera that can record internally > 5k RAW 30fps: RED MONSTRO 8K VV >54K usd Sony VENICE > 42k usd (only with optional recorder > 6k usd) Canon C700 FF >33k usd (only with optional codex recorder 7k >usd) Kinefinity Mavo LF >12k usd Canon C500 II 16k usd Canon 1Dx III 6.5k usd Full frame camera that can record internally >= 4k RAW: RED MONSTRO 8K VV >54K usd Sony VENICE > 42k usd (only with optional recorder > 6k usd) Canon C700 FF >33k usd (only with optional codex recorder >7k usd) Kinefinity Mavo LF 12k usd Canon C500 II 16k usd Canon 1Dx III 6.5k usd Alexa Mini LF > 58k usd Alexa LF > 98k usd Full frame camera that can record internally >= 4k 30fps 10bit 4:2:2 LOG + good video AF Sony FX9 11k usd Canon C700 FF >33k usd Canon C500 II 16k usd Canon 1Dx III 6.5k usd Full frame camera that can record internally >= 4k 30fps 10bit 4:2:2 LOG RED MONSTRO 8K VV >54K usd Sony VENICE > 42k usd Canon C700 FF >33k usd Sony FX9 11k usd Kinefinity Mavo LF >12k usd Canon C500 II 16k usd Canon 1Dx III 6.5k usd Alexa Mini LF > 58k usd Alexa LF > 98k usd Panasonic SH1 4k usd Naturally this is based on rumored spec and it just a spec comparison only, image quality, ease of use and job suitability is another story. Again if you are video only a C200 or FX9 or C500 II is probably a better investment, for hybrid shooter like me it seem a huge upgrade from 1Dx II for video. Then maybe in a week Sony announce the famous ready to launch since 2018 A7s III with 6k RAW at 60 fps with AF for 3.5k usd, but right now there is really nothing close.

Let’s keep it simple. You have 60s. So that’s 12 x 5s shots. No interviews - just 5s shots. You have to choose the 12 shots. It needs an introduction - so why not start at the town sign? What impression of your town do you want to convey? Is it peaceful and picturesque? Frantic? Modern or traditional architecture? Is the town best represented by day or night or both? It’s almost like sending 12 (moving) postcards. If you make the film and I watch it, what do you want me to think? Don’t try to shoot 12 perfect 5s shots in the field. Take extra and edit. But don’t take 30 mins of footage either as it’ll be too difficult to edit down. So do some forward planning - 12 “locations” (12 places to stick your tripod or stand or whatever). The time for thinking is over. Get out and do it. And post it here for us all to see. And ENJOY IT (or why bother...)

Agreed. Although Canon fans aren't the only ones here, also of note is that Marquis Brownlee (MKBHD) shoots 8K RAW for his projects (IIRC). Go Red!

does it overheat in 4k rev?

Good discussion! Thanks for the knowledge. I am on a Mac and pretty new/amateur. FCP seems like the way to go.

Sony car: super fast, super range, all the tech, only ugly paint color options. Nikon car: great tech, durable, promised features like "external batteries for extended range" never actually get released. Panasonic car: best suspension, most efficient, doesn't let you look through the windshield when using the accelerator. Canon car: super sexy, built like a tank, "dual focus" lane-keep assist, can't go faster than 10 mph. After firmware update it can go faster than 10mph but only if you never touch the steering wheel.

@Anaconda_ the Nomis seem pretty bulky - I am looking for the new, more compact versions.. @Mike Mgee interesting - yes I've seen those around and the price looks pretty affordable! I currently have an offer to buy two Patona V-Mounts for 120 a piece, which would be even cheaper than the prices I am finding for the rebrands that you posted.. Gonna keep looking around. @JordanWright yes the Fxlion Nano Two looks amazing and I love the USB-C, however I can't seem to justify the significant markup just yet. The lowest I can find them at is 250, which is more than double what I would pay for ones without the USB-C. However they would negate the need for a USB-C to D-Tap adapter.. hmm Thanks for all the responses everyone - super helpful

Sony A7sIII will be the true wildcard. Could eclipse the 1DX on the video specs at half the price.

Ironically I need AF in 60fps more than I need it in 24fps.

That looks more like Surf Green that Foam Green to me. Fender based their colours on those used by the major car manufacturers of the day so they have a Dupont code to make them easy to match. So if you search for DUCO 2461 you'll be able to find the exact match for Surf Green usually masquerading as touch up paint for a 1957 Chevrolet https://www.paintscratch.com/touch_up_paint/Chevrolet/1957-Chevrolet-All-Other-Models-Surf-Green-2461.html

Thanks for Clarifying officially! If you actually do this then the settings are Color Space: Blackmagic Design, Gamma: Blackmagic Design Film. The gamma curve brings all the range in and the colourspace is BMD. What does that actually mean though, you say that it won't touch gamut? To try and understand i use the CIE diagram scope. And setting the DNG to P3 vs BMD Film 1 (in a P3 timeline) i see the first two diagrams. First is BMD Film into a P3 Timeline and the second is debayering P3 into a P3 timeline. Now this is basically a point of confusion in Resolve for me - to understand what resolve is actually doing in this case. A saturated Red in sensor space in the DNG is transformed into 709/P3/BMD Film - but is that saturated Red actually mapped into the target space or is it placed at the right point. I cannot work it out. So for example if that sensor Red is outside of 709 space then IMHO Resolve could either clip the values or remap them. But if you switched to P3 and that Red lay within it then no mapping has to happen. But on the CIE diagram i do not see this. I would expect to switch between 709 and P3 and the colours inside the triangles not move. In other words in a sufficiently large colourspace on that CIE diagram i ought to be able to see what the camera space is (ish). So when i do this and choose BMD Film and set the timeline to that as well i get the 3rd diagram - which is beyond visible colours so i have to assume i just don't understand what Resolve is doing here or that CIE diagram is not working? Any light shed (pun intended) would be super nice! cheers Paul

Kinefinity Mavo LF comes quite close to beng in that price bracket! At "only" two grand more than $10K, yet has more FPS. codecs, I/O, etc than the 1D mk3 Also you left of the Z Cam F6 which can do 6K @60fps & 4K @120fps, has ZRaw, and is sub $5K

Will hopefully force Panasonic to make a firmware upgrade that enables some kind of internal RAW.

From what I read so far The pros: -FF 5.5k 12bit RAW at 30fps with DPAF (60fps with no DPAF) and with 4k DCI 10bit 4:2:2 LOG proxy -Oversampled FF 4K DCI or UHD at 30fps with DPAF (60fps with no DPAF) 10bit 4:2:2 LOG -1.34 Cropped 4K DCI or UHD at 60fps with DPAF 10bit 4:2:2 LOG -FHD 120fps with DPAF 10bit 4:2:2 LOG up to 470 Mbits/s (to be seen if the image quality is improved compared to 1Dx II) -Various encoding format and bit rates, from lgop h264 8bit, h265 10bit LOG to RAW -Focus peaking and assist -Integrated wifi -Video can be saved to two cards in parallel (exception is RAW that is saved in one card and a 4k up to 10bit proxy in the other one) -Unlimited recording time (some sites reports that there is a limit and some not) -Fully weather sealed with no fan The cons: -RAW format is not Canon Raw Lite so files are bigger ca. 30% more and the workflow maybe cumbersome especially at the beginning. Plugins should be available for Avid and FCPX. Resolve and Premiere? -No DPAF in FF 50-60fps -No EVF so no RF mount (would have been cool to use the RF ND adapter) -No flip screen -No waveform or zebra -No audio at 120fps (not that I really care) -Price should have been around 5.5k usd to match the resolution ? The unknown: Usable DR both in RAW and 10bit Overall video quality Rolling shutter FF and Crop 120fps FHD video quality Sensitivity, they claim 1 stop more sensitivity, let see… Overall much more than what I was expecting and not really typical Canon.

You're completely right and I've decided I need to borrow one from a friend, shoot some stuff and see if it works for me. Not gonna switch because of a feeling ?

You can probably thank RED for the absence of a compressed RAW format. The coolest bit of new info to me is that the 4K h264/h265 supersamples from 5.5K. This is the first time Canon doesn’t do a 1:1 readout for its 4K and means we are finally going to get a really sharp detailed 4K image. It’s crazy because this camera will basically deliver an IQ that blows away the C200 and even the C300II. I hope Canon will now unlock at least 10-bit on the C200 or they might have a problem selling them with this beast of a camera on the market. I myself am seriously considering parting with my C200 in favor of the 1DX3, although they’d probably make a mean combo.

*Applauds* This isn't bad, not bad at all. 5.5K RAW at 60fps - damn. And, internal? Only 5.5K at 30fps & cropped DCI 4K at 60fps with DPAF.... come on... could be worse, right? I think its a true successor to the 1DC - given all the above comes with C-Log this time.

If we are talking about workhorse gear, I'll choose the Sony A7M3. It does everything well enough which is important because I do both photography and videography. For photos, it is very very good. Not quite like the D850 but good enough for my professional work (event and performance). The video codec is decent enough and the color is not too bad. And once you are used to color grading the footage, the process becomes much easier and faster. All in all, exceptional camera which is good for almost anything. However, if it is about fun, my choice will be the Canon EOS M. I brought it really cheap during the $200 challenge. In my opinion, it has even better color than the current Canons. The white balance simply works. The codec is quite decent actually and held up much better than I had expected. But I will not use it for professional work, probably, but who knows?

same as 1dx ii so around 1.34x

Confirmed DPAF is available in 4k dci crop at Recording Sizes and Format NTSC 5.5K RAW (5472 x 2886) 59.94 fps* 29.97 fps 24.00 fps 23.98 fps RAW 4K DCI (4096 x 2160) 59.94 fps* 29.97 fps 24.00 fps 23.98 fps ALL-I IPB 4K UHD (3840 x 2160) 59.94 fps* 29.97 fps ALL-I IPB 4K DCI (cropped) (4096 x 2160) 59.94 fps 29.97 fps 24.00 fps 23.98 fps ALL-I IPB Full HD (1920 x 1080) 119.90 fps** 59.94 fps 23.98 fps^ ALL-I IPB 29.97 fps ALL-I IPB IPB (Light) * AF does not function. ** Audio not recorded at High Frame Rate 119.90 fps recording ^ 24p recording will be supported through firmware update after shipping.

not sure whether you have seen this or not but mattias burling did a comparison between a couple of speedboosters I bought the cheap villtrox nikon nf to mft adapter just so i could mount the tokina 28-70 in nikon mount to the p4k, later i bought the vilttox ef-m2 speedbooster with a cheap dumb adapter i can mount the nikon to the speedbooster or i can mount m42 lenses with another cheap adapter. The only thing i can add is that i find the thumbscrew tighteners on the tripod socket foot to be a bit wriggly, never seem to tighten sufficiently for me. Buying the ef mount would certainly add some flexibility for later

Okay, made another test with the setup you proposed: Pocket 4K with 0.64x Metabones Speed Booster & Tokina 28-70mm/2.8 at 50mm and f2.8 [=actually at 32mm + f1.8], with camera exposed at ISO 128,000 versus the Sigma fp with the conventionally adapted, non-speedboosted Tokina 28-70mm/2.8 at 70mm and f2.8 and ISO 256,000 Images: Pocket 4K BRAW (= with some in-camera noise reduction), ISO 128,000 + 0.64x Speed Booster Pocket 4K DNG, ISO 128,000 + 0.64x Speed Booster Sigma fp CinemaDNG, ISO 256,000 1:1 crops: Pocket 4K BRAW (= with some in-camera noise reduction), ISO 128,000 + 0.64x Speed Booster Pocket 4K DNG, ISO 128,000 + 0.64x Speed Booster Sigma CinemaDNG, ISO 256,000 The result is pretty much as to be expected, with the speedboosted Pocket 4K vs. the Sigma fp performing more like an APS-C camera vs. a full frame camera in low light with high ISO. As soon you expose on native ISO (without pushing gain), you however will back to MFT vs. full frame sensor performance in regards to noise levels.

That’s great news ?

Thanks all! @heart0less I have also seen that adapter but I don’t really like the idea of two adapters especially when I have no interest in canon or EF mount. I understand the idea behind it though! Is the Lens Turbo II ($150) really that much better than this Viltrox? @EthanAlexander Most people seem to prefer canon FD glass so I seem to find a lot of reviews on the canon adapter, less the Nikon. I’ll check the comparable reviews and make a decision I guess! My goal with this adapter is that I’m trying to use what I have to help adapt to my filmmaking needs. I currently own Nikon series e 28 f2.8, 50mm 1.8 and 100mm f2.8 lenses (mainly use to shoot film on a Nikon fe2). My only native Sony lens is the 35mm 1.8. Love the af but to be honest I miss the manual control. I have a dumb adapter already but 28/35 is too close. I also need a wide lens so I thought hey, why not adapt all the Nikon lenses you have and then boom wider lens collection. I’ve been following Matteo Bertoli and a few others who are still using manual vintage film lenses so I want to give this a more fair shot in my a6500 with what I have. Not exclusively tied to this adapter but was liking the affordability of it. Wouldn’t be opposed to spending $150 if it was THAT much better of a quality jump...

zach, what is the doc about? could u explain more?

Here's another dynamic range shootout between the Sigma fp and the Pocket 4K, this time with the LED fresnel at full power to create maximum contrast and a hard shadow, and an X-Rite Color Chart Pocket Video in the shadow to have a better indicator of shadow dynamic range. Cameras were set to 11.2 degrees shutter, ISO 100 (Sigma fp) respectively ISO 400 (Pocket 4K). With this harsh light, I needed to set the Pocket 4K to f5.6 for ETTR exposure (i.e. exposure just below the clipping point) while the Sigma fp clipped at f5.6 and needed to be stopped down to f8 for correct ETTR exposure. (This is an indicator for camera's native ISO being 800 in log. In other words, the Sigma fp is about one stop more light sensitive at ISO 100 than the Pocket 4K at ISO 400.) This resulted in the following pictures, with DCI-P3 color space + Rec709 gamma interpretation in Resolve and Color Temp/Tint and exposure sliders adjusted to have the two camera images visually match: Sigma fp Pocket 4K And extreme lift of the shadows with the following curve... ...reveals the following: Sigma fp Pocket 4K 1:1 crops of the upper left color patches: Sigma fp Pocket 4K I'd say that on the Sigma fp, three of the dark grey color patches can still be differentiated whereas on the Pocket 4K, they are undifferentiated. Since I don't have a precise-enough meter to measure the difference of the reflected light, I'd say in a completely unscientific way that the fp has probably one stop more dynamic range in the shadows when the picture is exposed ETTR. It also seems as if in the extreme shadows, the temporal noise filter of the Pocket 4K's BRAW really kicks in, since single pixels on the fp's CinemaDNG are clearly differentiated whereas on the Pocket 4K's image, they are blurred. (This is why in this scenario/grade, the Pocket 4K's image is [surprisingly] less noisy than the fp's.) - EDIT: indeed, if you compare it to the DNG still from the Pocket 4K where BRAW's processing isn't applied: - This time, I created a complete zip archive (91 MB) with one frame of the Sigma fp's CinemaDNG recording, the Pocket 4K's original BRAW file (consisting of just 3 frames) + a DNG shot with the Pocket 4K, plus the full-resolution UHD 16bit tiff of all above images:

I took the chance... The GX85 has no recording limit in 4K and I filled up a 256GB card without overheating. It was nearly 6 hours continuous recording! ? What a bargain! Might be the best bargain out there today bought used!

Whose the audience? What do they need to know? Then answer these questions: Where are we? What are you/the subject doing? Why are you/the subject doing it? And so what? (Or why should I care)

Hang on.. isn't the question about how to FILM the doc, not edit it? If it's a case of FILMING it, then my suggestion is to: work out what are the things that are important to include (history of the location, history of key people, people's opinions, where is the drama?) include these key points in the interviews you do work out how you're going to show these key points - are you interviewing the right people, will you get shots of certain locations, do you need historic materials or footage, etc then work out what your constraints are, what is the most difficult aspect of the project? Is it a person, a location, the weather, scheduled events like festivals, certain natural phenomena aligned with the seasons, etc plan / schedule how to get your most difficult shots, and keep the easier ones as backups For example, if you're shooting an inside and outside film then you might be limited by the weather, so you can film outside on days with the right weather and inside when the weather is bad, or at key locations when they're available and interviews with people who are flexible in the gaps, etc.... Remember that you don't have to shoot things in order, and to keep your mind open and utilise the unexpected when it occurs.

That’s why nobody bought the S1 series and they are 50% off.

What do you know about the western three act story structure? What's you opinion on traditional story telling archetypes like protagonists and antagonist? Do you appreciate character development, the heroes journey, conflict, resolution, redemption? You don't need to follow these elements of standard narrative models, but I've found, for me, that it doesn't make sense to break or bend the rules until you understand them. Put it this way, do you think it would be likely to make an impressive painting if all you access to a tube of titanium white?

Since I found the YouTube comparison between the Sigma fp and the Blackmagic Pocket Cinema Camera 4K so worthless, I did a comparison test of my own. I wanted to compare the cameras in two respects: (1) dynamic range when shooting a high-contrast subject under optimal light/with optimal exposure + robustness in grading the resulting image; (2) low light/extreme high ISO image. My setup was as follows: Completely dark room; Both cameras with the same lens, Tokina 28-70mm/2.8 (Nikon mount adapted to L-mount and MFT respectively) at the same aperture setting (f4) on both cameras, but at 35mm focal length on the Pocket 4K and at 70mm on the Sigma fp to compensate for the different sensor sizes; Record settings: UHD 23.98p on both cameras, full frame CinemaDNG 12bit on the Sigma fp and BRAW Q0 on the Pocket 4K (= best quality codec settings on both cameras); For the high-contrast test: daylight-temperature LED fresnel with maximum focus/spotlight on a plastic appliance reflecting some of the light to create high contrast; both cameras at minimum/native ISOs exposed ETTR/to the right. Both cameras set to 11.25 degrees shutter angle (in lieu of an ND filter, since motion rendering is irrelevant in this test). (Note: Lowest, respectively native, ISOs on the two cameras are ISO 100 on the Sigma fp and ISO 400 on the Pocket 4K. Never mind that nominal difference, both cameras have almost identical clipping behavior at these settings, i.e. ISO 100 on the Sigma fp behaves like ISO 400 on the Pocket 4K. On both cameras, the zebras turned out to be reliable indicators for sensor clipping: To go absolutely sure that I would optimally expose the sensor, I also shot the scene at larger shutter angles - 22.5, 45, 90 and 172.5 degrees -, with zebras popping up as early as at 22.5 on both cameras. When looking at the material in Resolve, this was indeed where clipping had occurred and waveforms remained clipped in the RGB parade even when lowering exposure in Resolve's Raw control tab.) For the low-light test: same 'scene' as above, but with the LED fresnel turned off and only a practical light in the background turned on. Both cameras set to maximum ISO (256.000), at f4 and 172.5 degrees shutter angle. Treatment in Resolve: Basic image adjustments only in the Raw tab, interpretation in P3 color space with Rec. 709 gamma: adjustment of white balance/tint and exposure to make the Sigma fp and Pocket 4K footage match. (The raw material of the Blackmagic Pocket 4K was much warmer than that of the Sigma fp with the same Kelvin settings...) No highlight recovery. (Wasn't necessary anyway since there was no clipping in the images.) No noise filtering or sharpening, although the Pocket 4K's BRAW codec already has some baked-in temporal noise filtering. For the extreme grade, only a solarization-like custom curve was applied that pushed the shadows to the maximum and was meant to provoke banding in the material by pushing contrasts: I exported 16bit TIFF screengrabs which can be downloaded here (6 TIFF files in a zip archive, 133 MB). Here's how the well-exposed high-contrast scene looks like (25% downscaled images): Sigma fp Pocket 4K - Note that the difference in sharpness may be my user error, and is also influenced by the different depth-of-field between 35mm/f4 on MFT and 70mm/f4 on full frame. The manual focus aides on the Pocket 4K are much better with latest firmware, so nailing focus without an external monitor was easier. 1:1 crops of the above two images: Sigma fp (left) - Pocket 4K (right). Extreme grade, with the same curve (as posted above) applied to the two above images: Sigma fp Pocket 4K 1:1 crops of the above: Sigma fp Pocket 4K Low light, with both cameras at maximum (256,000) ISO, 172.5 degrees shutter and f4: Sigma fp Pocket 4K 1:1 crops of the above: Sigma fp Pocket 4K So, to summarize, I think it's fair to say that the full-frame 12bit CinemaDNG material of the Sigma fp simply shows the benefit of a larger sensor and its lower image noise (even at base ISO if you compare the full-size TIFFs). It's thus only logical that it holds up better in extreme grades and in low light. My likely user error in nailing the focus of Sigma fp also shows the strengths of the Pocket 4K, namely better camera assist functions and overally a better user interface/more practical user experience for video shooting. - But it's also nice to see that the Sigma fp has some genuine advantages over the Pocket 4K, especially for my own type of videomaking which revolves around event videos (concerts at indie/DIY venues) shot in extreme low light conditions.

Actually I change my wish, an update from blackmagic on the new video assist monitors that they are finally shipping with Blackmagic Raw support for the Sony FS5 and Nikon Z6.

"BMD Film" (version 1 which will be applied to non-BMD DNGs) will just apply a log type gamma curve and not touch colour (gamut). So you will be getting Sigma fp sensor RGB space in terms of gamut and no colour 'errors' except that a sensor response isn't meaningful on a display. To transform into a common display space would not be straight forward though unless Sigma or someone provided the correct conversion, so unless you could get something you're happy with by manually correcting the colours it might be easier and more straight forward to decode into a known defined space like 709 or something and go from there.

I think Resolve is the future. The fact is that Resolve 16 is finally stable enough for pro users. I know people have been using it professionally for years, but having used all the versions starting with 12, it is finally ready for prime time, both feature wise and stability wise. It will become the industry standard in the next to 2 years, so learning it now will put you ahead of the game.

Simple: none of those cine cams can shoot stills. 1DX3 is for hybrid shooters who are invested in Canon ecosystem and will be using it as a A/B cam. Besides, the C200 can't shoot 10-bit, and the EVA1/FS7 can't do internal RAW nor do they have DPAF. The FX9 is $4.5K extra and can't do internal RAW either. So on the video level alone, the 1DX3 punches way above its weight/class despite what all the naysayers have to complain about it.

Best approach is to work out what you’re missing and then either fix that or give yourself a reality check.. For example, if you’re chasing good autofocus then you should consider why you need AF in the first place, and if using a deeper DoF would fix it, for example. The reality check is to assume you just bought an A7iii, so just donate $4K to charity to simulate the financial hit of being locked into the Sony lens rort, then take all your 10-bit footage and batch convert it to 8-bit and apply a sickly green WB to simulate the experience in post. There’s currently no FF camera that can do everything the GH5 does without giving up something. Even the S1H (which won’t fix your AF envy) will still hit the CC pretty hard and IIRC is bigger and heavier than the GH5. The grass always looks greener, but often it tastes just as bad, but in a different way.....

BMCC 2.5K and original pockets image quality made my jaw drop. GH2 was the mysterious affordable super cam I never came to own. GF1 for being the most beautiful camera body in poor mans digital leica land. GH5 making awesome image quality a super common thing. And most definately Davinci Resolve. Exuse my diction, it´s late over here and time to go to sleep.

I was a bit late to the whole photo- and videography party, so at the time I was picking up my first camera, GH4 was already available. So was Resolve, Canon ML, Sony A7S, etc. None of these were considered by me as groundbreaking, since I simply didn't realize what people had to struggle with before. That's why I'll refrain from choosing anything video related, simply because I don't think I'd be objective. BUT, my nomination goes to... SanDisk Sansa Clip+ This little bugger has been with me for almost a decade, day in, day out. Hasn't failed me, yet. And you know what? Even after all these years, nothing can surpass it. People still can't find any DAP (Digital Audio Player) that could be called its rightful heir. It plays everything I throw at it. Battery lasts for over 20 hours, still. I can clip it to my belt loop or keep it in any of my pockets. Operating it doesn't require looking - almost if I was typing a text with Nokia 3310 - pure muscle memory. And the memory card I use it with (128GB microSD) cost more than the player itself. It's madness. *Yeah, I may be a millennial, but I'm not going to listen to music on my phone anytime soon. Who ever thought it'd be comfortable? And wireless earbuds? Nah, plug me (and my 3.5 mm jack) in.*

I love Panasonic's Cameras. I had to choose between the Canon 7D and the Panasonic GH2, and I chose the GH2. Tried a couple of hacks and loved the video quality. I saw Andrew's famous B&W video with the ISO at 12800, and the whole thing seemed so surreal. I believe Panasonic's marketing and supply chain didn't push the GH2 enough, otherwise it would have been a lot more popular, on Indie Films, both shorts and features. I then got a GX85 and GH5. The GX85 is amazing for the size and great for travel, and the GH5 was atleast 1-2 years ahead of its time, when it released. I like the bright and portable lenses of the M43, most of all, I guess. I also use a Samsung S7 (I may buy an S11/S20, if it has a great camera) since its highly portable, and while I carry ILCs when I travel, I don't really like the idea of changing lenses or opening and removing cameras from bags, when I am travelling. Plus I tried a few softwares for upressing the 12MP photos to 48MP and they seem pretty promising. The final quality seems in between Instagram and ILC quality. I guess in 2020, if I find something that does High Res photos well (16MP+) and 6k on a smartphone, I may actually use a smartphone, for photo and video, even more. I wish Blackmagic would push RAW into a proper DSLR/Mirrorless kind of body, with way better battery, maybe IBIS and general ease of use, right out of the box. I would like to pick up something like that too.

@Anaconda_, I use only manual lenses, so I'm not able to help you. /: Found this video today. Really dig the look, the majority of the shots look simply gorgeous.

Canon as blown its competitors away with this one. You can't come with the crippled talk now. You either pay up or keep it moving. This camera isn't for everyone. That internal Raw is a game changer. Not sure what the issue with file size is. Thats what you get dealing with raw. Canon color + 1DC filmic mojo + log with RAW on a dslr format is insane. I wouldn't be buying this, as this is out of my price range, but I will definitely be loaning this for a few shoots.