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Attila does great work, he has an excellent grasp of the technical; highly recommended That 4K 60 sounds quite good (super-sampled 10 bit) Ironically, I've still been working away at the EC engine, and fixing copious bugs (its inevitable that when I think a thing is finished, the work has just begun ) That being said, I think today I've fully tested it, and everything is working really, really well. This is a GHa Tungsten LogC render from this morning; the wheels on the far left and right are completely theoretical extreme gamut, beyond what the camera can record - the ones in the center are actual log gamut (and V3 for comparison): V4: V3:

Haven't posted my #1 "gear of the decade" yet, as it seemed like such a tough choice, so so so many very very good options! But then I realized the answer is clear: Zoom F8!! As perhaps I don't need to struggle over if the Panasonic GH4 or Sony FS7 or Sigma 18-35mm f1.8 or whatever is more significant, as those will likely all get mentioned anyway, but on this extremely camera focused filmmaking forum the Zoom F8 is unfortunately likely to be overlooked. And it shouldn't be!! Maaaybe it isn't THE gear product of the decade, but it 100% deserves to be mentioned and in the running. So I'll say it: ZOOM F8 is "the product of the decade"! Zoom F8, reinvented what was possible with the sub $1K recorders. Both in quality and features it was a big leap forward. (then you got the F4/F8n/F6 following afterwards, and even Sound Devices had to respond with their Gen1 and Gen2 MixPre series) The term "game changer" gets thrown around loosely a lot with every new product launch, but the Zoom F8 truly deserves the title of "game changer". Beforehand I was using a Sound Devices 552 / Tascam DR680 combo, which for the "Pre Zoom F8 Era" (maybe I shall call time "BF8" and AF8" now! haha, the current year is now 5AF8 ) was a pretty damn good low budget setup indeed! But switching over to a Zoom F series was a massive leap forward! Wish I'd done it earlier (I was skeptical and didn't believe / understand the significance of the F8, but when the F4 got announced I leapt on that immediately).

It means less light gets through. Same bokeh though. If you're wondering how less light can go through an aperture the same size then think about coatings reflecting or diffusing some light, the glass isn't perfectly clear (although it should be quite neutral) etc. In todays world of great ISO performance I wouldn't worry about it. T-stops were much more important when people were filming on film and needed to match exposures between lenses so they could swap lenses without having to adjust their whole lighting setups, so that's where it comes from.

So I say the Zoom F8 stands out as the highlight of the 2010's, but if I gaze into my crystal ball, what will be the game changer for the 2020's? (side note: what would be my runner up "product of the decade"? The Tentacle Sync would be a worthy consideration, definitely was a game changer with its very low cost and extremely small size. The Zaxcom Nomad / Sound Devices 664, and maybe even the 633 as well, would also be fighting it out for a spot as they were game changers themselves with their recorder/mixer integration and feature set) Zaxcom Nova might very well be the #1 game changer for the 2020's, however someone might ask "But David, didn't the Zaxcom Nova come out in 2019, shouldn't it be your gear of the decade for the 2010's?" Well, Zaxcom Nova hasn't even shipped yet, not in my country, there isn't a single Nova anywhere here. And the handful of very few units that did ship during 2019, I reckon it is still too early to call Nova a "game changer" because its impact hasn't been felt on the industry yet. (nothing at all like the earthquake event which was the Zoom F8) I've hitched my wagon however to the Sound Devices 833, personally I won't be a super early adopter of the "all in one" approach (definitely isn't all roses and rainbows to go 110% all in on the Zaxcom ecosystem, there are downsides too). Likely during the 2020's then Sound Devices (or someonelese, Deity Microphones? Or could work in partnership with Zoom?) will in another generation or two (9 Series anybody?) release their own recorder with integrated Audio Limited wireless. The SuperSlot standard had already got them half way there.

Although I'm not the person you asked, I often edit in Premiere and on those projects, I find it much easier to grade in Lumetri rather than round tripping. This way, you can do a rough edit, rough grade, fine tune the edit, adjust the grade, tweak the audio, tweak the grade, add titles, tweak the grade leave it over night, tweak the grade with fresh eyes and then export. I'm sure it's different for everyone, and workflows differ, but rarely am I totally happy with my first grade, and even if I think I am happy with it, watching the project again will prove myself wrong. If I had to roundtrip for every pass I'd waste even more time for not very much gain. For this reason, when I can I also edit in Resolve, but due to client criteria, that's not always possible. I'm also much quicker with Premiere than I am with Resolve and when your workflow wastes as much time as mine, claiming back as many seconds as you can really helps.

You probably made the right move, both times. As far as Canon lenses, I've never used a better lens than a Canon L lens. Their IS lenses are as stable as entry level IBIS and even their earlier USM zooms are hidden gems for next to nothing prices. The same goes for their FL/FD lenses and even their c-mounts are hidden gems. The same goes for Nikkors. Their pre-ai, ai and ai-s lenses are the best value for the money, with an inherent "cinematic" look that can be adapted to anything. They're also marvels of mechanical and optical construction. My ai-s 35mm 1.4 is barely larger than an average 50mm 1.4 and if you compare that to more modern fast 35mm lenses like the Sigma or Samyang, it's pretty incredible the difference in size and weight. Although I said I don't really see the sense in owning EF lenses if their isn't a camera to mount them to, I am still considering cutting down my now modest collection even more with a Canon 24-70mm 2.8 zoom.

This is a completely broad reply to your thoughtful one, but with the release of the 1DXiii, it is pretty amazing what is available for filmmakers from every budget... for less than $400 you can have a used BMPCC, for $799 we have the Z-Cam e2c, for $1300 the P4K (with full Resolve) or the GH5, for $1900 we have FF uncompressed raw with the Sigma, for $1999 you have the Z-Cam E2, then the P6K, the S1H, ZCam 6K and now the 1DXiii. Every filmmaker, at every budget, has an option to make a technically good film with a DSLR/DSLM or small cinema camera.

As a non-native English speaker I've gotten pretty good at that. For the longest time my signature even has been saying 'Powered by Google search skills', lol.

Thanks for your answer. It seems logical when you understand it. Oh Boy, I didn't see it. And Gerald is ma favorite youtuber ? Not really, actually. I've searched online, as usual, but with the bad words ; transmission instead of Tstop English is not ma native language, so sometimes, it's just about what you think to understant and the words you use.

Of course he didn't.... he typed a search query into the Search form (which is strangely called Start New Topic on these forums), hit Post and waited for a few hours for the hits to start showing up ??? It's common practice - everyone knows this!! Searching for "t stop vs f stop" and hit "I'm feeling lucky" and you get this: https://petapixel.com/2016/12/30/f-stops-vs-t-stops-difference-explained-plain-english/

Did you try the search engine YouTube? e.g.

Noooooooo............. those damn patents hold back progress so much! Imagine if all companies could make eNDs, imagine how much they could innovate and improve the quality and features of eNDs? By themselves, RED and Sony are not going to push and innovate that hard to stay ahead when they're the only ones with it.

As promised, the Sigma fp centered release of slimRAW is now out, so make sure to update. SlimRAW now works around Resolve's lack of affection for 8-bit compressed CinemaDNG, and slimRAW compressed Sigma fp CinemaDNG will work in Premiere even though the uncompressed originals don't. There is also another peculiar use: even though Sigma fp raw stills are compressed, you can still (losslessly) shrink them significantly through slimRAW. It discards the huge embedded previews and re-compresses the raw data, shaving off around 30% of the original size. (Of course, don't do this if you want the embedded previews.)

It certainly helps and the monitoring advantage to mr isn't just the extra size but also the extra features like false colour and monitoring LUTs. On the upside for the 1Dx3, though, it doesn't require someone fucking about with lasers to make it do continuous autofocus !

Actually what the rumor says is that the person who claimed anamorphic, articulated screen and has been shown to be wrong on the date so we should not automatically trust everything else in the list.

Does your current job use adobe CC suite for photo processing/editing? If so, I'd recommend learning premiere. Honestly though, as a beginning editor, just learn any of the major programs and start doing some work. At a certain point you'll get some basics and learn how to make the editor do what you want it to do. At that point, you can transfer your knowledge to other editing programs as needed. Hot key shortcuts and processes can be different between the different programs, but learning how to edit on any of them will give you a huge leg up if you want/need to learn another program in the future.

Is there any noticeable difference between the dynamic range of the Zoom and Sound Devices 32-bit recorders? I am asking this, because reviews are one thing, but real life use helps way more. And you're into professional sound recording.

Supposedly: 6K 60p in 10-bit - everything recorded internally. Anamorphic aspect ratios. IBIS. Fully articulated screen. https://www.fujirumors.com/fujifilm-x-t4-registered-and-coming-with-ibis-in-march-and-about-that-6k60p-video-rumor/

Most curious about: - How is the rolling shutter? As bad a the EOS R or closer to C200/C500II? - Is there anyway to sync timecode through any of the ports? That's one of the best features of the S1H over the other mirrorless/dslr competition (and the reason it got Netflix approved, a long with the All-I 10-bit 422 4K).

Also all lenses have some light loss, you won't find any f1.4 lenses that are also t1.4. (Unless its a pinhole lens but that won't be a happy solution for video lol.) So that doesn't mean they will have worse light transmission than any other given f1.4 lens, make sure to compare t stop to t stop when deciding on a lens. I have to quibble about semantics. f stop isnt theoretical, its focal length over the diameter of the aperture, a physical property of a lens you can measure. f stop simply is not a measure of light intensity, so its only theoretical if you use it as such. Of course you are right in practical terms, its just wording.

Transmission value is the actual measured value. While F Stop is only the theoretical value. (a theoretical value which doesn't account for complex details like light loss due to reflections or thickness of glass elements, etc) Thus why the T stop is always larger than the F stop.

If a pro cannot afford a 1200$ per year for a camera then there is something wrong. So if you would buy a SH1 instead at 4k it would be ca. 800$ a year so difference is 400$ a year I would say that every pro should be able to afford. IMO you buy in to a system + lens (I buy mostly used lens) and you stick with a 3-4 upgrade cycle you end up spending way less that trying to switch every 1-2 year to another system..

well I do maintain that if you are a successful pro and this camera suits your needs/requirements, an upgrade could be a worthy investment. the main target for 1DX3 is.. 1DX2 owners, and so it has been since the first 1D camera (same for Nikon D series). the 4 year cycle (timed for the olympics) being a pretty reasonable time frame as far as ROI. on a related note it's interesting to see how many 1DX2s have popped up in my local classifieds since the announcement on Monday. nows also a good time to pick up nice deals on 1DX2s if 1DX3 price tag is out of reach.

I liked the D750 in 2014. A7S had more features for video but D750 had better quality 1080/60p in full frame mode, better stills and nicer colour. D780 does have a few advantages over Z6. Body won't feel like a consumer toy at least. 2 card slots. Maybe better AF with Nikon F lenses in video mode compared to the hit and miss FTZ adapter. In fact Z6 was hit and miss in stills for AF as well, not quite pro. Nikon should get 10bit N-LOG internal sorted though and stop dicking around with HDMI. At least do it over USB C. Come on Atomos, drop HDMI, it's 2020.

Thanks for the slim raw update, @cpc

am curious why you need full frame - (and I think there is a bit of a crop anyway, 1.3ish?)

whats sad as i dont care about the RAW or 10 bit CLOG anything. i just need 4k UHD @ 60p @ full frame =( maybe sony a7s iii will come save me

All I really do on this project is mess around with the RAW settings, slap the FilmConvert on and call it a day and I don't really want to buy another version just for Resolve. Plus I'm so much faster editing multicam shoots in Premiere than I am in Resolve and if I can keep the entire project to one program I will

That is not at all what I meant. What I mean is if you shoot with Canon all the freaking time, as you're a Canon shooter who has owned Canon cameras for years, then you're naturally have grown to prefer "the Canon look". Because it is what you've grown accustomed to, and anything else can seem "weird and foreign" at some level. Personally seems madness to me when you can pick up a secondhand Sony FS7 kit for sub US$4K

That's a key point, the average press pool photographer who may have used this in the past is a dying breed compared to a decade or two ago. (and those who remain, would be happy to just carry on using their 1Dmk3. Or heck.... even a 5D) And the rates for other fields are all coming down as well, the average sports photographer isn't as highly paid as before.

I think the important thing for all of us is that this camera has good specs for video - which may not seem like it matters if you are not buying this camera, but it is a good sign for other canon cameras down the road and the industry in general. We need Canon, Sony, Red, Blackmagic, Panasonic and whoever else to continue boxing in the ring, the more one company one ups the other, the better it is for all of us. Wether you like Canon or not, they are a VERY important player in the game (if not the most important due to their marketshare) and if they bring good video specs to more of their cameras - all other companies will have no other choice but to continue and push the bar as well in the consumer/prosumer markets. A big reason why Sony got lazy with video specs (it is now 2020 and none of their cameras do 10 bit), is they really did not need to from a market perspective. I know many have chimed in that Sony needed to make a move to compete with the S1H, well maybe from an ego stand point, but not from a sales standpoint. Panasonic isn't even in their rearview mirror sales wise. Canon on the other hand, they are a company that can make an impact big enough where Sony and all companies have to get even more competitive. So my point in all of this is that yes, this is expensive and most of us won't buy it - but don't lose track of the importance of this camera. This is the first time that RAW internal video is available in a DSLR outside of a magic lantern hack. I am not sure what category Sigma FP is and the blackmagics don't count as DSLRs, so I am sticking with this as the first one.

Very good question. Not just in phones. A built in ND filter is not something I ever really wanted but since inheriting my Dads old Canon G10 point and shoot camera, having a built in filter that can be turned on and off at the touch of a button is something I now think ALL cameras should have.

I would love a small device like this that takes or mounts a Samsung T5 or smaller SSD drive and I can feed an HDMI signal from my GH5S and get my ProRes. Mostly because the cost be GB on SSD is so much lower.

Autel Evo 2 now sporting your choice of an 8K or a 1 inch sensor 6K camera on a drone with 40 minute flight times.

@DaveAltizer agrees with you on that... EVFs are fantastic, I use the EVF on the GH5 all the time. Partly it's for shooting in full sun, partly it's because it's slightly higher res than the screen, and it also gives you that third point of contact for stabilisation. Of course, it makes getting more creative camera angles much less convenient. Back in the day EVFs were bad because they were too slow and stills shooters would miss 'the decisive moment' and I wonder how much the die hard DSLR shooters still think that OVF is better than EVF and just haven't caught up yet. I highly doubt that. You'd have to be living in a one-bedroom apartment right next to a race-track to be able to regularly feature supercars in your videos, otherwise $7K will get eaten up pretty quickly when you factor in transport, hotels, and all the other things involved. Most of these channels are either run by trust-fund-kids or kids who are couch surfing with a laptop. The people with families and rent are doing sponsorships, which pays so much more than ad revenue that some channels don't even enable ads on their videos. I second this! I have it on my list to do a 4K 10-bit h264 vs 1080p RAW comparison to see how that goes. Of course, recording 4K Prores HQ would be pretty nice!

Ah nice! Had seen some rumors the past few days that it might be removed. I can definitely see the appeal of this for anyone that has older nikon lenses or has a current d750. I'm not interested in it at the launch price, but give it a few months.

I had similar thinking as I moved from Canon to Sony: with all the traveling I do, I started buying native E mount lenses (for their size and weight advantage) and sold about half my EF lenses... Well, I recently bought a Z Cam and first thing I did was start buying EF lenses again! I love native mirrorless lenses, but the adaptability of EF (or others like Nikon F) really make them desirable simply to keep from being locked into a system. Plus, no focus by wire! ...And don't forget speed boosting...

I think the RF mount has legs and has already has great options for non FF cinema cameras like Komodo with the Variable-ND adapter and the EF>RF Speedbooster as well as just the shorter flange distance in general so you can put PL and M mount lenses on it. It has 43 discrete steps compared to 97 for an EF 18-35mm f2.8 and over 200 for the Sigma ART 18-35mm. Although the Tokina 18-300mm is currently king with over 400! I haven't ventured into Z-Cam yet as I don't have access to one but from their API its pretty straightforward. I'm taking a risk and buying the small Crane M2 for my upcoming FP as with the diminutive Voigtlander Color Skopar 21mm M that I'd put on it for such shots its only about 70% of the rated capacity. As its not massively bigger than a pistol grip so keeps within the overall minimalist vibe ! The used price of the Z6 is now flashing a serious amount of ankle at me now they've finally delivered ProResRAW. As far as I understand it doesn't, at least not at launch. I don't know what the Atomos exclusivity period is with Nikon, if indeed there is one, so I've no idea if its even a viable option. Looking at MapCamera in Tokyo they currently have 85 pre-orders for the 1DXiii which isn't bad for one store in one day !

Larry Chen is quite famous as photographer/videographer in the car culture from racing to tuning etc... he was one of the key author at speedhunters web site that was and imo still is one of the best car site with really focus on having great pictures and articles, a rare thing in the online world. Just check is web gallery and you can see the quality of his work: https://www.larrychenphoto.com/ He is a pro that made a career out of photo and video of car.

Be sure to get the small version. https://www.flickr.com/photos/techy2610/10839842234

IMO the D780 is DOA. It's a Z6 in DSLR form factor (but with no IBIS, Z-mount or ProResRAW). Still no internal N-log or 10-bit so you gotta carry an Atomos on top of it for any type of serious video work. At $2,300 this makes no sense whatsoever when you can already buy a Z6 new for $1800 or less.

The D750 as a stills camera (and wasn't too shabby as a 1080 FF DSLR either! Arguably "the best"???) was so far head of its time as a photography workhorse beast in that price bracket! Just a pity that price bracket as too far above what I could justify as a primarily stills camera for what for me is just the hobby side of things. Buth with every passing year it creeps closer to being a "spontaneous what the hell why not purchase". Only problem is all the competitors keep on coming down in price too! Might just decide buying a D7200 is "good enough", or the big extra for a greatly depreciated Nikon Z6 is worth it over a D750 for all the video features (or ditto a X-T3 if a kick ass Nikon F adopter with AF comes out, or I happen to get a few X Mount lenses). Dunno, but I noticed that bit in the video too! Not holding my breath though, as we're having photographers talking about video so far. (or in other words, they're clueless and don't know what they're even saying!) Got to wait until a video specialist such as Jordan from DPReview gets their hands on it. My wild guess is the D780 will be as good as the Z6 in video, or perhaps a little better or a little worse. (such as lacking raw output??) Same as I just said above, not holding my breath about TC but being mildly hopefully. Again, for photographers writing about something they know nothing about.

HLG3 rec709 and call it a day.

Talking about colorgrading: The colorgrading tools in FCP has been much improved in the latest versions. Watch this run through by Denver Riddle:

He's gonna need a booster seat to see over the steering wheel.

And it's not all about specs of course... Colour science, form factor, EVF, usability, menus... Sony is improving in all these areas but biggest advantage they have now is the mirrorless form factor. I'd rather have a 1D X Mark III with an articulated screen, E-mount and smaller body than I would in the EF mount DSLR mould although I see why some people still enjoy that. You can argue that even the larger mirrorless cams like S1 and S1H are unnecessarily bulky and heavy. I like the balance Sony has found with the A7R IV and improved body feel - larger grip, better dials and buttons. Wow, never thought I'd praise a Sony for the ergonomics. Shame the menus and general screen / live-view operability is still shit. Who wants a focus magnification button in playback mode that crops in 1000% and you have to slowly wheel your way back out. Little stupid things like this that Sony still does and Canon does not.

That is a good way to put it, and I stand corrected on the price because it is actually a rip off £6500 in the UK, not £5500 https://www.wexphotovideo.com/canon-eos-1d-x-mark-iii-digital-slr-camera-body-1727870/ That is eye watering in 2020 when you can get an S1 for £1700 or S1H for £3500. So nice try Canon. Come back when you have these video specs in a mirrorless camera for $2000 to rival Panasonic and Sony.

Oh, it's the documentary I was working on months ago about what my town is that snowfall suggested. I still may need some transportation to get to these place to make the documentary.

Alright I planned out how to record this documentary: Introduction of Dadeville, 1. Slideshow images of Francis L. Dade 2. Video of Lake Martin 3. Video of people in Dadeville town walking or people working 4. Video of people fishing or boating or swimming in Dadeville 5. Video of inside of car plant 6. Video of the outside of a nice home Wickles Pickles, 7. Video of Wickles Pickles jar 8. Slideshow of the brothers who made the Wickles Pickles and picture of the factory of Wickles Pickles 9. Video of me eating a Wickles Pickle Renfroe's, 10. Video of outside of Renfroes 11. Slideshow pictures of father and son who owned Renfroes 12. Slideshow pictures of locations of Renfroe's 13. Slideshow picture of Renfroe's as Dadeville Foodland 14. Video of inside of Renfroe's 15. Another video of inside of Renfroe's Home Plate, 16. Video of outside of Home Plate 17. Video of inside of restaurant 18. Video of food in restaurant 19. Video of waitresses helping out 20. Video of cash register being used 21. Slideshow of people in store Sigger's Barber shop, 22. Video of outside of barber shop 23. Video of inside of barber shop 24. Video of memorabilia 25. Video of me getting my hair cut and being told to have a "blessed day" 26. Video of me walking out of store Floyd's Feed and Seed, 27. Video of outside of store 28. Videos of stock 29. Video of Inside of Store Places nearby Floyd's Feed and Seed, 30. Videos of those places PNC Bank, 31. Video of exterior of bank 32. Slideshow of history and previous locations 33. Video of drive thru and ATM machine 34. Video of people waving at camera Other Stores, 35. Video of other stores mentioned on list 36. Video of palm trees outside Eagle Gas Station 37. Video of exterior of churches 38. Video of other places mentioned in paragraph Conclusion, 39. Video of Dadeville sign 40. Video of Dadeville forests 41. Slideshow of weather report during summer 42. Slideshow of weather report during winter 43. Video of Dadeville sign

That was nice! It is a bit annoying that over half the run time is end credits, though.