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Nothing on the screen yet. That's the next big rumor we are all waiting on. Larger screen like the x-A7 and fully articulating would be game changing.

From a promo I did recently with the GHA color on the interviews, you have to skip in a bit to see them: Funny thing, I was in a meeting a little while back with the Director of a really big TV station in the States and was showing him a video I did using the GHA color, while watching it he turning to me and asked under his breath, "you shoot on Red, right?" I took it as a really big compliment I must say😉

Like I could ever finish anything

Voigtländer 40mm 1.2@2.0 on Sony a6600

Well, IMO, in the Panasonic S1/S1H cameras we're looking at a fantastic pair of offerings. The in-camera 10 bit 422, the stabilization--fantastic, the number of buttons and how they can be customized is just wonderful---I have my S1 set up with with the N/E/S/W and center push of the joy stick all programmed with my most used functions---and that gives me almost total control of the image I'm shooting, all located instantly below my right thumb and index finger. It makes me able to play the S1 like Heifitz played his Guarnerius. (For those culturally challenged, you can look it up.) If that weren't enough, the image is just beautiful, in both FF and APS-C. And to put the cherry on the top the XLR unit of the GH5 gives me great in-studio audio--in camera! The lens selection is endless--at least for someone like me who uses third party, non-electronic lenses 95% of the time. Yes, there are some codecs the BMPCC has the S1 doesn't have. But, by comparison, the usability and versatility of the S1 is over the top better. There are limited choices in the S1 compared to the S1H. But in my own shooting I never need many of those features---with the exception of C4k. I'd really like that added to the S1. But sanity should prevail, and when any of us consider all the features and benefits (FAB) a given camera provides, each of us has to ask ourselves---how beneficial TO US are many of those benefits we see on paper--how much will we use them--if at all? Personally, I have no interest in shooting anamorphic--or 6k, and seldom if ever need 400 MBPS. If I were to be honest, most of what I do is well provided by a high bit rate 422 1080p--4k is nice, but not always totally necessary. Again, being honest, when I consider 4k from a cost/benefit perspective, it doesn't always come out on the long end. IMO, I think it's wise when we find ourselves being dazzled by specs on paper to take a step back and remind ourselves that there is often not a small amount of cognitive dissonance between what we see on paper and the actual performance and results we get in reality. It's not always easy to quantify how valuable usability in performance is---but we know it when we see and experience it. And it's worth its weight in gold. If that were not true, if paper and performance always corresponded, I would never have purchased the EOS R. But within its not-so-obvious limitations it's killer good, with beautiful IQ and color. This seems to be Canon's consistent MO: unimpressive on paper, but incomparable in ease of use, and dependably delivering a great end result.--I say this having no love for that company and how they mistreat their loyal customer base.

I knew quite a few people during the power dressing yuppie era who would've called that huge suit just "a suit".

OH MY GOD I NEED THIS IN MY LIFE

I remember being pretty impressed by the huge suit in this video.... Both how ridiculous it is, while also looking very natural Even when he dances in it..

Funny you should mention me in relation to Enigma because in what now seems like a previous lifetime I spent months on end in Ibiza with Michael crafting his very, very custom mixing console. And by "crafting", I of course mean getting the fucking thing to work properly.

Nobody knows the future for sure, why should it is be less risky to be invested into X Mount than MFT? I'd say MFT is still the safer bet, as X Mount exists at the whim of only one manufacturer. While MFT is supported by a diverse range of many companies.

Any IBIS would be an improvement over non-IBIS X-T3.

I had this lens on my a7ii, sold the cam, kept the lens and made eventually the plunge back to Sony land because of that single lens - whenever i look at the images it produces I cant say something else than plain love 🥰 Since I am currently more a telephoto kind of guy, the equiv 60mm is ok for now. When i came back this weekend with my first shots with the voigt on the a6600 i was blown away by its sharpness - you really need to see the picture fullscreen to see the insane sharpness - the forum preview does a rather poor job. Quite some time ago that I was that blown away by gear as i am right now with this lens. Even when taking into consideration that this is just a 4k framegrab and not a photo! Speaking of 40mm photos taken with this lens (again open in fullscreen):

I hope these new 6k will be in H265 10bits All-I around 500 Mbps.

Nobody ever regretted upping their audio quality for video.

True even though my a7iii is smaller /lighter and usually puts out a better image over my FS5, the video camera just makes life easier/absolute grab and go setup if you pair it with a doctor style shoulder bag. Internal nd, sdi, rotating control grip, and xlr inputs are REALLY hard to give up.

The current cap is 30 minutes in 4k. Though I wish it was an hour.

@Sage might have better info on this, but from my experience, the 1080 out of camera vs 4K downscaled to 1080 in post are nearly identical, something very rarely found. I shoot 4K for most projects still as I have the processing capabilities and want to future proof. But if you aren't concerned about it, 1080 is very wonderful out of the GH5. On the advantage side, 1080 out of the GH5 gives 60p in 10 bit, and a more bang for your buck bitrate. I've been using this GHAlex process for quite some time now, and couldn't be happier with it. I feel like it gave the GH5 the soul it was missing.

Yeah, thanks for pointing that out. if you go into the full menu it shows more details about the codec. I have it set up in the quick menu (Q) and it shows less details. For anyone who might be interested, if you are in the menu system and click the DISP button, it gives a little pop-up blurb that describes the settings in a bit of detail. Can be helpful for those who aren't really sure what the settings do.

Correction 1080p 4:2:2 10bit 100mbs

Never seen this one before. These are great, his cooking YT channel has over 2 million subs. Looking at the quality of his videos and the time he must put into them, I'd bet this is his full time gig. Chris

now i have something to focus on attaining in the 21st century, thank you SO much, wine glasses are SO EASY TO KNOCK OVER lets be honest ”I have a dream” — Me im gonna get a resolve control surface for the express purpose of adding an ashtray its my goal in life now

I've found some (very noisy) pictures from whoever bought it when it was decommissioned and added some pointers to it. The yellow one points to the ashtray holder and the red ones point to the wine glass holders as, of course, I had forgotten that this was in fact a dual wine glass holder spec mixing console.

i did have a place in southport on the gold coast 10 or more years ago but the chances of that dude still being around are slim. been meaning to check out a place at burliegh the next time i hit the coast as i have a canon zoom thats refuses to go back together. Tafe should really run classes on this sort of thing 😉

one more interesting videos i have seen in a while quite creative. it seems equal parts live action and particle systems if i'm right. Been meaning to dabble with resolves fusion or green screening abilities this year

Anyhoo....back on topic. You could pick any track from the Talking Head's "Stop Making Sense" live film really but this is one is one of my favourites.

It was this one. It doesn't look that big a deal in 2020 but in 1998 this thing was pretty radical, particularly in terms of the hardware and software customisation. It even had an integral wine glass holder and an ashtray holder. I shit you not.

Mine is shipping! Will hopefully be able to give you guys impressions this week.

The company is based in Bavaria...

Yes, the S1 can output 4K 60p (in aps-c crop) 10-bit 4:2:2 to an HDMI recorder. The S1 has some nice features when paired with the native Lumix 24-105 lens, but it has some drawbacks too, particularly on a gimbal. The native lenses are pretty expensive and pretty big and heavy. I use the S1 and 24-105 f/4 on my Weebill S and it is a bit hard for me to keep under control. The 24-105 is so big that you have to slide the whole rig back real far on the weebill s and that can limit how far up you can tilt the screen (I tend to shoot close to waist level on a gimbal, so it might be less of a bother to others who hold the camera closer to eye level). Oh, and that is with the 24-105 at the 24mm end. If you zoom in, then the barrel extends a LOT and you will have to rebalance and move the camera further back on the gimbal, if that is even possible. The S1 has two zebra memory positions, but unlike the S1H, you can't show BOTH zebras at the same time. On the other hand, some good things are that: The 25-105 is about as parfocal as can be, as far as I can tell and have seen on the internets The 24-105 has minimal focus breathing. While we all know about Panasonic DFD autofcus, doing a focus pull using the touch screen is REALLY smooth. It isn't fast, but it very gently eases in to the new focus point. It probably eases out from the first focus point, too. Yes, it is far slower than my Sony cameras, but it is much, much smoother and is pretty similar to a really good manual focus pull. (Much better than I can do manually.) And speaking of manual focus pulls, the S1 allows you to set the 24-105 to a linear focus response when turning the focus ring (so much better than the typical focus by wire response), and... You can adjust the amount of degrees of rotation in the focus ring from minimum focus distance to infinity. I think you can have a minimum of 90-degrees and a max of at least 360-degrees. There is a setting that says "Maximum" but got no clue what that means. The other good news is that the Sigma MC-21 seems to work pretty well with a lot of Canon glass (at least for AF-S, there is no AF-C at this time with the SA-21 adapter and ANY lens, either sigma or canon), and your typical manual vintage FF lenses work well on the S1. That's a good thing because there isn't a whole lot of L Mount glass available now. For example, the only native 50mm lens is an f/1.4 costs around $2,300 and there isn't anything on any lens roadmap for a native 50mm f/1.8 for a couple hundred dollars. There is an 85mm f/1.8 on Panasonic's lens roadmap, but I wouldn't be surprised if it is big, heavy and expensive.

I want to see some footage from that. Not much on youtube tbh

I agree, which is why I don't like DSLR type cameras that have to be rigged. Huge reason is you end up having this weird skyscraper like form factor when you add a monitor to an SLR. I mean it can work I used a Pocket 4k with a small HD for a feature and it really wasn't bad. But something like a Z cam or red is better.

I do not understand why people are so enamored of the mirrorless form factor. It is an option, but is it the ideal shape for a cinema camera? No. Wouldn't you rather have a camera shaped like a proper camera, at least one that is longer than it is wide? I've been working in rental houses for years, and when it comes to ACs and camera operators, speed and reliability is key An Alexa Mini or a Venice works beautifully with every imaginable accessory. You can rig it up with a Preston, Cine Tape, Teradek, multiple on board monitors and the matte box of your choice without breaking a sweat. There's ample room on the camera body and lots of options for power outputs. Do people rig up A7s and GH5s and 5Ds like that? Yes. But it's a struggle and you wind up fighting against the thing. It's not designed to be used like that. It's designed to be held up to your eye so that you can snap a picture. No amount of Log profiles or Raw outputs will change that.

The GFX 100 is not a cinema camera. It is a mirrorless stills camera with video capabilities. Which is fine for one-man-bands or C-camera use on a set. But it's not a cinema camera like a C300 or FS7. The form factor is different. It's not suitable for use by a camera crew with remote follow focus, wireless video, on-board monitors, etc.

I've just found photoshop on my laptop so used that and yes, the UHD DC crop is a pixel for pixel crop from the centre of the sensor. You can A/B stills and cine and it's identical. So in this mode with no OLPF it would be interesting to see how much moire there is in motion. I could guess that perhaps the DC HD mode would be pretty good too. The full frame HD mode not so much but there's a even scaling for HD. cheers Paul

Second attempt as i had uploaded the wrong images before. So long short short, i was testing resolution of 6k vs FF UHD to check the level of aliasing. The only chart i had was an old one i'd printed off myself many moons ago but should be enough to create issues (but i really need to find a better way...) But i can clearly see 6K still vs scaled UHD but what i found interesting is if you switch to DC mode i am pretty sure you're just getting a 1:1 crop of the sensor in UHD - it looks similar to the 6K. Either way the DC UHD RAW mode is much clearer than the FF. But i need to do some better tests but try it yourself and see what you think. cheers Paul So top is full frame UHD and lower is DC UHD, see how much clearer the lines are

If this doesn’t come to pass, will this be the biggest blue balls event in mirrorless history?

A medium format video camera from Fuji would shut the game down. Even though, it would be a pretty impractical format with limited lens choice compared to Super 35 or full frame, cinematographers think with their hearts as well as their brains, and getting the opportunity to shoot on a nearly IMAX-sized sensor would override a lot of other considerations. Do it, Fuji. DO IT.

That's a good idea as well. I like Fuji continuing to offering something different than the competition in those two fields, and video is one of the best ways to differentiate itself. Super35/APS-C: Packed full of features, high frame rates, IBIS, great AF, etc Fuji Cine LF: Medium format sensor for dreamy cinema. Basically the GFX100 specs in a compact (FS5-ish) cinema body. Or a EZ-Cam/Red Komodo like box. That'd be sweet.

Bingo! A Fuji Cinema Camera would have none of the downside risks that a FF camera would have, while playing to Fuji's strengths and existing product range / customer base. Take the X-T3 internals, boost it up to make it be 4K 60fps 422 10bit internal, with built in NDs, and a couple of XLR inputs, and a TC & SDI I/O, plus just in general a smartly designed body like a FS5 or EVA1, then Fuji has a winner on their hands so long as they keep its final price below the competition!

I'd prefer if they released a dedicated cinema camera instead. It's easy to forget that Fuji has over a half century of experience making motion picture stocks. They were Kodak's main competition. Their Vivida daylight stocks were gorgeous. Deep rich colors and solid velvety blacks with warm lovely skin tones. Sadly, they no longer produce film stock, but bringing that look and feel to a digital cinema camera would be an amazing coda to that legacy. I also think that Fuji's ergonomic sense work translate very well to a video camera. They have a charming analog feel to all their cameras, which is something that is sorely missing from most low cost video cameras today.

Thank you for your settings, I still enjoy my NX1 more than my A7III for videos.

Yeah I cancelled the preorder. Used the money to purchase a Mix Pre-3 II instead. Audio upgrade was more important for the documentaries I'm working on.

Only in the XT-3 / XH1, no? In the smaller bodies (XT-30 / XT-200) the cap is 10 minutes in 4k in the XT-30 and 15 mins in the XT-200 (just now noticed that the smaller one have 5 mins more!). Fuji probably would put a cap in a X-E4 too.