Leaderboard

My partner's last feature to be currently distributed in NZ with the support of NZ Film Commission, Australia, U.S., Brazil, Europe, among more than a dozen of territories worldwide, shot on Blackmagic Production 4K camera recommended by me BTW @CaptainHook @John Brawley with more than 20TB cDNG native footage. Just my two cents... The feature is much more interesting than the trailer. Superb cinematography and grading BTW, without mention directing work and original soundtrack by one-man-show Bernie Rao:

Kind of. The real supporters of the m4/3 format are Panasonic and Olympus - all the others (Blackmagic included) are very niche. From Panasonic, I clearly see a GH6 on the horizon, but not much more - there are rumors of a GX10, but as a minor update. Olympus just repackaged the E-M1 II in a smaller body to make the E-M5 MK III, and rumors says that the same sensor will be used for the E-M1 MK III. M4/3 evolution is dependant nowadays on Sony to evolve on sensors. Olympus is struggling financially to evolve their platforms (if the E-M1 MK III still use the same chipset, will be a VERY bad sign). Panasonic could repurpose the tech developed for the L cameras to m4/3, but don't see much intention to do it - everyone (except Fuji) is pushing full frame, better margins on bodies and (especially) lenses. As I said, I love my m4/3 gear, it fullfills almost all that I need (except low light - my dream camera is a proper GX body with IBIS and the GH5s internals). And I think that m4/3 will be a viable format for video for a good amount of time - but maybe not for stills, where the sales volumes are. And don't want to end with a bunch of bodies and lenses with very deprecated values in a phase out, like was with 4/3 users. And Fuji is doing a lot of things right. Have bodies and lenses with the same or a little more size and weight than m4/3 (for people, like me, that likes compact gear). In two generations jumped from some of the worst video tech for some of the best. Is (maybe) the only manufacturer that their bodies frequently surpasses expectations in specifications. Their prices are competitive. IBIS was the last barrier for me (I use a lot of vintage lenses), maybe they will be my future.

So flippy screen?

Currently working on Project with S1 the colors and ibis is just bless some footage here ( Wip) this was shot on S1 with 24-105 f/4 with ND Now imagine for sec this camera in Pro hands? (am noob) Edit: Youtube compressed it sooo bad😪 on Davinci it looked so crisp and colourful

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😉

Perhaps. Of course, drama and tech aren't exclusive, and drama drives views! Totally. If you are doing a makeup channel then you need good skin tones, so it has to be ARRI.

@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.

Yup S1H is the worst when it comes to autofocus i wished Panasonic did something about it since on GH5s it was flawless single point autofocus was dream come true but not so much on S1H😪 Now am learning to shoot manual

Well, ladies and gentlemen are we in the most exciting year since a decade for video gear? If this is true then yes. Canon rumors is usually reliable unlike Sony Alpha Rumors that is pure BS. Especially when rated CR3. So here you have it. Canon EOS R5 for photo + in february 45mpx / IBIS / 8k30p and 4k120p / canon DPAF. Comes with Canon colors and menus that we know. My dream camera and then more... the one I have been wishing for since many years on EOSHD. The one that could take me back to Canon. Also if true, Sony is dead. Canon took a massive hit with Sony being far better than their products since the A7III. They saw a massive number of people like me jump boat, even if massively invested in their system. They released in rush and too late an absolutely shitty EOS R, with laughable video specs, mediocre stills performance (FPS, dynamic range...), no IBIS and early gen mistakes. They should be dying now or soon. Yet before dying it seems they are giving all they can now to make a turn. We can clearly see that with the 1DX3, and HOPEFULLY we will see that with that thing. Why R5? Is it to rule the Sony RIV? :). Anyway Specs sound unreal... so brace yourself. But dreaming is free. https://www.canonrumors.com/canon-eos-r5-specifications/

Why is anybody bothering with the Pocket cameras when there is an image this good from the Panasonic S1 out there? I just don't get it. There are a lot of apologists out there for Blackmagic cameras. I think the brand has a very strong cinematic association. If it were the Pentax Cinema Camera or the Nikon ProRes Camera the hype would be a lot less. Blackmagic have done a lot of great things, Resolve, the codec side, but the S1 and S1H have a flat out better image. It's that simple. And why anybody would not want the other things offered like IBIS and EVF, also baffles me. Shootout coming soon.

I may just keep what I already have, add a lens or two and turn the internet off. All of these cameras are cool and I'm always on the search for a second camera but the question remains... do I need it? Will my work really benefit from it? For me, I barely have enough time to use the camera I have. So I'd ask @thebrothersthre3 what are you gaining from having all of these cameras? The short films you've shot with your X-T3 look great.

I might just sell everything, buy a GFX100, turn the internet off and call it a day.

I find these specs utterly laughable: 8k raw? 4k120? hahahahahah Oh, they posted some clarifications: 8K @ 30fps RAW As suggested on Twitter by a reader, this could perhaps be a timelapse feature. Things get messed up in translation and excitement. 4K@120fps & 4K@60fps It’s possible that the video features such as this could come with a heavy crop to get the heat down.

Read the article first. He said only the specs in bold were confirmed which is not the case of the 7-8 stops. Also, @crevice, yes codecs and crops remain to be seen, but considering what they have done on the 1DX, and considering 8K and 4K120 that shows it will rock in videos I find it hard to believe that they wouldn’t put at least 10 bit codec. I don’t care about RAW. And in fact a good h265 8bit would be fine when you consider 4K120, that’s just insane. Now, if I was not clear enough in first comment for sure I am not confident in those specs. Definitely sounds too good to be true. Also how could it beat the 1DX which has bigger body and for sure bigger price is a question. But as I said we are allowed to dream..

Canon traditionally released under whelming spec’d cameras and now suddenly has the fastest readout of any sensor, better IBIS than Panasonic and Olympus, and 8K 30p RAW in a mirrorless form factor? Why isn’t that in the C500, their flagship cinema camera?

I’ll believe it when it’s released and in peoples hands. Highly doubt Canon would sell you an R camera with better specs and less money than a C500.

@mercer The thing I always notice about GHAlex compared to other luts is how it just adds a nice sort of clear separation to the skin tones, in both color and b&w. It just adds a midtone pop that I really like.

I'm just finishing up a project right now, shot on the S1 and GH5, using GHAlex, turned out quite nice. (These are just low res grabs from frame.io)

Here's some Pocket 6K footage.

From their videos on this topic, I think not even Linus truly knew what they were getting themselves into! Definitely, shooting on "THE BEST" is part of their marketing strategy. Gets them more views, gives them more topics to make videos on, and so forth. Makes more sense for them to do it than say a Make Up YT Channel buying an 8K RED

Panasonic released a new update 1.2 which still doesn't fix the ghosting and smearing issues. https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/ff/dl/s1h.html?fbclid=IwAR3biGv5hEvDRCZM5AOHmQ-LaeatQNX4_JiVWYN7WwewW7-WYiVaKYf1ZT4 Artifacts are still the same and V-Log remains a shit show, especially used in 6K https://drive.google.com/file/d/1sAml_fqNYE7AKPuC8H6Ktve02BnmmYyo/view

Posted February 26 announcement. Earlier rumors stated shipping by end of March.

X-Trans needs more CPU power so there is more heat. X-T200 is bayer and thus runs cooler

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):

Hey everyone Yes S1 shoots 4:2:2 in 10bit 100Mbs Full Log in HD

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock.

I think the GH5 is a sleeper camera, along with many others like the UMP, C100, etc. These cameras are good enough quality so the images easily meet a professional standard, aren't fancy or odd enough to be bragged about, and aren't used on large productions that have interviews with the cinematographer. People talk when someone shoots a feature film on an iPhone because the perception is it's not good enough. People talk when someone shoots a project with a camera that is fancy or odd, or when the camera doesn't traditionally suit the project. and if a film has a huge budget and wins awards then everyone gets interviewed and there are four paragraphs about the lens choices and the phrase 'colour science' gets mentioned. But when someone shoots a documentary / ad / training course / low-budget series / short / or indy feature with a sensible and capable camera, there's no press about it. That's the GH5, XT-3, UMP, C100, etc etc. I would be very curious to see what percentage of all edited content consumed is shot on these types of cameras. I think it might be a quarter. But that's the point - we'd never know, because it's not remarkable. Therefore no remarks are made, and we don't hear about it. These are the cameras of the people quietly working outside the limelight and delivering good quality content.

Get a Sony FX9, it's "only" a thousand bucks more than a Fuji GFX100

Everything that Andrew has said in reply to you, plus: 1. Metabones Hasselblad V to GFX Speedbooster. It brings real medium format to digital! Good choices (for stills as well as video) are (a) 50mm f/2.8 F (forget about the FE versions -- the electronics won't communicate, and they are more expensive) (b) 80mm f2.8 F (the CF or C versions are also good, and optically the same; but the F version focuses closer, and could be easily de-clicked) (c) 150mm f2.8 F All three above are excellent optically, could be easily de-clicked, and surprisingly affordable. I have omitted the legendary 110mm f2 not because it isn't good (it is), but second-hand price is very expensive. 2. For video use, the 16:9 4K crop of GFX 100 is 0.918x, i.e. only a little larger than the 0.934x crop of Red 8K VV at FF. Any FF lens, except perhaps the widest of superwides, should cover. The DCI 4K crop is just a bit bigger, but we still have room to experiment. Judging from screenshots I've seen (I've forgotten where....), Sigma 24mm f1.4 Art should most likely cover the 0.918x crop wide open at near- to mid-distance, or stopped down at infinity.

It's IMAX approved instead! Here was my lens adapters strategy with the GFX 50S... It will be same when I get GFX 100, in 100 years when the price is down to under £4000. 1x Leica M -> GFX Adapter 1x EF -> GFX Adapter with Autofocus (Techart) Then multiple Leica M to whatever SLR lens I was using, be it Nikon, M42, Contax Yashica, etc. The Minolta MD lenses worked the best You get some light fall off in the corners but not hard vignetting on lenses that pair well with it. Most of the ones that cover are longer than 50mm and the wider ones don't tend to do as well. Some SLR lenses designed for full frame were over-engineered to cover a larger image area. Don't expect much in way of corner sharpness compared to Fuji's own GFX lenses though. You can also get adapters to Hasselblad HC lenses. Or cheaper, older manual focus ones. There's a lot of old medium format glass on eBay if you don't wish to experiment with full frame stuff. My favourites of the full frame stuff on GFX mount are: Canon FD 85mm F1.2 - covers full sensor and looks sooooooooo damn good Sigma 85mm F1.4 ART Minolta MD Rokkor 58mm F1.2 Minolta MD Rokkor 35mm F1.8 Here is the guy who inspired me to try the Minolta stuff https://jonasraskphotography.com/2017/08/16/minolta-x-fujifilm/ Sigma 105mm F1.4 ART worked well, but very heavy! And yes, medium format at F1.2 or F1.4 looks every bit as spectacular as you'd think it would Yes 10bit 422 external. I think it does 10bit 422 internal in fact, or was it 420 like X-T3? Ask Philip Bloom, he has one. I'm too poor.

Id pick both

1Dx III as I mostly shoot action so the fps for still and 60fps and 120fps for video are very important. Plus medium format has more limited lens selection and no real long lenses. MF lens are even more bulky than FF ones. Last but not least I have a good selection of Canon lenses. I did not check footage of the GFX 100 so not sure on the impact but is 10bit 4:2:0 and not 4:2:2 and max 30fps... 5 fps still is very slow for any action. Imo GFX 100 is a landscape camera if that is your primary goal then is probably a great camera and 1Dx is the wrong one. But anything fast paced or need long reach then GFX is not a great choice. If primary goal is video a C500 II or FX9 is a much better choice. Not really sure why your question because are so opposite these two cameras.

I'd go GFX 100 Larger sensor IBIS Phase-detect AF Excellent 10bit codec, not too huge file sizes Very good EVF Much higher resolution stills Better ergonomics for video (i.e. tilt screen) and more features

Well shortly after posting that I re upped my preorder. Because this still looks far better than the Atomos options. Thankfully it looks like there are some signs that it will shortly be released: 1) On blackmagic's website they just posted "Blackmagic Video Assist 3.0.1 Update" Firmware, which I don't think they would release unless it was coming soon. 2) On the B&H preorder page you can now download the Installation and Operation manual, and the first page is labeled as being created "January 2020"

It does seem to be the Preview Exposure in M Mode where the bug is. On the card, and in playback mode, a still does match the video recording at same manual settings and ISO. The preview in M mode function is too bright in live-view, giving misleading exposure as you set your settings. I too tried the manual aperture and focal length input in the optics correction menu but no luck with a fix yet. I am positively certain this is not going to be a long term bug and in a couple of weeks will be 100% fixed. Very annoying in the here and now though. Might be related to another bug... With manual lens and mystery aperture, Exposure bracketing doesn't work. UPDATE: It does work, camera has to be in continuous shooting mode not single shot. Funnily enough the exposure in live-view now matches the +1 ev shot perfectly, so there's a work-around of sorts.

XT3 is in the plans, indeed. At this moment, its down to documenting the process of adding a camera to the server, and then streamlining the Pdf writing process as best I can (later today). This will make a camera cycle as efficient as possible. From the LogC alone, V4 isn't that different from V3 for the average image. When saturation becomes more extreme, V4 is quite a bit better (much, much more accurate to Alexa). And when using V4 on unintended formats (i.e. Rec709 footage), V4 holds up, while V3 doesn't. Here is a comparison with one of the more saturated images I've got (most notable shift), using Soft (most equivalent variation between 3 & 4): V3 V4

I have a smallhd 701 that im replacing, looking at the 5inch BM one, Shinobi SDI, Portkeys BM5, and the Smallhd 502 bright. I don't even need a recorder it's just a bonus. However that 5'' 12G seems perfect. Dual batteries, 2500 nits, great UI, Lut preview, metal body, full range of scopes. AND it can record. This might be the one boys.

I wouldn't mind paying $100 for BRAW on the GH5 (and GH6 when it releases).

How anyone can think that Canon will not cripple their cameras is beyond me. Even the 1DXIII has questionable PDAF in full frame modes, not to mention no IS in RAW and... NO 24P at launch... I'll believe it when I see it.

I think its really down to heat managment. Lots of tests out there show that the xt30 for example overheats rather quickly, even when recording externally