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I think that the most important point is: this time Canon provisioned the budget for the 24p modes licenses? (insert irony here)

I've had a bit of a wobble about it recently but I've bought two spare 3rd party batteries for it now and I'm not just going to throw away that £15 investment so I'm committed to getting it now. By a strange quirk of timing though, the CP+ show is on the same weekend I arrive in Japan so I'll be going and having a look round before I finally commit so all bets could be off depending on what gets launched there.

To add to my previous comment... I think this is the problem with cameras over $2500. For only a bit more you can get an S1H. And then at $4000, for only a bit more you can get a C200 or a Red Komodo or an EVA1 or an FS7 or an Ursa Mini Pro. After that price bracket it's a big jump before you get to a camera that has a significant jump in specs and even then, it may be worth bypassing those cameras to rent a Red or an Alexa.

Apple should make a FCPX Lite for the iPad that allows you to preview footage, mark, cut, trim, favorite, and keyword footage and then bring it into FCPX on Mac with a few clicks and the iPad within a couple feet of the desktop Mac. Like a seamless project airdrop. It would make categorizing and find your selects in the field much easier when its fresh.

Yeah, and then at the product announcement you read all the *** *8K at 30fps: Timelapse mode rendering only *4k120: 2.3x crop, AF disabled, 2 seconds recording limit, converted to 30fps only * 7-8 stops IBIS: when combined with 1.8x EIS crop, AF available $8995 That's being said, if they finally give us clean 4k60, no crop, full sensor read out, no binning or skipping, and not BS crippling, I'll order it right away at $3-4k. Hopefully with some sort of articulated screen and not the size of brick.

The 1080p mode on the GH5 is really quite good; if like me, you are happy with a dense 2K image, then 1080p offers the most bitrate saturated options in the camera (no affect on color) Cine-D has a slight bit depth density edge over VLog, while VLog has a slight extreme gamut edge. With 8 bit, Cine-D is decidedly better Great work Parker and Benjamin! Alas, I've got to get the next update out.. Just finished writing one last tool that I believe will be critical for automating camera support, to do the Exp Pres (it is the fourth 'sub-section' of the ECE)

With the cameras that have been launched in the past 18 months and those that seemingly will be in the next 6 months there is definitely a sense of a plateau being reached. I think more refined and defined straight out of camera looks could become the saviour of productivity to get everyone out of the quicksand of trying to do everything in post. For some context, look at how rich and deep this looks from 1962 and I don't think its beyond the wit of manufacturers to be able to bring us proper AI replication of these looks in camera to use 58 years later. I know Fuji do it to a certain extent but its still got an emphasis on being a starting point instead of them being bold and saying "No, this is it, this is a precise simulation of this film stock including the grain, no tweaking allowed, now get on with it". There is too much caution on all sides in terms of deferring decisions that I think just drains creativity and productivity, for me at least. And with also addressing that in mind, I'm going back to editing on Lightworks.

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

I call this rumour legit as african lottery hahaha Especially coming from canonrumours.

This thread is for all of those cheapie, plastic lenses that shouldn't be as good as they are. There are a few well known lenses that carry the moniker proudly like the Canon 50mm 1.8 and 40mm 2.8, or the Nikkor 50mm 1.8 D. But there are some lesser known lenses like the Tokina 19-35mm that have a cult following and are often referred to as a "Plastic Fantastic." The first lens I will mention is the Canon 24-85mm f/3.5-4.5. For the price, it shouldn't be as good as it is. Here's a sample frame from the 5D Mark iii with ML Raw... I have a few more on my computer I'll add later today. Do you guys have any favorite Plastic Fantastic lenses? Please share and upload some sample videos or video frames.

Brave

I'm hopeful that in a few weeks I'll have ditched pushing that LANC handle on you and instead be pushing the FP at you harder than a YouTuber pushing Squarespace.

Thanks for posting. Personally, the S1H looks "best" on my monitor. Maybe a tad too much magenta in the skintones for my taste, but I think it could easily be tamed. In general, I like just a VERY slight skew toward magenta in the blues, which the S1H seems to have. Of course, this is completely subjective.

Yeah the Mavo LF did look really amazing though.

I can't complain about the stills performance. It's not perfect like native glass, but still pretty good. I shoot HLG on the Sony (HLG2 + BT709). I decided to shoot everything with HLG because it's my sweet spot for good looking image, easy to grade and good enough straight from camera. It also works very good with highlights. And to be honest, I don't like SLOG 2 or 3 at all. For me its a hell for grading and has a poor performance with blacks and shadows. About DR, I find that the BMPCC4K in real world (not controlled test or charts or stuff like that) its way better than the A7III. It has a way better handling of highlights and shadows, light rolloff its pretty nice and "noticeable" against the A7III in the same conditions, and overall it has a more pleasant image, specially with natural light. For me the A7III it's an amazing camera for events,, sports, food and stuff like that where you need more "fresh" footage, with vibrant colors, a lot of movement and detail. The BMPCC4K for me its more for narrative stuff, interviews or content with slower pacing. That's why I use the A7III for AF stuff and the BMPCC for more dedicated stuff with more optical variety.

got bored so I made this short but fun piece https://youtu.be/eH7pnWlwBLc

They are Exposure Pres, conversions made with the same interpolation system as the other conversions (converting color in the mix). Its a lot of fun to use in conjunction with the conversion. The P4Ka workflow video shows it in action in Resolve, though it applies to every NLE (and the Posts, which are an essential part of the picture): They may be stacked in order of greatest to least, and all may be used in conjunction with gain key/opacity to dial in an exact value (Post or Pre).

Yeah my guess is 8K TimeLapse like Nikon introduced some time ago.. Yeah in Bastille. I had planned to go but something came up. I don't regret now with these new rumoured products! My next camera will have IBIS, that much is for sure..

If I can’t get Telstar out of my head by the close of play I know where to find you... (well, I don’t, but I’ll endeavour to find out!) Edit: now I’ve started swaying to and fro...

Its gone a bit quiet about it in the past few weeks so currently there's maybe more likelihood of Hank Marvin making it out of the shadows.

Yeah I think between the Ursa and the Arri Classic, the Ursa is probably the smarter buy but man that Arri image is nice. Now if the Amira was in that price range... I'd definitely go with the Amira.

Yeah and thats the thing the XT3 is capable for most stuff. The S1 does win out in low light though by a pretty big margin and IBIS is really nice to have for certain things. The Ursa mini is just a beast image wise, really up there with the best of cameras IMHO. It sucks at anything beyond 800 iso though and doesn't like underexposure much.

Yeah, the FZ2500 is one of my favorite cameras of all time. It even has a button that you can push while recording at 24p and it will go into slow motion. So you can do those cool shots where a guy starts the shot running in normal motion and then you push the button and he will slide into slow motion as long as you hold the button down. Some Super 8 cameras used to do that too. The only downside to the camera IMO is that the lens, albeit really nice, is much too big for the camera body. Here's a stupid test video I did of the 1080p 60p slow motion... The end of the test is the best part but I made the mistake of making the video way too long. It was before I realized that most people only watch a minute of videos or less.

You can easily spend around a grand on a quality set of square ND filters, let alone a mattebox as well I reckon the small extra cost is worth it

I did not know the FZ2500 had a built in ND. Dreaming of having a sweet little ND selector on the GH camera! Please, panny!

I'd be okay with a m4/3 or even a 1" sensor if it has internal ProRes. I know JVC was releasing something like that, but the price seemed a bit high if I remember correctly. I'd love to see Z-Cam or even Blackmagic pair up with a lens manufacturer to do something similar. I've been half tempted to buy another FZ2500 and a BM Video Assist to get 10bit 1080p. Hell, for fun I've even considered the FZ300. I had one a few years back and I actually kinda liked it. ... Of course, I just spent the past 15 minutes going through the past 5 years of frame grabs, I have on my phone, and as soon as I reached my ML Raw grabs, I started to smile again... I think I may be better off buying another zoom lens than mucking around with a new camera... and I still want the Samyang 24mm. As much as I enjoy this forum, but since it is camera based, it's very easy to get caught up in every new camera out, or every other camera I didn't buy over the past 5 years. I think the reality of the situation, for me, is that no camera other than a proper cinema camera will make me happy after shooting ML Raw and if I ever want an "upgrade" I'm going to have to rent or save up for a Komodo or something similar.

Vlog does have the custom view assist .VLTs...otherwise, I don't see many drawbacks to shooting CineD.

Sharpness at -5 for sure. NR can be a personal preference (some are noise averse and prefer the ease of NR in cam). Though -5 would be the Arri equivalent, from a purist perspective. Indeed, for VLog, 400 is the base. Then it goes to 200 for Cine-D, but this is just the labeling (200 really is 400, in VLog land) Yes; lately I've been recommending the simple rule of thumb to anchor everything around the center of the waveform (leaning higher rather than lower), no matter the profile. This is because all profiles share this middle 'cross point', and diverge from there (with varying contrasts), and 50-60 is generally where midtones should place (in exposure for EC709, not for post placement). The great news is that exposure/luma is about to become a breeze, in roughly a week.

With Cine-D, you'll want to set Saturation to -5, and the rest at default. Also, use ISO 200 (instead of 400; 200 is the electronic equivalent of HLG/VLog's 400). Highlight range (and gamut) are a 1:1 with HLG/VLog, once PRE'd. Here is an overlay of samples clipping (VLog overlayed on Cine-D):

I'm still rooting for the return of the camcorder. If you gave me the baked in look of that Monaco film with a 10x zoom on an APS-C sensor you'd never hear from me again! I had the subscription model of Lightworks a good few years ago but I let it lapse to switch to FCPX when I fully moved over to OSX which they didn't support at the time but I like the simplicity of it so I'm going to give the OSX version a go. Resolve has got so much stuff in thats it like some open world RPG in comparison that I end up getting sidetracked in. Thats why I like LumaFusion on the iPad as its fantastic to do basic cutting on but its let down with lack of ProRes support.

I assume you have specific, recommended settings for CineLikeD? I'm mostly curious how the highlight detail is with CineLikeD compared to vLogL after it's run through your process? If I can find a GH5 at the right price, 1080p will be my mode of choice so it's good to hear that the quality is so good... especially since you can use the cheaper SD cards.

Must be the new Mavic 3 Pro with 35mm sensor.

@BTM_Pix that video looks better than anything I've ever shot. I actually find a lot of the newer cameras kinda boring and am much more interested in shooting with something older... maybe even film... or a camcorder. Lol. I spent a while trying to color grade my footage to give it certain looks but now I just add some contrast and saturation. My next purchase is going to be a monitor though... my MacBook Air's screen just isn't cutting it anymore as I start to edit. How do you like Lightworks? Do you use the subscription model or do you own it? I assume you were using Resolve before?

I counted 3, maybe 4 shallow depth of field shots in that entire gorgeous film.

Then cool and thx for checking it out!

I’m buying that EOS R5! Oh, someone pinched me...I’m back in the reality. Im just going to keep my GH5S and hope for a late 2020 announcement of a GH6, perhaps the last MFT camera from Panasonic. Should be good for the next 3 years 🙃

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?

Bought Zhiyun weebill s image transmission module for 150E. In can be purchased and used separately from the gimbal. Works with any camera having HDMI out. Nice monitoring solution for BMPCC 4K. For 150E + my Samsung Galaxy phone or an older Samsung Note 4 that don't use got very nice OLED monitor with great colors, 800-900 nits of luminance and touch screen interface. All major tools, like peaking, histograms, zebras, false color are available. Even more interestingly, it communicates with the camera and you can set all major parameter like white balance, ISO etc. from the touch screen. So it is a monitor but also a controller. A separate USB cable is used for the controlling functionality. Quite a nice alternative to much more expensive specialized monitors. And you can change easily the screen size too

@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.

Unless sizes matters more to you than all else, I wouldn't strongly recommend either. Wait for the next Zoom F series release, it is coming very very soon...

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😉

@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.

one more extreme sports video with the XT3 https://youtu.be/3rmf3TXxKgI

The communication and wording is super crap. I think once they saw the confusion they should have printed big and make it clear like you said. Btw the table is liked in the spec pdf from the USA web site.

There's a lot of secrecy in Japanese culture but also no such thing as the perfect camera. I believe they play fair. They are multinationals and any wrongdoing would have been discovered by now like Woodford at Olympus and the overstated profits scandal. It's just a little frustrating we have all the features we want spread around different cameras and never in just the one. There's always a cripple hammer somewhere, or a "tech challenge", or a compromise, or just something missing or something taking a wrong path. Maybe patents are the issue, or certainly a big part of it. What is the perfect cam anyway? Well - here is the camera you get if you combine the existing "best" technology from everyone... And let's see who provides it... FF 5.5K RAW (Canon 1DXIII) or Netflix approved 10bit V-LOG (Panasonic S1H)... No crop! Dual Pixel AF (Canon 1DXIII) or Sony A9 standard 4D PDAF (equally good in my view) 5 axis IBIS (Panasonic S1H has the best performing) Cinematic colour science (Alexa... oh they are German, erm... Canon or Leica with Fuji a close second!) Huge 5.5m dot EVF (Panasonic S1H... Who wants an optical one?!) 4K/60p with no crop (Canon 1DXIII)...Second best is 8bit FF 4K60 on Panasonic and 10bit Super 35mm 4K60 on Fuji X-T3) Slow-mo to high quality (Sony, Fuji, Panasonic all good here at 120fps 1080p+ with crisp detail) ProRes RAW... Nikon had a go, but only externally Sexy ergonomics and good menus (Leica SL2) Anamorphic mode (Panasonic and Leica) Mirrorless mount (Sony E-mount is my pick for most adaptable with most lenses) Bonus point for medium format 4K (Fuji GFX 100) Bonus point for value for money (Fuji X-T3) Low light performance (Panasonic S1H) Contribution tally: Panasonic: 7x Fuji: 4x Canon: 3x Sony: 3x Leica: 3x Nikon: 1x Olympus, Pentax on zero, no stand out leading cinematic features. So we must conclude Panasonic gets closest to perfect camera all in one body with the S1H but it drops the ball for AF and not having an E-mount on it but it's a very even spread between top 5. You can argue Leica is only there thanks to SL2, which is damn near a perfect camera in 2020 just lacks Dual Pixel AF and perhaps some form of hinge on the damned screen. Nikon Z6 gets a lot of things right BTW but doesn't stand out on much apart from ProRes RAW with Atomos does it? Still, you can claim it does everything right... no crop, full frame 4K, IBIS, PDAF, good low light, value for money (a ridiculous bargain used), ProRes RAW external, good EVF, good colour science, nice Canon EF adapter from Fringer with great AF in video mode, very adaptable lens mount, even takes an E-mount adapter, good 120fps 1080p and good ergonomics... So it is not always about leading in one or two aspects... It's about not falling down in important ways. Then again, nobody told you lot as interest in Nikon Z6 is about as low as it gets First time I've seen this table. So that settles it then. It is only at 60P DPAF packs up and goes home. They should reword the sentence to :"Dual Pixel AF operates in all modes except for 4K 60/50p and RAW 60/50p" Otherwise you can take it to read it doesn't work in any non-crop 4K mode at all.

Didn't wanna make a new thread for just memes.. ??