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You left out RED Komodo. Might as well include FX9 and C500mk2 although they're in a different price bracket

I’ve not tested, but I expect the main effect would be a crash - same most features Adobe introduce.

10-bit 422 internally is a must from now on for any higher end mirrorless body. I’d much rather have that than 5.5k raw.

@kye Thanks for the comment. It’s a father daughter story. The man is a filmmaker kind of no crew no money, nothing. @heart0less Thanks for the comment. Editing is finish. Color grading will be ok in a week, I think. But I need time for sound and music. I almost understand english but I can’t easily write and speak. It's too long and hard to share what I do.

Anything to take the mind off our inevitable death

XT4, EOSR5, GH6?, A7SIII? I'm losing count. Could 2020 be the greatest year in the history of cameras?

Sure, it's all right! Be sure to post the finished result here. ( :

Good write-up, thanks I'm on the GH5 and have wanted to buy an 85mm for a long time as there are a couple of them that are glorious, but the focal length is very much a 'only in a few situations' kind of lens, so I can't justify it. I was looking at the Sigma and also an old Jupiter-9. Yeah, tough call. Having a zoom is a really flexible option and it's also a backup of every other lens in your kit, so if tragedy strikes then you're not short a focal length. My favourite lens is a FF equivalent of 35mm f2 and it's great for the environmental portrait where you want to see the person and also the occasion and location. If my setup was half the size and half the price then I'd be tempted to carry a second setup like you do, and have played with things like that before too. Two Fuji XT-4s with those primes would be a pretty hard setup to beat, Fujis have a great reputation and the images are just lovely. It sounds like a pretty good recipe for happy days!

Final choice came down to (and I have been a pro Fuji shooter since the original X100 so have had pretty much every lens...sometimes several times!) the following: 23mm f2 due to size, weight, AF speed. 50mm f2 as above. 90mm f2 just because I occasionally need something longer for ceremonies, speeches and couple portraits and it’s a beaut of a lens. 16-80mm f4. Grrr, it’s only f4, but this is my ‘bookend’ lens, ie, wide landscape stills at the start of the day and video for dancing end of the day. Otherwise it will be in my bag and I purchased it principally as my travel (non work) lens. I may however get the 16mm f2.8 for weddings and leave the zoom behind for a true 4 prime set up. Why no f1.4 or the 56mm f1.2? For video they are terrible. Maybe not static slow paced stuff but try filming a wedding day with the 56! Sublime for stills, pants for video! I either shoot stills all day or hybrid all day. Very very rarely just video and ‘mobile hybrid’ is my priority. Most of the day this year will be XT4 right harness with the 50 and left strap, another XT4 with the 23. The choice then comes down to, “is this a medium wide or more tele shot? Or both?” Hopefully happy days...

nobody in the entire history of marketing, ever talked their product down . Of course their going to be excited, excitement generates hype, hype gets everyone in a bit of a tizz and out buying stuff. Canon probably want to sell a lot of product before someone works out where its been gimped 🙄 Now before you canon fanbooys start lighting flaming torches and pick up your pitchforks i also have a canon, albeit 10 year old canon but it still works and with magic lantern onboard i can do all sorts of things canon never intended. What canon really need to do is collaborate with magic lantern and produce something extraordinary, something really game changing. But i suspect thats way to left of field for them to consider. For you guys i hope that canon really do lift their game, as for me i have the bmd p4k its enough for me maybe further down the track i may look at another still camera, maybe not.

I remember from a phone call with an FD lens repair guy from a distant country him saying that it is cheaper to buy another FD lens than to repair it.

I don't know why people didn't reacted on my post, not a big deal, the important thing is really how Canon is confident and how excited they are about their new products. I've never seen it (from them) before.

When talking about Premiere Pro, don't expect much performance increase in any case. I replaced my old system a while ago, nothing too fancy, but approximately double the performance of the previous pc. Performance in Premiere Pro increased very little. Still, sux at h264 and h265 codecs. Some cameras are fine, others just can't playback properly. I've read guys going from 8 core to 16 core, just to discover, that Premiere's performance still is shit.

I believe I've had a chance to own one of many rebranded versions of this Tokina - Vivitar 19-35 mm f/3.5 - 4.5 Series 1. And I must admit it's one of the lenses I regret selling. Build quality was horrible, handling was cumbersome. But, man, the images coming out of it were gorgeous (at least to my eyes, hahaha). Here are some photos I took with it and a7 III: (FYI, the B&W photo depicts Gdańsk Town Hall, whereas the last two show Malbork Castle). As a matter of fact, right now I'm eyeing another copy of it and most likely I'll end up buying it.

Of course... I knew I was doing something wrong! Here, this is how to do it.....

x1000 this! Lighting is very very important. Only thing more important than lighting is audio 😉 Errr.... no, set your shutter speed to 50 or 60 (depending on where you live)

Guys, guys. This is the videography and photography world. You have to teach him to be really toxic first so he has a fighting chance in the first place. First of all, you can't use more than one camera brand. IF you do, you're lost. You have to choose one brand and then go all in...buy brand merch and invest at least 10K into the system. You then have to shun and look down on anybody that uses a different camera, why? Because they are dumb and not smart like you. Got it? Good. Second, EVERY camera that is NOT YOUR CAMERA has terrible color science. This is fact. Third, it's always, without exception, all about the gear. Dropping 3K on a new camera WILL make you a BETTER photographer/videographer. Don't believe anybody that tells you otherwise because they probably shoot on a point-and-shoot (this is very, very bad). Fourth, never talk to a Pentax owner. This rule has no exceptions. Do not break it. Fifth, and final, when you switch your camera brand you have to start from step 1 all over again. Good Luck and fast shutters!

Seconded. It's all about the lighting. Took me a long time to realize this in my own career coming from the run 'n gun world of broadcasting. If you're willing to listen to advice from an older dumbass like me that has made all the mistakes, right now at the outset, then you're going to leapfrog over all other newbies that put their efforts into acquiring gear. Acquiring gear isn't always a waste of time, but it's a wildly low priority. Learn to light. Learn to know when to not light. Learn to "see" what light is doing and offering; exploit it. Learn to recognize what sort of lighting works for motion pictures. Pay attention to your frame like you're making an oil painting and, my god, you'll be so much better at this stuff than most of us. Nothing drives me more crazy than when I see cheap indy shoots that have NO notion of lighting AND can't even bother to dress up/clean up the location they're shooting in. Everything on frame is visual information. It's your job to control it and make people see the important stuff, not random visual vomit. That said, slap a 50mm lens on your T3i, put it on f2.8, set your frame rate at 24fps, set your shutter speed at 40, use the neutral color profile, get some ND filters to control your exposure, and you'll have a good technical baseline to make things happen with your camera.

The camera is basically the LAST thing you should upgrade. First: Lighting - get some basic lights and learn how to use them Set design - get some much crazier lights and learn about set design - music videos go all out on this so don't hold back Composition - learn about framing, camera angles, camera movement Directing - learn how to work with talent to get the best performances from them - writing and even performing music are very different to knowing how to look good in an extreme close-up Business - making a good film isn't the same thing as making money Yourself.... learn about colour theory, learn how to edit ('cut on the beat' is one style - learn 15 other styles), learn to colour grade, learn about in-camera special effects and only then start to think about camera equipment... or, at least, don't think about spending more than a few hundred. A good way to be practical about it is to only use money you earned from shooting videos to invest in more equipment.

Here it is:

i recommend watching this : if you want to get into production... lighting is much more important than any camera/lens

Ok just to add my two cents. As I said in another thread I talked to a Canon rep on tuesday and he told me that on the video side the announcement that will come in February (he told me specifically before March) will have me happier than ever. I was telling him that I loved the EOS R on the stills part but on the video though it is better than advertised all across the internet, it lacks some really important things. And he smiled, really confidently, and told me to not worry at all, to just wait for the next announcement. Then today I spoke with a Canon Ambassador, over 30mn on the phone. We talked about her next projects etc and I couldn't help myself to ask for advice, i know she's one of the early professional adopters of the EOS R, and I told her I wanted to buy a second body, I was waiting for the next iteration of the R line, but was hesitant to not buy right now a second EOS R. She just told me this : "you better wait! I signed a NDA so I can't tell nothing but you really better wait. Something big is coming" She insisted on the "Big"... I speak to some Canon reps or this ambassador from time to time and got some insights sometime. But never, never I saw them this confident about a coming product. So yes, something really big is coming, and I think it will be a game changer.

Sounds like this is going to have a fully articulating screen. Fuji is going for the jugular.

Another one of my favorite Plastic Fantastic lenses is the Nikon Series E 50mm f/1.8. When the Series E lenses were released, Nikon was chastised for their poor build quality. But in comparison to today's lenses, they're built like tanks. About 6 months into filming my movie, life took a turn and I went through a rough patch that's really just beginning to smooth out. Unfortunately, that rough patch forced me to sell all of the lenses I was using to shoot my film. I dug deep into the gear closet and pulled out the Nikon 50mm 1.8 Series E. This is the result of that test... In some weird way, the rough patch I went through was a blessing, it forced me to look at my film in a different way and eventually led me to probably my favorite of Plastic Fantastic lenses... the Canon 28mm 1.8. I've posted plenty of shots from that lens, so I won't bore anybody with them, but that is one lens I will never sell. By lens metrics, it's not even that great of a lens, but its rendering oozes character and mood. In my opinion, it's probably my favorite lens of any lens I've ever used. Canon has a few Plastic Fantastic lenses. I would love it if Canon came out with a budget friendly cine lens lineup using these lenses' formulas in proper cinema housings.

Nah, not buying any new cameras this year. I'm sticking with what I have. I'm fully aware that getting a newly released body would mean upgrading my PC as well, since it already struggles with 4K 10 bit files. Ain't nobody got money for that! Maybe I'll invest just a little bit into lighting gear: some reflectors, a softbox, a key light - a bare necessities for paid interview / corpo jobs. It's high time I began unleashing the true potential of my gear.

I was looking for some 50mm stuff in my test library and found this. Looks like I did the promo shot for the testing but for the life of me I can't find the test images themselves so I'm presuming I never actually did it ! I could do though if anyone is interested.

And everyone wants icing on their cake. The F3 is a great camera. It really does have an extremely rich color output. The slog files also really handle over and under exposure very well. Like the other Sony’s I have used. It looks amazing outdoors and okay in mixed lighting. (From my experience.) I was using a Sony Swit with a dtap to power the Black Magic video assist. This was a super compact setup that worked really well.

I know this is an old thread but I wanted to say thanks for the fantastic test. Considering the Sony F3 for an upcoming film and this test was a great way for me to see it's power Graded 6400 iso