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@baker21 I bought my fs5 from a friend for only $2k. At first I didn't like it but it started to grow on me. The heavier body is better for handheld work, the grip is awesome, SDI, xlr inputs with great pre amps and the varible ND filter makes life easier. I only shoot sports and have come to love the end trigger/end trigger half function, when I come home from a shoot, i'm only culling the highlights I recorded. No excess clips which saves hours in the editing process. I'm hoping the next FX6/FX3? has better low light performance and autofocus. 99% of the time I'd rather use a video camera than a photo style body like my A7iii for video.

EOSdh rumors is reporting that EOS R0 will have built in laser gun for zapping zombies in the coronavirus apocalypse. Also comes with a free snake potion in the box and 5 bottle caps for trading with Pentax users... The last survivors,

He has done an excellent job of matching color spaces solely using color tools. A 3x3 matrix is kind of like a uniform accordion of R,G & B space, the cleanest tool for the job. The unique advantages to this approach are its tweak-ability, and that it won't clip boundary data in Resolve if you place a grade before the powergrade (grade after though; preserve core logc)

Not ideology.. we're all chasing an image that's as high-end or highest quality as we can. The issue that we have here on this forum is that we are very out-of-touch with what techniques are used to get the images that we admire, from large budget productions, or from classic films anyway. There is a lot of stuff that isn't spoken about online, and it kind of exists outside of the internet, or at least is hidden behind paywalls. It's easy to spend a long time consuming content and interacting with people online without ever really knowing that this stuff exists, especially now with social media 3.0 actively creating echo-chambers. In order to move out of the realm of ideology completely, let's look at some data. I'm going to assume that you know how to read an MTF chart, since you seem to value resolution so highly. If you don't then I'd highly recommend you look into them, they're invaluable. One thing you may not be aware of however, is that lenses don't have a "resolution". To say one lens is 14MP and another is 16MP is oversimplification to the point it's misleading, because it's not that simple. The resolution of a lens will blur detail, which essentially has a softening effect, lowering contrast of that detail. Yes, there does get a point where if the detail is fine enough then the lens has lowered the contrast of that detail to zero, but the transition from it being very sharp (ie, high contrast) to very soft (ie, low contrast) is actually a progressive one. MTF charts show this softening effect by measuring contrast at varying lines per mm, lp/mm, and obviously the higher the lines per mm you use to measure, the less contrast a given lens will have. This is an important distinction, as we will see later. Amongst the most popular workhorse cinema lenses are the Zeiss CP.2 primes. Here is how they measure: https://www.lensrentals.com/blog/2019/06/just-the-cinema-mtf-charts-zeiss-cine-lenses/ Here is one of the MFT charts: This indicates that with fine detail they have very low levels of contrast, ie, low resolution. Here's a chart from the Xeen testing article: https://www.lensrentals.com/blog/2019/05/just-the-cinema-lens-mtf-charts-xeen-and-schneider/ This is even lower resolution again. Lets compare a 50mm Zeiss CP.2 to a high resolution lens: The Zeiss is obviously inferior in resolution terms to the other lens by quite some margin. Also, that other lens also happens to be an MFT lens. So why are cinematographers happy with such poor resolution. Well, there's two factors that I can see, one is that digital video has been low resolution historically, and the other reason is that cinematographers actually like lower contrast lenses and will go to reasonable lengths to lower it. Remember when I said above that a "lower resolution" lens is actually a lens that has relatively lower contrast on finer details than another lens. Have a read of this article: https://www.provideocoalition.com/the-secret-life-of-behind-the-lens-nets/ This article talks about how cinematographers are deliberately putting netting / fabric between the lens and the camera, in order to lower the contrast of fine detail. ie, to lower resolution. Some examples from that article... A close-up with no net: Black sparkle mesh: Silver sparkle mesh: Cropping is indeed a thing now, especially on lower budget productions where multiple cameras or multiple takes with different focal lengths are beyond the budget, and in this case, people may now move to controlling image softening in post. Film halation effects also do this. To go one step further, softer light sources do this, especially for skin texture, which is where the desire for lower contrast is typically expressed. In photography there is a very strange set of behaviours: Insatiable desire to get the highest resolution lenses and the highest resolution camera and the highest quality image format (RAW) in order to capture the finest details, then.... Get the model to put on makeup (which lowers the contrast on larger skin features like lines, wrinkles, etc - it's called "concealer" for a reason) Cart around ridiculously huge soft boxes in order to smooth the skin (lowering the level of contrast across all detail sizes) Now we go into photoshop and we: dodge/burn with a brush (lowering the contrast of medium sized details) paint over skin areas with filters that lift shadows, or similar (lowering the contrast of all skin details) and then potentially we do frequency separation, where we literally seperate the frequencies, which correspond to small, medium and large detail, and then basically eliminate medium sized detail What is left after all this contrast reduction (lowering resolution) seems to be that we have the models eyes and hair rendered in glorious detail, but skin at detail levels approaching 720p with a Petzval lens. I'm not sure about you, but in the context of all that, I've kind of lost the logic as to why we need a wide angle lens that is 36MP wide-open (8K resolution). They do exist, but go have a look at DXOMark and tell me how many lenses there are that exceed 30MP that anyone here can afford.

Auto Focus. All the youtubers are consumed with auto focus performance. Every review is praising or dissing AF for every new camera. Everyone has videos of people jumping in & out of frame and watching the focus change to this & that. Is it tracking?? Is it twitchy, is it slow, is it focusing on the wrong subject etc etc. and the stupid AI algorithms are driving us camera owners crazy if it doesn't quite perform right. The first few months I had a new mirrorless I would end up watching every shot for signs of AF error, I become sensitized to every background twitch & focus shift, I was alternately disappointed or elated depending on the AutoFocus results. Finally during a brief period of sanity I turned off the AF and went totally manual focus. I planned what my shots were going to do AHEAD OF TIME and set the focus WITH THE FOCUS RING! I stopped watching the shots for AF and could pay attention to everything else. No more focus wobbles, jumps, twitches & tracking errors, just … calm. Then I had a shot where two people were talking and one suddenly walked past the camera left while still talking. I followed him a ways and then panned back. Hey, he went out of focus! The other person said a few words and the shot ended. Later I watched this shot and sure enough he moved out of focus. But, it didn’t bother me. I realized if the focus had tried to follow him and then jump back to the other person it would have been quite distracting to me, but having a subject naturally move out of focus as he moved through the scene made me realize that happens in the movies all the time and no-one cares. So relax, turn off that AF. Let the background trees stay out of focus when Camera Conspiracies jumps out of the shot. Manual Focus rules.

What a honest and noble behavior - not just to admit similar quality, but also to further explain it. Hat down, sir.

Pentax playing the long game this whole time....

Oh that's easy. There is a spray you can get that swimmers use for inside their goggles. Anyway, she's doing it wrong because she needs a canary in there. If the canary falls off it's perch, basically you are fucked.

kayleerumors is reporting an EOS R1 with 8000 fps stills in live view dunno what that means, but the slogan is “8k for $8k”

It would not be easy to do this with auto focus.

Thanks @Dave Maze

There's not much information indeed. Here's something I could succeed to gather:

Not sure how well those speedboosters perform in comparison to all the options you have on the pocket, very little information about them.

From usual suspects: https://***URL not allowed***/lucadapters-magicbooster-full-frame-speedbooster-for-the-bmpcc-6k/ https://***URL removed***/news/7844619364/speedbooster-launched-for-6k-blackmagic-pocket-cinema-camera-to-emulate-full-frame-sensor

You can boost P6K too though: I guess the only P4K advantage is MFT mount lenses option route aside the price, obviously.

sorry dudes and dudettes, your too late, p4k is already here 😘

Simple mate. Don’t breath.

how does that bucket not fog up ? just the thought of it makes me hyperventilate 😲

DaVinci Resolve 6.2 is out (lots of things, imo): https://www.blackmagicdesign.com/support/ What's new in DaVinci Resolve 16.2 Fairlight timeline editing toolset improvements. New mouse and keyboard based editing toolset. User adjustable per track scalable waveform display. Keyboard shortcut editing actions now include fade, cut, select and move. Support for alt/option dragging clips to create a clip copy. Support for pasting clips across timelines. Support for bouncing individual audio clips to files. Support for dragging audio clips to separate tracks using modifiers. Support for dragging audio clips to specific positions using modifiers. Support for converting multichannel tracks into linked groups. Support for a user preference to align audio edits to frame boundaries. Support for an action to trim all audio edits to frame boundaries. Fairlight sound library. Release of the Fairlight sound library installer for foley effects. Support for searching and displaying sound library description metadata. Effects and plugin management improvements. Automatic sorting of AU and VST audio effects into types and categories. Favorite audio plugins are now displayed at the top of the mixer plugin list. Additional immersive audio support. Support for MPEG-H bussing and monitoring in DaVinci Resolve Studio. Improved pan and balance including the ability to constrain panning. Track Index improvements. Support for the edit index in the Fairlight page. Drag selection of tracks, mute, solo and record controls in the track index. Drag and drop reordering of audio tracks in the track index. AAF import/export improvements. Support for importing AAF sequences as new tracks in an existing timeline. Support for importing AAF sequences with an offset to an existing timeline. Support for importing multichannel tracks from an AAF as linked groups. Support for broadcast wave files when exporting an embedded AAF. Support for exporting audio cross fades and fade handles in AAF files. Audio mixing improvements. Support for additional notch filters in clip EQ. Support for new FairlightFX Meters. Support for new FairlightFX LFE Filter. Fairlight Audio Editor improvements. Support for dedicated controls for panning up and down. Support for editing clip EQ. Support for copying and pasting clip EQ. Support for creating and applying presets for clip EQ. Support for adding, managing and custom mapping of plugin parameters. Support for changing relative clip levels. Support for resetting clip levels to unity. Support for editing fade shapes and deleting fades. Support for saving and recalling user defined track view presets. Support for enabling layered audio editing from the desktop audio editor. Support for choosing automation curves from the editor panel or console. Improved behavior when moving track selection with no tracks selected. Support for improved timecode entry and high frame rate timecode. Support for entering relative timecode values. Support for inserting 00 in timecode entry by using the colon key. Support for master spill on console faders. Support for finer adjustment of controls using the mouse or audio editor. Support for media left and media right selection keys. Support for a text-only labels mode. Support for a traditional Fairlight keyboard layout. Improved support for legacy Fairlight project import. Improved import of EQ, automation and fade from legacy Fairlight projects. Improved speed when importing large legacy Fairlight projects. Editing improvements. Improved performance when switching to large timelines with many tracks. Support for creating a compound clip from an in-out range in the timeline. Support for previewing timeline audio during live overwrites of video edits. Support for editing individual angles to the timeline from a multi-cam viewer. Support for updating clip duration display while editing in the cut page. Support for a change transition duration dialog. Support for viewing duration in frames or timecode format in the viewers. Support for Fusion transition templates in the edit page. Support for Fusion generator templates in the edit page. Support for timeline view options per system in collaborative projects. Media Pool improvements. Improved audio track metadata support with support for up to 24 tracks. Support for duplicated clips and timelines being placed in the source bin. Support for sorting media pool clips by date added. Support for showing synced audio filenames in the media pool list view. Support for revealing the media pool location of a clip from a smart bin. Support for a media pool context menu to duplicate clips and timelines. Support for only additional files when repeating media management copies. Color grading improvements. Multiple stability and usability improvements for collaborative projects. Support for smart filters based on keywords and people metadata tags. Support for modifying primary grade values using numerical values. Support for retaining out of range data when monitoring at video levels. Support for Fusion MediaOut name tooltips on the node graph inputs. Support for feet and frames data burn-in options. Support for disabling output sizing and blanking for individual clip renders. Scopes improvements. Support option for showing scopes at video level and data level. Support for HLG gamma when using HDR scopes. Support for highlighting the color viewer qualifier position in the scopes. Codec improvements. Support for Blackmagic RAW SDK 1.7. Support for rendering audio only timelines. Support for decoding 32 bit floating point audio. Improved support for color space and gamma when decoding H.265 clips. Support for displaying EXR codec name based on compression method. Support for overriding the color space and gamma tags in render settings. Support for RED SDK 7.2.1 and decoding clips from the Komodo camera. Support for two new parameters in the RED camera raw settings. Support for REDWideGamut Log3G10 IDT for ACES projects. Support for the Canon EOS-1D X Mark III camera. Support for decoding u-Law Audio in QuickTime clips. Support for alpha channel clips with the bypass re-encode option. Scripting, API and general improvements. Support for running the primary screen as a window in dual screen mode. Improved scripting API with the ability to close an open project. Improved scripting API to set frame rate for media pool clips. Support for new scripting functions to return ordered lists. Support for video monitoring advance and delay on the Fairlight page. Support for GPI/GPO control on the Fairlight Audio Interface. Multiple performance and stability improvements.

Get them to film something too A 5 minute film made from footage shot on the trip would be a great project!

You'll also need Resolve 16.2+ released today to open those files in Resolve.

But as far as I notice, cutting edge technology nowadays in respective field (and market) is always coming first to m43 format and just with delaying time (not so non significant) to FF? Aren't you quite obviously in a proper or best topic - so not by chance - for such quoted preference - because of well founded expectation that GH6 will be first camera from some future best technology offer? Or, in another words - it seems to me that exactly weighting leading technology as particular aspect of interest, in last decade m43 is The system that regularly leads in that sphere and has to be in special favor for such primarily preference. That's why we are in GH6 topic, expecting that it will be the again the first with some combination (not just one isolated spec) of new technology offer with higher level of usability? (And btw, just because of mentioning of usage of vinyl recording as retro in the same time with cutting edge quality - in term of high(est)end quality (that was idea of quoting), vinyl recording is not surpassed with digital (at least at classic music field that I was sometimes called to judge)... Unfortunately I have no similar opportunity and experience with highest quality film based camera vs digital to suggest if it could be the same case, at least in some spec. Imho there are some limit in creative art that solely technology can reach because of nature of human perception, and after that limit it becomes obtrusive and need self-establishing propagandist ideology to be really accepted. At the end of the day there's no modern manufacturer that can approach near close to quality of Stradivarius or Guarneri violins. Even Steinway's pianos have been perfected about 15-20 years ago (to the last little drop, but actually much earlier) and there's no necessity nor expecting regarding further developing without impossible destroying innate human audio perception. So, as far as I can see, we are in the middle of trend of serious democratizing creative opportunity, and it is at least one reason to feel privilege to leave today and to read such greatly elaborate research contributions as Kye's - that discussed how close we are in approaching natural perceptive limit for truly artistic usage - in topic about 3000e cameras.

one edward scissorhands reboot coming up😁 do a parody. Have the barber talk about the intricacies and styling of cutting someones hair, while he absolutely mauls a rose bush with a set of choppers or hedge trimmer perhaps 😉

Will it be the XH2 though?

At the end of the day the best lenses in the world are manual focus only which is kinda funny. I shoot sports which is probably the hardest in regards to manually focusing but I feel more in tune with the edit, can't describe it vs just sitting back letting the camera do most of the focus work. Some of my shots are slightly out of focus but my viewers/clients don't seem to care. MF is simply a skill that has to be practiced. I try to make an effort outside of gigs to go out and practice pulling focus manually. Letting my dog run around the backyard and tracking her is good practice I've found.

I'm not saying that. My experience is with commercials, where most dp's I worked with had their own easyrig, monitor and filters. Everything else they rent on case by case basis. No, they're not always with the easyrig. No even close. But some jobs, when handheld is the aesthetic, they use their own thing. That's it. And I said young dp's in my first post.

yes

Lots of people will be infected and cure themselves thinking it is a common flu. Governments are only testing people that came from the areas with most cases, and the people that had contact with them. But probably along the way these people infected people that were just wandering near them, and could be not directly linked to the infected ones. Only when these people escalate the symptoms and needed special care they will be confirmed cases. Most of the infected will never know.

After seeing this little video and its BTS, I can no longer see any obstacles that one couldn't overcome. https://v.redd.it/8bn7vdpjkqh41 He did it by himself, in his apartment, with little to no gear.

While not 4k, I would recommend a C100 for low light. The 1080p will be better (in quality and low light) than the EOS R 1080p and they are easy to match. You might even get away with mixing C100 1080p and EOS R 4k without anyone noticing. You can find these C100 like dirt cheap. Found myself one for 800€ with atomos ninja 2 and other stuff included.

I don't believe that was shot on the new Fuji's but can't omit the content! 😅

you have spammed my post, consider yourself reported. everyone else spammer alert !!

For the type of shooting I do, that would be the reason I'd use the Sony over the BM. Simple choice. All the other specs would be secondary considerations.