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Hey Guys, Since starting in this forum I progressed from the GX80 to buying a Pocket 4k which I use for all documentary shoots and trying to built a showreel. Meanwhile, the non rigged out GX80 is way easier to take on trips and fun shoots and I still think it is one of the most underrated cameras in terms of price/performance. For the last trip to Loen in Norway (where a rock falling into the lake caused a 70m wave extinguishing to villages in early 1900), I took the gx80. Normally I shoot CINE D with all settings around -2, but this time I decided to shoot a dialed down natural, and furthermore I heard on youtube that AVCHD supposedly holds up way better to grading. So I tested it and used the internal noise reduction and grain from davinci. What do you think? I am quite pleased with what I can get out of the 24mbit files, even with several nodes, vignettes etc. The opinion is well established that the Full HD on the gx80 seemed to look softer than on the g85 or g7. Even the slow-mo to me looks way better than what I am used to from the 24mbit 60p in mp4. Way easier to edit than 4k as well and easy on the storage. At 250 Dollars or Euros used, often including a lens, I think this camera is still a steal, especially for people in the mft ecosystem who need a second/third camera. In my backpocket I had a tascam dr05 to record audio and a short interview with a habitant of one of those villages.

Thanks for your opinion. So just to be clear... No more 5-6 videos per post. Just select 1, a good one. Or better yet, get your camera out and help others to figure out that particular model and what works well with it in terms of lenses, workflows, etc.

This is not the YouTube Video Digest Can we cut down on threads where there are 3 or 4 youtube clips in every post? How about making or OWN content rather than reposts?

@canonlyme GX85 produces a great image if graded or with right in camera look. I don´t like the HD as much as from G7 or G6, with a bit too much aliasing to my taste. In super low light noise reduction makes everything mushy. Other than that great camera and my to go little film friend. Now, if it´s ok for you to share your video, would be very cool to see your colors fly in motion.:) cheers

Amen... I think some people don't get it though..they are posting hundrends of youtube videos for a few months now, and stil they do not get it..even after your post Andrew.

Here is a Nikkor AF 28-85mm f/3.5-4.5 SLR zoom lens mounted on my X-T3, with the basic Fotodiox adapter for Nikon F. The lens focus is parfocal from 28mm to 85mm, with a smooth zoom ring, great for video zooms: So I was surprised to find weeks later that it suddenly was not holding its focus, it was focusing farther at wide angle (??) At 85mm, focused manually (a screen grab cropped into the video): Then zoomed out to 28mm, the focus shifted behind the subject: Eventually I realized that I was using a different Fotodiox Nikon F adapter this time, and the only difference was an aperture control ring built in for G lenses: I compared the thickness of the two adapters with a small C clamp. The G adapter was a hair shorter than the basic adapter, and the G adapter had the lens focus going too far past infinity. So I decided to extend the G adapter’s length a slight bit. I removed the back of the adapter by removing four screws, and I added a thin layer of tape to extend the adapter’s overall length: Finding the right thickness of tape was trial and error. Thin cardboard, too thick. Duct tape, too thick. Black masking tape worked. Now after zooming out it is back in focus: So a mounting error of the thickness of masking tape threw off the zoom’s parfocality! How thick was this tape? I have an old caliper from my grandfather, and it measures in 1/1,000 inch increments. (But not wide enough to measure the Nikon adapters): The masking tape is seven thousandths of an inch thick. That's about a sixth of a millimeter. The moral of the story: if your vintage zoom lens adapted to your mirrorless camera appears not parfocal for video, try another brand of adapter, especially if it has infinity focus adjustments. Apparently all it takes is a few thousandths of an inch to throw it off.

I can fully agree - both GX80 and G80 seem to be great B-cams or a 'throw-it-in-your-backpack' alternatives, which video creators didn't really notice. IMHO, they could be easily intercut with GHx series and I doubt anyone would notice. I like your results very much, they look quite similar to what GHAlex offers - soft, yet vibrant and natural look. Congrats!

What C300 guys? we still do not have a C100mkIII a bazillion years after the II. I do not need C300 size/weight/price, the C100 was our workhorse for so many years, C200 isn't even close. Last 3 internet jobs we did we used a 5Diii that is available in the company for pictures, until recently we were using a C100mkII all the time, now, we did a few jobs with a C200, but the head of the office doesn't find it necessary to rent a C200 anymore, so they do not rent at all, while lights and sound have the same budget as before. For years we are crying out loud for an XC body, even if it EOS - M that would brilliant, a few dead cheap M lenses and perfect EF adaptation. If Fuji does make a video centric camera in ergonomics/desing/features, not only in description, I would go all in Fuji, now I am not very impressed with a lot of things (lenses, ergonomics/menu). Noone can really make a body with internal ND? Is that so complicated to achieve? This is mainly the only issue I have with smaller cameras, internal ND filter and a few sound ins/outs, are what we really need for our video cameras, and I do not need a C300 style camera, if I want a bigger camera I can rent, but a smaller one will be my everyday workhorse. Fuji, do it already..and have some more videocentric lenses. I really respect the opinion of lenstip, and says for the 16-80mm, a lens a lot of us were waiting https://www.lenstip.com/571.11-Lens_review-Fujifilm_Fujinon_XF_16-80_mm_f_4_R_OIS_WR_Summary.html "We expected a lot and we got much less. We found out the Fujinon is optically a sensible lens with a universal focal range, fast and accurate autofocus and a very efficient image stabilization. Unfortunately there were some flaws and their number, taking into account the price tag of $800, we consider to be definitely too high. To sum up I find it difficult to recommend this lens if its price doesn't drop fast by at least 25%. I hope it will happen soon and the fans of the X system will have more reasons to get interested in purchasing the tested Fujinon." I will stay with my Olympus 12-100 for the moment as an all around lens, and my 16-50mm 2-2.8f NX. I do not shop only bodies, lenses have to be the right ones.

Two feature films in UK and US. It shall depend on a series of factors yet. I love DSLR form factor, so I usually tend to push there. Being Blackmagic cameras my favorite ones today. My business partner has shot a horror feature on Blackmagic Production Camera 4K, I humbly push him to adopt. We had shot a feature film on 5DII before. RED usually arrives because of investments already done in the past to match a very personal path of our own to also comprehend industry connections. I've just opened a thread in the footage subforum on a feature documentary already completed and to currently be released (90% shot on Epic MX/Dragon). The other two features to be made between 2020 and 2021 are narrative stuff.

Double thumbs up, except from Ironfilms awesome youtube parade in the lighting thread. That flooding with redundant youtube videos should not become a habbit with us! A thing about selfmade videos. Most of them are in the footage subforum and rather modestly discussed. The main forum gives better exposure to forum members and to discussion afaik.

Fuji did an interview with MapCamera in Japan. Translation: https://www.fujirumors.com/fujifilm-manager-talks-x-t4-and-more-we-want-to-make-fujifilm-x-h2-fujifilm-x-t3-firmware-update-under-consideration/ "The mere difference in design and operability does not make it possible for the X-H and X-T series to coexist. Fujifilm is currently studying these issues" So this could explain the delay and rumours of cancellation. It seems Fuji want to segment the lines more strongly. They have also added so much video functionality into the X-T4, it makes their life harder when it comes to the X-H2. It would have to be borderline pro-camcorder now, to avoid 'coexisting' with the X-T series. Which makes me think they will reinvent the concept? Like a XC10 type body? Or even as a pro video camera to challenge the FS5 II? "Fujifilm would like to make the XH series a camera with a clearly different concept from the XT series" "Fujifilm wants to continue with the concept of the XH series, which is different from the T series" So they don't want to cancel, that is the good news. But they don't want to give it the same specs as the X-T4 but a different design and 'operability'. Finally some good news for X-T3 owners... "Fujifilm X-T3 firmware update is under consideration" "Certainly, it is physically possible to add new functions to X-T3, since the sensor and processor is the same of the X-T4"

Hello, Not sure you guys saw the stabilization on the FX9. But looks pretty great to me. Apparantly it saves gyro information in camera and the catalyst software uses it to stabilize it in post. (so kinda like the steadyxp, hopefully Blackmagic will implement this in their next batch of camera's)

Why can't a C200 replace the usage of shoots where the C100mkII is being used?? Is it because C100 shoots can't justify the cost of using an "expensive" camera like the C200? Perhaps if an "affordable" C300mk3 arrived which was priced not just below a C500mk2, but well under a FX9, even under cutting a FS7mk2 by a little. Say a C300mk3 for US$8K? Then you discontinue the C300mk2 and C100mk2, and you slash the price of the C200 to US$4.5K, which is cheaper than the launch price of the C100mk2! Canon could even consider bringing out instead a cheaper "C200C" version of the C200 (which already has a C200B variant), that could completely replace all existing C200 models. Would be a normal C200 but without the raw recording option, but sell it even cheaper, say US$3.5K? Such a camera would sell like hotcakes! But I don't think Canon would dare to be so aggressive with their pricing, not even with a camera such as this, the "C200C" would be an 8 bit only cinema camera released in 2020! Surely the only one of its kind. Sony won't bother, they'll focus instead on their high volume a7R series as their competitive alternative to digital medium format. If they do decide to give medium format a spin, they'll test the waters first by releasing a Sony RX1 variant with a medium format sensor in it.

Yeah, sorry about that. I think I don't make a habit of regularly posting tonnes of videos within a single post? But that thread was specifically asking about learning lighting during lockdown, and videos really are the best way! As lighting is obviously such a visual media. Thus I thought I'd just scroll through the channels I'm already subbed to, and share just a couple of videos from each channel as a starting point for people to launch themselves from. Little did I realize at the time just how many lighting/filmmaking/cinematography channels I am subbed to! Truly a tonne of them, and before I knew it I had quite a handful there in the post. And that's only just scratching the surface of what is out there! Am sure there are many more great channels out there I'm unaware of, plus I stopped writing that post before I even got to the end of the list of all the channels I'm subbed to. I agree, it is going to be such a tough environment in the short to medium term, the best idea is to not buy any new gear unless you really really have to. Additionally, the used market is going to be flooded with great priced gear because people will be choosing to or be forced to exit the industry. Only buy new gear when you really must, or in some rare exceptions when the new gear is offering something really unique or very very good value. (for example, the two exceptions in 2020 that I might consider is the BMD ATEM Mini Pro or Tentacle Track E, as I reckon there is nothing at their prices which can touch them even when buying secondhand) You wouldn't push for a Production Camera 4K now though would you? You'd be only go for some variant of the new Pocket or URSA Mini 4.6K cameras.

Of course, I will share the video. I agree with you. Though with AVCHD I did not see my image break apart nearly as fast as I am used to. But knowing the noise level I also tried overexposing 1 or 2 stops, so I exposed to the right while still trying to fill the histogram. Thanks Indeed I made a vibrance note, because it is a great way to increase the look without going to far. I used a key to pick the less saturated part, skipped the skin tones and desaturated the rest.

I use both the GX85 and G85 with my GH5 and indeed, they all match wonderfully

Probably they see the video embedded feature with some different use? I think Andrew nailed it with the digest concept. As written up there, it doesn't seem a bad idea at all after all since I guess it is consensual the overload exists from the origin on YT as our contemporary video hosting mainstream or am I wrong on it? ; ) What seems pretty clear to me it is that despite the repeatedly calls from our webmaster here, the footage subforum on EOSHD keeps going overrated as it has been well observed in this thread. And I continue seeing a few people who present themselves as professionals but I can't find a single work or gig they had worked for years I am reading this website in any way other than as their customary blah blah they'll buy the wishful list of next camera to come...

This is an interesting bit in the current times - that the fp can act as a standard webcam via its USB-C interface and be used for live streaming and teleconferencing without any extra hardware. So here comes the question: To do that, one would normally power the camera from an AC adapter - which is not included in the standard camera package. Sigma offers the SAC-7P as an extra camera accessory which consists of an AC adapter + a dummy battery for the camera. But it costs around $/EUR 80 and is hardly in stock anywhere. Since the Sigma fp's BP-51 battery is principally the same as Panasonic's DMW-BLC12 (yeah, the same battery as in the good old GH2...), I wonder whether one couldn't just buy a Chinese third-party BLC12 dummy battery + AC adapter which are readily available on a number of web shops (Amazon, AliExpress...) for only about $/EUR 28. This of course would be handy for other shooting situations, too. And since some of those BLC12 third-party dummy battery adapters work with USB power, this would mean that one should be able to power the fp with USB power banks! It sounds good in theory, but I wouldn't want to brick my camera if it doesn't work in practice... Has anyone here tried this out yet?

I'm interested in learning how to best use Resolve with my FP footage. Not the uber deep technical stuff, just practical real world advice. So far I've been getting nice results using default DNG, also BMD Film settings in a rec709 (non ACES) workflow. People on Youtube like 'Crimson Engine' are helpful because they are testing all kinds of different combinations and discussing the results. If there is anyone else doing that I'd be happy to know. This thread has been very helpful too.

Unfortunately, YT is a mess flooded by the monetization mania and I concur, the participation on footage subforum here is underestimated, anyway. No new cameras in the horizon to launch nowadays follows, the talking heads live sessions on YT grow up as new hype... as well, brands seem to choose youtubers to promote their marketing as a sort of new internet shills. Even the ads we had to avoid from generalist TV channels are now transferred ad nauseam to YT each couple of minutes, well, a weekly digest looks like a great idea for a new website indeed, Andrew ; ) With the current quarantine, I'm afraid we'll have exactly what Kye has mentioned on his new thread, and a decrease on content quality until the crisis will last, so be ready yet for some months to come...

Yes light years ahead... But still no 10bit mirrorless camera!

I was posting only recent videos, and they were in response to the request of some nice sigma footage, and I think they are nice 🙂 Yea maybe a bit much at once, I'll keep that in mind

Interesting breakdown of how the Sigma fp's material behaves in Resolve and Premiere. 1st video: first available-light event documentary that I've seen made with the camera. 2nd video: first corporate video I've seen made with the camera.

I have the same problem with my nikkor zoom 25-50. Back focus need to be very precise and it can move just with a change in temperature. This is why there is a back focus adjustment ring on the zoom fujinon MK. This Ebay seller https://www.ebay.fr/usr/ramir73?_trksid=p2047675.l2559 sells M42 adapter to Fuji X with a back focus adjustment. I have exchanged messages with him and he will see if he can do something for a Nikon to Fuji X adapter. I’m waiting !

I like the Gh5, but his attitude when I look at him on the shelf is like, "Hey, how's it going?" The EM5II was more like, "C'mon man, what are we doing next!?"

"Output Color Spaces: sRGB, Rec.709, AdobeRGB, Rec.2020"

https://www.fastcinemadng.com/ I'm not sure if this can do rec 2020, and its pc only. I'm happy with resolve and after effects for conversion. ( after effects had support for lens profiles )

“WHY I’m SWITCHING to the SONY A7SIV”, “SONY A7SIV. T’S A BEAST”, “SHOULD You SWITCH to the Sony A7SIV? I AM SWITCHING!”, “WHY the A7SIV is THE BEST CAMERA of 2020”. 2 Weeks later... ”I’M DITCHING Sony for the CANON EOS R5!”, “GOODBYE A7SIV!”, “I’M FINALLY making the SWITCH from SONY to CANON. EOS R5 REVIEW!”, “THE BEST CAMERA of 2020. CANON EOS R5!” 1 Month later... ”WHY I’m SWITCHING back to the EOS R”, “WHY I’m SWITCHING back to my OLD CAMERA and YOU SHOULD TOO! It’s NOT About the GEAR!”, “WHY THE SONY A7SIV is NOT THE CAMERA for ME. SWITCHING BACK!”, “MY BIGGEST MISTAKE in SWITCHING from SONY to CANON and back to SONY. DON’T DO THIS!”. Tony Northrop... ”Micro Four Thirds is DEAD. SONY A7SIV REVIEW”, “CANON EOS R5 REVIEW. M43 is DEAD!”, “M43 BIGGEST MISTAKE. DON’T BUY THIS”.

Evidently, the Octopus prototype with the Ximea m4/3 module has been up and running for awhile: Hopefully, the Octopus folks can get this camera into production.

To be honest, I think we've had our fun with that type of stuff and Panasonic have tightened it up but on the off chance I'd start with examining what modes that the S1H has that the S1 doesn't and take it from there. FYI, though, I had a brief look at the S1H that @Andrew Reid had with him in Barcelona and the authorisation routine has changed so that will need working around as well.

Indeed! Bernie, my Portuguese partner in crime, is a proud NZ citizen from today on! Say congrats to him! Hail to him hey David @IronFilm ; -)