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Yes, in Egypt, right?

They do need to smooth out those sudden jumps somehow, but I can't help feeling if you knock a camera, be it a Sony, Fuji or Panasonic with IBIS, they are all going to do the same thing? I'll do an IBIS round-up. Got a feeling Olympus E-M1X will come out top.

Got mine yesterday so haven't had the time to do a proper test but Fuji IBIS is still weird. Included some shots of it in a video. It's like the software locks on to something and then realizes the camera is still moving and compensates by moving the sensor with a quick jump. Contacted Fuji about this and they said it was the first time they heard about it, strange... Did test the overheating, 3 x 30 min 4k 50p h265 200mbps was not a problem in a 22 degree room.

Well its a nice day here so I've set myself up on the balcony to do this al fresco and have gathered together the components that I need for my particular style of product development.

Real shoots with real clients.... wow that's amazing... as opposed to the rest of us who go on unreal shoots with unreal clients... you're are so in a league above everyone else on this forum... 😂😂 Tell me then, why are you using P4K and P6K. You don't need RAW as apparently the finished files end up in ProRes. The S1H sounds a better fit for your needs. Sure AF is poor, but a lot better than the Pockets. It has IBIS, its fullframe, full VLOG, timecode (useful on Professional shoots), and is Netflix approved when set to it's best codec. Why suffer a camera that is reducing your workflow by 40%, when there are already cameras out there that would better serve your needs. P4K and P6K are for people like me, on a low budget and can't afford the more expensive cameras. 😉 Though my clients are real too. I know, I've met them and they weren't imaginary. Does that mean my working for them counts as a real shoot too... ??? 🤔🤔

Just throwing this out there... So the plan is - I will be putting some future blog posts out in Mattias Burling style, with the voice over, the artistic shots and camera gear reviews in video form. I really like this format and Mattias did it brilliantly. The other thought is around some kind of live streaming and online camera 'festivals' with a good atmosphere and lots of guests. Like CineGear but online. I'm open to advice and what you guys want from EOSHD on YouTube. It is actually going ahead this time in a big way and won't be a one off podcast or interview. Suggestions welcome and ideas even more so

Here’s my latest anamorphic adventure! Pro-tip for anyone who is considering an anamorphic rig on film: make sure your variable diopter has focus marks! Everything looked focused in the viewfinder, but it definitely wasn’t. Marks and a tape measure are your best friends.

As someone who make their living doing real estate photography and video full time... Here is what the sony a6500 and 10-18 lens (which I actually recommend, although the 12mm Rokinon / Samyang is supposed to be good). Also used a Phantom 3 Pro (also called a P3P). I'm using the Sony camera on the first generation Zhiyun Crane. https://youtu.be/8S6NbTHqgxk The issue I would imagine the main issue with the Samyang / Rokinon 12mm is the distortion will have to be corrected. Might be less of a problem in still photos, more of a problem in video. The Sony 10-18 already has the distortion corrected. You really should think about doing photography as well, because your competitors will offer both video and drone and photography. And of course, you are most likely going to need a drone. Really, the most important lesson is that quality of photo is not as important to the agents as reliability and speed in turning around photos (and video). And for 95% of real estate agents, price is a BIG factor. I am a bit of an anomaly because I charge MORE than my competitors and I do strive for more quality in my photos and I take longer to turn around photos and videos. There is a smaller group of agents who will work with me. With the shelter in place order, I have seen more requests for video from agents who don't normally request video. I don't know if that will continue in two to three months as either states relax their shelter in place orders, or people just get tired of following the rules and more people decide to disobey them. Oh, and you are going to want to use SLOG 2 with the s-gmaut.3.cine picture profile. There is a tool (can't remember the name) to transform that combo into ACES. I can look it up later for you. With real estate video, dynamic range is pretty important.

If you just want to directly wire one switch then this tutorial will take you through it . If you haven't got any components or access to a component shop then these starter kits are a good inexpensive way to give you enough things to start experimenting with. https://www.amazon.co.uk/DEYUE-Electronic-Electronics-Components-Raspberry/dp/B07HF62TC3

What about price? It's interesting the P4k seems to be the camera mentioned a few times here being replaced by the R5 - depending on the price you can get 3 maybe 4 of the P4k to one R5. They're not in the same price bracket not even close. Same with P6K. I'm not sure when R5 Is due out but I'd imagine it's going to be a long time before film and video production gets back to any kind of normal. Are people really going to be in a position to invest in a camera so much more expensive than what they're currently using? Or is it going to be a time for consolidation and just trying to get by on what you have?

Destroy... destroy... destroy!!!! 😂😂😂 What you mean is that the R5 may well be a better camera for the work you're doing than the P6K... that's all. It's not what you're saying, it's how you say it that promotes these reactions from others. You sound like a hobbyist using cameras when you go off on one about one camera destroying another. What, will the R5 be attacking your P6K with a baseball bat? Destroy indeed. 😂😂😂

You might find yourself wanting to offer real estate photography as well alongside the video (especially if you're in a small town). If so, then consider grabbing a tilt-shift lens as well (check out the Fstoppers course too on Real Estate Photography by Mike Kelly, it is really good!).

Garbage is an interesting word for this camera. I’m glad I won’t have to read R-bashing for much longer. Before we all move on, and pick up an R Successor, I’d like to put this in the record. I’ve nothing better to do right now, so here’s the whole story of the R from someone who has used it every day since it first dropped 18 months ago. Firstly, fair point on this thread about the DR- on par with the C100 at best, maybe C200 (the non raw output). The crop never bothered me though - close enough to match the S35 cinecams - and there’s always the metabones as a fair fix. My problem with the R, like other R users on this thread, is the rolling shutter in 4K / crop mode (RS is fine in full frame), though I found this practically disappeared when using wider lenses like the Sigma 18-35. It’s there if you chuck it about. So I have to give a damn about camera movement, and I sometimes use a shoulder/chest pod handheld. Forget 50mm and above though yeah unless you’re on a gimbal or using some kind of rig. Flawed camera, it certainly is. The rolling shutter is my major gripe (my other gripe being no 60p in 4K - minor for me but a deal-breaker for many, I get it). This RS, which btw enhances some tilt-access warp in the electronic IS, so it’s a double-whammy, meant countless hours of experimentation and in the end meant building my own chest/shoulder pod for extreme handheld work and longer focal lengths. I’ve destroyed the RS but I wish I hadn’t had to do this, and I don’t always want to have to use this rig (even though it does improve every shoot). Bring on the IBIS. The 4K 60p. 10 bit internal. All hail R5/R6 - so long as there’s improved rolling shutter. Garbage though? In and of itself, and just going by specs, I won’t argue that it was a disappointment, especially for full frame shooters. I agree, it’s a flawed video camera. BUT, when you put the R in context - ie with lenses, next to other cameras -I’d argue it offers formidable value for doc shooters, solo operators and for all the indie filmmakers who want to use a Sigma 18-35 without a focus puller.... Because it’s the only mirrorless cam on the planet to offer perfect autofocus (yes, for me, it works PERFECTLY) with that Sigma 18-35, a lens so good that many cinematographers use its rehoused glass for its true 1.8 transmission, near parfocality, and smooth focusing with almost imperceptible breathing (well, at least on the R...) I may be wrong, but I think the only other cameras on Earth that pair this well with the Sigma 18-35 for autofocussing full 4K readout are the Canon cinecams: C200, C300 mkii, mkiii, C500 mkii... I’d say the R is in pretty good company. When you then add the R’s drop in ND filter (1.5-10 stops), it really gets interesting. I barely remove it when using the Sigma. How many of those cinecams have non-stepping ND (they step two stops, four etc) On the R you just adjust to any stop, wherever you want... all with the roll of a finger. The R also has decent electronic image stabilisation (if you know how to sidestep its limitations) which is missing from some of Canon’s ‘cinema cameras’. I’m aware the R doesn’t have native XLR inputs or pro time code functions etc. I know it’s not a cinema camera (but this didn’t stop me selling my C300 to use the R exclusively). It’s a consumer camera - with an image that punches WELL above its weight. The R’s 4K is a 1:1 readout (which you can also out at 10 bit). Its 1080 is downsampled from the same 4K readout in crop mode. The R5 will not process its 4K the same way. It may be better, if Canon downsample 8K (it might not be better, especially its 1080), otherwise what kind of voodoo will the R5, and its purported 45 megapixel sensor, have to perform to offer better than 1:1 readout to cover the image circle of my Sigma 18-35? I hope Canon does it. Obviously, the R is not going to be any cinematographers first choice to shoot a movie, but for anyone else, especially doc shooters and solo operators, I’m hard pressed to think of a better value canon video camera. Its 4K image rivals the C200, even performs a decent imitation of the 1DC image. And it has a 5Dmkiv built into it. In a low-profile mirrorless body. With an RF lens mount. All this for as little as £1400 used (and falling...) The R was received poorly by all of us who were hoping it was gonna be the R6 and the anger STILL resounds. But the R6 is now coming, and soon the R Classic will be totally written off (if it hasn’t been already). If the next gen R cams can really deliver, I’ll probably trade in my R, and some kid can pick it up used and sacrifice it’s stunning images to the gods of YouTube compression - or maybe create something beautiful. Garbage? I’m afraid you’re probably right - the R will end up as garbage - but I don’t think it deserves to be. Despite how frustrating the camera can be, it’s also been amazing in many ways. Farewell to the garbage that time forgot. Or will the R Classic be resurrected in the RF era, the impending ‘Revolution’ love-in, suddenly touted as the ‘next-best’ option to the R Pros for those shooters that, in these uncertain times, will not be able to afford the insane price tags surely headed our way.

Hey All, I hope everyone is staying safe! Chiming in here for some advice. Still rocking the a6500 going on 3 years now. I'm looking to start getting into real estate videography in my town (in the states) as I've become aware of a niche that I could fulfill and make some decent side change. Now straight to the point of my post - after a decent browse through in the internet of videos on this genre - I knew I had two holes in my setup to make this work, a wide angle lens and a stabilizer of some sort. I picked up the Samyang 12mm F2.0 wide angle lens and have a Zhiyun Crane V2 gimbal on the way. Between this wide angle and my Sony 35mm 1.8, and various vintage nikon glass and speedbooster, I should be covered for any lens I would possibly need. Does anyone on this board shoot real estate whom might have some tips regarding the gimbal? In almost five years of filmmaking this will be my first gimbal and while I've seen plenty of videos on how to balance, etc. is there anything else I need to be aware of? I assume once balanced if I wanted to swap to say my Sony 35mm 1.8 for some detail shots, I would need to rebalance? In any event, I think it should all be very straightforward and I plan to just use the EOSHD Pro Color profiles I've been using for years to make color grading a breeze. Just curious if anyone has any advice or thoughts. While I understand the business aspect of this - I hope to find away to break from the all 60FPS slowed down, jump cut look everyone on the internet posts and any suggestions on creativity in this genre would also be welcome.

An interchangeable lens full frame/apsc Canon XC-10 type body, eND, Prores and a quality image...yes please. I would love to see a A7S3, GH6 or whatever camera in the XC10 style body with eND. I really don't understand why that hasn't happened as Canon were for once quite bold with a new idea when they released it.

Flexibility in scheduling is pretty important to most agents. I am sure there are some who do pretty well on the side, but most agents are going to want to hire someone who can come in at, say, 10:00 am on a Tuesday morning, and have the video ready for them within 24 hours. Not ALL agents will require that, but I think most will. Agents also have a tendency to schedule EVERYONE together. So they will schedule you, AND the stills photographer, AND the gardener, AND the electrician, AND the window washer to all show up at the same time so that you are going to have to work around each other. I once showed up to a gig and their were four of the Molly Maids (house cleaners) that showed up at the same time. The agent just wanted to get everything done in a hurry so they scheduled everyone for the same time.

I don't expect gimbal results, i don't even expect GH5 results. I expect a sensor that isn't jumping around for no good reason. For sure, knocking a camera around will introduce jumps in the very best of sensor stabilization units. But doing smooth movements like i did should yield better results.

You might want to invest in a drone as well. It seems drone shots are becoming standard for real estate videos. I'm curious what you plan to charge per video.

I think I'd make a lot more use of RAW if it did it in 4k though. Haven't been keeping up, will the R6 be more tailored to 4k?

I find the 5.5k RAW quicker than 4k 10bit h265 in Resolve Studio on a PC.....

Whats with all the destroying ? are you part dalek ? do you really think that a r5 is going to be so revolutionary that is going to add a tremendous amount of shoots a day to your schedule ? because if you do i want some of whatever it is your smoking...

Agreed, if anyone can make a good working solution it's you. I have a Pi 3 with normal camera module and happy to test something out. I'm mostly interested in a HDMI out to external recorder and as studio camera, my experiments with raspivid was promising but could not figure out how to tame some of the manual settings. I take it the hammer is in case it does not work out?

Earlier you said one camera was worse than the other. And yet by the time it gets to you as a colourist, it's not RAW. There was a long discussion on that. Example #1 (already mentioned) We crew I hired shoot with 2 BMP6K's and the footage was delivered in ProRes not RAW, the footage had massive IR pollution. I shot with a third camera that was not the P6K. This was one example I gave. Why didn't you tell them to shoot RAW. You hired them.

Another new adapter in 2020 of the old ARRI ALEXA Classic: https://www.youtube.com/watch?v=Y2wzDQLlDp4

I'd consider getting an even wider lens if you're able to. That 12mm is about 18mm full frame equivalent, right? I use a 7-14 on my GH5, mostly at 7mm (14mm FF equivalent) for the work I've done. Ultra wide is generally what they're looking for.

I know right its fun to read his fantasy theorys In this harsh times we need people like him for entertaiment. As Noone said please carry on 😄

More than a year later, seems like braw is a much underrated codec. It edits quite easily on a budget pc, does not generate huge files, and is free to use for other manufacturers. There is nothing like the p4k for the money, i needed resolve studio, so the bmpcc4k actually cost me 950 euro. More so, because I already had some decent m43 lenses. The 6k is another story, plenty of competition there.

Yeah that's the amazing thing about BM RAW as well as REDcode, you can get RAW files smaller than prores. That'll be the downfall for RAW on the R5 for many, probably huge files especially in 8K

Not that good it seems, there is no way it would not show up on the directors monitor or the back of the pocket 6k. They just didnt notice it. Then again shit happens, lessons where learned.

Your Tokyo-Blade Runner short is still one of my favorite videos from the older times of large sensor camera craze. It is still making me wonder, if I should get a GH2. Your Digital Bolex video you filmed in Schoeneweide, supberb... Hard to believe how Berlin has changed even in last five years. Always gives me chokes when I talk to about it. My buddy and i did a minidoc about a our friend who was selling poems in Mauerpark, a short piece with a twist. I was gonna send it to you, when the heat was on in the corona thread. Anyway, I would be very happy if you would allow your compositions to shine with more than just one frame and if you would film your beautiful compositions with the FP and the Dream Lens.

Due to the weird state the SSD gets into when being read on the MacOS which causes DiskUtil to fail upon erasing the SSD. I dont know what I did but I managed to reformat the SSD to exfat. Plugged it into the Ninja V and viola it works!!! Even got the firmware updated but I noticed skippy the kangaroo appearing on the recorder on a few occasions. Just maybe I need a new SSD. For now it will suffice since I am just shooting random things at home and trying to get familiar with the whole new set up. Now to decide on what SSD to get next!

Would be good to have another cheap camera challenge. Going back to an original Pocket cinema camera could be fun. The GH2 stills holds up today. Berlin, Japan and Taiwan were really special places to film in those days. A lot more gentrified looking now with a lot more shitty street furniture, e-scooters, adverts, etc. I find that a challenge which is hard to overcome. Filming round the countryside isn't great, because nothing moves. Better for photography. I'll find something to do eventually after the lockdown ends. Until then, all I have is the trees and blooming of spring, like Hockney sat in his French garden with his canvas, it's not all bad... But it ain't exactly Blade Runner

Editing BRAW in Resolve is a dream compared to my H264 files I work with from my GH5 and GH5s. Editing H265 from my drone is even worse, but I think RAW on a Mavic Pro drone is a wish I shall be waiting a long time for. Thankfully I've never edited MJPEG files, not since the early days of video DSLR. The Nikon D90 I owned, which first introduced me to the idea of shooting video with a photo camera. That was almost 10 years ago. Video has progressed a lot since then. I'm almost reluctant to look at any camera now that uses H264 as it's codec. Though if my GH5(s) is set to all-i, it's workable. The only issue with ProRes and BRAW recording is power, which is frankly a pain.

but if you have it, you may as well use it right 😉 as forest would say, life is like a box of chocolates 😎

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?

well they use the same sensors to begin with... other than that I'm not really a fan of such tests it's like pixel peeping for color. thankfully there is no color accuracy category at film award shows

Yes, the stacked sensor with DRAM is the real reason for the faster sensor readout. But the cost to include the DRAM on a 108mp sensor is probably too cost prohibitive for a while yet, so in effect the greater MP is limiting the sensor readout speed. I prefer Sony's approach and hope that others will follow. We don't need higher MP or 8k for a phone camera.

I'd love it if someone to built this into an 8mm camera body and wire the trigger up to start/stop recording. The VF doesn't even need to work - or better yet, make it some kind of rangefinder. Also, here's the first still image from the camera (As far as I know)

Yeah, as far as the prebuilt luts, the Nice709 is probably my favorite. In fact, the other LUTs in that varicam lut library are basically unusable, IMHO. I don't know, though. Maybe someone smarter than me can put them to good use (and there are lots of people out there smarter than me. just ask my wife.)

Found some shots taken with this lens on a old CCD sensor. 48x36 crop