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Γεια σου πατριώτη! Nice footage! You're not supposed to decompress anything on a fake anamorphic recording though. It's still square pixels. So when you shoot with Magic Lantern, you should not tell it that it's anamorphic recording, but rather normal recording. Then it will appear correctly when editing. Here is mine from today (Canon M50, Helios 44-2, Viltrox Speedbooster, Vid-Atlantic anamorphic aperture filter). I also have a modded Helios 44-2 (that doesn't require the Vid-Atlantic filter to get anamorphic bokeh) in the mail, coming soon:

I hated the A7iii ergos. I was one of the lucky ones to get that camera when it first hit the market and was back ordered for months. I sold it after 3 weeks. My perfect camera would be a Olympus body with a Panasonic menu system and GH level video specs with 10-bit Olympus colors. Especially with PDAF with tracking. If only Olympus would up their video offerings even just a little it would be more compelling for me to switch. I consider the Oly 12-100 f4 one of the best all-around lenses ever made. If someone told me I could only bring one lens and didn’t specify what I would be shooting I would put that lens in my bag. I’ve briefly used a EM1X in store. It felt really solid in the hand. Didn’t feel bulky, really. IBIS was amazing. Really wish it had 4K60 and 10-bit . Maybe a firmware update 🤞 My current camera is the GH5S. I like it. Buttons are placed well for my hands. Dedicate WB button. Spin dial for ISO. Lots of function buttons left side, right, top, and front. I wish the grip was a bit deeper, like the EM1 style. The image can be really good. VFR over 60p is rubbish. Horrible horizontal noise. Really disappointed in it in that respect it. I do miss IBIS, a lot. Probably going to buy EM1.3 when it drops in price a bit more.

It’s closer to 12.7 at best.

Great post! I think design, UI, and ergonomics are an under-reported element to our work. As every NX1 will say, it is such an enjoyable camera to use. Not just the chunky grip and sensible button placement, but the straightforward, simple menus deserve a shoutout. As a general use photo camera nothing comes close. Though I haven't used them, I think the Z6/Z7 are noteworthy for actually including a locator pin hole on the bottom--so simple, but so helpful. On the other side, the Z Cam E2 has some unique design choices that stand out. Lack of a grip makes gimbal balancing easier, and the presence of two 1/4-20 threads makes it super stable. Unlike larger pro cameras, it's tiny and much more easily managed for a single person crew. Then there's the phenomenal Z Cam app: wired/wireless monitoring and control from an iPhone. I noticed that! Definitely a nice touch.

I want to see your results of fake anamorphic lens like Helios 44-2 Mod Bokeh-Flares. I am using EOS M2 RAW Footage with Viltrox Speed Booster. Do You Have similar footage? The only problem with fake anamorphic is that even when i decompressing the footage from 4:3 to 2:35 is still a bit too much stretchy (all the footage not only the background). I am trying new experimental shots this month for making direct recording RAW at 2:35 aspect ratio at MCM Rewire 1080p,it looks a little better but still not the same with anamorphic look of an original anamorphic lens. (My apologies about some errors in my English writing. Thank you.

Fuji's IBIS is like Panasonic's auto focus. They just don't seem to care.

The issue is they didn't do it right. It wasn't a pocket camera it was ginormous. And that is fine because lets face it you can't really do a small camera that has BRAW yet. The OG Pocket was pretty small but such a small body can't do 4k with the BRAW compression. Plus the OG body overheated. They should have made it even bigger and put a decent battery in it (something that lasted an hour+) they also should have included a tilt screen. Then you'd have a very usable small camera. However when you need to add an external monitor and battery solution it becomes a pain in the ass. A huge benefit for me with larger bodies like the URSA is being able to get good handheld footage. I was shooting on a 50mm lens in 1080p prores and got nice footage. If I tried that with my XT3 it wouldn't be usable at all. It isn't a rolling shutter issue either as in 1080p the rolling shutter is comparable to the URSA. I was almost shocked how much of a difference it made TBH. IBIS or lens OIS is pretty important with smaller bodies unless you are always using a tripod or gimbal.

Definitely there are lots of people would like it that way! (I too think I'd lean to preferring that) But the complaints from people do not like this approach would be huge. Many want to just to be able to pop in a card and a lens on the camera then be able to go with it! Thus my point, either which way Blackmagic went, they'd be damned for it. From a commercial perspective, they probably made the right choice? I bet the OG Pock sold many many many times more cameras than the Micro Cinema Camera sold.

Currently no Canon camera either DSLR or C line offers RAW in resolutions below the sensor wide. So a 8k sensor will be 8k RAW only, 5.5K will 5.5K RAW and so on.... So I don't expect any DSLR with 4K RAW from Canon at the moment.... The above is pure speculation.... I would not rule out 4k 10bit... probably no RAW if they go SD card only....

All sounds about right, a shame as not interested in an 8 bit camera and I'm not willing to pay the premium for a stills camera with a RAW feature I don't really want when I can get a proper video camera used for about the same price. Is a bit like the C200 conundrum for me, 8 bit is not enough, RAW too much for my needs, just give me a decent 10 bit. Will stick with the Fuji XT3

With the cost cutting on the displays and build quality, it can be seen as a much cheaper 6D-class camera with IBIS, 4k60p and 1080p120p 8-bit 4:2:0 IPB compression (8-bit 4:2:2 external) and no Canon Log (crop, no AF in some modes) would be the most logical to expect from Canon., capable as a consumer camera, but not a pro-level camera either for stills or video. Which would mean that for better dynamic range, 10-bit or RAW codecs (to CFExpress cards) one needs to step up. But we'll see. And yes lower-res 4k RAW would be useful, except that's exactly what their Cinema cameras provide, so I can't see them putting anything similar in a stills camera. Or next year, the 1DX III 5.5k60p RAW recording capability with IBIS will be put in a mirrorless camera (for about the same price).

It's actually the most realistic one out there at the moment (Imatest, SNR 0,5). The 12.7 stops are achieved by using excessive amounts of noise reduction which also leads to many problems in images that aren't entirely static, one could even say Panasonic is cheating. At least all the issues will be fixed soon and with the Raw output as well as NR OFF (noise reduction -1 setting) coming we will see how the sensor and 12 bit linear output really performs, closer to 12 stops for sure. Having a much more organic image is more important to me than heavily flawed images that do great in Imatest.

I might be misunderstanding something, but my understanding was that the bit depth of the ADC correlated with the maximum number of stops of dynamic range: https://***URL removed***/articles/4653441881/bit-depth-is-about-dynamic-range-not-the-number-of-colors-you-get-to-capture There are serious issues with Cinema5D's methodology, even if their comparisons are useful. But even 12.7 stops would be too much for a 12 bit ADC was my understanding and to me their results read as significantly more. Regardless, the S1H has outstanding dynamic range, in my experience more than most cinema cameras with quoted 14 stops of DR (though not Alexa-level by any means), and something doesn't add up here.

I was never really satisfied with the GH5 even though I loved the body/IBIS. The low light performance and dynamic range on the A6300 impressed me initially though after moving to Fuji I'd never want to go back to Sony colors, even Panasonic color was always lackluster at least on the GH5. Maybe I would have liked the GH5S better, but no IBIS is a bummer. Perhaps I was too harsh on the pocket. But I just can't understand why they didn't at least add a flip screen. Its very hard to shoot with a fixed screen and see what you are doing, at least with the way I shoot. Battery swapping can be a pain but its doable, though the P6K pretty much crosses the line with the poor battery life. In terms of body design though I actually love the original Pocket camera by black magic. Yes the battery life sucked, but the grip was amazing. Probably the nicest feeling small camera I've held. Felt so nice in the hand. Of course that was killed after I rigged it up with a cage and all that BS(eventually selling it) If I were to go to an older BM camera it would be the Micro, really the only decently designed one. I think with the crazy specs we've come to expect bigger bodies that can accommodate bigger batteries make more sense. Also if a Camera is meant to be small and compact I think a built in flip/tilt screen is a must(the brighter the better). External monitors are just way to bulky.

Yeah Cinema 5D measured it at 12.7 stops when shooting in 6k, but I think that was due to the aggressive NR going on(seems to be more at 6k according to different sources). Just my guess as 4k was measured at 12.3.

XH-A1. 1/3" BTW, not 1"

RAW sensor data does not have a "format" other than being RAW sensor data. No LOG, no colour profile, no white balance. It's output as RAW data but the Ninja V I think interprets RAW as V-LOG on the screen, so that you can use a LUT.

12 bit linear RAW, since the sensor's video readout is in 12 bit linear as well it makes perfect sense to do so.

Yeah EOS r makes sense if you shout canon. If you shoot with an FS7 tho the A73 makes a lot more sense imo

Haven't found a perfect one yet and I've mostly bounced between Sony, Fuji and Canon. Its been awhile since I sold it, but I do remember the NX1 got a lot right, but needed a flippy screen. Sony needs a better grip, LCD, menus, a functional touchscreen, and... From a current body standpoint, I really like the design of the EOS R, Canon got a lot right - they just overthought it with the goofy touchbar instead of a simple joystick and jog wheel. Looks like the R5 got it sorted. The R's grip is perfect, its tall enough so the pinky doesn't curl under, its deep enough to carry the camera by the fingertips (I like to hold the camera when walking around so it doesn't bash into anything, but I have a loose grip on the body so I don't develop a claw from gripping it), and its spaced far enough from the mount so fat lenses don't squish your fingers. I like the return of the top display too, its nice to have another place to see settings. One underrated aspect with the R is the placement of the strap mounts - they're flush in the top plate, none of those annoying pointy lug mounts that stab your hand when grabbing the grip or when you press the shutter like Fuji and Sony use. The touchscreen is so good compared to Sony and Fuji too. I don't like the bulk of vertical grips, the new Meike grip extensions are a great solution, had one on the a7III and now have one on the EOS R. Chris

@Brother The IBIS definitely looks jittery in the moving shots near the end of the vid you posted. But in the more static shots it looks good. Seems like its only reliable use is a static tripod replacement. Which in itself is actually very useful as who wants to be lugging a tripod around. That said the XT3 is going for around $800 used and the 18-55 ois is amazing for handheld shooting, you can even walk with it and get good results at the 18-23mm end.

Yeah NX1 still amazes me, how something so 'conventional' in design feels so right. The smooth curves, big grip, direct controls, lightning fast responses, superb build quality, great screen, and then there's the image itself and the colour. Easily holds up today!

Cheap gear, not much of it around now! Anything vaguely interesting is at least $1000 Gone are the GH2 days. Fuji X-T4 is closest we get today. E-M10 III is the best ultra cheap. Although I do think the X-H1 makes a superb used bargain for $750 And diving back into old used cameras like the GH1 today makes for a fun challenge.

Just to add a more easily digestible, more immediately obvious way to show what's happening, here's the chart shot from the video in high-res. Top to bottom: 1080p full sensor width, Video crop mode 1080p, then 4k on the bottom. 4k is scaled down to 1080p and exported to DNxHR HQX before being put next to the other footage to make it fair. The comparison is then rendered to a 4k timeline to remove the bottleneck there. Staggering how much of a difference there is between 1080p FF and 1080p crop. The jump from 1080p crop to 4k is nominal, comparatively.

I've tried 7Artisans 25/1.8 (with the correct focal length set in the menu), Fuji XF 35/1.4 and Fuji 23/2. They all yield the same results, both with SAF, CAF and Manual focus. IBIS was turned on, IS BOOST mode and DIS was turned off, turning them on makes the problem even worse. I've included a shot with IBIS+DIS in my test video that @androidladposted. I even tested H264 vs H265, DCI VS 16:9, 100 vs 200 vs 400 mbps, 25 vs 50 fps. Same result. The thing is, you have to move the camera slowly in order for this to happen. It seems to me that the camera realizes to late that it's actually moving and compensates for it with the "jump" If I increase the speed of the exact same movement, the sensor doesn't jump.

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

Were you shooting in ProRes or ProRes RAW? ProRes RAW is needs a faster hard drive than ProRes, so make sure to check out Atomos website. I have a Ninja V too, and Atomos doesn't have anything listed at all for the Panasonic S1H 5.9K ProRes RAW drive requirements. I guess I have to wait and see...

Any excuse to pick it up again ! Here are variants of the Portrait with the different Tone settings. PORTRAIT - NO TONE PORTRAIT - AUTO TONE (MILD) PORTRAIT - AUTO TONE (STRONG) PORTRAIT - AUTO TONE (MANUAL) With the manual one, I'd set quite a big boost in the shadows and the highlights and you can see here I was able to pull everything back even on a jpeg into something sensible. PORTRAIT - AUTO TONE (MANUAL) - GRADED One of the good things about the Colour and Tone functions of the camera is that they are both on dedicated buttons on the camera so you don't have to dive through menus to get to them which makes it easy to quickly tweak the curve for a shot.

Desperate for any excuse to actually use my fP again, I've just gone outside to shoot this very quick, non-scientific and, indeed, slightly not focused on the ColorChecker test to show you the different profiles. I actually quite like the Portrait one as a flatter profile myself. STANDARD VIDID NEUTRAL PORTRAIT LANDSCAPE CINE TEAL&ORANGE SUNSET RED FOVEON CLASSIC GREEN FOVEON CLASSIC BLUE FOVEON CLASSIC YELLOW MONO

Today, I took my Panasonic G7 with me, while walking through a forest nearby. Recorded in UHD 25p, CinelikeV I used a Viltrox Focal Reducer to connect my Sigma 8-16mm to the MFT-Mount of the G7. This combination deliveres a really wide field of view, obviously. Grading was done in resolve, a warm, kinda natural look.