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Obviously, I can't answer for Dustin's nephew. And I am curious about this, too. But I can tell you that the reason I switched from my a6500 (which is a pretty good camera for RE video) to an S1 was for the 10-bit codec and the better screen and the better IBIS. I found that I don't need to use my external 5-inch monitor on my S1, not because the LCD screen is brilliant, but because it is "good enough" in bright sunlight (compared to the a6500 where you might as well just put a mirror on the back of the LCD because even a mirror would be LESS reflective than the screen on an a6500). So I wouldn't be surprised if those wer esome of the reason's his nephew went for the GH5. Oddly enough, there is not a HUGE dynamic range benefit between the S1 and the a6500, but banding is all but eliminated and the shadows are significantly cleaner (Hmmm.... re-reading that< guess that means there IS a big difference in dynamic range???) Plus the 10-bit codec is really helpful in removing color casts (and when you are shooting real estate which is 98% of the time using available light / house lights, you get LOTS of color casts). I haven't used a GH5, but if you are on a gimbal and walking through a house, shooting in 4K 60 would also be helpful to smooth out the footage in post. (Assuming of course it is just a straight "walkthrough" type video where you aren't recording anyone talking.

since no one else has bit... care to elaborate ?

I was very tempted to purchase one of these recently. Just wish it didn't need an external recorder. Its definitely the most affordable Cine body with a decent image though. I'd say the OG Canon C300 is a nicer image out of the box. There is no ability to record external 10 bit or 444 though which really gimps it. From what I've seen the skin tones and color out of the F3 really trump the newer Sony cameras, much closer to the beautiful F35 colors.

Ok, so a few things... I’m using my histogram and the built in exposure meter but I’ve read to expose between 1-2 stops over. Well, that is if you are going to be metering middle gray off of a gray card. But that is difficult to do for a real estate video when you are trying to hold a gimbal and camera in one hand and you will be in a room large enough and with different brightness levels so you don't know what part of the room to put the gray card in. In general, when in a high contrast scene, I try to expose SLOG 2 about 1/2 stop before the maximum zebras for SLOG2 appear. Double check what the max zebras are for SLOG 2. I think it is 105 IRE but I could be mistaken so double check. It is VERY IMPORTANT you don't set the zebra level above SLOG 2's maximum point because if you do, the zebras will NEVER appear. So if SLOG 2 clips at 105 IRE (which I think it does, but you are going to double check, right???) and you set the zebra display to show at 106 IRE or higher (which I believe is over SLOG 2's upper limit), then the zebras will NEVER show, no matter how bright your scene is. Let’s say I’m shooting a kitchen scene with nice windows but not much light. Would I balance between the two readings and maybe increase my iso from 800 to 1600 with the appropriate f-stop to match? At that point, when it is REALLY contrasty, you just have to decide what is most important to you. Is the view out the window most important? If so, expose for the view and realize that you will probably have to crush the shadows / blacks a bit to keep the noise down. But if the interior of the kitchen is most important, then let the windows over-expose and just keep your exposure high enough so that the interior of the kitchen is about 1 stop or so over what a normal exposure would be. If both the interior AND the view are important, then you are just going to have to shoot more than one scene / one angle with proper exposure for whatever makes up the bulk of that shot. As for ISO, try to keep it at ISO 800 because that has the most dynamic range for SLOG 2. Shooting in cine4 is easier to wrap my head around because I’m not thinking as much but I realize you give up a bit of dynamic range. Yeah, but you give up about a stop and a half or something like that in reduced dynamic range. Also, I myself have found the roll-off in the cinegammas to look pretty nasty (although i remember @Deadcode mentioning that the rolloff in Cine 4 can be nice, but I don't think I have the skills / talent level of Deadcode to be able to get smooth rolloff with Cine 4, so I stick with SLOG 2) The other thing is codec... isn’t the 1080 120fps a better codec than the 60fps? No. Test this out to confirm, but 99% sure that it isn't a better codec. It is the SAME codec, but you have twice as many frames per second spread across 100Mbs worth of data. So in essence, each frame at 120fps is getting half the data each frame gets at 60fps (I know that isn't exactly how it works, but you get the idea). The other thing is, if you want to stick to the 180-degree shutter rule, then if you are shooting at 120fps, you have to set your shutter for 1/250th of a second. It is unlikely you are going to be in a house shooting at 1/250th of a second. On the other hand, it might be useful if you are shooting outdoors in the bright sun with a shallow depth of field.

Nice work ! Funnily enough I was Place de la contrescarpe and right where you were in the quartier latin doing the same kind of shots with my X-T3 two days ago !

The laowa 12mm zero distortion is a good fit, as you dont want a lot of distortion on you real estate video's.

Hey All not sure which nephew we’re referring to but i might’ve gotten mixed up with another person as I have no nephews lol. I received the Samyang 12mm 2.8 and it seems to be a nice small/wide lens for the money. Just what I was hoping for. Gimbal arrived Monday (but possibly Saturday). I plan to shoot a demo next week of my own house as a sample, since most of my video work has not been in this genre or close. I’ve been practicing shooting SLog2 but it’s tough to expose for me. I’m using my histogram and the built in exposure meter but I’ve read to expose between 1-2 stops over. Let’s say I’m shooting a kitchen scene with nice windows but not much light. Would I balance between the two readings and maybe increase my iso from 800 to 1600 with the appropriate f-stop to match? Or should I rock an ND filter in-doors so I don’t have to adjust my f-stop? Shooting in cine4 is easier to wrap my head around because I’m not thinking as much but I realize you give up a bit of dynamic range. The other thing is codec... isn’t the 1080 120fps a better codec than the 60fps? I usually like working with my 1-2 memory settings so I guess I’ll make a set of 120 and 60 and see which I like better.

It's people realizing again image quality is more than specs.

It doesn't just have a TC input, it has a TC output too! (unlike many other cameras which have a toggle switch for in/out, and one BNC connector is shared for all TC) Has Genlock too!

you know what, I enjoyed the DP3 so much the idea of using it photoshop makes me thinking of buying one again!

I wouldn't settle for anything less than a secondhand Sony UWP-D11 (or a Sennheiser G3, which is the same price pretty much secondhand, although in my opinion Sony is superior). There is also their newer models: Sony UWP-D21 and Sennheiser G4 (although, in my opinion the G4 isn't worth the extra value over the older cheaper G3 because the G4 isn't an update of note at all for their entry level). There is also the Deity Connect Wireless to consider, which provides better value on a per channel basis. From memory, didn't the D5200 have a somewhat hissy mic preamp? You might want to pick up a Tascam DR60Dmk2 as well. (or even better, a MixPre3mk2 if you can)

Sigma now do a plugin for Photoshop https://www.sigma-global.com/en/download/cameras/sigma-x3f-plug-in-for-photoshop/ The Quattro series can use DNG so its less of an issue than it was on the DP series. Sigma PhotoPro has improved quite a lot from when I first started using it but, yeah, its still not exactly super fast. Most of the time I just use the batch processor in PhotPro to save them to TIFFs and then edit them in Lightroom.

Enna is stil using NX1. I watch his films often while I also had that great Samsung camera. Now he is testing both, X-T4 and NX1. ISO jump.

Sony has their raw codec xocn. They use it on the Venice and f5 and f55.

It is not my footage, unfortunately!:) It was shot by a Dutch DP I read. Gave me the last push towards the F3. Another deciding factor was a F3 - BM4K comparision on youtube. Something really tasty about the image. I think the BMPCC might not be going for little money again that soon, if at all. Digital Bolex won´t that´s for sure, Iconsokop camera never has nor will. The BMPCC is a beautiful simple body to hold and to look at with a beautiful image. It seems like it can become an object of irrational desire, so to say. A design classic. One advantage of my GAS is tol be able to compare both FS700 and F3 with internal and external recording. Does the F3 with 444 give a 60p 10bit 422 to a Shogun Flame? If not I will borrow my friends Odyssey. 444 and 422 comparison seems interesting. An akward feeling to have spent that much money these days. I am a bit sad about my greediness to be honest and not having given attention to my FS700. With the F3 it won´t be necessary to record external 4K for a cinema image and I can finally give my Tokina 28 70 some true love after three years. Sorry for my lamento.:) By the way, your images didn´t help me neither to resisit the F3 @Geoff CB

Cool ad.

Not me, just something I came across. DOP M.Ridwan I think is based in Singapore, close to Indonesia. I wanted to share because so much talk, pixel peeping and boring review footage of new cameras misses the point that something telling an interesting story, with a beginning, middle and end, in focus and with good sound matters more. I think this shows off the BMPCC 6K and the talent behind it really well.

Yes I remember it dipping down low! Was mildly flirting with the temptation of getting with a 2nd BMPCC if it went any lower. Don't understand the rise in BMPCC prices, any theories?? Ditto the Sony PMW-F3, last year I noticed that it was common to see them selling for sub $600 with a couple even for sub $500!! Had decided next time I saw a sub $500 F3 camera I'd go for it to get myself a 2nd F3. But since then? Average prices seems seem to have come back up again for the F3. Currently the cheapest F3 on eBay are priced: $600, $700, $800, $850 (and from there it just getting more and more expensive, someone even has an F3 listed for $12K!!). Personally I find it hard to justify a barebones Sony F3 for $800 when now a FS700 costs a similar price (and an FS5 are sub $2K! But heck, I'm even more excited to see that FS7 bodies are now going for sub $3K, that tempts me to job back into being a camera op but would be dumb to spend $3K in this current economic environment).

I imagine with where they're shooting that getting 100 extras is much much cheaper than doing this locally where I (or you) live. Ditto burning down that house, it's just a shack, would've been cheap. One of my favorites!

I mostly shoot with the C300 Mk2 right now. (Or when we were shooting more.) I actually probably like the F3 image about the same, maybe better. The C300 Mk2 is just so easy to use and does really good in mixed light. Great baked in options and 4k without a recorder. I never had good experience with the FS700. I could never get the color to look right. I suppose it looks really nice with a speed booster at f2 on a 50mm, but you can't shoot everything like that. My F3 is sitting on the shelf. Let me know if you need a back up. Anyway. Your footage looks awesome. Keep it up. If you think the black magic pocket is bad, try looking for a used digital bolex. Those are like 5-7K.

Panasonic Varicam LT. Most compact, balanced shoulder cam I’ve ever used. RED DSMC. Started the brain/sensor in a box flexibility. Blackmagic Pocket (OG). Cinema in your pocket.

Nothing changes, everything uploaded remains online. I know this because I have done this (also asked their support before stopping to pay).

@Super8 God tier trolling right here 😂

There is a used Epic Dragon on ebay for $4800 right now, with two red mags and a PL and Nikon mount. I guess you could compare the RED epic dragon to a 1DX MK3 price wise. Price wise you'd compare a P6K to a RED One, those go for around $2000-$2500. You can find a RED scarlet for around 3k, but that is bare bones with no accessories. Way cheaper to kit out a P6K than a RED. Personally I wouldn't buy a RED One in this day and age.

My camera and Pi has arrived and I'm happy to say it's going to fit very nicely in a (broken and unusable) Bolex B8 - by my calculations, the sensor size is similar to that of 8mm film, so I'm planning on taking off the C-mount from the sensor and placing to look through the D-mount lenses on the camera. Which will also let me hang onto the turret system. As my camera is already broken, I'm going to have to gut it, so it's essentially the most hipster RPi case around, but I'm fine with that. There's tonnes of room for a power bank etc. to keep everything nicely held inside. Can possibly keep the mechanism too so I can make cool noises while filming. I just need to wrap my head around some buttons and switches. I'm quite digging the idea of opening the side of the camera to turn the system on and off every time, but definitely need a trigger on the outside of the casing. I'm also toying with the idea of setting 15 second record limits to really embrace the annoyance of a wind-up system. When all is said and done, it's going to look something like this:

Same for me ! Used a lot of dslr by the past (mostly Nikon), then Fuji (X-T1 and X-T2), a Nikon Z6 and now a S1. We read a lot of "the camera that inspires me to shoot" concerning Fuji, and this is exactly the same for my S1. I loved my Fujis, but the S1 suits me like nothing before, handling, buttons, grip... I often shoot in challenging situations (cold, snow, shitty weather...), and the S1 is the perfect tool for that. It is big and heavy, sure, but offers so much that I forgot about it ! I will soon be in the market for a complementary body, smaller and lighter if possible, to share lenses (L-mount and Canon ef) with the S1. My list is now reduced at : Fuji X-T3 and Sigma FP if I find a good deal.

The silver Fuji X-T4 with that seperated stills and video mode is sex for me

Actually, I am kind of happy with the Fashion Low Contrast lut in the Varicam pack. I still do my exposure in a node BEFORE the LUT is applied, and just use the shadows / highlights and contrast / pivot controls. Then I do the color changes in a node after the lut is applied.

What you haven't heard? Canon Egypt gave the green-light for the R5 dentist undergrad beta test program! 🎬 🎬 🎬

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

Not at all. Owned 550D, 5D III, C100, C300, GH3, GH4, a7S, A7S II, bmcc 2.5k, ursa mini pro, pocket 4K, pocket 6K (and shot with FS5, FS7, fs700, Arri amira, alexa mini lf, sony venice, F55, ...) All camera's have their strenghts and weaknesses. One has better color out of the box, one is easier to grade, one has slowmo, one is too light, one is too heavy, ...)

Yes i had S1h for about 6months before i sold it for 1dxmiii. S1h with ninja v

Why consider the R6, why not? I do take photos, and their AF is hard to beat, match with good colour science. The only brand I won't do is Sony. I own Panasonic and Blackmagic, but would happily get Fuji and Canon with the right camera. That said, I love Blackmagic Colour Science. Can't agree with your scathing cristisms at all. I prefer it to Canon, in many cases. Comparing BM Colour to Sony is 😄 Its so forced an argument, it really undervalues it. Oh and I've seen Blackmagics Specs.. there are crucial things missing from their Pocket in terms of features, I won't deny it; but then Canon have been guilty of that in the past. They still have their supporters.

Colour is subjective (I actually prefer Panasonic colour science since EVA, S1 etc), the rest of these you're just guessing, IBIS and DR of the S1, SH1 are going to be hard to beat. Hope you're right as progress benefits all of us but your Canon love in and trashing of the BM Pocket is a little OTT

This would be a great move and I think create a whole new buzz about the C200, at £5800 new it is still too high for a camera without a middle codec and I would prefer the Panasonic EVA - but 10 bit would make a return to Canon more interesting for me. I have no interest in 8k of the R5 but would spend that kind of money on a used proper cine/video camera

You seem awfully sure of your predictions. Almost like some of you are strangely anxious to see such limitations arrive. Against that train of thought I have one model name: 1DX mark 3. 5.5K Raw, 4K60P. FF. No crop. Full pixel readout. 10-bit. Passive cooled body. In a few ways that camera already surpasses the C200 / C300 mk II specs. Clearly Canon are changing strategies. They are maxing out their flagship DSLR/MILC range. Even if those limitations you speak about exist, they will basically be law of physics limitations. I don't see how that could possibly be considered pulling a "cripple hammer"? They just announced a bunch of updates for their cine line too btw: Canon U.S.A. Announces a Host of Firmware Updates for Professional Imaging Products Looks like instead of crippling their consumer cams they are now looking to upgrade their cine range specs. Surprising to finally see SDI + HDMI support on the C200. I'm really hoping they go all the way and unlock 10-bit codec.

https://noamkroll.com/building-a-more-affordable-alexa-with-arri-cpo-leica-r-lenses-the-leitax-mount/ Exactly what I've been talking about in the past! Arri Alexa Classic + Affordable Glass