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Ah, a little further elaboration... I use the 16-80 on one body with tripod, ie, static for ceremony & speeches only. The Sigma 18-35 is on another body and freestanding monopod for more considered work indoors. The Tamron 45 takes over outdoors and with both of the latter lenses, mostly shooting wide open ie f1.8. No client has ever mentioned blur, bokeh or any other technical/visual aspect. If they are ever going to want to talk about something, it will be music choices and can they have their Ed Sheeran first dance inserting somewhere 🤯

Z CAM E2-M4 @USD1,499 - Basically same as Z CAM E2 but without sync feature. - Exterior design same as Z CAM E2 Flagship Series. - Interchangeable MFT lens mount in standard package. - Optional interchangeable EF, PL and M mount. - Shipment will start first week of June. Z CAM E2 - the only model that supports multi-cam sync feature. - Price USD1,999 remains unchanged. Z CAM E2-S6 - Price changed from USD2,995 to USD2,499 Z CAM E2-F6 - Price changed from USD4,995 to USD3,999 All Z CAM E2 series will soon support direct RTMP, RTMPS and SRT live streaming, including but not limited to Facebook and YouTube, without going through a computer. With that price drop, I think the Z Cam E2 M4 is now more appealing than the BMPCC4K which is now only marginally cheaper.

Sounds like you should look into Rokinon/Samyang lenses. The Nikon 20mm 2.8 and 85mm f/2 are both fantastic lenses, but are also both small, which you say you don't like. The samyang/rokinon lenses are all faster aperture and bigger in size. They're widely available in a ton of mounts, cover full frame, and are cheap/easily replacable.

I already posted this in a proper thread in the "footage" sub-forum. But I want to add it to this collection here as well. My passion project "The Night Knows No Shore" shot with a Canon FD 85mm 1.8 and an Iscorama pre-36.

So the Alexa isn't a proper camera?

WOW! The M4 is the swiss army knife of E2's - and I love how aggressive the Zcam team is adding features and options. They have the E-ND mount, m43, EF and so on - plus they're introducing their own speedbooster. At $1500 this is seriously tempting. Chris

The free Resolve license is another factor in favour of the P4K. Would be nice to have the option of the P4K being in that form factor though.

It is GPU accelerated, I get Realtime playback in 4K on my GTX 2080. Just did this quick test to show how effective it is. It's not perfect, but it's so close that 99.9% of people wouldn't be able to tell the difference. Titles go faster than I expected but you get the gist.

At a quick glance it might be useful for people to see what's available that shoots 4K - everything stills-video (not camcorder), with a large-ish sensor and 4K video. Here's my list off the top of my head. I'll add to it based on your suggestions and I've missed! Full frame 4K Canon 1D X III Canon EOS R5 Canon EOS R6 Leica SL2 Leica Q2 * Nikon Z6 Nikon Z7 Nikon D850 Nikon D780 Panasonic S1 Panasonic S1R Panasonic S1H Sigma Fp Sony A7 III Sony A7S II Sony A7S III (Soon) Sony A7R II Sony A7R III Sony A7R IV Sony A9 Sony A9 II Sony A99 II * Fixed lens 28mm Full frame but cropped 4K Canon 1D C (1.3x) Canon 1D X II (1.4x) Canon 5D Mark IV (1.8x) Canon EOS R (1.8x) Canon EOS RP (1.8x) Leica SL (1.5x) Nikon D5 (1.4x) Super 35mm full width 4K (APS-C) Canon M6 Mark II Fuji X-H1 (slight extra crop) Fuji X-T2 (slight extra crop) Fuji X-T3 Fuji X-T4 Fuji X-T20 Fuji X-T30 Fuji X-Pro 2 (Firmware update) Fuji X-Pro 3 Fuji X-E3 Fuji X-A7 Fuji X-T200 Leica TL2 (no 24p, 30p only) Leica CL (no 24p, 30p only) Nikon Z50 Sony A6100 Sony A6300 Sony A6400 Sony A6500 Sony A6600 Samsung NX1 Micro Four Thirds 4K Olympus E-M1 II Olympus E-M1 III Olympus E-M5 III Olympus E-M10 III Olympus PEN E-PL9 Olympus PEN E-PL10 Olympus E-M1 X Panasonic GH4 (2.3x crop) Panasonic GH5 Panasonic GH5S (1.86x extra wide sensor) Panasonic G9 Panasonic G7 (2.3x crop) Panasonic G85 (2.3x crop) Panasonic G90 (2.3x crop) Panasonic GX9 (2.5x crop) Panasonic GX8 (2.5x crop, old model not recommended for video) Panasonic GX85 (2.3x crop) Yi Mi 2x crop 4K or more from APS-C sensor Canon M50 Canon 90D Canon 250D Nikon D7500 Nikon D500 Samsung NX500 Fixed lens and crop sensor Fuji X100V Canon G7X III Canon G5X II Leica D-LUX (LX100) Leica D-LUX7 (LX100 II) Leica V-LUX (FZ1000) Leica V-LUX5 (FZ1000 II) Panasonic FZ1000 Panasonic FZ1000 I Panasonic FZ2000 Panasonic LX100 Panasonic LX100 Mark II Panasonic LX10 Sony RX100 series (from M4) Sony RX10 series (from M2) Sony RX0 series Medium format 4K Fuji GFX 100 Hasselblad H6D 100C Hasselblad H6D-400c Leica S Typ 007 (Super 35mm crop only in 4K) Leica S3 --- List updated: 13th July 2020 No pro video cameras. Has to be a stills camera and be able to shoot 4K. Can be either DSLR or mirrorless.

I was after a 2.8 manual focus mid range zoom for years when using Pentax DSLRs and just occasionally, I would see this lens on Ebay. I have had a lot of mid range manual focus film era zooms and most have not been great, two exceptions being the Tamron adaptall 70-210 3.5 (model 19b), a lovely lens but very big and heavy and Canon FD 80-200 f4 L (this one I never had until a lot more recently). When I DID see a 60-120 2.8 lens, they were very few and far between and all from Japan and usually very expensive or had fungus or other issues. More recently i have given up on old lenses unless I get them very very cheap from the charity shop I volunteer at or likewise at a pawn shop i haunt but have gotten rid of most of them in the last couple of years. I was looking for an AF portrait lens on Ebay for my A7s but kept going down and came across this old lens (around 40 to 50 years old). $150 Australian plus postage is an absolute bargain and when the lens was listed as near mint condition, well I put off paying the electricity bill to buy it It turned up today (two days early) and I fell in love at first sight and want to marry it after a minutes use! There are very few reviews of it around but most say it is very good though some say it is not sharp...Well I think it may well be the sharpest zoom i have ever had and its bokeh is to me, superb. It is not quite mint (though looks like it was made yesterday), One touch and the focus works very smoothly but the zoom action is a little stiff (better that than loose though). Minimum focus distance is a fraction longer than i would like but that is just nit picking. For video, I will only use it to record single musicians either seated or not moving far just for the odd song (on a tripod and zoomed to the focal length wanted and set). For stills it will be a wonderful portrait lens (all I need are victims) but it might be a while before i can use it properly unless i stop random people in the park. I am sure it will have downsides (maybe if a light source is in view though yet to try it) and I get a new flash in the next few days that i want to try it with. IF you can find one in even half decent condition, from what i have seen so far, I would say BUY it (or kill for it but check the prison will allow you to keep it with you first). Some lame first shots. Any errors are MINE, not the lenses. All at 2.8

So many times I wish I were a photographer instead You can get a beautiful shot with a camera that looks the same whether moving or still... But movement always has to justify itself. If the frame floats or moves with IBIS, shot dead. Mood gone. It's such a fine art. Camera movement is such a fussy thing. It's like colour - There's no point it being there unless the movement is beautiful or has meaning. Otherwise, may as well be still - or black and white. With a photo you can just make a pretty shot and it's job done. It's about timing, framing. With video you have to sustain all that's nice and has meaning for 10x longer. Sometimes 1000x longer. With photos there's the one-man nature of it... with video, you have to rely on others a lot more - actors, writers, and so on. And that's before you've even started the shoot Sometimes I hate video. And think I'd be better off with a Fuji GFX 50R, just enjoying myself. Just one man and his camera. With video, you often have to lug around rigs, tripods and monitors. To anybody who sustains their filmmaking over the years at a high level I salute you. It must be incredibly stressful!

It's almost the same comparison as Neat Video vs Resolve's own noise reduction. It gets the job done waay faster than a 3rd party plugin, but the results are not the best. Worth the trade off? Depends on your needs. I ditched Neat years ago, but i prefer rsmb over the built in solution

Using ReelSmart Motion Blur? If that plugin is effective, consistent, and fast I'd consider it over using ND filters. Costs about the same as an collection of cheap filters. Man, I'd love to ditch my variable ND's. Would like more real-world testimonials though. Anyone else?

I understand why you left it off the list, but I've taken some very nice photos with the Pocket 4k, and the 6k would be just as capable, if not more so with the extra resolution. I guess GoPro and DJI cameras don't count because of sensor size?

Go dual system! You could skip the cage, and just use your own phone as a screen. (or a cheap sub $200 monitor. Many people use an external monitor with their BMPCC4K anyway) They are going hard in making sure there are lots of accessories too!

Great initiative. I would also like to know whether 4k is acheived through supersampling/lineskipping/1-to-1 pixels/cropping. This can be just as informative as max usable ISO since it's often less subjective and affects both noise and moire.

Cheaper than an X-T3 at launch. Bargain alert! Much more capable specs than the Pocket 6K. Don't forget the cost of the screen and cage though.

I believe the main problem with a larger sensor is fitting the lens. The S20 Ultra is 8.8 mm thick which is considerably larger than the competition. Making the phone thicker will turn away quite a few consumers. The lens thickness is also the main reason why most tele-cameras on smartphones are so bad. They often just use a smaller sensor but with a similar focal length as the main camera. For marketing it seems better to have 3 cameras even if cropping the main camera will give similar results. The S20 Ultra is one of the few exceptions that use a periscope lens, which in theory could be an improvement.

The S20 Ultra actually has a bigger sensor (1/1.33 instead of 1/1.7), but seems like a failure. The 960 fps on the S20 ultra is even upscaled 480 fps... The S20/S20+ has the same sensor size as the new Sony.

ha! Of course, I probably read it here on EOSHD: (quite likely I read it elsewhere too, others have also said they share the same sensor)

The Z-Cam E2 and E2-M4: Native ISO: 500 / 2500 ( http://www.z-cam.com/e2/ http://www.z-cam.com/e2-m4/) The full frame Z-Cam E2-F6: Dual Native ISO: 400 / 2500 ( http://www.z-cam.com/e2-f6/ )

Obviously this came from a place of lecturing myself more than anything else, but figured it may help us all once in a while. It’s SO EASY to get pulled into obsessing over specs, or the thrill of the eBay chase and so on. at the start of the year I moved studio and just had mountains of audio and video gear to shift, some of it I just got preoccupied with a notion that a certain sound or look would “inspire me” but TBH it was nonsense, I just enjoyed the hunting and buying, as soon as thing arrived the hit of endorphins was gone and it gathered dust. So now I’ve sold a ton. I still have a lot, but try to keep to stuff that really makes a difference. i settled on the S1H as my camera now. The company I co-run still has a GH5 and C200, but the S1H is the best balance for me, and I’ll stick to it and learn it. The autofocus makes me want to yeet it off a cliff though, but hey I just stick Zeiss primes on it with Nucleus nano and I’m happy!

Fotga has just added waveforms (RGB parade / YUV waveform / Luma waveform) and a vectorscope to the aforementioned A50T monitor series. Can't truly say I ever expected to receive ANY firmware update, but they constantly surprise me with those new features, wow. First they added a Hi-brightness setting (which bumps the brightness from 510 nits to over 700 nits), then a DCI-P3 gamut and now - waveforms. Just: wow.

I applaud this race to the bottom. The real winner is us consumers.

I'd be interested to see some stress-testing of it, like Lok did on digital rev when he did star-jumps and it really emphasised the effect. Ultimately it will come down to the motion detection and estimation so it knows what to blur. In Resolve it would be pretty easy to bake the effect in while converting - just drag all clips to the timeline and then do an export and set it so that all the clips are individually exported. This workflow would also work if converting from RAW, and would handily be a place to apply LUTs any other things that always get added to your grades.

Could be useful for 4K/60p as well, for a more natural motion blur in slow-mo shots. 180 deg shutter is 1/120 for 60p, which eliminates most of the nice 24p look.

When the cinema department and marketing department come together bad things happen. This kind of thing should have been STANDARD 5 years ago and today's version should be sleek as hell, perfect image, no latency, no wires, long battery life and all sorts of refinements. Maybe in another 5 years it'll be usable for day to day shooting?

I can see why it works well for the tommy guns I find it useful in low light - 1/25 means you can use a lower ISO All depends on the shot how it's going to turn out. Quick handheld camera movement looks a bit too blurry. 180 shutter is also too slow for some things... it all depends. Usually it's perfect. I am going to try shooting everything without NDs and using my own shutter speed in post, with the motion blur in Resolve Studio 16 working so well just now... It gives you ability to choose the look in post rather than have motion blur baked into the source material!

There's a few big budget movies that have used a 360° shutter, Public Enemies comes to mind:

Can't remember who but I do recall someone on here saying that they liked to shoot with SS longer than 180 because it kind of compensated for the limitations of DSLR / MILC cameras in other ways, sort of balancing them out to get something cinematic. Conversely, films like Saving Private Ryan have used shorter SS than 180 to give the opposite effect: https://cinemashock.org/2012/07/30/45-degree-shutter-in-saving-private-ryan/ 180 is a 'rule' in the sense that the rule of thirds is a rule - they're great to learn when you're new because they help you to avoid doing stupid things, but once you've passed a certain maturity in craft you can use them or break them depending on the situation....

The one in resolve is close enough that I'm not going to use ND's for shots on my Z6 anymore. Also for VFX work results are far better when you pull a key off a high shutter speed and then add the motion blur in post. Makes cleaning up hair work far easier.

Yep we posted in another thread about adding motion back using Resolve..... I did experiment more so it depends a lot on the scene and background as just a tad of blur does not add too many artifacts in case of complex bg like a metallic fence can cause bad artifacts. My test was a show jumping horse in a parkour the goal is to pull picture at 1/250 or 1/500 and have a usable video. So to an untrained eye you can fool them but for real pro work not sure I would use it. But in case where photo has priority I will definitely use it.

could be kinda interesting it seems aimed to be paired with alpha series..

Resolve offers something like this. It's quite good, actually. Did you give it a whirl?

A lot of us can’t help it! It’s a human tendency to want the next best thing and never be happy with what we have. To be honest I had a itch to pull out my wallet and replace my GH5S...XT-4? S1H?... Then this global pandemic hit and quarantine happened. We also decided to move and sell our house so I naturally grabbed my camera and documented it. To be honest the more I was creative with my camera the more I enjoyed using it to create something. The image with V-LogL is quite fantastic. I decided to use Buttery LUTs in an attempt to just shoot and focus my attention on exposure and white balance and not mess around too much in post (Some screenshots below). We don't think about the specs of our hammer when we use it, we think about what we are making with it. So that's the mentality I'm going remind myself to use. Some other conclusions: I am 100% convinced I prefer glidecam/shoulder strap stabilization and locked-off tripod shots over a gimbal (so I'm selling my dusty Weebill S).

Phones are the new cameras for most people

...not another click bait please..for a few seconds I have my pulse elevated, not good for the heart for us mature people. ..and I do not need another phone for at least a couple more years.

I am just amazed they felt it necessary to release a 'cine' phone before they release the A7S III!

Canon EOS 250D Nikon D7500

By the way, sorry for the clickbait title but perhaps a sign towards what is to come in the next Alpha instalment? First time in a while (or ever period?) that Sony is placing pro CineAlta features in a consumer product!

We can leave off crap from the list, no point adding some of the lame ones.

Haha great stuff. Liked the video a lot @jgharding It's true, you reach a point where you have so many tools you don't use any of them. The EOSHD blog adds an even more warped motivation for me. I have no choice but to keep buying cameras and lenses!!! I enjoy it like a crack addict enjoys coke. I never wanted to become an obsolete camera collector or lens museum though, and even less want to become a shop. So the things just kind of sit there like the void staring back at me. Buying fancy stuff is only part of what inspired me to start shooting. I do enjoy it, but I enjoy a good shoot even more. It is something that doesn't just apply to creatives.... much of how we've organised our civilisations all boils down to this constant cycle of acquisitions and never settling with what we have or pausing progress long enough to taste it. The other paradox of this syndrome is that it instantly devalues what you already have. You can spend a fortune and lots of time on effort researching a tool, only to get it, love it, use it for a week, and then feel the urge for the NEXT adventure straight after before you've even scratched the surface of the creative possibilities that just opened up before you. A prime example of this for me was when I got the Fuji X-H1. The A7 III came along on the same first proper shoot as that, so half the time was spent wondering which shot to do with which camera. Very distracting. Then after the A7 III up pops the Panasonic S1 and Fuji X-T3. By this point the X-H1 was sat on the shelf for weeks on end while I dabbled with 4K/60p, and the A7 III wasn't coming out on any shoots at all. So why did I bother spending all that money on either of them only to upstage both of them within months? This constant churn of gear is basically one long syndrome of addiction, brief enlightenment and disappointment. I don't know how to stop it. I liked it best when everything was either rubbish or expensive, apart from a GH2. I stuck with that for ages and actually created something.

Nice topic. This one i did with a modified Isco 36 (now cine Iscorama mkII). I used different taking lenses (voigtlaender 40mm 2.0, Nikon 50mm 1.8, 58mm Helios and i think there was a 80mm Nikkor as well) I used the Gh5 on a Letus gimbal in 4:3 full sensor mode. So the final frame was a 2:1 ratio in 4K. Which gave me a lot of freedom for reframing.

55Mbps bitrate seriously?! Lmao.. cripple hammer now belongs to Sony. SMH Maybe not a good sign after all 😕