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Not much visibility of a USB cable and power bank on the Cine section of their promotional material either.

Take a look here! https://www.eoshd.com/comments/forum/25-samsung-nx1-nx500-hack/ I recommend the 160 / 180Mbit mod As the NX1 records H.265, this is equivalent to H.264 4K quality at 360Mbit! I also recommend the EOSHD setup guide and LOG workflow. https://www.eoshd.com/samsung-nx1-video-settings-guide-tutorial/ As for accessories, look to see if you can get Luca's NX-L speed booster for the full frame look with Canon EF lenses. And the Samsung battery grip is pretty nice too. This camera really does hold up well today, apart from ISO 6400+ or the rolling shutter. Just keep the ISO below 3200 and use a fast lens in low light. Avoid very quick action pans! I wish Samsung would return to the market. Biggest loss of the past 10 years. PS - if you have trouble with the H.265 files try converting to ProRes with EditReady or using Blackmagic Resolve 16

I ordered the vlogging kit. I like the portability and the camera has some nice features. I wish the lens was a little wider; however, the camera is pretty light and I can easily get the wide angle I need with a selfie stick.

Those were quite gorgeous 10 years..

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!

I accidentally bought an OG C100 during lockdown! This is my first outing with it - although there's not a lot of action around at the moment!

Currently using a mid-2015 MBP 2.2 i7 w/ 16gb of ram. As soon as I add the videos to iMovie (moving to FCPX this week) and layer them with green screen or picture in picture/etc. the computer slows and sounds like a jet engine taking off. Not sure if creating proxies or upgrading new a 13" MBP 2020 model would be helpful. Also edit internally vs. external thoughts? I will be creating mostly 5-15m videos for educational purposes on a weekly basis. Thanks! 1. Stick w/ 2015 MBP 15" and use proxies with external HD or Internal? 2. Upgrade to 2020 MBP 13" and use regular files with external or internal?

Thanks @tupp I am using a combo of iPhone and Sona A7III video. Additionally, I am making videos from Keynote for animations etc and layering all of these clips sometimes picture in picture etc. I am just not sure if it will take a long time to create proxies if I am making anywhere from 1-3 videos a week, which is to support my job as a teacher. Apple has offered $480 for my 2015 MBP and I was looking at a 13" 2020 MBP 2 ghz, 32gb ram, 512 SSD for $2100 or $1600 after giftcard.

Don't know much specifically about your gear, but merely using proxies should give a huge performance boost. Working with compressed camera files can slow things down to a crawl and cause discrepancies in effects and color grading. You shouldn't need high quality files until grading and rendering. Some graders transcode camera files to uncompressed and then work on them. Regardless, if you get a new MacBook, Louis Rossmann (who makes a living repairing MacBooks) warns folks to disable secure boot. If your current MacBook has a T2 chip, you should make sure that secure boot is disabled.

The EODHD forum's toughest pill to swallow: even the best image quality, the best low light ISO performance, the best AF, the best lightning, the best sound, the creamiest of bokeh cannot sell shitty/niche content. You need a good story/performance or at least a gripping reality soap opera (which can be told by a workhorse HD camera, that has been forgotten by GAS).

Belittle away, I have no emotional investment in the FZ2000 As I say, I got it for specific jobs (small vignettes of pre-match build ups at stadium and for live streamed press conferences) where the overall feature set of it was more appropriate for what I personally needed in a versatile allrounder, particularly the faster lens with the longer reach and the additional ND. I agree about the XC10 codec but for my purposes the FZ2000 was fine as, for the small films, I would shoot in 1080p (which also avoids the bugbear of the crop in 4K) so the 200Mbps ALL-I was perfectly adequate and for the press conferences the 4:2:2 10-bit HDMI output was more than adequate for the livestream encoder it was being sent to Like I said originally though, all the output I've seen from the XC10 still keeps it on my radar when the price is right.

Yeah, that's a very fair point. Like I said before, my current predicament is debating between one of two routes for my next camera purchase; something more cost affordable, but will likely be replaced within a year or two (i.e. a Fuji XT3/4)... or something notably more expensive and heavy duty, but will hold a longer shelf live for me before I need to upgrade from it. And while obviously camera bodies are far less of a long term investment than the actual lenses, I do think the R5 is one of those camera models that would ultimately have a long shelf life. 8K RAW alone is overkill, but between that and 4K120p (with DPAF), I'd be set for quite a long time. As much as I love my Panasonic G85 and the footage I've seen from the S1 and S1H, I get the feeling that the DPAF would far more beneficial for my current hybrid photo-video work than Panasonic's Contrast autofocus. I don't mind the Contrast autofocus in my G85 or using manual focus, but I do have to admit it's gotten in the way of my footage and photos on more than one occasion. So with the R5 having DPAF across the board with a rich image, be it RAW or 10bit C-Log internal, that's a big factor that's made me consider it over the Panasonic alternatives. Like I said before, if I were living in Atlanta or LA and focusing on my narrative filmmaking career, I'd probably go with them- but as it stands now, the R5 seems to make more sense if we're talking "Long Term Investment" cameras. And yeah, my plan if I were to get the R5 is to buy it with the 24-105mm f4 IS right away with the camera! It seems to be one of those perfect kit lenses and would have me covered for most practical scenarios. The point about having the vintage glass was that, aside from my fondness of the aesthetic and character, it'd be a good cost effective way to have other special cases covered for my work until I could afford to buy other RF glass aside from the 24-105mm f4.

Perhaps it might be overkill, but I do like using vintage glass a lot of the time whenever I don't need to rely on autofocus. I do plan on investing in RF lenses too if I get the R5, but it's a matter of price and what lenses are available by that point in time. I suppose if I really save my pennies, I could try to eventually nab the RF 28-70mm f2 lens. That lens does seem pretty magical...

The question Leica must answer is why they feel it ok to advertise it as a professional 4K camera for £5300, but it doesn't behave like one.

This camera is probably overkill for using manual lenses and the IBIS might not work as effectively without electronic contacts. (The Panasonic S1 series/Leica SL2 are the only ones which are 5-axis with every lens so they are best suited to manual lenses, Nikon/Sony is only 3-axis and I guess Canon will behave similarly) I mean, it will still work just fine, but the whole point of this camera is to have full compatibility with EF and RF lenses with full Dual-Pixel Af support (and of course Canon colours), while also offering full feature set that the internet was complaining about until now. I am using manual lenses on the EOS R as well, but not many people do. In my experience, RF lenses are the way forward for both photo and video (but the EF lenses are still quite good, too).

It won't have any compromise regarding low light or dynamic range as long as the 4k30p is downsampled from the 8k, which it probably will, while the 4k60p and 4k120p are going to be line-skipped. The rest is impossible to make without some sort of compromise, the EOS R battery life is really good but it has no IBIS and full sensor video, although the new battery is higher capacity which should offset it a little bit. 30-minute limit is a given, but it should be fine until that time, or it should be better with an external recorder (which also records is a less demanding codec) Rolling shutter will be interesting, as the sensor has to have a fairly decent speed to have 8k30p mode in the first place. It is not aimed at the professional video market and it is not going to cannibalise the EOS R5. Yes, it will do 4k60p and 1080p120p, but I don't expect the cheap sensor to have great dynamic range to start with, so it will be restricted to 8-bit 4:2:0 H.264 IPB codec and no Canon Log. Of course people have been shooting on the 1DXII without Log for ages, so it's not like one can't produce great video with it. But it will be a big step down form the R5, as it should be for almost half the cost and the EOS R will remain relevant as the 'cheap' option to have access to Canon Log, but no IBIS.

From the sounds of it, getting a blimp (be it a Rode brand or whatever) should be a much higher priority for you than an F4/F6/MixPre3/whatever What exactly are you recording and how? If it is say sit down interviews outdoors, then getting a C Stand and boombuddy so you can position your shotgun right on the frame edge should be a high priority too. (again, a higher priority than replacing your Tascam DR60Dmk2 with anything else)

I find the F4 relatively easy to use on the go. I think that audio equipment in general has UI/UX issues since the general convention is to use a little knob to twiddle your way through expansive menus. You kinda have to memorize where things are, but it's not worse than other recorders. (I think the DSLR convention of a wheel built on top of 4 directional buttons is simply easier to use). But the main UI of being able to toggle channels on/off with 1 click, adjusting gain directly on a knob, and soloing a channel with 1 click are nice. I like having all the controls on the front panel so that it's easy to see when hanging from a neck strap. The one thing I miss from the DR60 Mk2 is that little Mic/Line/Phantom switch. You have to enter the menu on the F4 to get to that. But you can press a button on the F4 to immediately access a channel's options, so day-to-day I don't have to hunt around. It's things like switching from 48kHz to 96, or changing the routing matrix, that are a pain because I only do them once every few months and forget where the options are. The biggest issue F4 has for me is that battery life is quite bad using 8 AA batteries. I affixed a large 12V battery on top, but it's an ugly, heavy solution. However, most recorders have pretty bad battery life in my experience, especially older ones. The F6 is very attractive to me for the simple reason of having a built in NPF battery sled and (supposedly) really good battery life, along with 32 bit recording of course.

Is there any update on progress with this @BTM_Pix? Thanks

Wow! That's a game changer for ultra low priced PL lenses, and about time. Now it might finally make sense to buy one of those crazy cheaply priced URSA Mini PL bodies, or a C500/C300 PL mount body.

Have YOU ever had corner shadows?? I don't think so!! IF you ever did then you'd understand the IMMEDIATE REQUIREMENT to get AS MUCH advice AS POSSIBLE!!! This is a COMPLETELY NATURAL RESPONSE!!! THE HUMANITY!!!!!1!!!1!!

I still see focus issues regularly on youtube channels that feature vlogging type content. Sure, we have DPAF and PDAF, but if the camera decides to do a beautifully-smooth speed-controlled phase-detect focus-pull to the wrong f*cking thing, then it's still a wasted shot. Watch some of the reviews of the new Sony vlogging camera to see people talking about how it has a new focus mode that is far better for things like product shots, and remember that when someone says that a new product is better then it means that the old one had issues that they wanted to be fixed. Luckily, if you're holding the camera while filming yourself, manual focus combined with an aperture setting that isn't too ridiculous can fix those focus issues! Besides, at this point if you're a vlogger who only cares about content and want the filming process to essentially leave you alone, then there are many smaller sensor cameras to just crank out content. The vloggers that want to have larger sensors and larger apertures are also somewhat likely to be interested in the MF aesthetic.

Just FYI on this Leica SL2 issue: (this is from Leica) "The camera has some peak current requirements that can not be provided by the battery below a certain charging level. We did decide to go this way, because the majority of customer do use the camera as a still camera. This issue can only be solved by a bigger battery. This would mean for the majority of customers to carry a bigger and heavier camera body for a functionality, that they do not use. For serious video product we did implement the USB power supply option. From our point of view this is the best solution for such a versatile product."

Not a d*ck, but it's a tough ask doing a blind test online because: people getting things wrong is embarrassing and this wasn't anonymous and the internet never forgets lenses are a lot more similar to each other than any of us would like to admit so its actually a ridiculously difficult thing to do (don't tell anyone.....shhhhh)

Not that I could afford one and as above, I'd go some variant of S1 for video (almost certainly the base model) but that is pretty shocking customer service from Leica. Or even pretty shocking customer non-service.

I played with Xtal Express and Technovision Cookes at my previous job. They have nothing in common with the new Cooke Anamorphics. The Cookes have pin-cushion distortion. The vertical lines bend inward. The older lenses have classic barrel distortion. Also, they were converted from spherical lenses, whereas the modern Cooke Anamorphics are purpose-built. And some of the cylinders are rotated 90 degrees which stretches the image out vertically, in addition to it being squeezed horizontally. They are also fairly consistent from focal length to focal length and color matched. JDCs were notoriously inconsistent. Top one is Zeiss SS. Bottom one is Speed Panchro.

I would think the 8-bit conversion would happen later in the pipeline, for example right before the image data is being written to the SD card. Thats how you work with RAW files and such, why would it be different in a camera with specialized hardware to work with all that sensor data in realtime? Sensor Data -> De-bayer -> internal 12-bit format -> processing -> JPEG/H.264 encoding -> write to SD Certainly if you are taking RAW photos the highlight/shadow control is applied before the 12-bit RAW file is written to SD. Not sure it works the same for the video pipeline but I would ASSUME it's somewhat similar.

Spam bot retired. Next Fun image too. A more 'imperfect' and more filmic image than the CMOS in the Blackmagic Pocket cams https://www.eoshd.com/review/ikonoskop-a-cam-dll-versus-blackmagic-cinema-camera/

For ergonomics nothing beats the NX1 for me. Also one of the reason's I've stuck with my Nikon gear over other options.

The Fp is like a Sony RX camera done right. Made by a camera design team, not the Playstation lads. Lovely chunky controls given how small it is. But yes, does need some Func. buttons. The AEL and center key can only really be assigned to focus mag. AEL has a range of AEL related things, but no ISO. That Tone key is a bit underused by me as well.

In a most scenes, without fast panning or water or lots of random-ish motion, modern LongGOP is very very good and offers better compression than ALL-I. I don’t see any difference between 150Mbps longGOP and 400 Mbps ALL-I from my GH5S unless the footage contains waves, lots of splashing water, or leafs blowing in the wind on a tree. HEVC (H.265) based LongGOP is even better and since most modern hardware is now incorporating HEVC acceleration hardware for easy decoding and encoding I see even less of a disadvantage to using it.

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