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Very Nice @Alt Shoo! I think it depends on the responses JVC got on their camera survey they sent out a while back. I suspect people wanted a larger sensor. 10-bit 4:2:2 internal ProRes recording and PDAF. JVC seems very interested in delivery exactly what people want. Problem is...sometimes what people want is not what they buy. Go figure.

I’m very grateful to be connected with JVC! They posted an interview they did with me on their IG profile talking about my film Marcy Made and how it was filmed with the JVC-GYLS300!

I actually helped develop this mic over a year ago when I had a meeting with Andrew from Deity. I was sharing how I really hated how muffled audio sounded when talking behind camera for vlogs. I wanted a solution and they delivered. Not only does the mic have two mics on it... but you get an input that allows for a lav or other audio source to feed into your camera or recorder. The Rode Wireless GO is perfect for it and can clip right onto the Rycote mount. Just wanted to share these vids with you guys. Jeven and I are the only people who have posted hands on reviews so far... IDK if we are the only ones who got them or what... but this $89 mic is well worth the $$ in my opinion.

CR says the R5/R6 announcement is set for July 9. They're also dropping a slew of lenses. Everything being announced on 7/9 and a photo: Canon EOS R5 Canon EOS R6 Canon RF 50mm f/1.8 IS STM Canon RF 70-200mm f/4L IS USM Canon RF 85mm f/2 Macro IS STM Canon RF 100-500mm f/4-7.1L IS USM Canon RF 600mm f/11 DO IS STM Canon RF 800mm f/11 DO IS STM Teleconverter RF 1.4x Teleconverter RF 2x https://www.canonrumors.com/here-is-the-canon-eos-r5-and-canon-eos-r6-along-with-the-announcement-date/

Sure. It’s all part of the whole career process. Still, would rather my work be able to pay bills instead of generating more of them.

Just brimming to the surface, with optimism aren't you....🙄 Dont need to tell anyone anything...... i can now show them in glorious 4k or 1080 hd, How good is that ? 😉 pretty ordinary day here damp with showers not that i am complaining. The fd adapter has arrived i'll go shoot some footage, should be able to post something later tonight in my p4k adventures thread.

I don’t think it’s a software problem. It’s a hardware one. H.265 or AV1 won’t become mainstream or useable unless there is some serious hardware encoding and decoding acceleration AND for all the major profiles. FCPX has been overhauled under the hood on using Metal 2. I think we are going to see a major push by Apple for performance improvements and integration with their accelerator cards and maybe future acceleration chips in MacBook Pros (think next gen T3 chip). It also appears camera companies have chosen HEVC as their next codec of choice future generation cameras...especially since its in Canons new cameras.

I did a test of digitally reframing in post, comparing a 4K shot at 100% and a 4K shot digitally-zoomed at 148% (to match framing). The purpose of the test was to compare taking a 4K crop of 6K with simply filming 4K and digitally-cropping in the same amount. My impression was that it's pretty darn difficult to tell the difference once it's been compressed, but it was also pretty difficult to tell the difference looking at the files straight out of camera. You could tell that the upscale was a bit blurred but most lenses are also a bit blurred and codecs a bit blurred too, so in a practical sense I think you're fine. Using Clearimage zoom is also better than the test above as it is pre-compression, whereas the above is post-compression and is throwing away bitrate.

The entire Premiere architecture probably needs dumping in the bin like Apple did with Final Cut Pro. Going to be painful days ahead for Adobe if they can't get performance on par with Resolve for modern formats.

What a gem this camera is. I always get distracted by what else is coming out - GFX 100, SL2, X-T4, and the list goes on. But when I look at my footage shot in Asia and Berlin on the GH2, I realised how effective locked down shots are with manual focus. Back when we had to use a tripod... Even the slightest shake is a distraction. There was no racking or AF during a shot either, that just ruined things. This was before follow focuses were common on mirrorless cameras... and the AF, well, it was useful for AF-S to lock off a subject and then you'd record and keep it there. I continue to come back to the S1 because it is the spiritual successor to the GH2. It's not expensive (well, compared to an S1H or cine camera) so it's aimed at the same people. It's relatively small, smaller than an C200 or FS5 for example which are the smallest popular cine cameras. It has a very good battery and huge EVF. The IBIS is tip top. The image in V-LOG, 10bit 150Mbit astounding, yet the file sizes remain much smaller than 400Mbit ALL-I. The 4K 10bit image quality difference to the S1H hardly exists. The ability to load a LUT onto the live-view display and shoot with your favourite one - what other mirrorless camera does that for £1500?! It is amazing in low light, it's full frame, and you can leave the tripod at home. I would take either over the X-T4 as it stands, good though that is. Now the GFX 100 is marvellous... but it's £8k even used! The SL2 would be wonderful if it actually shot 4K without the battery error, so that ruins that. The Sony A7 III is fine, but the image just doesn't hold a candle to the S1. So putting autofocus to one side and just shooting nice stuff the classic way... there is no better tool than the S1. If you want to use manual lenses with IBIS and shoot 4K 10bit LOG, the S1 is the best camera out there, especially for the price. Although the Sigma Fp doesn't have the same amount of features or an EVF, or yet a LOG profile, I rate that highly as well. Will do a round up of all the current cameras soon on EOSHD.

Not to spam with youtube videos but seeing as their aren't a ton of Z-cam reviews on Youtube I thought this was interesting. He had previously switched from Fuji to BMPCC4K. He was impressed with the RAW and better tonal transitions going from 10 bit H265 to BRAW. He seems to really love the Z-cam though.

More details leaked on the R6. Unless you need 8K or RAW then this looks like a nice alternative to the R5. https://www.canonrumors.com/here-are-more-canon-eos-r6-specifications-cr2/ Canon EOS R6 Specifications: (New information in BOLD) 20mp full-frame CMOS sensor IBIS 12fps mechanical and 20fps electronic. Oversampled 5K Video 4K @ 60p FullHD @ 120p Canon Log 10-bit Zebras AF identical to the EOS R5 No RAW video mode Dual SD UHS-II slots Head detection AF Animal detection AF Identical 5 million dot EVF as the EOS R5 No top-down screen Build quality not as good as the EOS R5 Bluetooth 4.2 (EOS R5 to get Bluetooth 5.0) LP-E6NH Battery (Same as the EOS R5) Announcement July 9, 2020 Under $2500 USD (Rumored)

The downer about the M.2 caddy is that for some inexplicable reason it is $400. Comparative to the cost of the entire camera thats the sort of media housing price gouge that is worthy of a Jinnitech investigation !

Definitely appears the R6 will be second in command to the R5 - a powerful camera but just without 8k and high megapixel count. It may ultimately be better for video shooters with lower megapixel, probably better noise performance, probably downsampling from 6k sensor to 4k, IBIS, 4k 60fps, 10-bit. Basically a 1DX III but without the 5.9k raw (which is fine to lose, really, for 90% of shoots). Might be a much better B-Cam to C300/C500/C200 than the R5 will be. I just hope they get their gunshot-loud shutter under control. Give me a Panasonic or Fuji sounding and feeling shutter, pleeeeaaaase.

Thank you all! I’m truly grateful for your congratulations! It’s been a challenging two years balancing family life and grabbing footage, then trying to edit while your children run rampant around you. Also can’t forget my wife needs...... But it was worthwhile! Now I am kind of known in the industry and have been receiving requests from other “street legends” for me to tell their story. Regarding JVC’s new cameras, they have awesome specs and I’m tempting to try it out, but I’m not really a fan of cameras with small sensors like that. However I truly enjoy the concept of the M.2 drive used to capture Pro Res! It’s definitely forward thinking and super cost affordable. I am truly hopeful that they are developing a new cinema camera. Maybe we can email them and remind them about that survey they had a few months back asking what we want in a cinema camera. We can tell them that we’re ready for it! lol

Yep both Nvidia and Intel QuickSync currently they don’t support h265 4:2:2.... Nvidia 20xx platform can do 4:2:0 and 4:4:4 but not yet 4:2:2 Hopefully with more camera using it they will improve. I’m sure even software only the NLE could optimize more. On windows / resolve a i7-9900k can do it software only.

Worst thing you could do is bog down your production with footage your computers can’t handle. That causes a ripple effect along the whole production line. If your clients are happy with what you are shooting now, they will be happy with it for 6-12 months until you can have an editing rig that can handle H265 and the RAW that will be coming out of the R5.

Inspired by kyes... GET OUT THERE and shoot something pep talk earlier today. Here's a collection of static shots taken from around the house. if you have a spare 52 seconds, bmdp4k + my new fotga fd-m43 adapter and the standard canon fd 35mm f2.8

Huh?? The DoP absolutely 100% needs to listen very carefully to the director, as he needs to work closely together with the director if he wants to achieve the director's vision. Exactly, working with film make it harder / more expensive to learn and gain those basic skills. Likewise, living in a pre-Internet world made it much harder to learn the basics and move up to an intermediate level skilled photographer. That's why a photographer or cameraman back in the olden days could earn a healthy livable income purely on the basis of owning the kit and having nailed down the basics. But now in 2020 a much higher standard is going to be expected if you want to make a good full time income out of it.

Their new HC-500U has a pretty great spec for a £3K camcorder including 10bit 4K 4:2:2 internal, timecode in/out and a very smart caddy that holds an M.2 SSD to give you all flavours of ProRes up to 4K60p. Its a shame its only a 1 inch sensor of course but it does augur well for if they do make an LS400 as JVC definitely do not possess a cripple hammer. http://pro.jvc.com/prof/attributes/specs.jsp?model_id=MDL102557&feature_id=03

Am glad that Deity exists, as they're pushing Rode to innovate and improve themselves. I kinda half doubt if Rode would have put out as many or as interesting new products recently if not for Deity. And of course Deity isn't standing still either, Rode plays catch up and gets ahead, but then Deity strikes back with their new products. Feel like the last few years has been some of the most exciting times there has been for low budget but semi-professional audio products!

All the 1Dxiii frame rates are 4:2:2 h265 10bit if LOG is ON if LOG is OFF they are 4:2:0 H264..... Did you check the metadata with a tool ?

I got removed from the RED Facebook groups years ago! Simply for mild criticism of them. Then again I've also been removed from /r/LocationSound/ as well for merely questioning the policies of the Mods of r/LocationSound..... :-/

There is an ARRI Alexa Classic (with High Speed license) for only US$5K on eBay right now: https://www.ebay.com/itm/Arri-Alexa-Classic-Camera-High-Speed-Ready-To-Shoot-Package-w-Case-600-Ship/174312729518 That's because they hadn't used the Mini before. But once they had, the Mini became their default. The only ARRI shoots I've worked on during the last couple of years which were not Mini shoots was because they were low budget stuff which couldn't afford the rental rate for a Mini so used a different ARRI instead.

What do you think of the Nikkor 17-55mm f/2.8G for DX DSLRs? (seems like it would be a perfect match for other S35 cameras like the PMW-F3)

Congrats! And the doc looks great.

Ignorance is bliss.. stop reading the internet and just go shoot! and yes, crop gets rid of some of the character, but not all of it - things like lens coatings apply equally across the whole frame. I would suggest that lens coatings and the sharpness and contrast of the lens are more sought-after properties of vintage lenses than what is happening on the edges of frame, the Helios 44 being an exception of course. Don't let my past failures prevent you from pursuing your own failures... I read somewhere online that bad decisions make for good stories. Presumably that you can tell other people online

Nice job dude!

I really enjoyed using this setup. I work for a studio that has a pair of the C300 Mk2s and I really got used to having something that was really compact and easy to use. I should have shot more projects with this camera. I could run the camera and monitor for around 2 hours from one Swit battery. I would love to see this camera with some Leica Rs or high quality PL glass.

I'm more of the Bowfinger school of film economics

I've tested on my iMac Pro, CRM files from 1Dx Mark III, and they struggle and fans of the iMac come to kick in. It's still not optimized well.

I've heard this movie mentioned elsewhere too. I suspect the 700K is for base field production and loads of other cash are being spent in the numerous other areas of the production/distribution process. The other indy film story of the pandemic months is the nifty little horror film that was actually rated #1 at the box office 'kuz it was pretty much the only film in distribution to drive-in movie theaters. If a film is truly independent, this is very much par for the course.

@Geoff CB, thanks, Geoff. The BMD VA just looks so handy and perfect for the F3. Afaik, the F3 itselfs outputs 10bit 444 at the max? Here is a photo from Bens setup. The Video Assist also fits the width of the F3 very well at 5 inches diagonal.

It's of course a lot of money, but barely the catering budget of the summer blockbusters we see all too often. And self funded. Whether he's a hedgefund kid or worked really hard and ate nothing but restaurant leftovers for 10 years, I think it's admirable that the guy put his own money into his idea. He had a story that he had to tell, did it on a shoestring budget and pulled it off. Easily one of my favourite films of the year so far.

Make sure to consider the PiX-E5 to get 12-bit 4:4:4

Couple more with the Nikon 24-70 2.8G and Sony F3 Combo

Because sensorship is in place Any negative post will be deemed unprofessional and will be removed, only the glorious post remain.

Things tend to look good when you’ve dropped 10s of thousands of dollars on equipment? I think the GH5S is the best MFT camera because I own it 😁🤣

People in the Red forum are raving about the colour science and dynamic range, are they seeing something i'm not?

I thought the comparing to Sony bodies was an exaggeration, but WOW does that look like something shot on a Sony A7III that wasn't graded.

Weather today was awful and I didn't have much to do, so I grabbed a slider, designed and 3D printed by my friend, put a X-T3 on top, attached a projection lens to it and then took a couple of shots. I sat down to review them and thought: why not add some sound to it, play with it just a little while and actually publish the finished result? So here it is, really short mock-up opening credits I made. Not one of the most elegant timelines, but this have to do for now:

Tamron 45mm with Formatt Supermist Black 1/8 Filter on Sony F3.

Look at some of the older EF lenses sounds like a good idea. How about the 20-35 2.8 L? Replaced by the 17-35 2.8 L which was replaced by the 16-35 2.8 L which was replaced by the 16-35 2.8 L ii which was replaced by 16-35 2.8 L iii. Mine is falling to bits but i still like it (for a zoom...not a huge user of zooms).

Hmm, you could treat us with some 444 slog glory using your baby alexa and this beauty.:)

Get the Tokina 11-20. It's pretty close color wise and gets the wide angle you want.

@Anaconda_thank you! I filmed mostly in 4k internally, with some shots externally to a Video Assist 4k in pro res. Some shots were in 2k and 1080 only because I had only one card on me and wanted to maximize the content gathering. As of now we are doing a screening tour along the eastern shore of the US. We are talking to major streaming services right now, but nothing is etched in stone. By January we will know our direction in that regard. The screen grab with the red hat is pro res and the other is the internal dci 4k codec.

yep, I've seen the F6 rolling shutter and it is on par with other full frame sensors in this pricing bracket. Meaning, not great. But you'd really have to purposefully induce it for it to be a problem. That being said, if you need to do a whip-pan, the E2 with a .64x speedbooster will get you nearly to full frame (1.2x crop) and be a good back-up for this, HFRs, etc. Weight difference is only 100g. No idea about timecode.

Portkeys will be announcing an EVF at NAB! Oled 0.7 inch with sdi and hdmi... Hopefully at a reasonable price