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I've been shooting the E2 with anamorphics for over a year now, it's an amazing package for the price. I mostly shoot in 48fps Zlog2 Pro Res for the best of both worlds. A lot of what I do is sports. Here's the latest thing I did with mostly 2x anamorphics, the waterhousing stuff is 1.33x GH5. Just scrub through and you can find some shots. Very happy with the camera.

Thanks, and yes I love the files as well.

You would guess that following Sony's lead generally basing their new one on the RX100 that Panasonic would base theirs on the LX10/15 so it does seem unusual for them to give it a "G" model name if that was the case. Though they could just be harmonising names and some of their models do have different model names in Japan (GX80 is GX7ii etc). If it is based on the LX10/15 with a mic input and a sideways screen then it will be pretty decent. I'm guessing they'll add HLG (it already has Cinelike D if you use my little discovery ) but they might struggle against the Sony AF and the Sony also has quite a neat face based AE function that is very useful for vloggers. If they keep the F1.4-2.8 lens of the LX10/15 then it will certainly be much faster. However.....If the "G100" name is referencing that they've repurposed the LX100 with a swivel screen and a microphone input then, well, that would be very interesting even for those of us who've never stared into a lens and said "Hey guys, what's happening ?"

Tom posted a follow-up to the above, with the results, and also the under/over exposure tests. I did it blind and picked the P6K first, with the UMP second. Interestingly, I chose based upon the colours, and the strange green tint from the Alexa and the awful strange everything colours of the RED made them get third and last places, respectively. The more I grade, the more I care about good colour and the associated art department choices (which obviously aren't a factor here) and less about the resolution or whatever else of the camera. The sharpness of the P6K doesn't phase me as I know I could soften it in post, or on set with lenses and filters. Considering that the Alexa has been used by other people to get good colours once or twice before we know it's possible and the camera isn't fundamentally flawed... yes, I'm kidding of course. I don't even think he botched the WB. It's very odd how the colours were rendered, and strange that the RED also shared some of the bad colours from the Alexa. Regardless, seems the image from the P6K holds up pretty well, and the over exposure highlight rolloff didn't look too much worse than the Alexa, of course with the under-exposure shadows being much superior due to lower noise levels.

All I want is the perfect camera. All I want is the perfect cameraaaah!

Funny you say that, because I could see some bits were actually shot on 16mm (sharpness and motion), it just looked like that other stuff was fake over lays haha, my apology's. You're right though, the two match really really well, I haven't seen digital matched to 16mm as well as that, especially not in a skate video. Maybe you shouldn't have sold that camera (or maybe you just know what you are doing, in which case you'll be fine with another camera).

Videomic NTG or Deity D3 Pro?

Second-hand Rode NTG2 ??? I see one listed on Reverb for $198, but they have a "make offer" option so you might be able to get it for a few dollars less (assuming you live in the USA, my apologies if I assumed wrong). I would hope that @IronFilm could weigh in if he has experience with this mic and would also see if Curtis Judd has a review on youtube about it. As an aside, if I am reading Amazon reviews of a product (any product, not just cameras and such). then I try to pay special attention to the reviews that are three stars and two stars, and pay less attention to the five-star and one-star reviews. The three star reviews seem to point out the "realistic" flaws of an item. Also, you mentioned a7 III. I remember a couple months back that the website who we are not supposed to mention did a review of camera preamps and they seemed to get mixed results with the a7 III.

Thank you! That's actually all real 16mm film shot on Bolex! I suppose this just shows how much of a film look the F3 has. I had to tone the 16mm down a bit to match. I've done a bunch of projects on 16mm but a traditional skate project like this is not feasible to do all on film. If you're curious, you can poke around my Vimeo. https://vimeo.com/benericson

You're most welcome. Thanks for taking the time and replying to my questions, as well. ( : That's a great tip, thanks for sharing it. I really liked her performance, too. Just some technicalities to make it look more polished and coherent.

If it doesn't require phantom power, yes, though it's still a good idea to run it through a good preamp. Dynamic mics straight into camera don't provide the best sound, so boosting it (or better yet, recording it with a decent audio recorder) is better.

What if it is only the performance of a BMPC4K? (yes, the old Production 4K camera) And all it adds is putting it into the Z Cam E2-S6 body / form factor (but with the price too!). I hope JVC doesn't release a global shutter camera at the moment. As yes you are right, Kinson did say that, it was a mistake for them to release a global shutter Z Cam. As they got badly mislead by a small but vocal minority into believing "global shutter" is far more important than it really is. (and I was telling them this back then too! I was quite vocal myself in their discussions trying to be the voice of reason and being "anti global shutter")

Hey man, let me say firstly that I really appreciate the thoughtful reply and comments, thanks a lot - really. The frontman of the 'band' (it's actually a solo act officially, but the guys behind him do most of the instrumentals on his tracks) is an old acquaintance, who also acted in some older videos we did (I'm talking more than five years back at this point). I would rate the experience highly, the band was very cooperative and set-ups went smoothly and as planned mostly, except for a last-minute cancellation on the hotel room. I think the new hotel room looks kinda plain, but we did as much as we could to spice things up with the lighting on the walls (something which was planned but which we now really relied on for atmosphere). My biggest lesson was that having lip-syncing in your video really limits how you can cut: I really found out I had to use certain takes or let them run longer than I intended or otherwise it would look jarring, which meant I had to cut other planned (and shot) footage (there was waaaayyyy more footage of the female lead dancing, which explains perhaps why what was left of her dancing felt a bit out of place!). Big lessons and it meant that we could have actually shot less than I ended up doing and take the time to finesse a few shots more. Case in point: the opening shot is actually one of my least favorite shots (other ones are in the hotel room, where I think sometimes my framing and directing of the actor led to some less-than-exciting shots, although overall I like the segment), but I did not shoot other wide coverage of her on the sofa so I basically 'had to' lead with that one. Ah well. You're right about the shots of the female lead dancing using a higher shutter: good eye! It effectively uses a 90-degree shutter, because the footage was shot in 50 frames at 180-degrees and then sped up to 25 frames. This was a deliberate choice; originally the segment was supposed to have a few slow-motion cut-aways (that ended up being cut) and I wanted to have the normal-speed footage at a higher shutter anyway, to make the movement look a bit more tight and 'crisp'. I still personally like the effect, although I see where you are coming from on disliking it. I also agree on the focal length being a bit too wide, I shot this at 12mm (whereas everything else is between 35 and 85 millimiters, with a large portion at 50 and 85), so the difference is a tad too big, not just relative to the other focal lengths but also for the framing I ended up going with. I think in a perfect world I would re-shoot this at 18mm, but in practice I think I would have gone for a 16mm, because my 16mm-lens is half the weight of the 18mm I own, and we were shooting a lot of set-ups of her dancing on the steadicam and I think my arm would not have taken it. There's actually shots of her coming from the couch to start dancing, but I did not like the performance and my framing, so it's wholly on me that I did not get useable footage to more naturally transition into that dancing. I actually deliberated for a long time about taking the whole dancing segment out (it's only two shots after all), but I really liked the performance and so did the artist, and I think overall it fitted in enough with the 'good vibes' of the whole video to justify staying. As for crew: I directed and shot the thing, and I had two guys helping me with moving and lighting. Now, these guys were actually not gaffers but theater-stagehands: so they mostly did the lighting set-up (and controlling) in the studio and the neon lighting in the hotelroom, but they were at other times also invaluable for quickly adjusting lights on set and just helping move from location to location: I was really glad to have them there - these guys are hard workers! We shot on two roughly twelve-hour days (this included moving from location to location which ate up some time) and we had a half-day beforehand setting up all the lighting in the studio for the band-segment.

There is a solution, although it'd require buying another item. A FD → Sony E helicoid. At its minimum setting it should allow you to focus at infinity and if you want to have smaller MFD, then you turn the helicoid slightly and voila. https://www.ebay.pl/itm/Canon-FD-lens-to-Sony-E-mount-adapter-Macro-Focusing-Helicoid-NEX-6-A6000-A6300/283131024151?hash=item41ebec9317:g:EZwAAOSwf95bh9Gf

Yeah, and The Revenant is about a guy who gets injured and then walks home. I feel like you must have missed a lot. While what you say is the premise at its most basic, there are other things going on. Not wishing to give spoilers, the old lady reveals a history that repeats its self, and possibly the reason they’ve come at this moment. As well as why the hipster glasses find what they find and what happens to them afterwards. the radio caller reveals military coverups, systemic racism and again a repeated history. these things aren’t spelled out in the story, but that’s part of the charm. I like a movie that you can sit with and theories about for a while after it’s ended. glad you watched though, I guess we both like different kinds of films.

I'm gonna leave tentacle p0rn to my Japanese friends lol

After the G95 was such a disappointment I don't have terribly high hopes, though depending on the features it may give us an idea about where a GH6 is heading. I also feel like most of these "vlogging" cameras end up not being very good for vlogging.

Amazon. They pay well. Bezos wants to sell more shoes.

I hope it comes with better codecs than the Sony ZV1, preferably 10 bit and V-Log L at least. Otherwise just go with the ZV1 and shoot HLG.

This recent video is interesting as the guy uses a ZCam and talks about how things like the 4k120 (or 4k100?) is great as it is slow motion but also allows a bit of digital reframing. I've also noticed a few people who seem to be shooting the same combo of ZCAM with the Vazen 40mm 1.8X T2 anamorphic. The guy in this video says they call it the "baby RED". For the money, this combo (or with the Vazen 28mm T2 1.8X anamorphic), with a Vmount / monitor / matte box, seems like the real deal.

@BTM_Pix lol I thought the same thing too when I noticed the price of the caddy! My eyes literally bulged as i gasped. That caddy must hold the physical key to unlock pro Res lol. Certainly that’s an oversight JVC didn’t realize. Or did they?

Precisely. That's the biggest issue with this cam - it's totally impractical. And while Z-CAM is just a lovely little cube, to my eyes it looks far more professional than the outgrown toy-camera which BMPCC4K is. Apart from that, their mobile app is awesome and allows you to use a simple iPad as a director's monitor. No need for wireless transmitters.

Makes sense. Its already lifted here thankfully. Hopefully the virus doesn't come back in full force tho..

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.

In Resolve on a 8GB VRam gpu with 5.5k raw is no problem on a 4k dci timeline but on a 5.5k timeline sometime I get gpu out of memory so I need to be more carful on the nodes.... 8k timeline could be problematic with 8GB Vram with just basic nodes. I use above 4k timeline to pull pictures and to save a master if I don’t want to keep the original raws to save storage. So not a big issue for me but worth to mentioning.

Hmm...must be a bug! Canon 1DX Markiii films everything in 10bit 4:2:2 regardless of resolution from hd to 4k (Log must be enabled) in mov container H265. Maybe the files you got are 8bit 4:2:0 Is the image flat looking? I cannot test it as i cancelled my adobe sub, dm me i will send u some clips of 120p 4:2:2 😊

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!

Keep checking, I got really damn lucky on a PIX-E7 and PIX-LR, which I absolutely cannot live without now (The giant meters are now invaluable for me for monitoring audio while shooting) and if I spot another one for cheap I will probably buy it as a backup. Sorry I never responded to the 4:4:4 question, yes you can output 4:4:4 and record 4:2:2 (At least, I know it works on my PIX-E7) and I really do recommend doing this. Stills from some recent interviews.

Hello, @seanzzxx. First off: congrats on doing and delivering this! Especially since it was your first music video. How do you rate the overall experience and how did you come across the band? Did you experience any problems on set or prior to that? How big was your crew, if there was any? Regarding the video itself and my impressions ( I hope you don't mind me speaking freely? ) The opening shot looks a bit flat. Your plane of view is parallel to the wall and the lighting doesn't really favor anything in particular. I really like all the props and the wardrobe, though. They have a cozy, warm feel to it and stand out nicely from the white walls. Even the book has some orange on the cover - that's a great attention to details! When I saw the band - a huge smile appeared on my face. They looked great. And you definitely managed to introduce those 80's vibes into it. Using a harsh rim lighting was a perfect choice - it really reminds me of Robert Richardson movies, eg. Casino (1995). It felt just like you described - a daydream sequence. Awesome. Then we have some great performance in-between. I'm not a huge fan of the 2:28 (and again at 3:12) shot, showing the actress out of focus. I think it'd be much stronger if something that required her immediate attention (eg. a pet waiting to play with her / some pot boiling over) happened in the foreground, while she was completely lost in the song world. And then this 2:37 sequence - feels a little too wide for me. Even more because we've only had seen the location through a longer focal length that was put on sticks. And now not only we're flying, but also seeing so much more. Maybe a shot showing the female talent getting up from the couch and slowly zooming out would sell it? Also, I sense some higher shutter speeds? The motion doesn't look as smooth as it did before? The ending was neat, though. Bue hour nicely matches the stage parts. One thing I'd really like to see (hear?) is the music stopping abruptly as the tape stops rolling. Just to wake us up from the dream. Overall - great job, seriously. You should be proud and I hope you are! Thanks for sharing.

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..... :-/

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.

Some more awesome footage from our friend Ben Ericson. Too bad he sold it a few days ago. Great for the buyer though, I can say on the other side. Happy that I bought that camera. With the 1080p 5inch version of the Blackmagic video assist it is a beautiful looking and practical setup with even 60p. Took that inspiration from Bens setup. Now I will wait for a video assist for little money, so I dont have to lugg around my big Atomos Shogun.

Great use of matching/overlapping cuts.