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I'm not arguing against the mirrorless cameras quality. On the contrary, I've shot with them more than any other camera. I also don't disagree for small indie movies they are ideal. I would do the same. I also saw and own a movie shot on the GH2 and the quality is very good. I love the GH series cameras and own them all. Brilliant cameras. Where I draw the line is feeling mirrorless hybrids are a replacement and even equal to cinema cameras. Not just because a dedicated cinema camera have functions that mirrorless cameras lack, can be more reliable, but also as they have a better image that allows for stronger grading. This isn't to say mirrorless don't have a good image. They do. Throw the image out to an external recorder for RAW or use a 400mbit all-l codec and you are getting there. But then you lose the portability and small size many buy mirrorless for. There are some who feel they can buy one camera that rules them all for all their video work. I favour a variety of cameras to serve different needs. In this setup, a mirrorless camera can be very useful and deliver a great image. In my experience, those who talk about the so called fullframe look, whilst overlooking the image quality difference a dedicated cinema camera has over mirrorless are probably locked into a certain point of view tied to the camera they currently own.

I find in practice it is less convenient then a screw on fixed ND. It really only make sense for lenses that you can’t screw a ND on the front of the lens.

I guess we'll have to just agree to disagree. Meanwhile films will be shot on mirrorless cameras and cine cameras all over. A cell phone from 2010 can look cinematic if lit and composed well. But modern 10 bit mirrorless cameras have closed the gap imo. For big productions with a need for all the fancy stuff the big cameras are perfect. But for low budget indie films or films shot in tight places a mirrorless cam is capable. There was a horror feature film shot on the a7sii a few years back. I saw it in theaters and couldn't even tell. I remember when the hollywood movie act of valor was almost shot entirely on canon 5ds? That was because of their form factor. I could tell they were a bit less capable, but honestly nobody else with me could tell. But again, that's a canon 5d. Modern mirrorless cameras are MUCH better.

They probably have a deal with RED. “We’ll give you an RF license if we can use internal RAW.” Or something.

Read the review at EOSHD here: https://www.eoshd.com/review/fuji-gfx100-review-the-mini-alexa-65-goes-to-a-formula-one-test-session/

Exactly. It shouldn’t be. My Bolex from the 60s has an internal ND slot built in... Takes two seconds to drop in a filter. The cost and development required wouldn’t give companies a high enough ROI... So nobody does it. I think I remember someone developing a internal ND for the original black magic pocket. If I remember correctly, it took a few minutes to install.

Its so subtle, I find myself reminded of the Emporers New Clothes story. Art is full of this sort of stuff. Vast majority who talk about the fullframe look are simply referring to their fullframe camera resolving the full range of their fullframe lenses vs using those same lenses on a cropped sensor. You can get a similar look using dedicated MFT and S35 lenses for these sensors. A fullframe look isn't the same as a cinematic look and shouldn't be confused with it. Er no. That is a bit of a stretch for an analogy. And you're simplifying why people may struggle to see a difference in those examples. Besides Fps and resolution actually appear in a cameras exif data. The fullframe look doesn't get a mention... 🤣🤣

Oof, hate to admit it but this is close to the camera I've been wanting for 4-5 years. A small, compact cinema camera with all the bells and whistles (ND, xlr, etc). I think Panasonic would have been smart to do this with the S1H - make it a bit bigger, add NDs, mini XLRs, and charge an extra $500-1000. That would have quieted some of the AF chatter too. Canon is frustrating, especially right now, but this does look pretty amazing.

Love your footage! 😄 This is my dream sensor size, I just got an s1 earlier this month and through many tests have concluded that its absolutely stunning! I was debating grabbing the medium format focal reducer for the s1 and just shooting in 16:9 to achieve that look. But honestly, I think the s1's full frame image has enough of the characteristics I like in larger sensors to tickle my fancy for now. Maybe in a few years when medium format cameras are more accessible I'll take the plunge. But as a rental for a project, this camera is looking very tempting. I say the bigger the sensor the better, so seeing cameras like this come out is kind of a dream come true. 😄 its also really cool to know some full frame lenses work!

I've had 8 Kowa-8s (also 8Bs in there). Sample variance is huge. Flares can be all different colours, sometimes matching front to back, sometimes not. Some are much sharper than others even when tuned (normal with all scopes). I kept these in the shadow a long time, but when I first stumbled on one I couldn't find even one picture of one on the internet, or even a single word that they existed, it felt like digging up treasure. I've made some videos with them, but prefer the isco 8s too be totally honest (although how wide a kowa8 can go if you know the right taking lens is pretty amazing). This whole film I shot with Kowa-8s -

Spending more time with the 28mm, I'm thinking this would be one I'd choose for cinematography. It's not super-sharp, which is a good thing, and everything I shoot with it ends up looking like a painting. Barrage et Inukshuk by Brad Hurley, on Flickr Clouds over Montréal-Nord by Brad Hurley, on Flickr Daybreak by Brad Hurley, on Flickr

Coming up. Had to get some lenses sorted. Cost me an arm and a leg. Also had to work on the X-T4 review in the meantime, which took approximately 80,000 hours. Better be worth it. Sure I won't get a load of negative comments on it afterwards or anything.

the rare anamorphot 22/1.5x Zeiss ikon beats both of them, sorry! 😉

Probably to box you into using RF lenses, and larger PL adapters won't fit. Cripple hammer time!

@MicahMahaffeyWhen you input "a6300" when you talking about "indie cinema", I just lost my mind.. Everything is cool, technology has bring us amazing quality for a fraction of the cost but oranges are oranges and apples are apples. Panasonic does amazing things to close the gap but when you talk about "indie films" you talk about films you do with your friends, or "indie films" that shot with the usual cinema cameras? Because we shot indie films here, but with C300 series, FX, even up to Alexas and Reds. The cost of a camera rent for a short is miniscule, that would be my last issue. Your "sensor issue" as well is like you haven't read another thread in this forum before..You are like waking up in the 5DmkII days, I thought we are past that. Being out of focus isn't artistic and I bet you are OOF most of times, or you shoot with 8-11f. We shoot a feature with an FX9 right now, a pro shooting, and guess what f stops are using most of the times...hint:no, it is not wide open and we use Canon Cine primes, not a photo zoom.. The movie you are mentioning is with moded A7 cameras. Have you checked the lenses they used? Do you know how many films around the world made with an A7s since then? 0(zero), and with cine cameras? Literally thousands.. You are taking some personal choices and I am sure they are great for you, but I wouldn't advise anyone else to worry as much as you do for those matters. My first ever m43 camera is the P4K, and now that they have solved most of the issues I had with the smaller sensors, I genuinely waiting for the GH6 more than any other full frame camera. I am using the lenses I need for the project.

My sony a6300 is my gimbal cam, The S1 is my main cam. (My personal cameras) I've used and worked with many different cine cameras as well. Pretty much any camera with a half decent codec/bit depth can be made to match anything in post. Things like color science are less important than they used to be. Although most modern cameras have astounding color regardless. Hybrid cams are not replacements for CINEMA cameras, because cinema cameras have lots of features and a specific form factor needed for large productions that the mirrorless cameras just lack. But when it comes to the final image you obtain from these cameras the gap is pretty much as close as it can get. Also external recorders are great on cameras like the s1, enabling prores and cine camera equivalent codecs to go along with its cine quality color and dynamic range. I honestly know "real" cinema cameras are better, I've used them and wished i could own them myself, but if we're being honest, the images in these mirrorless cameras are just as good, or at least as good as it needs to be. So for the prices cameras go for now, we are very spoiled IMO Also the hacked GH2 is such a cool camera! Ive been tempted to buy a few just because its image has this pleasing classic 16mm film like character when pushing for it.

You basically get what you pay for here with these cameras. The special thing about the Komodo, however, is the ability to match the color of much more expensive RED cameras: What ultimately segments Komodo from Dragon and Gemini is the lack of HFR, more REDCODE compression options, and a pro interface or connections. Otherwise, RED is delivering some serious image quality that threatens its own high-end cameras.

Wow - what images those would have been!! I shoot my holidays and so that means shooting on the move and always having a camera ready while you're doing something. I use a camera bag insert like this, in the bottom of a generic backpack: It gives me room to put things on top and also means it doesn't stand out like a camera bag often does. I also use the Peak Design Capture on the front of my backpack to keep a camera handy: As I have two cameras (GH5 and Sony X3000 action camera) i'm either in transit and the X3000 is mounted there when i'm not using it, or i'm at a location and using the GH5 and the X3000 is there and I can swap between them. If I have to do something with my hands while standing up then I can normally pocket the X3000 and put the GH5 there, meaning my hands are free to eat, carry things, help one of the kids with something, etc..

The 18-35 is a fantastic lens! Stick with that and go for a .71x speed booster if you are planning on using APC-C lenses such as the 18-35. When I got my P4K I had a job coming up soon after. I couldn't get a Metabones adapter here in time so ended up buying a Viltrox as an interim adapter for the job. That job was a car commercial and we used the P4K as a car mounted B Cam and for gimbal shot's. The images looked great, I never bothered getting an actual Metabones adaptor, the Viltrox adaptor has not left the camera body and the camera continues to get used as a B-Cam to FX9, Alexa Mini, UMP etc etc. The Viltrox is about one fifth the price of the Metabones. If you are going to only use full frame lenses, get the .64x Metabones and if you are going to use super heavy lenses, get the Metabones with the locking EF mount although I have put cine lenses weighing up to 1.6kg on my P4K with no issues. If you want/need a super light and small rig, maybe consider native lenses but i'd recommend trying the lens you already have (18-35) with a Viltrox first. It's a killer combo! A slightly heavier camera is less susceptible to micro shakes when hand held.

I hear the same argument from Canon users, Sony users, any mirrorless camera users in fact, justifying why their choice delivers the best. I get you like your camera; yep it does a great job. However if I was shooting a movie or larger documentary with a budget, I'd grab a dedicated cinema camera. Maybe with a mirrorless as a B camera for certain shots. I plan to pick up the S5, if it meets potential. Fullframe has it's uses, so do hybrids. It'll be a lovely B camera. I'd invest more for 1, but lack of decent AF in the S1H and the R5 issues makes them less appealing as an expensive purchase. Hybrids still have a way to go before they compete with cinema cameras. Limitations of form factor and their catering for photo holds them back IMO.

So the new PRO edition of Expedia Mark II is going to have hdmi and scopes and false colors as a monitor option for our Sony cameras? yes please. How much is that beast?

Simplest thing to do here is have a safe workflow when setting and taking down your camera rig. In the example where you have a camera and a recorder/monitor both receiving power from the same power source, yet have a high frequency connection between the camera and recorder/monitor like SDI 6G/12G or HDMI 2.0/2.1 and unshielded cabling is used. Simply following: - When connecting: FIRST connect power cables, THEN HDMI / BNC. - When disconnecting: FIRST disconnect the HDMI / BNC, THEN the power. Also helpful is using shielded power cables and avoiding D-tap connectors (since they can possibly be plugged in backwards). To safeguard your D-tap connector you could add the Lentequip Safetap which protects against reverse polarity, over/under voltage, and short circuits, as well as preventing battery deep discharge. But just following the connect/disconnect process above should protect you most of the time.

Though it was perhaps better known as Eating Trifles in most UK school dinner halls of the era.

I have been wondering about this for a while. I realised, from the various publications and blog posts, that almost everyone has gotten the exact specs of the GH5s (and the GH5) Sensor Wrong. It is actually a smaller sensor to the GH5, (21.63mm vs 21.77mm diagnal, or about 0.64% smaller based on the diagonal measurements, or about 10.1% according the absolute chip sizes of both, which though could be to accommodate more functions). That's why the increase in pixel size seems, curiously. too small (4.63µm vs 3.30µm), for something with almost 1/2 the MP count (10MP vs 20MP). Also, the GH5s sensor is a lot more rectangle, as compared to the GH5 sensor, which is more square. Plus, the stated MP count on the GH5s is also incorrect on the data sheet, because it only measures them according to the various aspect ratios, and conveniently doesn't mention the absolute pixel count of the sensor, and there is greater wastage in the various aspect ratios, for maximum photo or resolution. The BMPCC4k has an effective sensor area of 18.96mm x 10mm, so it has a crop very similar to the GH5s in the DCI 4k ratio. so the low light advantage of the GH5s (and the PC4k) seems mostly to do with the fabrication, quad pixel(?), and newer sensor technology. Otherwise if the sensor was the same size or larger, the pixels would have been larger than the 40% increased from the GH5. I am also curious to know what the maximum width of the M43 mount sensor can be, before the corners start getting unacceptably soft. Basically, what all this means, in layman's language, is that based solely on the sensor technology available right now, there is still a lot of juice left in M43.

I think its a Sony AX100 (or one the variants as they have a few cameras that share the same shell) and the images themselves been flipped horizontally. Unless Sony have released a limited edition left handed version.

First outing with the camera. handheld with a 24-105. Loved the camera. I need to adjust a couple things but for the most part a near perfect camera for me. It was extremely dark with the forest canopy. I'll try the Sigma 18-35 next. -Dave

Nice lens but I must say that shots have been fired 😉 I own the Baby Hypergonar and did own the Kowa 8 2x before I sold it. I would slow down with the Baby Hypergonar bashing. First of all, my copy and another friend who has the same lens both confirm that we could not reach infinity with the Kowa 8 2x. It is a lovely lens and you have produced some really nice images but nobody puts my Baby Hypergonar in the corner 😉

Could use a price limit as the definition to be included or not? Instead of if it is or isn't a hybrid camera. Could even have two categories, such as: sub $5K (so would include the likes of a Z Cam E2-F6 alongside the Panasonic S1H) and sub $2K (E2 M4 vs P4K vs GH5 vs S1 vs Z6 etc)