Leaderboard

My 12K URSA arrives in two days and I’m beyond stoked to play with this thing. Honestly it has a lot hype to live up to (for me personally)

Sorry to quote you again, but there's a new test build with complete realtime preview, non-cropped for 5k modes now. I just shot 2 minutes of 16:9 12bit raw without any dropped frames. I could see my framing perfectly as though I was using a native camera mode... almost. There's currently some scattered lines at the bottom of the LCD screen. It's not distracting, and they're working on it. but seriously, I would advise you to use this build. I just used the 5k anamorphic 16:9 frtp preset and laughed at how good it was. https://bitbucket.org/Dannephoto/magic-lantern_jip_hop_git/downloads/crop_rec_4k_mlv_snd_raw_only_2020Sep21.EOSM202_frtp.zip

Even though I'm probably getting this cam (not the first batch though), the resolving power makes me sad 😞 At the end of the day the speed vs the resolution wins in $$$ terms since 90% of people don't care if it's sharp or not and you'll end up watching a video on a phone. It's just easier to work with and you take a slight hit to IQ that only makes you cry but no one else. The NR is also next level sludge but it "works" so yay? I'd probably take the Canon image despite it's trash shadow recovery, but dat cripple timer and 30 minute limit... for $4K. It's too hard to work with that camera on regular jobs, so A7SIII it is... Anyone else getting clients asking for 100mb videos for their streaming software that can't handle anything else?...

Panasonic...please. Arguably some of the best video orientated features in the business: menu, on screen info, custom mode buttons, IBIS, full v-log, with updated colors, robust anamorphic support and modes, decent wireless phone app, one of the best images in the game, balanced and non-compromised codec options, great handling and ergonomics with lots of custom buttons and very practical dedicated ones (WB, EC, ISO), robustly built, practical camera bodies. It’s all let down by the AF. All the hard work in all those other areas...completely destroyed by the AF. Unsold cameras because of the AF. The reason I’m hesitant to give you anymore money, and I’m sure I’m not along, is the pulsing AF. The tracking is much improved, great! Awesome step forward. DfD can work in some situations in a pinch and a few reshoots. But, I’m not going to drop $4000, $5000, $6000 on a system with shitty AF in 2020 and beyond. Not with so many other good choices. It just doesn’t make sense anymore. AF is now very, very useful and reliable (On Sony and Canon anyway) for 90% of what people want and MF is only a tiny switch flick away for that other 10%. The market has shifted. Your competitors now have 10-bit log with good color. AF in all modes including 4K120p slow motion and above. It’s time. I’m a huge Panasonic and MFT fanboy but you gotta do something different or your cameras will go unsold and your L-mount will fail. And that will, with all honesty and sincerity, be a sad day.

Prores 444 Slog out of SDI A port at 3200 iso with a PIX-E7. Nikon 24-70 at 70mm with a Tiffen Supermist Black 1/8 filter. Lights in background heart were tungsten. But fill and spotlight on stage was gelled LED.

What AF settings are you using? I watched one video where the guy got good results with sensitivity at +3 and speed at -2 or something like that.

I made some simple and informal tests today with my little 5 year old kid running and monkeying around, and I was pleasantly surprised by the S5. Nowhere near my S1h, very different, in a positive way. The AF box sticks to people and faces waaaaaaaay better, and the pulsing didn't showed its ugly face in all the footage I shot today. I was very impressed and it seemed to me like night and day compared to the S1H or the GX80 that I own ! Of course, I really need to make some other tests but for now in video i'm really impressed, for personal and family things, I would definitely use AFC. For professional work and paid gigs, I need to do more tests. I was shooting 4K UHD 25p 10bit.

Oh and they also added crop marks to cover up the flickering lines so they're not distracting at all while shooting. So what you see on the LCD is what your the file records, but your file does have a little bit of extra height since you can't see the bottom 1/8th (or something) of your frame while shooting... Other than that, it's perfect.

Found this on YouTube and while it seems to do a somewhat decent job of keeping the lady in focus, the DFD pulsing of the background is a total deal breaker to me when it comes to AF-C in in video. If it completely goes off the rails like on the GH5 where it just runs off to infinity focus, you know you gotta cut at that point or reshoot. But who wants footage where every half second the background juggles between being sharp or blurry (which you probably can't even tell on the EVF/screen)? In combination with AF-C during video still being too unreliable and manual focus being the best option, I really am even less happy with the decision to go for such a cost-cutting choice of EVF and not at least the one from GH5. We're really at this point where everyone is one step away from the perfect(enough) camera. Panasonic is missing good AF-C, Sony could kill it if they put 10bit codecs into their cameras, Canon needs to get a grip on the thermic limitations, etc. ... "Luckily" the market is still driven by photography and there basically all brands are exceeding what 99% of users need.

Guten Tag @Neumann Films great to hear that your 12K URSA is on its way. I´m looking forward to the first samples. What I´ve already seen from BMD and John Brawley looked awesome. I just like the BM Color-Science and BRAW aswell. Back then it was CDNG and ProRes with the BMCC and the original Pocket, ahead of Canon here. Now it is the great Codec in combination with an enormous amout of recording-modes and really high-res formats.

There is another factor with the new digital cameras which will complicate DOF/format test results. My Fuji X-T3 recognizes specific Fuji lenses and automatically corrects aberrations for those lenses in camera. I have FF Canon, Takumar, Minolta 35mm prime lenses with dumb adapters, and none of them are as sharp and clean as the two APS-C Fuji zoom lenses I use. The Fuji zooms don't show color fringing. My FF 35mm primes and Nikon F zooms do (on very close examination).

I have a Crane 1 and a Weebill s. Whenever you have a problem, you should definitely try to calibrate the gimbal. Now, i've never had a Crane V2, but I would certainly imagine that it has the ability to be calibrated. On the Weebill S (and I think on the crane one) you use your phone to connect to the gimbal and start the calibration process. It is best to be near a computer with a video about calibration on the computer since the images on your phone will most likely be too small. Hope this helps.

I wish I can help you on this.... the biggest problems I’ve faced in the past is balancing.... you need to be next level passionate about it.... once you get it, you have to keep practicing with different lenses and stuff. I bought into one, used it once and it wasn’t even properly balanced (spent 4+ hours before I said fuck it.... it’s good enough) thereafter I started hiring other people who were good at gimbal work (time is money and if I can allocate my time elsewhere - where I’m not spending the time to balance). The guy that I hired often got it down to 5 to 10 min. any camera and any lens.

I used to have a 55mm Canon FD f1.2 on a speed booster for my M43 cams... I mean, that's kinda in the ball park. On M43 that would render DOF shallowness like a f1.8 on FF. So that narrow focal plane capability was there if I wanted it. (turns out I really didn't that much) Also had the Voight 42.5mm f.095. Which is a 85mm f1.9 FF equivalent on M43. All decent lens stuff and kinda neat to own. And I'll be honest, having the extra bit of "oomph" that FF gives is nice sometimes, not going to deny it. (I mean, I still have a 5D) But, in my world it's not worth the trade off of exceptional IBIS and some really crazy compact gear...and the shooting flexibility that offers. That small gear flexibility is often overlooked by a lot of videographers, I think. I love going on shoots with modest stuff; a single small satchel camera bag and a tiny camera --then knocking out ridiculous handheld shots that look like they rolled off a jib or camera dolly tracks. I'll take that capability as long as it's available. Other people like piling on a bunch of outboard stuff so much that even a modest DSLR ends up looking like some Panavision rig on a major studio movie production set. That's fine if that's what you want, just not my tempo.

Blackmagic is one of the smartest companies today. While it feels like everyone else is thinking short term, they're clearly looking at the long game, especially with this release. I have no idea what their finances are like, but if they can maintain this direction they'll have so many advantages over everyone else, given their focus on the entire work flow from start to finish.

Why, f4 lenses are sharp wide open, that was your criteria. People often make the mistake of judging lenses wide open, but the problem is that not all lenses have the same largest aperture. Sometimes the best way to get a lens that's sharp at a particular aperture is to get a lens with a wider aperture than your desired one.

Just give plenty of SDI outputs, with full individual control over each, and let people use their own preferred monitors.

I've used the XH1 and now own an XT4. The XT4 is definitely just... better when it comes to IBIS. I found the XH1 to be sickeningly bad for the way I shoot, I had to get rid of it asap. Those little quantised jumps in sensor movement were destroying shot after shot. The XT4 has similar but more well-controlled issues I suppose. It's not up there with Panasonic IBIS though (not like GH5 anyway). You're right about the planes of movement thing, this is the key with Fuji IBIS I guess. It just can't handle any sort of movement in more than one plane at a time. Tilt while panning? You'll get tiny jerks and catch-up movements in the stabilisation. Likewise strafing or raising the position of the whole camera in space while panning or tilting. You have to be very deliberate with the XT4 handheld movements. I never use the DIS digital stab. The IS Boost seems to be okay, to be honest I can't tell the difference in what that's doing half the time. It's performance may have been altered a bit in one of the firmware updates and I'm just confused about its efficacy now at this point. Something about the XT4 footage stabilises pretty nicely in post, thankfully. Maybe the good performance for rolling shutter is important there. Stick (in DaVinci Resolve anyway) to the straightforward 'translation' type stabilisation and you can avoid the dreaded "warpy shit". So if you're happy enough to polish your footage after that way, you'll get perfectly great results with the XT4 IBIS, yes. Especially with a heavier setup, I guess. The codecs are really great. I'm delighted with how well they hold up in terms of noise and dynamic range. They playback/edit fairly well for h265 and all too on my laptop.

I rarely use auto-focus. I am curious though, for those that seem to prioritize it as a needed spec before buying a camera body, why exactly? What are you doing so often that it's invaluable to you? This isn't snark, I just don't shoot in way where I feel I need it, so I'd like to know why it moves the needle for others. Is it vlogging? It's vlogging, isn't it?

I use the 1/8 Black Promist filter on that exact lens A LOT, and I highly recommend it. Subtle, but great.

6K users, how tight is the EF mount on your cameras? One of the only things holding me back from upgrading my 4k to the 6k is that i'm worried the mount is loose. Its not an issue on the 4k as i've added a Cine Lock Speedbooster.

They used to be in that "galaxy", not any more, even less with JIP. Sony sold 100% of their stock in Olympus. Just search for it. "Sorry". It looks like you lack key information to call out other people and try to make yourself like the all-knowing guru/historian of the camera industry. We're all idiots in comparison. BTW, Japanese companies still work in a system called "capitalism"- it's not some karate dojo where they fight for honor!