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If you browse the FM forums you can normally find a used A7iii for $1300 and under. I've even seen $1150-ish with low shutter counts. While I love my Rii the 7iii is the better buy. The battery life alone is well worth it. Unless you need the extra MP having a smaller file size sure is nice on the hard drives.

One of the things that 24p gives me is a certain surrealist aesthetic. What I mean is that 24p isn't quite real, it's more like an impression of reality rather than an accurate representation of reality itself. Things that make video more realistic like 60fps, rec709 accurate colours, HDR, super high resolution, 3D, etc seem to make it less 'cinematic'. Of course, this is an aesthetic choice - if you want to make videos that seem very real then those things are great. Games or POV videos should be more realistic, so those things are benefits in that case. I shoot travel and events of my family and friends, so my videos are like a vignette of memory, and in alignment with that the aesthetic I want is fuzzy and impressionistic like memory. I also like the idea of giving the same larger-than-life aesthetic that feature films have when viewed in the cinema. I find that 24p is one of the things that helps generate that aesthetic.

Because some dead French men of the XIX century and his pals made a bunch of experiments proyecting 1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16,17,18,19,20,21,22,23 FPS. Then they arrived at 24 FPS and went "yeah, that looks about right and there's no perceivable difference between 24,25,26,27,28,29 FPS and 24 is cheaper to roll". That's the legacy. Like the wheel, why try to change what is already damn near perfect?

A funny and very pointed piece by Fujifilm. "We don't negotiate with hobbyists."

I'm going to start a company making cameras that are purpose built for intrusive doorstep photography of autocratic leaders. Hasslevlad.

I'm going to start a company making chocolate-bodied cameras and I'm going to call it Fudgefilm. Over(h)eating may be an issue.

As a fellow Panasonic shooter, I'm gonna need them to really deliver something big with the GH6. They need to meet the markets expectations on things like AF because even though that's not a huge selling point for me personally it is for the future of the M43 system. As someone that's heavily invested in that system I need them to keep innovating and stay relevant, otherwise I need to consider making a switch while my equipment still has value. Others in my shoes have already gone the Sony route but I'd really like to stick with Panasonic if they can give me a reason to. Right or wrong, the reality is that it is hurting Panasonic when the legionz of vloggers and influencers whine about the auto focus. It's not helping them sell cameras.

It may be unfair but it's just how it is for me. I am not going to keep a Fuji around when my Panasonic cameras can do unlimited recording. I wouldn't care but its been an annoying thing to have to deal with on several shoots, enough to where I'd not warrant keeping it over a Panasonic. For weddings I had an external recorder to bypass that, but micro HDMI is too fragile. Plus record limits are just a pointless gimp. The camera is perfectly capable of recording past that, especially in 2k. As to rolling shutter its not usually noticeable, but its nice to have low or global shutter for handheld.

Thanks for the advice guys. I found a nice condition A7R2 with 4 batteries for a good price on eBay this afternoon so I've bought it. It will be nice to look through some lenses with the FOV they used to give back in the day! Apparently the S35 4K is pretty good, so my go-to EF-S 17-55 will possibly get some use if I ever use it for video not on a gimbal or a jib.

Wow. Kubrick often shot with the 200ft magazine, that lasts 2.2 minutes. My Arri 400 foot magazine lasts 4.4 minutes. So 1 year = 90ft/min x 60min x 24hours x 365 days = a 47 million, 304 thousand foot magazine. That’s a magazine weight of about 266,000 pounds. Is that camera on Ebay?

For my uses a X-H2 is something that would actually be feasible for me to purchase, should it tick all the right boxes (unlimited recording and better IBIS please!) BUT still, this is a game changer and a sign of things to come. It should get people excited even if they'll never use one, because aside from the price it's an impressive technological feat that they've fit it in such a small body. Innovation and pushing things forward is what interests me these days, moreso than what I'll ever actually be able to afford. It gives me something to look forward to, as innovation trickles down to the equipment I can afford or when I can purchase it used.

You can read this, on this page https://www.doc-diy.net/photo/remote_pinout/ Fuji (Fujifilm) Fuji has currently three types of wired shutter release connectors. 2.5mm Jack Plug Some of the Fujis have the standard 2.5mm jack socket to connect the microphone. This socket also serves as a shutter release socket. The wiring is compatible with Canon and Pentax (see above) and cheap remotes designed for these brands can be used. So the fuji remote control works like the RS60-E3 cannon remote control. And you can read this on this page http://www.camerahacker.com/RS60-E3_pin-out/pin-out.php When the button on the remote control is pushed half way, contact section 1 and 2 are shorted together, causing the camera to focus. When the button on the remote control is pushed all the way, all three contact sections are shorted together, causing the camera shutter to be released. Pin 1 is actually the ground connector. Therefore, it's pin 1 and pin 3 that causes the camera to trigger. 1 - ground 2 - focus 3 - shutter When you build your own camera interface, you can split the auto-focus and shutter release function by using two switches or use two independent circuits. Now I think I have everything I need. I will try to build my trigger button this weekend. I will use wire 1 and 3 on the momentary button and hide and protect wire 2.

Yes, the waving the hand before your face test! I’ve done that with the X-T3 at 60p to see what shutter speed mimics reality the best. And the 180 degree “rule” fails completely here, the motion is too stroboscopic at 1/120th. 60p at 1/60th shutter works for me. It looks most like my real hand waving before my eyes as far as motion blur is concerned. There are no small increments of time left out at that setting. Just like seeing with the naked eye. Thats how I shoot at home. But that’s not what we want for narrative story telling. We want to be immersed in an alternate reality, and for us right now 24p works best for that. And 16fps still works fine for Buster Keaton. I find these frame speed opinions fascinating, its all about how the mind/brain works, and our cultural training & history. If Hollywood had developed a 48fps standard, who would want to shoot 24p? It wouldn’t look like Cinema! Maybe we are all brainwashed by the mechanical & financial limitations of a small group Of engineers over a hundred years ago.

Hope AMD will get there fast too, dont want to switch back to intel as I would have to change my mobo.

Here's the thing, kid. In the old days, when everything was cinematic, we had film cameras without 30 minute recording limits. Why, we could turn one on and have it record for a full year.

As promised... Shot on the mighty SJ4000 with replacement 8mm M12 lens. I brought the footage into Resolve and pounded it with a hammer until it no longer looked like a cheap modern camera, but reminded me of an expensive older camera. I might have been a little heavy-handed with the film-grain though, I thought YT would compress it slightly more, anyway, enjoy.

Andrew reviewed it here. https://www.eoshd.com/review/4k-is-here-blackmagic-production-camera-review/ As long as you understand what that you'll be shooting at iso 400 and no higher you'll be good. Keep in mind also that if you push it to iso 800 in post you'll start seeing fix pattern noise. So make sure you are exposing properly. Having some fast glass will help if you are shooting at night, as long as you have light sources. You'll definitely have to light dimly lit scenes. The plus side is 12 bit RAW will look and grade quite nice and of course the global shutter.

The specs on this camera seem almost insane - I guess there will be a catch. Shouldnt it suffer from overheating?

I think 95% of this forum would've preferred for Fujifilm to release the X-H2 instead.

Yeah, The Hobbit in HFR was a surprising wake up for me regarding why I like 24fps. Everything just popped out and looked weird, and I remember a lot of people liking the look. The newest TVs with their "frame smoothing" feature that generates in-between frames on 24p content drive me just as crazy when I visit a friend's house. I don't think it necessarily means we'll never be watching movies at 120fps in 32k, but it seems we'll need some technical revolution to help blend in all the cheats used in narrative content from sets and fake backgrounds to VFX. Maybe in the next decade or two, someone will invent some A.I. filter to better blend the fakery into the real stuff before we run our 120fps export.

Far be it from me to say they deliberately crippled the A9 but they are certainly included this time. https://www.sony.com/electronics/interchangeable-lens-cameras/ilce-1/specifications /// PICTURE PROFILE Yes (Off / PP1-PP11) Parameters: Black level, Gamma (Movie, Still, S-Cinetone, Cine1-4, ITU709, ITU709 (800%), S-Log2, S-Log3, HLG, HLG1-3), Black Gamma, Knee, Color Mode, Saturation, Color Phase, Color Depth, Detail, Copy, Reset ///

Yes, I like that. I hope it works safely that way, that makes things a lot easier.

Thanks Jay60p for the answer, but I think the diagram is more like the one I corrected. Just thinking about how the stereo audio is connected. I think I'll try to connect only 1 and 3 on the momentary button and I won't use 2. Just to trigger the rec. but I'll continue to do some internet research first.

The A7iii will be a fantastic investment. The 4k image is fantastic, the battery life is even better, has dual card slots, fantastic AF, enough megapickles for photos, and you can use the EOSHD color profile!

I've got an A7Rii so make that 3. Hard to see anything better value at the price if you are already invested in E-mount, particularly if stills are the primary use. If you are using manual focus lenses with it, I'd definitely recommend looking at getting the TechArt PRO adapter as it will give you pretty good AF capability for them. Its designed for M mount lenses but can be used with pretty much anything by stacking a "whatever your lens is to m mount" adapter on top. It comes into its own with small M mount lenses like Voigtlanders as its like having an autofocus high res Leica M with an EVF and its overall size isn't that much bigger either. Battery life isn't great of course but they're small enough (and cheap enough) to not be worried about carrying a few spares.

If you are determined to get one of the FULL FRAME cameras you listed in your first post, then the only real viable option is the a7R II, since it will have significantly better autofocus than the other cameras you listed and at least has internal 4K. However, the full frame 4K is pixel binned, so you will need to shoot in super 35 mode anyway for the best 4K image. You most likely will want to shoot in 4K, so the older a7 and a7 II cameras (that only shoot in 1080p) would probably best be avoided. (Sony 1080p is generally pretty bad with lots of aliasing and moire, unless you get an a7 S, which only has 12MP for stills). However... Since FS5 is aps-c (super 35), and since it seems like you are on a tight budget, it probably makes more sense to get a sony aps-c camera so you can share lenses between them (instead of having aps-c glass for the fs5 and full frame glass for the a7 camera). I would suggest looking at a used a6500 or a6600 if you want IBIS, or something like an a6400 / a6600 for HLG profile (the a6500 doesn't have HLG, but has 8-bit slog 2 and slog 3). 4K on Sony cameras is nice and detailed, although the issues are overheating (more so on the a6300 / a6500) and a dim screen, and again, only 8-bit for SLOG.

New intel chips should have quick sync HW h265 10bit 4:2:2 but is such a mess to find the right spec....

The trouble with that wiring is you need intermittant use of half press for AF-S focusing. It also stops focus check (hi magnification) from working in manual focus mode. And probably interferes with a bunch of other things, like no playback! It may be that he just directly connected 2 and 3 contacts to the switch , but I won't try that unless it's been shown to be safe by a reliable source online.

That looks like a single pole, single throw, momentary closed switch. Possibly what he did, in that video, was connect the 1 & 2 contact wires in the Vello harness to one switch terminal on the push button, and the contact 3 wire to the second switch terminal. Using the push button in this way would be the equivalent to holding the camera's button down half way during switching it on, then full press for recording (and back to half press), full press for stop recording (and back to half press), then turning off the camera (while holding half press). In other words, the camera will always be in half press mode. I tried this and it works on my X-T3, you should try it on X-T4. I would investigate this further online, maybe talk to Fuji support.

I'm looking to buy shares in a new camera company that makes cameras specially designed to take flattering pictures of people with foot injuries. Oh-limpers.

I've also found that most of the times Resolve went a bit funny (ie, something wasn't doing what I expected) then I just save and restart Resolve and re-open the project and it goes back to working fine. It may not fix your issue, but it's worth a try if you hit an issue while you're in an edit.

Why not also make photographic dog treats called Bony? Or Dummy cameras for conspiracy theorists called Qanon? Or gender blind gear called Pan-anasonic?

I'm planning on shooting some stuff soon. I may even make the project B&W - here's that last still with a straight B&W conversion (and none of the other grading I would also do to it): The modding process was super-easy, so if anyone is curious then I'd recommend trying it. The only thing to watch is that you get a genuine SJ4000 as there are heaps of fakes on Ebay. I previously bought the cheapest one I could find, for the cheap camera challenge, and it was definitely a fake and the 640x480 video it captured was truly truly awful. There are a few easily google-able sites about how to spot a fake from the genuine one so it's not that hard.

24 frames a second, that was the faster speed for us back in high school, when I started with my Minolta Super 8 camera. Me and my friends were happily shooting 18 frames per second (silent) silly comedies and we loved it. If I was doing narrative now, I'd have a hard time deciding between 24 or 30. For family and nature these days, 60p looks best to me.

I'm a hybrid shooter but I'm not going anywhere near it either and not just because it is Sony. You could literally get a great stills camera AND a great video focused camera for the price of this one. I think this camera is literally targeted at the hybrid sports shooter if such a thing exists. I'm with you, I think the quest for the perfect hybrid camera might be overrated and dedicated video cameras are more realistic. Personally I'm starting to give up on the idea of a hybrid camera. I keep thinking that a hybrid camera would make my life easier on a hybrid shoot (less gear to carry) but then when I'm on a shoot there's so many differences between the photography portion of the shoot and the video portion (lighting / audio / camera settings / movement / etc) that I feel like I will always need two camera bodies. Even when it comes to the body, for photography I need a remote flash trigger attached and a battery grip with a vertical shutter release button so that I can shoot portraits, for video I need an audio module attached and can't use a battery grip because of the camera cage.

Well, I think that the D-Mount project might be dead, at least for me. Some time ago I ordered a genuine SJ4000 action camera, as they're structured very differently internally and are much more supportive of lens changes. Here it is, front plate and front panel removed (which is very easy to do) and lens removed (just twist with a strong pair of pliers to break the glue and it unscrews easily)... and here it is with the mighty Cine Nikkor just sitting on top: You can probably already see what the problem is - it interferes massively with the battery slot. What you can't see from those pictures is that when the lens is mounted at this distance from the sensor and is set to focus to infinity it can barely focus beyond the hand that is holding the lens. The infinity focus is so bad that focusing close-up on the lens is basically the same. The Nikkor would need to be mounted a significant distance further into the camera, making its intersection with the battery a problem. However, I also bought two other M12 lenses when I bought the camera... Here is the 8mm one, which gives a FOV somewhere around the 40-80mm range (I haven't really tried to estimate it better than that) which is perfectly serviceable and does the job of not being a crazy fisheye lens like the stock one. Here it is mounted in the camera: The other idea of the lens replacement was that it would be less sharp and slightly "vintage" with it's 2MP CCTV "pedigree". So, how does the footage look? Well, it's one of those good/news bad news things. Good news is the lens is great and flares like a monster: The good news / bad news part is that the new lens doesn't appear to have an IR filter on it, and I didn't swap the one from the other lens over yet, so it's an IR camera!! I've always wanted to try IR photography so that's pretty cool. Also, my original plan was to make everything B&W anyway, so that doesn't really matter much, and actually gives more light to work with, which is great for these tiny sensors. This pot is bright red, just like the leaves of that plant are bright green: The bad news is that the compression is pretty crunchy: Of course, I've worked with worse, so that's fine. But, going back to the Cine Nikkor, unless I want to somehow move the battery connectors, which are soldered onto the circuitboard IIRC, then the lens isn't going to be mounted to this camera any time soon. I'm also wondering if the codec is good enough to really warrant putting a nicer lens on it. I also bought a 16mm CCTV lens, but that can't even mount because it has to be so far AWAY from the sensor that it doesn't even touch the M12 mount, I'm free-lensing it at a decent distance in front of the camera. Also, the FOV from the 13mm Cine Nikkor would be prohibitively long, unless shooting with a tripod or a rig that's at least 20 times the size of the camera. One of the benefits of this setup is that it's so small I can film with it without any other rigging. I shot a project the other day with just my phone in 240fps mode, and am having fun editing that (my wife picked a ridiculous song for the edit which really elevates the project lol) and I'm wondering if using my phone is the ultimate camera for street and casual videography. Everyone takes photos these days and if I pull a face while I'm shooting maybe people will just assume I'm taking a selfie and not react in that "I've just been photographed!!!!" kind of way that some people do. So, SJ4000 and 8mm 2MP CCTV lens.. is it a cinematic beast? Probably not, but is it an interesting thing? Sure... It's probably the Super-8 version of an action camera.

You have boring arguments. Ofc 3080 would be faster than M1, but it is a francinstain solution - unportable, expensive, the one that doesnt work without its own power socket. If you need more power it is logical just to go desktop or wait for M1X.

Go to see the difference between M1 vs eGPU performance and you won't think the same : ) Let alone heat management.

You are correct in your research. Let me rephrase what I said. I believe that if you're after that overall softer / filmic look, the bmpcc will get you there easier and quicker. There's no sense shooting with a GH5 if you can get that look with less work. A colorist friend of mine often says, "the least amount of moves wins.

I see that too. A mantra, repeating what they heard. Cinema Look Pull Down 3: 2. I also disagree with the dogma 1/48 shutter expose. I understand the 180o shutter for the rotating reflex camera, but today it is no longer necessary, the blur drag is not too bad compared to what it offers in quality of movement, not to mention increased exposure, when necessary.

The quality of movement in cinema (film) is formed by these characteristics: Global shutter with smooth in-out Projection Speed 1: 1 (not pull down) Acceptable number of frames (I think 24 is the minimum acceptable. No one creates wine tasting arguments to defend 20fps) 24p and 1/48 expose are standards for projectionists, camera manufacturers and filmmakers to talk each other. If the standard was 30p it would be a little better, but with higher costs for film, development, print, copies ... In digital, global shutter is possible, and solves movement much better than rolling shutter. The smooth in-out, made by the mirror in a plane away from the film, is another of the mechanical and chemical wonders that we lost when embracing the digital facilities (there are exotic solutions, like the mirror in alexa studio, the old tessive time filter .. .) Now, 1: 1 viewing is a mess in digital. There was the old standard 24p, but for TVs they created the 60i and 50i. For electronic devices, monitors, phones ... 60p. Even TVs that can offer the true 24p, depend on the signal being sent that way. I heard that with NVIDIA Shield it is possible to send the 24p signal from applications like NetFlix. TVs that offer 120Hz, usually like to meddle and alias movement, and sell as if it were “incredible", and often, turning off all features still offers an image with signal intervention. That said, the 30p manages to meet 1: 1 in almost all cases, except for TVs in Europe (and maybe other places in the world, I don't know). Little cost involved (25% of storage). Improves movement, without making it clinical, like 60p. 1/48 expose, if there is no smooth in-out of the mirror indicating the trend of the next frame, I think very little. It creates a very large gap that the digital with its implacable cuts only worsens. Here I still prefer a bigger exposure (tests in progress). Less than 360o and greater than 180o. More frames (30p) and a larger aperture (maybe 1/48) also softens the effects of rolling shutter. But for me this is one of the unacceptable characteristics of digital. And I think that's what the friend said that hollywood has less of that jitter effect

I know this is probably very controversial, but I ask myself this question every time I see a video shot in the USA at 24FPS instead of 30FPS; why did they do that? I am mainly talking about the USA because I know overseas there is PAL and 50Hz refresh rates and some other things involved in that formatting which I know nothing about. I will assume that if my TV was set to PAL and the frame rate was 25FPS it would look the same to my eyes as my TV set to NTSC and the frame rate set to 30FPS. So back to shooting at 24FPS or 23.97FPS in the USA...I just don't get it; I have never seen 24FPS footage (that I am aware of) anywhere other than Hollywood that does not look like its is stuttering badly at 24FPS. If there is no motion, or its a talking head, then sure I can't tell the difference; but most of the time the footage looks great....except it is stuttering along due to the frame rate when there is fast motion. To me and the TVs and monitors that I use to view YouTube and online content, I can almost always tell when its not 30FPS and there's nothing "cinematic" about it. I even researched the history of frame rates and I know they started out that way to save tape media, but those days are long gone. Motion simply isn't smooth if it is not shot at 29.97FPS (30FPS) in my opinion. Somehow Hollywood gets away with it, maybe its their post processing, their camera equipment, etc. but every other footage at that frame rate is just a stuttering mess to me if its fast action or a lot of things change between frames. I have also watched a lot of videos on frame rates and they describe the problems that occur when you shoot in 59.97FPS then try to slow the footage down to 50% on a 24FPS timeline....let alone to 23.97FPS. Even with Hollywood, playing a movie straight from a DVD, there's been scenes that were hard for me to watch because the frames appeared to be stuttering. So am I the only one that thinks this way? Is it something with H.265/H.264, YouTube compression, LongGOP compression, bitrates, or something else that makes 24FPS look so terrible most of the time when motion is involved?