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The embargo for the a1 reviews ends today so if anyone needs me I'll be working on my thumbnail...

So, as per reports today, Sigma have registered an EVF in Korea.. Might suggest a new Fp is on the way but I'm wistfully imagining that they've pulled a rabbit out of the hat and made one that side mounts to the current Fp like the hot shoe attachment does.

Hello, All filmmaking forums I visit are directly related to gear or craft but none have anything to do with the business side of filmmaking. Are there good forums out there on this topic, or is it an idea to create a subforum for this here? - Finding jobs - Marketing - Keeping in touch with clients - Sales/price negotations/best way to approach clients - Accounting tips - Tax writeoff tricks - Dayrates - .... Offcourse it will be different per niche and parts of the world, but I think there will be a great overlap overall.

Yeah, I feel the same, but seeing some new m43 sensors on Sony's website makes me think someone may pick it up and run with it. It is still my favorite system for casual shooting and travel photography. I've been lurking in the medium format thread and I think @kye may be on to something regarding a medium format system as a supplement to m43. If money becomes no object for me at some point, I could see picking up a large format system for messing around with once in a while for that unique look. But 90% of the time, I'd still just want to grab a trusty and compact m43 camera and have fun. Hopefully, capitalism and the free market (or Panasonic) will take care of us diehards. 😎

It's not that I'm opposed to 8K, I just really hope it's more than a GH5 but with 8K. I just don't think that's enough to ensure that M43 will be viable (outside of Japan anyway, where apparently it was the most popular mount last year) moving forward. Most of us are happy with our M43 gear. That really isn't the issue. It's the long term health of the system that I'm worried about. The reality is that even a lot of the YouTubers that were M43 users have moved on to Sony, Canon or Fuji. Is that the end of the world? No, but it's a bad sign and whether we like it or not those YouTubers influence people's purchasing decisions. If they aren't selling enough cameras that's bad for all of us that are heavily invested in the system. That might not factor into everyone's decision making, but the overall health of the system definitely matters to me given the extent I'm invested in it.

I now have my Panasonic S5 rigged to meet every type of project that I shoot and I know how much time it can take to get your gear rigged up in a way that works for you so I figured I'd share my setup in case someone else is looking for ideas. Every rig is kept as simple as possible, I can go from one rig to another within less than a minute and none of the rigs require tools to put together or take apart. Also, all of my handles, lenses, rails, tripod plates, audio equipment, and even the V Mount battery is interchangeable with my Canon C200 which is what I wanted for simplicity. For each set up I provide a parts list and what I use that setup for. All Setups - Parts SmallRig Cage for Panasonic S5 Camera 2983 SMALLRIG Quick Release NATO Rail 1.6 Sigma MC-21 EF-Mount to L-Mount Adapter Andoer Rapid Connect Adapter with Quick Release Sliding Plate Setup 1 - This is my setup for when I am shooting video only and have the talent wired for audio via a wireless lav mic or a wireless microphone. The extra weight makes handholding easy and I can rest the back on my shoulder or chest for short interview type work. I also shoot content for some YouTube influencer's channels and this setup lets me shoot hand held while capturing their lav audio. With this setup I think I can shoot for about 10hrs without running out of battery life Equipment Canon EF 24mm-105mm F4 Panasonic DMW-XLR1 XLR Adapter Sennheiser G4 receiver Sennheiser to XLR cable SMALLRIG Aluminum Side Handle with NATO Clamp SMALLRIG Tripod Mounting Kit with 2x plates and 2x 15mm Rod Clamps SMALLRIG 16 Inch Rods x 2 Bebob Factory GmbH COCO-15V III V Mount Battery Plate V150 Bebob Battery USB A to USB C cable 2 x Andoer Rapid Connect Adapters Setup 2 - Same equipment as setup 1 but with the addition of a Manfrotto Video Tripod which also has an Andoer Rapid Connect Receiver plate mounted on it. In the picture I show how I can slide the S5 off of the rails and slide the C200 onto the rails within seconds. Setup 3 - This is my long form event setup. If I just need a static camera and natural audio this would be my setup. Although I show an external monitor here, I don't actually use one but I showed it anyway in case someone wanted to see where a monitor could go. Equipment SMALLRIG HTN2362 Rotating NATO Clamp Handle SMALLRIG Aluminum Side Handle with NATO Clamp SMALLRIG Tripod Mounting Kit with 2x plates and 2x 15mm Rod Clamps SMALLRIG 16 Inch Rods x 2 Bebob Factory GmbH COCO-15V III V Mount Battery Plate V150 Bebob Battery USB A to USB C cable 2 x Andoer Rapid Connect Adapters Video Tripod Setup 4 - Same equipment as Setup 3 but without the tripod. This is my handheld setup when I am shooting video only and do not need high quality XLR audio. Setup 5 - This is my handheld hybrid shoot setup when everything gets crazy and I am shooting a mixture of video and photos and will not use the onset audio at all. Equipment SMALLRIG HTN2362 Rotating NATO Clamp Handle SMALLRIG Aluminum Side Handle with NATO Clamp Setup 6 - Same setup as 5 but on a monopod. I use the top handle for additional stability and additional points of contact. I also can use the monopod as a light glidecam if I need a little forward or backward movement. Setup 7 - This is my gimbal setup for everything from real estate to music videos. Equipment Canon EF 24mm F2.8 Ronin S with Inverted Handle Sling Grip

Something has gone badly wrong with the camera market. New blog post: https://www.eoshd.com/news/collapse-in-unit-shipments-means-6000-cameras-could-be-the-norm

Hello, I shot some clips with V-log on the S5. But when I apply a color space transform in Resolve the image and skintones turn really red. So that cant be correct. What am I doing wrong? (Skintones were lit with 5600 light with custom wb, before the colour space transform the colours look normal) Input color space: Panasonic V-Gamut Input Gamma: Panasonic V-log Output Color Space: Rec709 Output gamma: Rec709 Thanks,

Hey there, I use my X-T3 with either a cage and monitor or just plain with the bare minimum. I'm just a hobby filmer mostly, believe it or not, filming my kids. I just use the whole stuff and try color correction/grading because it's a fun hobby. I will try for real projects anytime in the future when I tested enough. 🙂 Anyway, here is my current setup of the X-T3: Cage Top-Handle Side-Handle Comica Mic Swit CM-55C Monitor HDMI Cable Clamp Before that, I also had a follow focus which I sold, although I liked it a lot.

check out "How To Sell Video Production Services At Higher Rates" on Facebook. It has a lot of members and business related things is all they talk about.

OK, first go in to preferences and change the color management / color settings. Set output color space to Rec.709 2.4 and disable any input LUTs / transforms. Then in either the media pool or the medial viewer of the edit page, change the Input Color Space to Panasonic V-LOG / V Gamut You should end up with a really good starting point even before grading. I disabled the nodes in my grade to show you the starting point. NOTE: For whatever reason, photoshop saturates my screen captures from the color page of resolve a lot, so the image is not as saturated as it looks in this screen shot. Note the HDR panel location next to the primary wheels / bars / log tab. If you see the levels in the center viewer, click the HDR icon a second time and it will display the HDR levels tool instead. HDR tool works EVEN IF YOU WILL BE DELIVERING IN SD INSTEAD OF HDR. big benefit is that adding contrast does not add saturation the way that it normally does when using primary wheels / bars / log tools. Hope this helps.

I just upgraded to 17 yesterday, could you post a printscreen of your settings as I dont seem to be able to get it working properly?

@zerocool22 Which version of resolve are you using? If you have version 17, I highly recommend using the DaVinci Wide Gamut (you have to go in to DaVinci Managed Color in the project settings and then choose DaVinci Wide Gamut), then make sure the input color space for your clips is set to Panasonic V-LOG, and it looks really good, IMHO. Be sure to NOT use any CST or LUT nodes when you try it out. Also, with Resolve 17, Panasonic V-LOG and DaVinci Wide Gamut, try using the HDR panel for your primary grading instead of using the LOG / Primary wheels / Primary Bars. Hope this helps. ASIDE: Personally, I was never completely satisfied with the V-LOG image in Resolve 16 when using either CST or with the Default LUT, nor with ACES transform. Of course, could be 100% operator error. I liked using some of the Varicam LUTs that are available on the Panasonic site, namely the Fashion Lo Contrast and Nicest LUT.

Best A1 review IMO:

MUCH K!! MANY FOCUS!

Hope they add the pivot!

I want to hear prolific use of the term 'game-changer'. Milk it while you can because in a few months, they will be announcing their 8k camera. As in their $8k camera.

Yes that is true, maybe we need to update the first post with every good piece of information, so users do not need to scroll through heaps of comments/pages?

Just start a new thread here! (like this one) I personally don't think it is a great idea to make heaps and heaps of subforums, as that ends up diluting down the number of members viewing each forum regularly. But that's up to Andrew.

A 21st century Viewcam 🙂

Well of course - but history is littered with dead industries whose players failed to foresee the full effects of technological change. But in terms of actual hardware, there was and is literally nothing that could save mass-market camera sales. You have to remember that the vast majority of the millions of point'n'shoots that used to be sold every year weren't in daily use - they sat in drawers, brought out for the annual holiday, birthdays and Christmas. People who worked in mass-market photo labs used to laugh about rolls of 24 frames that were bookended with snaps from 2 consecutive festive seasons. So when you arrive, accidentally (don't forget, cameras in phones started out as a minor value-add) at a scenario where everybody has a far higher (for them) quality camera in their pockets all the time that they don't even have to think about putting in there - well; tell me what camera makers could have done to their products to make them attractive enough for Joe Schmoe to put his hand in his pocket for a separate device that he has to remember to get out of the drawer. It's by no means a happy situation, but it is what it is and it's where we are. With the benefit of hindsight we can debate whether or not it was inevitable. We can posit ways in which CaNikon etc could have safeguarded their businesses - but the ways in which they could have done that, including the strategies Andrew suggests, might have saved their businesses, but wouldn't have done anything to preserve any kind of market for consumer cameras sufficient to continue supporting higher end gear for enthusiasts.

One would think Samsung would be able to jump right back into the enthusiast camera market using the same technologies they already use for their phones. Big beautiful screens, blazing fast processors, computational photography, etc. Why not try to capture that extra slice of the market? Adding the benefit of lowering BOM cost and improving the margin on a product you sell millions of every year.

Well the other part of the equation is that digital cameras last a long time for most consumers and semi-pro's. Unless you do timelapse with mechanical shutter beating your shutter to death, how many shots a year do you put on your camera ? 5K ? 10k ? with a shutter good for 150-200K releases you've got 15-25 years worth of life with that camera. Longer if you use it less. Couple that with minor improvements in resolution for mid to lower priced cameras, minor improvements in DR, those two big selling points just aren't . Most cameras are in the 20seomthing megapixel range and even the higher 36MP sensors aren't that much of a jump up for _most_ users when their current camera is perfectly good for their needs. Only 4K displays has pushed the res limitation a bit. Until we have mass market 6K (computer) or 8K screens will anyone feel any real need to push the pixel count up on the sensor. Current cameras produce really respectable DR and color for the most part. More than good enough for most people's needs now and for a while. Maybe the only real thing that might push someone to get a new camera body is better AF. We have most of that with phase detect and face recognition thats pretty good, again for most people's needs most of the time. with feature needs covered, the want to upgrade is low, esepecially when looking at the price of new cameras. Fuji has done well with good retro design in the bodies, great color that is their own, and kept pricing for the S35 cameras affordable enough what while its a decsion of thought to get a new one like a Xpro3, its not such a giant investment you really have to plan and think it out hard for a lot of people. indeed keeping it under $2k + APSC has proven a good combination.

Just here to say, I wanted the new Fuji to have an open gate video mode enabled SO BADLY. That alone would’ve put me in “sell all my other bodies for a switch” high gear. I’m still holding steady without a sweat... GH5S for anamorphic, Pocket 4K for easy Raw, C200 from work if good AF is needed. I want LF video just because I find it interesting and really want to explore it. The S1H is tempting, but that darn AF keeps it from being the monstrous all-rounder I’m after. Hopefully the S2H fixes AF. If not, hey... S1H prices will probably drop at the same time and make that purchase more justifiable. I think the shaky market is still at a point where it may be a good thing, pushing the manufacturers to condense their lineups and get solid features into all cameras... but I guess we’ll see.

Good info thanks. I'll move it to the GH6 thread

I use a nato rail to connect to the camera cage then the handle's coldshoe to connect the monitor and wireless lav equipment. My particular top handle has two cold shoes. https://www.amazon.com/SMALLRIG-Camera-Anti-Off-Designed-Spanner/dp/B07X1QKB1Z/ref=sr_1_1?dchild=1&keywords=smallrig+top+handle+wooden&qid=1612396679&sr=8-1

I'm not sure what the chances are for that - potentially lower than you might think. Consider the options: The new models are impressive and expensive.... "it's the end of the world - $6K cameras have doomed civilisation" The new models are impressive and affordable.... "today our company is closing its doors due to low unit profit of recent releases and the failure of the compact camera market" The new models are modest upgrades and affordable.... "WTF that's not impressive - WORST CAMERA EVER" The new models are modest upgrades and expensive.... "what the absolute @#$$" Personally, I think the GH5 is actually very close to perfection, and so a modest upgrade of its weaknesses, even just some of them, would justify its existence. The hype train that seems to expect new cameras to be spectacular won't let the "we've taken a solid performer and given it a solid incremental update" message gain traction. These days things are either spectacular or despicable, and no logic of common sense can cut through the mania.

All the survivors will be marked with a red dot. 🙂

In the 1990's, a good capable and forward thinking management at Canon would have been in talks with Adobe, and would have bought a controlling stake in the company. Out from that, the company would have sprung all kinds of software and technological services, before going into online photo sharing in a big way, 5 years before Facebook. In the early 2010s, a good and correct thinking Nikon management would have been deep in talks with mobile networks around the world and Apple, looking to create a standard e-sim for all customers so that their network contracts worked with the multiple devices they own. Rather than a sim card, onboard chip could hold digital subscriber info and connect to 4G networks. When the 4G era really got going, therefore, camera companies would all have the connectivity ready to go in their DSLRs and mirrorless cameras and a one-button press to share shots online. Also, larger back screen, touch screen UI, in-camera editing and filters, plus proper OS to run it all. None of this ever happened of course which is why the chart looks like it does above, rather than being the fault of consumers switching to smartphones. It is more that the Japanese camera corporations did nothing to mitigate it.

6000$ is the new 2500$. Central Banking doing it's job.

The instant sharing part is a very important piece of the puzzle. When I am doing a photo shoot there are more pictures of the model on her Instagram page from her cell phone during the shoot than I am going to deliver for the whole session and the model spends more time trying to set up her phone for behind the scenes footage than she does listening to my directions. Also, I always say, thanks to cell phones the expectation is for quantity, not quality and an Instagram filter to fix it in 2s vs me spending hrs in Photoshop and Lightroom refining every detail. People don't care anymore if their heads are cut off, the composition is terrible, the camera is slanted, the WB is off, etc. The only thing they care about is if they are in the picture and if it got uploaded while it was happening; as if all of their "followers" will disappear if they don't get a constant stream of selfies from a model they have never met. Photography and Videography are a dying art and camera makers moving to the higher end to offset the lower sales was inevitable. These days reviews of a $6000 camera gets more views than the actual video and images taken with that camera.

It's hard to say it's gone wrong. It's so-called creative destruction. There's simply no need for a mass consumer camera market any more. Every home used to have a camera, be it a compact, a SLR, a Polaroid or whatever. No-one needs those any more because everybody (even the children) has a phone that will take better snaps with fewer skills, in a format that allows instant sharing.

I wonder what the used market is looking like. Because someone who was a new photo enthusiast and did little research can get a used DSLR and lenses for fraction of the cost on a camera 5-8 years old and the images really hold up. Not mention people selling off gear they don't use to pay their bills while unemployed.

Pity the enthusiast! 'pro-sumer' models have always been supported by healthy sales of point'n'shoots. Take those away and, as @Marcio Kabke Pinheiro says, we'll be left with pro cameras at pro prices and Leica-level enthusiast models. people will be able to snap 500MP pictures of us weeping, on their wristwatch cams.

Yes, the dark side of the Biden administration right there. They need more principals. More like Bernie Sanders, who to be honest cuts an isolated figure in the top echelons of the party. I think the whole thing now probably needs a independent public enquiry. It is more likely however to just get a Netflix!

Not sure what kind of revelation is this. Also not sure why the A1 bring something new here, actually on some canon body you get RAW so you have almost zero quality loss in taking still from video, I only wish there would be an open gate mode. The only thing that really change is the shutter speed but there sometime you get cool panned shoot if you are 1/50 vice versa for other scenes you could optimize more for the photo. New gen care less about the shutter speed as with games and gopro/phone video is all very high shutter speed stuff. Advantage of taking still from video is that you have more choice, sometime you capture moments that you would not have anticipated and pressed the shutter button and of course you have the whole video. Disadvantage is the workflow and shutter speed. I use a lot of remote camera, I trigger them with pocketwizard with an additional button mounted on the lens barrel so for hockey net remotes is great you don't want to record 60 min and scroll through to find the righ moment. But for sport that are more predictable like horse showjumping now I start the record maybe 20 sec before it reaches the obstacle and stop 20 sec after so I don't need to worry. In some key phases I have just turn on recoding before it starts. Sill from video at higher shutter speed: Mini 2 Canon R5 Insta360 1 inch Insta360 dual lens At 1/50

I agree, all of these clamping solutions look like an accident waiting to happen or an expensive bill if you damage the railing of the venue. To get enough clamp force most clamps will damage any surface softer than their own teeth and hotels/venues aren't too happy with that kind of damage. As you mentioned, glass is twice as bad. I go out of my way not to attach anything to anything I don't own if at all possible, so that's why I use the travel tripod; the tag line is a good idea, I might add that if I ever get to travel again. When I do a setup like that I have the camera lens literally inches from the top of the railing and my heaviest bag hanging from a hook in the center pole to lower the center of gravity as much as possible, as much as I don't like hauling around a tripod, I'd still rather that over one of these clamping solutions. I do tend to use mine for more than just the balcony though, especially as it gets dark I can use it for longer exposures; when I travel its mostly for nature and landscapes so a tripod is pretty important; my biggest gripe usually is that I don't have a fluid head on the tripod for video but hauling around a good fluid head just makes hauling around the tripod even less like a vacation so I stick to a normal photography head.

Undervolted? https://www.notebookcheck.net/AMD-Ryzen-9-5900HS-in-Asus-ROG-Flow-X13-makes-restrained-appearance-on-Geekbench-and-underperforms-against-the-Ryzen-9-4900HS-and-Intel-Core-i7-1165G7.515122.0.html