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This image shows the upcoming Sigma Fp-L, with the new EVF-11 module attached which gives it a nice rangefinder-style form factor. Cleverly, the EVF attaches directly to the HDMI port with no cabling. It's able to communicate via USB C and is powered by the camera. Since the Sigma Fp-L (and original) have quarter inch threads on both sides of the camera, a 1/4" screw secures the module in place (as if it were attached directly to a cage). New blog post: https://www.eoshd.com/news/sigma-evf-11-is-a-masterpiece-of-design/

American Cinematographer (the magazine of the American Society of Cinematographers) has a great offer on at the moment - 1 year's subscription to the digital version, plus full access to their archive (which goes back to 1920!) for USD19.95. I just grabbed one - perfect for filling those long lockdown evenings, I'd say. https://store.ascmag.com/collections/subscriptions/products/american-cinematographer-digital-subscription-1-year

I was browsing on market place and I didn't realise camera is already in the antique section

I don't know if you noticed @Lux Shots but there's banding in your picture? A big grey bar right through the centre. Or should that be gray and center? Anyway, I spotted it.

Just imagine if Atomos release a new Ninja Star for ProRes Raw - or BMD do something similar for Braw. I'd buy one, or both in an instant.

Panasonic has announced a big firmware update today. It's especially good news for S1 owners. Also - BRAW / anamorphic goodies coming for S1H shooters (via HDMI). New blog post: https://www.eoshd.com/news/firmware-update-turns-panasonic-s1-into-an-s1h-with-record-time-limit-in-demanding-modes-like-6k/

This is what I do and it's been a very productive way for me to do my work. As for that last bit you mentioned, I'm still amazed at the IQ I got from my modest GX7 all those years ago. Something special about that one, even though it only did 1080.

I'm one of those that had issues with the 24-70, an early copy was an absolute dust vac so I sold it. I bought another at the end of last year when it went on sale for $899, after a few months of heavy use all outdoors (I don't shoot inside ever LOL!) its still 100% clean inside. Pic is the old lens, all the specks are dust UNDER the front element. There's a YT video showing its pretty easy to pop out the front element, I opted to ditch the dusty copy. IMO the sealing was quietly improved without acknowledging the defect to avoid a recall outcry. Chris

Never dabbled into this area, but AFAIK the full Camera2 API is almost never fully available in most Android devices. Hence a lot of features are only available for the manufacturer apps. Filmic Pro found some ways to circunvent it, but some features even them could unlock - they even have a app just to list the features available in your phone. For exemple, in my Galaxy S9, 4k60 is only available in Samsung's camera app - not even Filmic Pro could past 4k30.

I had a few excellent deals last year because "m43 sucks" gx800 for 150 euros, had 170 clicks gx80 for 200 euros, had 800 clicks em1x for 900 euros + macro adapter, had 5000 clicks em1 mk2 for 450 euros, had 7000 clicks gh3 with pl 25mm 1.4 for 350 euro epm1 mini with kit lens for 25 euros (had to pay 15 extra to get the sensor cleaned though) so I keep tell everyone... sell your m43 gear for cheap, to me

Z-cam looks to be here to stay. There were rumors of shortages of the processor Z-cam uses, but their entire product line is in stock at BH Photo except for the original E2. Z-cam also looks to be introducing a competitor to the Red Komodo with the release of the Z CAM E2-S6G Super 35mm 6K Cinema Camera (Global Shutter) due in April. So, with what appears to be a stable company and expanding product line, it is worth taking a second look at the E2-M4 now that Z-cam has now released firmware 0.98.0 that enables Pro Res recording at all frame rates on the E2-M4. This includes 4k @ 120fps, 4K 2.4:1 @ 160fps & 1080p @ 240fps in Pro Res, so you don't have the overhead of decoding H265. A natural comparison is to the Blackmagic Pocket 4k, which has a few advantages: 1. 12bit BRAW 2. LCD Screen 3. SD Card Recording 4. $200 cheaper 5. AC to DC power supply included 6. About 1/2 lbs lighter Some of the E2-M4 advantages are: 1. 4k @ 120p and 4k 2.4:1 @ 160fps slow-motion recorded to Pro Res internally as well as un-cropped 1080p @ 240p for super-slow motion but it does line skip. 2a. Wireless video monitoring to iPhone or iPad (or both at the same time) with only 100ms delay, which better than many less expensive wireless HDMI solutions when you add the HDMI latency of the camera HDMI out. 2b. You can also plug in your iPhone into the USB C port via a cable and it will take the place of the wireless link and charge your phone at the same time as well as ensure a reliable connection. 2c. The app functions much like a real monitor with 1080p resolution, peaking, scopes etc as well as does camera control. 3. 5-pin Limo to dual balanced mic pre inputs with phantom power (adapter cable required) 4. Interchangeable lens mounts including a optional locking M4/3 mount as well as an EF or PL that can take their variable electronic ND (the M4/3 and M4/3 locking can not take the vari-ND) There is a mount with a built in speed booster. 5. Box camera so it is a better shape to balance on a gimbal. 6a. Different sensor than the Blackmagic Pocket 4k that does not have the magenta shift at when under exposing 6b. This sensor is significantly taller than the Pocket 4k sensor so it is much better for shooting anamorphic. 6c. The combination of difference sensor and Z-Cam color science and color profiles provide a different look and some will prefer it to the Blackmagic 4K. 7. Expanded ISO limits depending on your shooting mode up to 102,400 vs 25,600 of the Blackmagic Pocket 4k. 8. HDMI output can output up to 4k depending on the shooting mode. 9a. Large, more powerful, longer lasting battery options using the Sony L-Series. 9b. Power output from the camera to power a monitor. 10. Can shoot ProRes RAW via recording to the Ninja V. (not really an advantage if you use Resolve due to BRAW support) 11. Live streaming via Ethernet port. As they in Spinal Tap: these go to 11. For an extra $200, it is worth considering the Z-cam E2-M4, especially if you are a Final Cut Pro user, if you own an Ninja V, or if you own a Ronin S. Here's part 1 or a great 3 part review of the E2-M4 by Adam Wilt: https://www.provideocoalition.com/review-z-cam-e2-m4-mft-cine-camera-part-1/ Thanks! Mark

Actually, the entire point of my post is that there are complexities to the equation that your statement does not acknowledge. Sure, you added a "all other variables" disclaimer, but the point is that those "other variables" are actually the ones that matter and the resolution makes almost no difference at all, so much so that I'd say it's sufficient to render your statement so overly simplified that it is basically wrong, but regardless, it's misleading and distinctly unhelpful. Unless you're just trolling?

Oh yea, and the biggest thing is actually the abillity to shoot 10-bit in 4k 50 fps / 60fps. Albeit 4:2:0, still a thousand times better than 8-bit. It makes shooting in v-log feasible.

All we need is CFexpress slot. Little pricey, but a 2tb or upcoming 4tb cards will hold hours worth.

Curious about this new Sigma... I loved the FP...but not enough to buy one, too many missing requirements for me. I’m really just waiting now for the announcement as the final piece in the jigsaw puzzle that is my foreseeable future. I like the new plug in viewfinder, but would much rather have a tilt screen. If it’s got both, then Monday, Tuesday Happy Days, but no tilt, no deal for me. It’s 100% essential. 4k 59/60p 10 bit. I don’t want less, I don’t need more. Internal or again, no dice. IBIS. Hmmm, IBIS... I think it’s probably a dealbreaker if it doesn’t have it, but then if it had something like the Catalyst Wotsit, maybe maybe. It is small and light enough to work quickly off a freestanding mono, so another possibility. 23rd March all being well, we shall know. But what is the ‘L’? L for lots, as in lots of pixels? L for lidar? L for ladies as in it’s either for them or will attract them? L for lovely? L for ...?

Yes, I was thinking of the older cameras which only shoot FHD as their native resolution. I remember years ago doing an UHD upscale of some FHD footage from the old Nikon D5200 which looked quite pastel and smooth with some careful noise reduction. I think that camera used a Toshiba sensor and had a nice cyan tint to it which I liked. Later I bought the D5500 to pair with it, but it was quite different from the earlier camera, looked more generic, more modern I suppose.

Can’t wait for their next gen camera. Literally only need to sort out 2 issues: - External monitoring: lag, soft image, SDI-out in body. - E-Mount that doesn’t suck. Viltrox nerfed the first iteration.

I've previously celebrated the benefits of FHD shooting, but a very large caveat to that is that the codecs really have to support those modes, and unfortunately on newer cameras this often doesn't seem to be the case. It doesn't matter how many pixels there are, if you're projecting / viewing the total image on a screen the same size regardless of the resolution, then having a FHD mode with dramatically less bitrate than a 4K mode will just look inferior. For example, comparing a 100Mbps 4K codec with a 35Mbps FHD technically has more bits per pixel in the FHD mode, but it actually just has a third the bits over the whole screen, plus any artefacting on the 4K one at the pixel level will also be smaller. If anyone is considering trying to get the best results from cheaper cameras that can shoot 4K then the strategy is probably better to shoot in 4K, even if you're putting that footage onto a 2K / FHD timeline. Plus, with the computers and storage we have in recent years, most cameras that only shoot FHD probably have such a low bitrate that a more recent 4K image downscaled would be a better bet anyway. Of course, unless you're looking at a camera that really stood out and optimised it's FHD modes.

If this was the print version, that would have been even more amazing. I must be really getting old as I prefer reading things written on paper. (allthough I find print obsolete and a waste of good resources)

Good deal! thx for the link. Havent got a long lockdown evening yet though, I have not gotten 5 minutes of boredom since the corona outbreak. (I do have 2 busy kids, which might have a lot to do with it)

ASUS got a very interesting feature: Guess what? Just looking for an Android app able to handle manual exposure going along the fast frame rate of 4K 120fps from ASUS 7 PRO hardware. As well, disabling the 'Edge Enhancement' feature offering a more cinematic outcome such as FILMiC PRO or Cinema 4K apps for example. However, there are limitations. Those third parties don't allow any competent 4K slowmotion on ASUS 7 PRO as happens with the proprietary software. Open Camera is open source. Some features are available only on a few devices, as they may depend on hardware or camera features, the Android version, etc and definitely not on ASUS 7 PRO, unfortunately. I wonder if Open Camera app wouldn't be viable to be directly adapted in order to address such needs? Or what about a new app from scratch? Is there anyone out there able to develop it in one or another route solution? I believe there is a huge market just waiting for... Almost every Zenfone 7 PRO user taking advantage of this unique 4K 120fps feature would salute and buy this new arrival, I bet. Without mention, one of the goodies of this cameraphone, the retractable/flip camera, is only available on the proprietary app. Why not on third parties? Is it feasible? Any takers?

Probably just interpret as PQ/LINEAR in fcpx or Premiere. Dynamic range is exactly the same in ProRes Raw/Braw vs internal. Only benefits are: - no chroma denoising - 12 bit 444

I got spoiled with BRAW the last years, now I got an S5 and I need to check whitebalance while shooting to perfection, while shooting braw when its sorta looking ok, I could always fix it in post. So WB is the main shooting benefit for me. On the editing side BRAW is really smooth on my machine vs H265 422. Then there is also some extra options like changing ISO in post, which I never use that much though. Yeah I dont like monitors as well for run and gun, because charging and swapping batteries is the worst. + the added weight +the bulkyness which doesnt let you throw your camera in your backpack and move on. Disconnect cables, batteries, rig it down, to rig it all back up again. Too much of a timewaster for me. doesnt make sense to shoot these small camera's when you have to rig them up.

I don't know if I want, never mind need (or really even know what is) BRAW, but shooting to a hotshoe T5 wotsit is not something I have thought of before and has me thinking if there is any more general application to doing this that would work and is of any use to me? I hate monitors. No, hate is too strong a term, - I simply do not use monitors because I wish to continue to appear more like a guest photographer than a videographer. It's just not going to happen with me, but a teeny weeny hotshoe mounted SSD I could live with, but use it for what specifically?

From now on I will tell people that our 17 year old Honda Stream isn't, in fact, a piece of shit 'beater'. No. It's a 'collectible'! I used to say that about our 22 year old Citroen ZX before I finally dumped it at the scrapper last least and got 125 euros for it 🤣

Yeah, I think that is a hard pass for me right now. Media is cheap (1 TB WD Blue SSD cost $100), and the Ninja V is cheaper than the BM Assist, not to mention the need for a USB-C hard drive feels janky as hell. For the life of me, I don't know why they didn't simply add M2 slots at best or the old reliable 2.5 " SSD drives. Anyone know how BRAW support is in Premiere Pro?

at fairly equal compression I think you’d be hard pressed to find much difference in quality between BRAW and Prores Raw. BRAW’s advantage is having several lower-bitrate options, with the lowest 12:1 @4K compression lightweight enough to be recorded to fast SD cards. Some people might have got higher modes to work with certain cards too. And 12:1 still holds up very well to post-production abuse, even chroma key. The real problem for BRAW though, are the BM Video Assists themselves. To the built-in SD card slots you’ll only be able to record that lowest bit rate option (as far as I know). For anything better you’ll have to connect an SSD to the Video Assist over USB c...that’s just one too many points of contact where things can go wrong. So I wouldn’t get too excited about this update until BM puts out a View Assist with better internal recording media.

Sony Semicon's Exmor RS line has now fully matured and will come in various sensor sizes - all 8K capable. One of the first to make the debut is a 45MP Micro 4/3 (MFT) sensor with 2.24um pixel size. More to follow.

I love my E2-S6 and am considering adding an E2-M4 as a b-cam for gimbal & long lens work.

I used to have one. You only get prores and raw with an external SSD. And the Rolling shutter is pretty bad, even with fairly slow pans. And it's bad in both 4k and 1080p. Otherwise you can get a nice image out of it, with a lot of detail retained in the highlights.

Exmor RS is BSI and stacked. Faster readout because logic layer is now a whole dedicated layer (stacked), so more room for a substantial amount of low powered ADC working concurrently. Also DRAM can be stacked on an additional layer, but DRAM is not usable for video mode.

I actually think they have one of the best naming conventions in the whole industry. All the cameras are in the E2 generation, but M4 is m43 4K, S6 is s35 6K, F6 is FF 6K, and F8 is FF 8K. Compare that to a7siii, FX3, C70, etc. when trying to judge specs at a glance. Even Blackmagic's convoluted naming at least lets you know what the cameras offer 😅