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As much as I love my ZCam (E2-S6), if you're not the type of person who likes to rig and customise their camera, then the ZCam's are probably not for you. These cameras kind of require you to be a bit of a camera nerd - if you know what you want and why, they are fantastic because they most likely will do what you need. However if you want something that you can just pick up and run with straight out of the box, then these are way off the mark. Lots of people end up having problems (and complaining on the very helpful user Facebook page) about things like skipping frames on SSD's or frying the HDMI port, because they did not do their research on the correct media, cables, power solutions, etc.

Darn this thread it tasty as the other other EOS M RAW thread. Both threads are some of the greatest browsing pleasures for nerds like us. 🙂 Anyone shooting narrative shorts with this beauty? How does it hold up against a BMPCC? Anyway our friend @ZEEK has provided us with beautiful pieces like this one.

I have a 30p stock footage clip that looks like it was shot at 24p and then encoded at 30p with repeating frames. Is there any software I can run this through to detect the repeated frames and remove them?

Even though you'd expect it to be, it's not interlaced, it's 24p footage someone put into a 1080/30p timeline from what I can tell. Is there any fast way to do this with After Effects or Premiere or Compressor?

Color calibration wise - I'm not sure either will be very good considering the terrible track record of Atomos screens and BMD's QC (latest is the 6K pro screen tint saga). Just look up atomos color cast or the reveiws on the $100 calibration cable... which can still leave two of the same units looking quite different. Having an SSD caddy might be more convenient than a USB-c drive seeing as how you now have to yet another thing up, connected by cable. If I was doing a lot of external recording I'd figure out the usb-c and monitor mounting situation first... No idea why they didn't go with SSD or NVME slots, would make life so much easier. Atomos is popular because quite frankly they had no competition for a while. I guess it's a niche space so that's why the cost to quality ratio isn't really there, there's just no reason to make a better product if you're the only game in town. I'm not saying they're terrible, I have a Ninja Inferno for monitoring and it's fine, it just could be better (like everything else in life). The $100 calibration cable really grinds everyone's gears though, so infuriating, especially when you buy a unit and it has an orange cast you can't adjust.

On another forum someone was dreaming of a speedbooster for this to push it up to super 16 sensor size. Maybe time to rethink the classy classic EOS-M rather then waiting for a speedbooster for this little kitten.:)

I have been selling on ebay for many years but I started moving to alternative posting places such as Sharegrid and Facebook Market Place. As long as you meet the person purchasing your item and possibly doing the exchange at a Police Station you should be good.

Well i know am gona get slated for this but raw is overrated 😄

I could certainly try opening my own camera store here at EOSHD. Need a clear out and really would hate to be scammed over something like an Iscorama or Leica SL2. I think I will continue raising some awareness of how dangerous eBay is for sellers and then go my own way. Thanks for the support guys.

Hello. I’ve been thinking about buying a F3 for maybe a month now seriously. This thread has been very informative and is pushing me towards the F3 (more than my wallet would like). A couple of questions popped to my mind: - Does anyone have experience combining the F3 with a Canon 5d3? Is there any consumer/something camera that is a ”perfect fit” with the F3? - Do you have the Cinealta lens set (35,50,85 T2) that came with the F3K. Any thoughts on these lenses? Is there any other lenses (cine or other) that gives same type of image? I’d maybe want something for the wide end (zeiss cp.2 18mm might be an option) or a zoom all-around, but if they give a totally different type of image... - The valuation of a mint F3K set? The set I have my eyes on is new(!) unused. The camera being new, combining to this question: I can download the upgrade online to get the S-log? And with external recorder 4.2.2 10bit? I’m sorry if these are stupid questions, but I’ve been trying to find all the information on the F3 for weeks now. There if very little on the subject on the internet. I truly hope someone has some answers for my questions or I’ll have to pass on the F3 deal :( Thank u for the replies!

That makes sense. I'm always curious what people are seeing, what they're paying attention to, and what they prioritise. Much can be learned by understanding how other people see the world. I think you're right in that under more forgiving situations the differences between cameras are much less. I think it's unfortunate that most professionals shoot in controlled situations and demand high-quality outputs, so when you say that you're an amateur they assume you're still shooting in controlled conditions but expect a lower-quality output and therefore your camera demands are less, when actually it's the case that we're often shooting in uncontrolled situations so our requirements are (in some cases) actually more than for their shoots.

The A7S3 unfortunately has internal NR and Sharpening that can't be dialed down. Its a completely different comparison but comparing my S1's 10 bit codec to REDRAW, in good conditions I don't see much difference. But with harsher conditions the RAW just looks better, everything just rolls off nicer both color and contrast. I assume its the similar with BM CDNG and the A7S3 codec.

Very cool! Your rig reminds me of @ZEEK's EOSM Super 16 setup. It shoots 2.5K, 10-bit continuously or 2.8K, 10-bit continuously with ML at around 16mm and Super 16 frame sizes.

It goes above your budget but I just switched from the Blackmagic Micro to the Panasonic G9. In 4K the Ex Tele Crop mode gives you a 2.8x crop, very close to the 2.88x crop of the original Pocket and Micro. I got one used with Vlog already installed for $900. I'm very thrilled by this camera. You can get a 4K s16 without all the horrible moire and IR pollution. With Vlog and the Panasonic Vlog lut I'm getting great color and dynamic range. Plus with a focal reducer I have s35, and of course the native MFT sensor crop as well. And I can still use all my c-mount lenses. And I have IBIS and good battery life, and more importantly, I don't have to rig it up to make it more usable. A friend of mine still has a Micro, so I may be doing a side by side test soon.

Worth pointing out that f8 or at most f11 is as high as you should go, otherwise you start running into diffraction softening on that small sensor. I lost a lot of footage when I was first starting out with the original BMPCC because I shot it at f16 and didn't realize the image would be affected so badly by diffraction; I've seen it at f11 as well but not as badly. ND filters are essential to ensure you don't have to stop down too much. There's a good tutorial on diffraction and sensor size at https://www.cambridgeincolour.com/tutorials/diffraction-photography.htm

Just posted my latest Video with the EOS M & 2.8K Raw. Truly remarkable what this camera still can do. Tried to emulate the Super 16 look although I mainly used Canon L Glass. https://youtu.be/ohDS3ErANOs - - Gear Used- - *Camera - EOS M (Original w/ ML) *Lens - Canon 17-40 F/4 | Canon 24-70 f/4 | Canon 35 F/1.4 *Tripod - - Settings - - *2.8K RAW 2800x1190 [2.35:1] * 23.98 FPS, 1/48, WB 5200, ISO 100 - - Editing - - *All graded in MLV App (ALEXA LOG C Profile w/ Creative Adjustments enabled, Exported Prores 4444 * Finishing touch in FCPX 8K Timeline & Export (LOL), added little saturation and exposure adjusted, No sharpening at all.

Gyna speedbooster with the brand name "Fotasy." 1980's era Nikkor 50mm, mostly at f2. When that lens goes to f1.4 it halos and fringes like crazy. The overall color changes a bunch too, so we don't really use f1.4 much. On the camera we used the default "Natural" setting. Shutter speed was mostly @40, except for the 1080 60p 60ss slow-mo stuff. That's about it. When I had my EM5II I didn't really like how color balance would shift rapidly on the WB setting. Still not pleased with auto WB on the EM10III, but, really, why use auto WB to begin with? (other than being lazy, which I am) FWIW, the IQ is certainly different when I put my Zuiko 12-40mm f2.8 on the camera. But, I just like the look of the vintage glass better. In fact, I used to shoot with a set of Canon chrome-nose FD primes on a speed-booster; like that look the best; low contrast, kinda warmer. Honestly, I feel like with the gear we've been using it's been comparable IQ from these hybrid cameras for 7 or 8 years now. 4K is great for some post production assist like punch in, post stabilization, or horizontal leveling, but I've not seen a remarkable change in my 1080p deliverables for quite awhile. I mean, our GH5 footage is more "gradeable" but it's not like the IQ blows me away...even on the good codec footage. My old GX7 still looks awesome to my eye. I'm glad we bought a GH5 a few years back and a collection of Voightlander lenses. It's a nice camera, but I'm not thrilled we dropped as much money for that cam and new glass when the old gear was performing just fine. (aside from the 4k slow-mo of the GH5, which I leaned on way too heavily and I'm now glad that crutch is goone) As you can see, I'm definitely not in the market for anything high-end, so take all my input with a grain of salt if you're aiming for equipment that does more.

Definitely one of my favorites.

Here's the footage I shot (and threw a load of film emulation effects on top of). It's not edited into anything interesting it's just 20min of stuff ... so skim through and find the bits you like. Some other nice stuff posted here folks - nice to see! The main tips I'd give are: 1. Be aware of the horrific aliasing - tree branches against a bright sky look just horrific. I've added a strongwomen Tiffen Digital Diffusion or HDTVFX filter to the front of the already soft 6mm lens, which suits the consumer 8mm look I'm going for and deals with most of the aliasing. Adding grain in post helps diffuse it too. 2. Rolling shutter. It's awful. Put the strap on the camera and pull it taught around your neck (or use a loupe) to avoid jitters. A pistol grip handle helps too as the EOSM is not an easy camera to hold steady. Then stabilise the footage and correct the rolling shutter in post as best you can (I use Lock & Load). Here's the vid. I'm pretty pleased with it as a Super 8 simulation. Pw: S8mm