Leaderboard

Not just those considerations - also actors who can stay on their mark, who can repeat the scene multiple times without screwing up. I forget the film and the director, but I heard a tale about Bette Davis where the director told her 'we're going to track up the stairs and along the corridor in a continuous shot, then enter the room and dolly to a close up on your face, where a tear is just starting to form.' 'Which eye do you want the tear in?' asked Davis.

13 days to go

For those interested here is a Spec Ad I shot with my colleague Greg Latham last year. A mix of S1/S5 with canon FD primes, the Lumix 24-105 as well as some Sigma 70-200 EF long lens stuff. Still amazed the quality these cameras produces for the price.

@kye not only do I get what you're saying, I've rebutted every single "complaint" you've brought up about +4K resolution. ($1M budget VFX, battery life, color science, processing power, SD cards). like it or not, tech is moving forward. especially in mirrorless. BMPCC 6K Pro, R3/R5/R5C, Z9, S1H are paving the way with compressed RAW, 10-bit & 6K/8K. All specs you find in much more expensive cine cams. I call this progress. Of course that won't replace lenses, lighting, grading & skills. But the bottleneck isn't the camera anymore. In the end you're entitled your opinion (things were better a decade ago - i.e. pre-4K) but in that case, simply don't upgrade. problem fixed. Just saying.

yours truly out and about, scouting locations, i'm thinking wolf creek 2.... into the bush taking talent resumes now . A once in a lifetime opportunity... 😁

Actually living right here in Paris, France.. this does speak to me lol. FWIW Godard's last projects were actually done with rather low-budget digital camcorders, DSLRs etc.. but experimenting with 3D and heavily treated in post..

I think its the principle that it is easier to dirty something clean, then "enhance" something dirty/low-res. That said, nobody claimed +4K was necessary. On the contrary, shoot in 720p/1080p if that floats your boat. Never upgrade. Ignorance is bliss as they say! Just please don't complain about the tech moving forward.. Film photography is having a resurgence with Gen Z because its A) Retro so cool B) Analog vs Digital (which perpetuates this idea of Real vs Fake) C) Physical medium that they can touch. It's a bit like vinyl records making a come back for similar reasons. On the one hand yes, but it really isn't that simple when you actually think that 35mm film is approx equivalent to 20MP. Medium format can theoretically resolve from 80MP to 125MP. And Large format 300MP to 1,200MP. Of course this is greatly limited by optical lens resolving power and film adds all kinds of artefacts like grain/noise and has reduced DR etc. That immediately gives it an "old" feel. But one shouldn't mistake film = low res. What I'm trying to say is forget about resolution wars. The shift goes way beyond all these technical attributes, the fashion brands I'm talking about went from using A-list models, posing towards the camera in a studio background shot on Phase One in B&W... to faux-iPhone snapshots of popular Gen Z TikTokers in situ..

Yes, I really wish that the C70 and FX6 offered an evf add on for shoulder, handheld use.

Patience Grasshopper. YouTube videos and reviews with links to affiliated sellers will be coming out soon. Quote: someonefuckedmybrain for 10% off your first purchase.

Define. Rhetorical question. I am sure the GH6 would tick every box for me as a video tool for my needs as the GH5 already does and the same goes for my S5 and S1H, other than the above question. It will be interesting to see if ‘improved AF tracking’ = a switch to PDAF, or whether it’s just another tweak to the DFD system. I really don’t care what it is or how it works, just that it does. Having said that, I’m more interested to see what they do with the GH6 AF because that might reveal where they will probably then be going with the next gen S1 line…

This. I love VR for entertainment, I have high hopes for it as a productivity tool, and it's a huge benefit in many training applications. But the Metaverse concept--particularly with Facebook behind it--is a terrible idea.

Facebook's vision with the tech that started with Oculus is to virtualise our everyday lives so we do nothing but sit at home with a bucket on our head watching ads.

To sum it up… there’s no rules. No matter the lens choice, camera, grade, resolution, “aesthetic”… whatever it is, if it’s right for the story, and the process to tell it, it’s just… right.

Need to take these with a grain of salt. But since the OM-1 is expected to be announced next week, the leaks could be more reliable now and may provide some insight to the GH6 as well. https://www.43rumors.com/ft4-possible-o-m1-specs-20mp-120fps-4k60p-10bit-422-and-astrol-tracking/ 20mp(yes,IMX472) 120fps 12-bit RAW DCI 4K60P 10-bit 4:2:2 Improved AF tracking astro tracking

Our humanity shines through pretty quickly these days. I suspect it may be covid related, being locked up too much. threads can wander.... i do agree with you this thread does take some determined intent to get through it. i think i'll hit the bed and sleep on it 😎

Stranger danger 😀 you been absent a long time. Nice to see you back in the forums. How is your pup going ? although i presume he'/she is the size of a mid sized horse by now ? actually i'd settle for some comradery and a group hug 😊 there more than just winning you know

loool no i do agree 😂 no irony i swear oh i well i find that quite touching. i needed that. thank you very v much thank you, i wish it was better tbh, but i keep making things. oh good news: if you get deep into it youll hate it MORE /ive been making things. the pandemic kinda messed me up BUT as long as we're talking about art here........ i take my art practice super seriously. im super self critical and it can be paralyzing – im sure many of you can relate but every time i make a lil film, it gets so much better. and i take these things as defeats, still, because there are inevitable (yet unpredictable) disasters one way or another, but i LEARN SO MUCH that after the shoot and im done licking my wounds i can go back and say Wow im growing as a filmmaker. i just learned not to do 1000 things that ill never do again. and my Big Idea turned out pretty well, i was right about a lot of things, not perfectly executed, far from it – but im getting better all the time. and one day my reach will catch up to my grasp. so my point is that the only advice i have for any filmmaker is: just keep making stuff. you'll see

Talked to a "real" DP just two days ago. He really loved the image from the F3. I am just too wound up by editing that I dont prep much with other equipment but choose the tech which I am used to, C300ii and GH5, which both I rent as a package. But I am really looking forward to using this beauty!

Rumors are canon rumors is going to Spotify. (C1)

Do you even read the articles that you link to? Messerschmidt: We shot 6K 2:1 with a 5K center extraction. This method gave us tremendous freedom in post for stabilization and re-framing when necessary. The editors work with a lot of split screens, so having the extra room to reframe and adjust in the cut is very helpful in that process. also: In addition to giving Fincher another crack at getting the exact composition he wants, it allows for the elimination of imperfections in the operating of the camera. “If you are shooting an actor sitting up from a chair and the operator tilts up with him, you might do 10 takes of that and the operator might keep the headroom perfect for six of them, but if they chose for editorial a take where the operator clips the headroom it can be fixed in post,” said Messerschmidt. “Same thing for stabilization – rolling on a slightly bumpy floor or doing a crane move where the crane has a little wiggle in it or whatever, being able to take that out in post very much informs David’s aesthetic. It lets the show maintain that very ethereal, almost robotic look, letting the camera be anonymous in the storytelling process.” I was speaking of your average Joe, not necessarily you. Here you go again pitting one against the other. In your b&w mind one is either pro something or against the other. You cannot seem to fathom a person can value multiple aspects of IQ. Filmmaking is more complex than just resolution & color science you know. It’s not just one or the other. I shoot all types of resolutions, it depends on the project and the budget. I shoot all kinds of brands/codecs/sensor sizes etc. Whatever I feel fits the project. That how pros think and work. Enthusiasts come up with these dead-end theories and tend to clinch to one side. You seem quite obessesed with color science, especially from ARRI. You keep claiming nothing has improved in that department in over a decade “none” “zero”. Sorry but that’s just plain incorrect, you musn’t have been following much. Canon/Sony/BM keep updating their CS. Canon offers you classic eos cinema color matrix or neutral which is ARRI inspired. Sony has had Venice’s S-Cinetone trickle down to FX/Alpha range. BM are on Gen5 of their CS. Furthermore, the biggest improvement relative to CS in recent mirrorless tech is 10-bit Log & RAW. These types of codecs finally allow footage shot on hybrids to get proper color grading treatments, and potentially compete/match with big boy ARRI/RED footage. If your complaining about CS in 2022 on a latest gen Canon/Sony/Nikon/Panny/BMD you perhaps should start taking a look at your grading skills.

Well there is always R3 if you want 6K RAW + IBIS, long battery life, with no overheat and instant switching to stills. No cine OS assist tools and LUT import etc though.

On the spot : ) The release of this new camera is to celebrate. Their merit. No criticism is able to change that :- )

Back again to your post, I think any people's complaint on IBIS or lack of IBIS should end here in this video test, thanks for your post BTW even though anything may not surprise me there from what I've already tested myself using one and another but it's always interesting to know some other people are arriving to the same conclusions of ourselves : ) People cannot expect the best of each worlds. IBIS or digital stabilization helps SHAKY hands (IBIS wobble is connected with a physical solution, as simple as that : ) -- Period. Other than that, buy a gimbal and stop whining. End of story :- )

No camera is perfect. I think this is certainly a better effort than what Sony did with the FX3. There is Cinema RAW in there at roughly 3:1, 6:1, and 10:1 compression. There is DPAF v2 with object, face, head, eye detection. Oversampled 4K from 8K up to 60p. 8K60p RAW is there but with need of external PD power via USB-C (not ideal but it is there). The R5C is an imperfect step forward but one in the right direction imho. It’s a proper cinema camera in a Large mirrorless form factor. The FX3 doesn’t even have shutter angle for fucks sake let alone false color. So here we are: the non-overheating R5 everybody wanted WITH full fledge EOS Cinema mode and people are still not happy. Perhaps it’s the S1H people wanted without the garbage AF?…With internal RAW to boot and even better exposure tools? No IBIS but I’ll take that over out of focus footage or being stuck to MF for everything. I’m excited. Let’s see what Sony does. Let’s see if Nikon can actually pull it off with Z6/7 mark 3. MF cinema from Fuji? PDAf from panasonic? Hell will freeze over but we can dream right?

Same way people have been doing it before IBIS became the norm. ..yet both the 1DC & 1DX3 haven't got IBIS. R3 & R5C seem to me like much better hybrid options. As for Cinema EOS products. They've been very successful from the start as much more affordable and practical options than ARRI/RED. FYI many Academy Awards in documentary category use Canon Cinema gear: https://www.canon-europe.com/pro/news/canon-filmed-oscar-nominees-2020/ I also don't really understand why Canon always get singled-out when Sony also segment their Alpha & FX line in similar if not more crippled way. No Alpha has RAW or video assist tools, not even the FX3.

Now that it's officially discontinued it's going to start becoming a collector's item!

Dang I've been trying to find the full length version for a long time! Thanks!

In fact the full 16-minute short is available too. Not a single word of dialogue in the whole film, but lots of scrumptious footage. Still the best stuff I've seen from the Micro.

I'm actually excited about the cam. I think it's the least expensive FF interchangeable pro videocamera ever, not counting the Z cam FF model? The latter does not include a monitor or XLR handle, so the price difference is actually not that much between the two once you add those expenses. As of of right now you can purchase the FX6 for USD$7K with a 24-105 Sony lens. That's a huge price difference from older FF pro videocamera models from less than 5-10 years ago where Arri and Red were practically the only players in town. I'm not a Sony fanboy, quite the contrary, but this thing opens a new market for prosumers and videographers who are not cine buffs and don't want/need to spend 10K on extra accesories to start shooting.

That electronic ND is the best though, really wish it was in every camera.

So save up your pennies. Blackmagic has stopped to produce the micro due to sensor shortage, as stated on their website. So prices might not get too low again soon. Hard to believe this camera was introduced in 2012. @crevice are you sure you got that right when you started this thread?:)