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I can tell already this post will be long and probably ramble a bit so I will apologize in advance 🙂. For me, purchasing the C70 was a years in the making decision because I do not make new camera purchases lightly. My goal with a camera body purchase is that it fits with minimal additional investment into my existing camera ecosystem, it will perform its purpose for at least 5 years, and it will handle my specific type of projects. Everything in this post is based on my own personal style of shooting, the types of projects that I get hired to do, and the gear that I already have. I am also posting this after owning the camera for less than 48hrs so my views may change over time. After using the camera on a single shoot, I thought about how I would describe it in a single word.....and quirky keeps coming to mind. I'll get to more on that later, but in comparison to my current favorite camera, the Panasonic S5 I would describe the S5 in a single word as frustrating. The S5 is so close to being perfect, yet the AF finally pushed me back to Canon. Since I have called it (and continue to call it) quirky, let start there. Here is my list of things that I just find strange about the camera: The Mount - the mount is without a doubt the strangest mixture of FF, crop sensor, RF, and EF that I've ever encountered. I bought the 0.71 Canon speed booster so that I can use my EF lenses but with it mounted I cannot use my EF-S lenses. For EF-S lenses I also need to buy the straight through adapter. I have no RF lenses and probably won't have any for years so EF and EF-S is it for me. I would like for the speedbooster to live on the camera so I bolted it on because I like the extra stability, but that means I can't use the Sigma EF-S at all unless I want to either leave the speedbooster unbolted or or fiddle with removing it while on set. Speedbooster - Yes, the speedbooster gives you a stop of light with EF glass, but the DOF remains the original DOF. Additionally, I saw some sample videos where the speedbooster decreases contrast and saturation in strongly backlit scenarios due to the extra glass elements, it also decreases the AF area for EF lenses. Not sure if this is also the case for EF-S lenses. It is great for providing a FF FOV, but it still falls into the quirky category for me. Storage - this one hit me before the camera ever arrived. I planned on buying 1TB SD cards due to the data rates but discovered that there is no such thing for V90 cards. In fact, the largest V90 cards I could find were 256GB which means now I have to worry about running out of space; something I haven't even thought about for years. Speaking of V90 cards, they are actually crazy expensive when compared to the typical V30 cards. So now I have a camera that can go up to Canon RAW yet no way to store the footage in the camera. I know I could use an external recorder, but I like the dual slot redundancy and the compactness of doing everything in body. Even V60 512GB SD cards are nowhere to be found. Such a strange problem to have in 2022. Lens IS + Digital IS - The C70 does not let you turn off lens IS and keep the digital IS on, no idea why but I discovered that during my brief testing. I wanted to test the difference in lens IS vs digital IS with the same lens but you can't have digital IS on and lens IS off. OK, so here for me is what I find is just bad about the camera so far. Once again, this is due to my own personal workflow and my shooting style, for bigger crews and different shooting environments this may or may not be something you care about at all. Firmware Bug - Yep, within 20min of turning it on I found what I believe is a firmware bug and I currently have a Canon CPS case open for it. I shoot a lot of content that goes on both YT (16:9) and IG (4:5), so instead of shooting vertical which would mean it would only work on social media, I shoot landscape and display 4:5 aspect ratio guides on screen so that I know what would fit perfectly on IG. My customers love this, I deliver them two versions of the video and both fit perfectly on their respective platforms. I set this up on the S5 and I checked before buying the C70 that it had the capability to configure custom aspect guides as well. So while setting up the C70 I went into the aspect guide menu > custom > and started inputting my guide ratio. What I found out is that there is a bug and you can only change the left side of the guide. So I can set up 2:1, or 4:1 but there is no way to change the 1 on the right side. I called CPS and they couldn't figure it out either, so they opened a case for me. Fortunately, I have been using the guides with the S5 for so long that I kind of know from memory how to frame 4:5 within 16:9 but it is very annoying to say the least for this not to work. Flip Screen Quality - This is a real thing, terrible quality, very flimsy and the worst physical part of the camera. I can only hope it does not break and if it does I hope it breaks when I don't have a job lined up and while it is still under warranty. I avoided flip screens for years because I thought they would be flimsy, my first camera with a flip screen was the GH5 and now in 2022 Canon found a way to confirm my worst fears about flimsy flip screens. By comparison the R6, S5, and GH5 all had great high quality flip screens. Stabilization - this is a big one and anyone who knows me knew this was coming and I know cinema cameras do not have IBIS, I knew the C70 did not have it before buying it, but it is still a downside in my book for this camera. It's one thing to not have it for cameras that are too big to hand hold, but when you market a cinema camera as being handheld and give it a DSLR form factor IBIS would be great. I will say that I never knew how good lens stabilization was until I shot with the C70, if you have a stabilized lens and turn off the Digital IS it is almost as stable as IBIS. When it comes to digital IS, I simply do not trust it and feel like it makes the footage jittery so I only use if I don't have a stabilized lens on the camera. Speaking of stabilized lenses, I discovered my favorite video lens (Sigma ART F1.4 50mm) does not have lens IS which makes the S5's IBIS even more impressive in my book. I had no idea that none of the 50mm EF lenses offer stabilization and neither does most Canon EF lenses. So now I am stuck with no IBIS, and only the Canon 24-105mm F4 and the Canon 24mm F2.8 for stabilized lenses options. Horizon Level - Yes I know no Canon cinema camera has this (I think the C500 does but not sure), but it is still really annoying to have to keep checking the edges of my screen and guides to try to keep the camera level. It is easy when it is on a tripod and there's plenty around to line up with, but when you are hand holding it is one more thing to try to guess at. I use the horizon level religiously with every other camera. I would think this might be able to be added via firmware, I'm guessing it has a gyro since it provides digital stabilization but not certain of this. Flip Screen Visibility - The flip screen looks great indoors but completely disappears outdoors, no possible way to see much more than an outline of what you are shooting even with a monitoring LUT enabled. This means an external monitor is almost required and for gimbal work you pretty much just have to hope you are pointed in the right direction. Indoors it is great. The Fan - I know, I know, it is required to keep it cool...but I live in FL (where everything overheats so the fan is even more important lol), but living in FL I also shoot a lot on beaches with the wind blowing and sand going everywhere. That fan is my worst nightmare in that scenario. I really don't know yet what I am going to do for those shoots, I may just use the S5 whenever a dusty or sandy environment like that is required. The Joystick - the joystick is nearly impossible to use. You can navigate left/right/up/down ok, but if you try to press it to select a menu item it typically jumps to a different screen, very hard to precisely press it. I started using the Set button in the thumbwheel instead to select menu options. It is not all bad, and I will say up front that I do not regret my purchase (not yet), so for me (so far) the good outweighs the bad: Internal ND Filters - those glorious internal ND filters make me smile every time I press the button. I almost like them more than I like the sensor and image quality. Being able to dial in an exposure with the press of a few buttons is nothing short of awesome. Gimbal Balancing - I watched a ton of YT videos and bought counterweights and a clamp for my Ronin S because I didn't think it would balance otherwise. Well, it turns out that with my gimbal lens (Canon EF 24mm F2.8) it balances with no problems. The arms are at their outer limits, but it does balance properly. I was able to balance the Sigma EF 50mm as well but not properly and the motors had to engage just to keep the horizon level...not a good situation. Sensor - This one is a given, all of the spec charts and YT videos in the world can't compare to just shooting with the camera with your style of shooting. The sensor is more than sufficient for everything I need do and I tested right away a model backlit by direct sunlight and the image was good enough for me. It did wash out a bit but it wasn't as bad as I thought it would be. CODEC - Yesterday I shot mostly 30FPS and 60FPS and the XF-AVC codec was actually easier to edit than the H.265 footage coming out of my S5. I wasn't sure if I was going to be able to edit it and Davinci Resolve along with my editing setup handles it with no problem. Ironically the hardest footage to edit on my system is GoPro footage. Ecosystem - This one is important to me and since I have a lot of Canon glass and XLR audio equipment it was important that it fit into my existing ecosystem. I picked up a shotgun mini XLR mic for on camera work, a cage, a DTAP to C70 power cable, the speedbooster, v90 cards, and that was it. It fit perfectly into the rest of my gear. Integrated XLR Audio - Obviously this is great to have, no more finicky adapters to deal with. The mini-XLR jack isn't that big of a deal to me, my new on camera mic is mini-XLR, and I bought adapter cables for the rest of my equipment. Build Quality - I was actually expecting worse build quality than it has after seeing so many people complain about it. It's not great, it definitely is not as nice as my S5, GH5, C200, or 5DIV, but for what you get I think its not bad. The buttons feel a bit cheap when you press them but as long as they work I don't really care. Auto-Focus - having AF is just wonderful....ANY AF is better than NONE, and this will be the first video camera I have owned that I can somewhat handhold and have AF at the same time. I know everyone is saying it is not that good, but to me it is great. I just set it to large area AF and kept the box on the subject and it did the rest. I already know in lowlight it won't work well or with certain skin tones but the focus peaking is so good that I am actually looking forward to MF for those situations. Exposure Tools - Obviously there are a ton of them, I thought I had my setup all figured out but during the shoot I ended up just using the WFM because it was the only thing I could see in the sunlight and it worked well. Battery Life - The battery life is decent, 1.5hrs shows on the meter when I first turn on the camera. With the DTAP to C70 cable I can connect the camera to my VMOUNT battery which can probably power it for at least 4hrs. OTHER CAMERAS Before buying the C70, I did a lot of research and comparisons to other cameras that I felt could meet my needs, the list below is arranged from closest to furthest for how close they came to what I was looking for: Canon R5C - This was the number 1 contender, but for me there were too many compromises. No internal ND filters, adapter required for XLR audio (the adapter BTW that even further shortened the already terrible battery life), the weird USB PD power requirements, the terrible battery life, and no IBIS ruined this one for me. If it had IBIS or an eND filter system I probably would have picked it over the C70. Canon R3 - Interesting camera but no ND filters, would need the adapter for XLR audio (adding to the price), no video exposure tools, no good codecs, and cost a ton of money for that fast readout sensor that I would never need since I don't shoot sports. Canon R5 - No XLR inputs, no ND filters, no video tools, terrible codecs, and that horrible overheating issue that just won't go away after all the firmware updates eliminated this one from my list. Panasonic - All of their cameras have no useable AF, so as much as I love my S5 in every other way, there's no way I am buying another one unless their AF system changes. Sony - that's a whole different world for me and different ecosystem which doesn't interest me at all. Nikon - looked interesting but I know nothing about Nikon and feel like they are one foot from the grave (kind of like Panasonic for that matter). I am sure they make good cameras but I don't feel like learning their ecosystem, also I would have been paying for that sensor and XLR adapter similar to the R3. FIRST SHOOT EXPERIENCE My first shoot was almost comically bad. I got the camera late on Friday, went through all of the menus and watched YouTube C70 setup videos until 3AM, then got up and did my first paying shoot with it at 10AM. Also, the cage did not come on time so I really felt out of place hand holding it without a cage or side handles and nowhere to mount a top handle or mic. I thought I had figured everything out....I was going to use the Zebras at 45% to expose the skin tones, use digital IS for the 50mm, and use only lens IS with the 24-105mm. I set up my favorites menu with AF mode, Zebras on/off, and framerate. I also balanced it on the Ronin S with the 24mm F2.8. As soon as the shoot started I realized the zebras were impossible to see in the sunlight, I forgot to turn on digital IS when switching to the 50mm, and without the zebras I had no idea if I was exposing properly. So I switched to the WFM, gave up on the skin tones, and kept it in the middle of the WFM. After the shoot I checked out the handheld and gimbal footage and it wasn't as bad as I thought. I ended up throwing away much less shaky footage than a typical S5 shoot where I have to throw away out of focus footage. The subject for this shoot moved around quite a bit and my S5 keeper footage rate would have been way lower. I also ended up buying the Buttery C70 LUT pack to get the initial grade. Sound It Out Films did a great YT review on LUTS and the Buttery one looked like it had the best starting point for the Rec.709 grade. I do not like their creative LUTS though because they added them into the Rec.709 grade vs separating them so you can't use them for all of your footage from different cameras from a shoot. But their Rec.709 primary grade is the best looking to me. LEARNING EXPERIENCE I still really need to learn how to properly expose CLOG2 with the C70. I think I did OK on my first shoot, my false color LUT shows me that for the most part I was able to get the exposure where it needed to be, but I definitely need more experience with CLOG2. The totally confusing area for me is the AF, I watched tons of YT videos but the whole area AF with subject tracking turned on confuses me. When whole area AF is on and subject tracking is on, boxes are flying all over the screen, it seems to be tracking things even though I did not tap the screen so I am not sure if it is just showing me what it decides should be in focus or if it is actively tracking something. I also don't really understand the logic behind whole area AF, how it works and when it breaks so I need to test that feature a lot more. WRAP-UP For my needs the C70 is a great "quirky" camera that I think was worth it. I hope to get at least 5yrs of use out of it, but TBH with you my main concern now is how to get V90 cards big enough to store long form content. I don't see 256GB cards lasting through an 8hr day. I may actually test V30 cards at its lowest bitrate settings or even 2K @ 30FPS for long form talking head content. An annoying problem to have in 2022 and out of all of my problems with this camera, that's one I never saw coming. So far it definitely seems like it was worth it, but time will tell. I still don't think it can replace my S5, when I need to travel light, work in dusty environments, or I'm on a shoot with a budget that just isn't high enough to bring the C70, I will probably still use the S5.

It's France. Nuff said. The banks don't allow you to spend your own money and at lunchtime on the day you have set aside for a confirmed courier collection, you get an email saying you have to TELEPHONE to arrange a collection...but it just rings out. Last week I had the joy of driving 30 minutes to a collection point for a parcel that they claimed not to be able to deliver because I wasn't in...and the collection place turned out to be a local bakery...and they had not been a collection point for at least 4 weeks. Then they just send you in more circles as the system can't cope with anything that doesn't work. Oh the joys of rural France...

ARRIRAW is supported natively in Resolve but with a limited number of settings. Best workflow is to use the official ARRIRAW converter. Never claimed resolution would fix those specific issues, just saying there are real benefits to high resolution for other real-world requirements. There is always a trade-off somewhere. I have great respect in ARRI for their overall dedication to IQ across the pipeline but there are other companies doing interesting if not better achievements in other related areas such as Komodo's global shutter for instance. That said, I do think ARRI's Dual ADC tech is absolutely key to their DR and latitude, and that is certainly something I'm glad to see trickle down to more affordable cameras.

Despite its name, the FX3 isn't a "real" cine camera imo. It's a re-housed A7S3. Plain & simple. Sony we're pretty lazy and didn't include any OS features from the FX line and obviously its missing eNDs, XLRs etc. R5C is also a rehoused R5 but at least Canon gave it a true EOS cine mode with Lut support, assist tools and even dual ISO. If it had IBIS and full HDMI, it would be close to the perfect hybrid. In the end both are halfway houses to an actual Canon C / Sony FX line of cameras. I much prefer C70's approach of taking top of the line C300mk3 DGO sensor and putting it in the most compact DSLR type form factor while still retaining ND's, XLRs on the body and bigger all day battery-life.

Based on what I'm seeing with GH6, it seems OM-1 will still have better autofocus for video. All of this complaining would be over if Panasonic just ate dirt and put phase detect on their cameras. So annoying they won't be humble and just admit that DFD is not good enough for video hybrid shooters. That being said, I still love my Olympus bodies and there is something about it that I can't escape. I love the feel of the camera, I enjoy their color science, and the micro 4/3 lens ecosystem is just a wonderful thing. It's not necessarily smaller than full-frame now with the compact lenses for E-mount...but the overall balance of the whole package on micro 4/3 is something I truly enjoy. Planning on selling my EM1 mkii and mkiii and buying the OM-1 when it goes on sale in 6 months.

@Attila Bakos Do you mind if I draw attention to your video on the blog's main page? Let's get Fuji's attention.

Well, quick hit record is not exactly what you're expecting when you shoot film... LOL :- )

The Olympus/OM Systems UK rep myself and several other potential customers were talking to yesterday said Oly/OM had already sold all of the first (March) shipment into the UK of OM-1 bodies (and most of the body+lens kits). I suspect a lot of those are sales to existing Oly owners upgrading (as you would expect) but hopefully this bodes well for future sales.

I agree 100%, I just don't have time to do that at the moment, looks like every shoot will be a learning experience 🙂. I am already familiar with the Cinema OS from owning the C200 and already familiar with exposing CLOG2, as well as using CAF with my 5DIV so its just going to take some small adjustments here and there to refine my C70 shooting style. I have a much bigger shoot on Tuesday and it will need everything plus audio so I plan on testing all of the audio features today and tomorrow to prepare for Tuesday. My work really is seasonal and I shoot a wide variety of both photography and video so it varies. My most frequent work used to be events but with COVID that's changed a bit, I still shoot some events but I also shoot a lot of modeling and fashion work as well as commercial real estate (photography and video), social media commercials, and small business promo videos. I also shoot b-roll for larger commercial projects so it really just all depends. In FL it rains a lot so during the rainy season and winter months I tend to do more studio photography and video work (talking heads, corporate headshots, modeling shoots, etc), in the spring before the rainy season there's more outdoor events that need photography and video, during the rainy season I shoot more indoor events and promo videos, and the occasional music video or wedding. I gave up residential real estate because the pay was awful even for residential real estate promo videos, and real estate photography was even worse.

Ha, just read Andrew's tweet: "OM-1 is a nice camera but will sell exactly 0 units at £2000" Well one muppet has pre-ordered a pair so we're 2 up on your 0 already 😉

As anybody who reads my comments already know, I bought a 5D3 last Spring and instantly fell in love with the images I was getting. After almost two years of searching for the right camera for the stuff I was looking to shoot, I found it in the 5D3. But... I am the first person to admit that the post process of ML Raw can be a little tedious and requires a massive amount of storage. Since I am a hobbyist with narrative dreams, I’ve been searching for a second camera to shoot fun little vignettes in between shooting days with my 5D3. Shooting is a form of meditation for me and instantly calms me. After a couple of cameras, I ended buying an RX10ii on the cheap. Now I had the camera last year but struggled with getting good color from it. This time around, I’ve decided to mostly shoot in sLog2 and Cine2 with monochrome and I am pleasantly surprised by how good the images turned out on my first outing with it. I’ve always loved B&W photos and movies, but I’ve never really shot much with it, so I look forward to learning and experimenting more with it. Now, I have been posting around here for a few years and color science, correction and grading are all popular discussions but there is rarely mention of B&W. Does anyone shoot in B&W anymore? Does anyone have any video or screengrabs that were captured in B&W or turned to B&W in post that they’d like to share? Or even strong opinions for or against it? I’ll start off with a few screengrabs. The first two were shot in sLog2... And this one was shot in Cine2...

They say "A journey of a thousand miles begins with a single step" and that describes exactly where I am with Virtual Production. The reason for setting off on this journey ? Curiosity in the process is one aspect - and is something I'm hoping will sustain when the expected big boulders block the route - but I also think VP is going to be a process that trickles down to lower budget projects faster than people might expect so it is something I'm keen to get involved in. What aspects of VP am I looking to learn about and get involved with ? In the first instance, it will be about simple static background replacement compositing but will move on to more "synthetic set" 3D territory both for narrative but also multi camera for virtual studio applications. There will also be a side aspect of creating 3D assets for the sets but that won't be happening until some comfort level of how to actually use them is achieved ! And the ultimate objective ? I'm not expecting to be producing The Mandalorian in my spare bedroom but I am hoping to end up in a position where a very low-fi version of the techniques used in it can be seen to be viable. I'm also hopeful that I can get a two camera virtual broadcast studio setup working for my upcoming YouTube crossover channel Shockface which is a vlog about a gangster who sells illicit thumbnails to haplessly addicted algorithm junkies. I'm fully expecting this journey to make regular stops at "Bewilderment", "Fuck Up", "Disillusionment" and "Poverty" but if you'd like to be an observer then keep an eye on this thread as it unfolds. Or more likely hurtles off the rails. Oh and from my initial research about the current state of play, there may well be a product or two that I develop along the way to use with it too...

To the surprise of absolutely no one, Sigma have officially announced the X mount versions of their venerable 16mm f1.4, 30mm f1.4 and 56mm f1.4 lenses. https://www.sigma-global.com/en/magazine/m_series/others-lenses/fujifilm-x-mount/sigma_xmount_lenses/ Sigma very much treading the vinyl>cassette>8 track>CD>miniDisc reissue path there to make sure you can buy them for every new format you move to 😉 Excellent lenses though.

We're still heavily tweaking the mix and grade, edit... you know, stuff, but here's a close to finish draft for any of you chuckleheads that want a sneakpeek of M43 doing B&W stuff. Everything was shot at f2.8 on three lenses. Two primes, 24mm and 50mm, from the old Pentax Auto110 series, and the Oly 12-40 Pro. I had fun with it. We didn't do much fancy shooting 'cuz it was all one set and we wanted to emulate a 30's movie, but that was part of the joy of it all. Oh, GH5 and a EM10iii. 23.96 fps @25ss. ISO 800, mostly. What else? FilmConvertPro using their Ilford400 setting. Also (god help me never again) RedGiant's misfire plugin and universe transitions. So, look, small indy films involve a ridiculous amount of compromises along the way just to get made. It's a small miracle it happened, warts and all. Believe me, I pretty much only see the warts at this point. Hooray! Filmmaking! (I'll only leave this up for a short time...)

Not at all! Do you plan to include info from the Petapixel article as well, or link that article? With the information there my video makes more sense.

Now you tell us?! Heck, I've been carrying on about organic sensors for weeks now and the whole time Andrew has been letting me hang myself? LOL

In this example I used a python script that allows you to have perfectly outlined images without any green screen, the camera must be placed on a tripod and then just a background image without the subject is enough and the script will do everything else ... not 100% reliable but when it works it's really perfect ... I then used the "composure" plugin in unreal to try to put real and virtual in perspective ... Now I'm experimenting with special effects to be inserted directly into unreal ..

FYI Andrew has a GH6 in-hand but like others is silenced by NDA until official camera launch tomorrow..

Reviews most certainly have had these cameras in hand for a number of weeks now.

I thought this odd... LUMIX GH6 Launch Event + Griffin's Live Commentary - YouTube ...a Lumix "brand ambassador" doing a live, blow-by-blow simulcast during the official announcement? Thoughts? Disclaimer: I have zero affiliation with either Panasonic or Mr. Hammond, link posted for informational usage only.

Dual IS won't work with any Panasonic lens though I've heard some behave better than others. Focus stacking in camera is only for Olympus lenses. AF in video works better with Olympus lenses, but in my experience it performs well enough with all PDAF bodies. However, I don't have any experience with the lenses you mentioned above. If log is a need, I've heard they've improved it, but don't hold your breath. Olympus hasn't been good at log in recent years. I'd wait if I were you if absolutely need this feature.

Were they accepting any in the first place?! I checked their website as soon as the camera was officially announced and pre-order for body only was available, but the kit simply read, "add your name to our contact list and we'll get back to you some time".

GH5 has good battery life I'm sure but Canon cine-cam BPA batteries are next-level. A Canon BPA-60 will give you approx 400 minutes, that's over 6 hours of continuous shooting! I like the physical battery life indicator as well: ..super handy to quick check the levels of your spare batteries! it's little things like that, that can be life savers on the field.

No, its a deliberate ploy to shill the add-on unit as they are all in the pay of Big Handle.

You're not alone with that thought, which is why many including myself left the system. The option to turn off chroma NR should definitely be there, especially since unlike in RAW stills there is no getting around it in video.. Like I've been repeating, this an infamous issue in the Fuji community. It's kind of a taboo subject though. Whenever it gets brought up, people usually dismiss it by saying shoot RAW. I still think its quite jarring as the jpg film simulations are a huge part of the Fuji-X philosophy. Again, for videographers there is simply no workaround this issue, hence this topic should really be brought to Fuji's attention imo.

To be fair, it has an onboard 3.5mm stereo mic input (which can be used simultaneously with the top handle to expand the number of channels) and headphone jack so it does have some audio capability.

I think maybe @Andrew Reid is too taken by his NDA GH6 to worry about anything else! At least, that's what I'm telling myself 🙂

does anyone have the issue on the s5 that means it keeps reverting the movie mode back to mp4 format? my main movie dial is set to .mov, the problem is if I then mov the dial to S&Q - that changes the format for slow footage to mp4 - which i understand. the problem is sometimes, not always - when I then switch back to movie mode dial it then keeps the mp4 format and screws up my settings - rather than reverting back to my .mov 4k setting?? anyone else seen this?

Great... I'd rather have an OLPF and slightly less overall resolution than slightly more luma and noticeably less chroma. Or at least they could allow us to modify/switch off the chroma NR.

A quick search on GFX forums confirms this: Same with my GFX 50S. The OOC jpgs have heavy chroma NR applied (with in camera NR -4). Developed raw, with NR off or low, moire false-colour artefacts become apparent (colours between dead white stalks in field below), though small coloured objects are retained - such as red berries on distant trees, even the subtle colour shifts in the autumn leaves is lost. The chroma NR removal of fine coloured information in the OOC jpg is great loss IMO. The bayer CFA of the GFX is v.prone to moire and false colours on hard edges, but not x-trans - with those sensors OOC chroma NR need not be so high. Fuji X jpg engine chroma noise reduction setting very high

Unfortunately I won't have the time to test this anytime soon, and I'm not sure it's worth it. The Petapixel artice is absolutely correct about the interpolation issues of the X-Trans pattern, technically there is more guesswork there, and the camera won't have the processing power for a sophisticated demosaicing algo. It's pretty slow even on PC. So I'm sure that the in-camera demosaicing leaves some color artifacts that Fujifilm chose to hide with chroma NR, but they might have gone overkill with that. And I'm surprised that I don't see an improvement on the GFX bodies.

Exactly the same for me. I also have and love the E-m5 iii. There are some quirks (limited options to change settings during recording) and some wishes (better preamps, 10 bit internal, usable 6400 iso and better dynamic range, pd powering) that this camera addresses. I will wait for the first reviews and OM promotion and then probably buy it.

At 4.16 how did you manage to get @webrunner5to do a cameo ? 😉 nice work that must some sort of mission to do that set, all the period items and suchlike. i'm building a lego set so i take my hat of to you guys for all the effort you all put in.

Looks pretty incredible, they can keep that crown, no way am I going that far underwater or taking my C70 with me 🙂

hmm, looks like you have your own model, i feel thats, like an unfair advantage, 😉 and i thought we were taking this outside ? But considering its summer here, i guess the rest of the world is under 6 feet of snow. Still kudos for putting a something together. I'm still doing my storyboards. 🙄 One of your lighting shots came close to something i am considering doing. i am not lazy, i just procrastinate alot.

First -and only- UW reel on the internet taken with the Canon C70 showing the capabilities of the camera.

A last sample, this is from the GFX100s, 4K, 400Mbps, 8bit H.264. It's not F-Log, possibly Provia, so it's chroma channels are supposed to be slightly better compared to F-Log: https://drive.google.com/file/d/1F4W_DYYkYlQIV49lakIGuz1L4xnB3oNm/view?usp=sharing From top to bottom: Original, Cb (with added contrast), Cr (with added contrast) I post this because there are some trees in the background. The theory about this being an X-Trans only issue sounds fine, I might even believe it, but then all the clips that I found from GFX bodies so far tell a different story.

I have had a LOT of 85mm lenses FD 1.2 L, Nikon 1.8, Sony FE 85 1.8, Sony A mount 85 2.8, Minolta 85 1.7 (I thhink?) and from a photographers point of view (not so much video), the GM is light years better than any of the others and I loved the FE and the FD ones. I can not wait to find portrait victims and use it (and do a comparison test against other portrait lenses i have). The GM is expensive and does make noises when focusing (not as bad as i expected reading reviews but it is there) but is very sharp and 11 rounded blades make for lovely bokeh even stopped down a bit.

If we are both thinking of the same video (the one from Japan) then the saddest part was that the autofocus tests were shot at 60fps / 1/100th shutter speed, and in a high-contrast profile, which normally is the BEST case situation for Panasonic Autofocus. Which means that autofocus when shooting V-LOG at 24 / 25 / 30fps is going to be... not good...

So, can you get the 16-bit files out of the camera and see them in an NLE? or just the 12-bit files? There's nothing stopping them from reading the data off the sensor, changing it in whatever ways they want to without debayering it or anything like that, and then saving it to a card. I talented high-school student could write an algorithm to do that without any problems at all, so it's not impossible. When light goes into a camera it will go through the optical filters (eg, OLPF) and the bayer filter (the first element of the colour science as these filters will determine the spectral response of the R, G, and B photosites. Then it gets converted from analog to digital, and then it's data. There's very little opportunity for colour science tweaks there. I've looked at their 709 LUT and it doesn't seem to be there either. I'm seeing things in the colour science of the footage, but I'm just not sure where they are being applied in the signal path, and in-camera seems to be the only place I haven't looked. It would be amazing if we were to get that tech in affordable cameras. It will give better DR and may prompt even higher quality files (i.e. 12-bit LOG is way better than 12-bit RAW). It's not a small guy vs corp thing at all. Most of the people pointing Alexas or REDs at something have control of that something. Most of the hours of footage captured by those cameras will be properly exposed at native ISO, will be in high-CRI single-temperature lighting, and will be pointed at something where the entire contents of the frame are within certain tolerances (eg, lighting ratios and no out-of-gamut colours, etc). Most of the people pointing sub-$2K cameras at something do not have total control of that something, and many even have no control over that something. A lot of the hours of footage captured by those cameras will not be properly exposed at native ISO (or wouldn't be at 180 shutter), won't be in high-CRI single-temperature lighting, and won't be pointed at something where the entire contents of the frame are within certain tolerances (eg, lighting ratios and no out-of-gamut colours, etc). You really notice how well your camera/codec handles mixed lighting when you arrive somewhere that looks completely neutral lighting and look through the viewfinder and see this: This was a shoot I had a lot of trouble grading but managed to make at least passable, for my standards anyway. There are other shots that I've tried for years to grade and haven't been able to, even through automating grades, because things moved between light-sources. Unfortunately that's the reality for most low-cost camera owners 😕 The difficult situations I find myself in are: low-light / highISO mixed-lighting high DR and when I adjust shots from the above to have the proper WB and exposure and run NR to remove ISO noise, the footage just looks so disappointing. Resolution can't help with any of those. I've shot in 5K, 4K, 3.3K and 1080p, and it's rare that the "difficult situation" I find myself in would be helped by having extra resolution. I appreciate that my camera downsamples in-camera, which reduces noise in-camera, and the 5K sensor on the GH5 allows me to shoot in downsampled 1080p and also engage the 2X digital zoom and still have it downsampling (IIRC it's taking that from something like 2.5K) but I'd swap that for a lower resolution sensor with better low-light and more robust colour science without even having to think about it. They care about quality over quantity, and realise that one comes at the expense of the other. This is literally what I've been trying to explain to you for (what seems like) weeks now. Interesting stuff. In that thread, the post you linked to from @androidlad says: This idea of taking frames "a few milliseconds apart" sounds like taking two exposures where the exposure time doesn't overlap. Assuming that this is the case then yeah, motion artefacts are the downside. Of course, with drones it's less of a risk as things are often further away and unless you put an ND on it the SS will be very short, so motion blur is negligible anyway. We definitely want two readouts from the same exposure for normal film-making.

--------- Clause 18.2 - Importation Location Marking For Overseas Imports In compliance with AP's standard terms and conditions for procurement, any and all items of equipment supplied under this contract that are not of US origin must be clearly and prominently marked with an easily understood reference to denote the State used for the initial importation into the US. In the case of this particular contract, all equipment will have its initial port of entry to be in the State Of New York and should be marked accordingly. ----------

That was smart! I wish I had purchased more than one roll. It looks like B&H are sold out again after less than a week. Last time they were without for at least six months.

Yeah, it’s crazy. I brought 10 rolls of 250d right when BH stocked it. (I have the notifications on.) They emailed me the next day saying they could only send me 4. I agree with you on the 250d. 50d is almost too clean but has its place for sure. 250d is just so nice.

That amount of money would be too rich for my blood LOL. 😬

I love film too, though certain stocks are too grainy for me. Now that it's finally back in stock after months of waiting, I just bought my first roll of 250D. Now I need to find something worthy of $150+ for 2.5 minutes (and it's a test roll, since it will be my first time using my new Kodak K100). From other tests I've seen, 250D is the ultimate, perfect grain character.

Black Magic Pocket for sure. Komodo feels good. Canon cinema cameras have a ton of noise reduction and lack the texture of those two cameras for sure. Film is the absolute best though. No contest. The amount of life even a static shot has when shooting 16mm is unbelievable. The perfect amount of grain, detail, and color.

I'm not the biggest fan of the GH5 colour science either. Which makes me happy that Panasonic seem to be chasing a better image with the GH6 instead of just chasing endless resolution at the expense of everything else. The colour from the more recent Panasonic cameras has all been incremental improvements over the GH5, so I'm optimistic about what they'll do with a new sensor. The other aspect to making images pop is lenses, which there are more and more available all the time now with third-party manufacturers like 7artisans, TTartisans, Meike, Mikaton, etc making interesting offerings. To me they're interesting because they are a perfect-combination of features - they have simpler optical designs and simpler coatings that are reminiscent of vintage lenses that are now climbing radically in price, but due to cheap Chinese manufacturing are both low-cost and also relatively high-quality. Unlike modern high-resolution high-precision zero-distortion lenses which have a very dull and lifeless rendering, these third-party primes tend to exhibit the aberrations that make lenses like the "Zeiss 28mm f2 'Hollywood'" lens famous, plus with MFT or APS-C lenses you're seeing more of the edges of the image circle than you do from FF lenses and so you're getting more of those character-providing flaws. I'll be talking more about this in coming weeks, but there's a lot to talk about, let's just say that.

Coming from Fuji myself (XT3), not as good. For stills, no problemo…in fact there are several bonuses with stills for a camera having contrast detect. But for video, with static subjects or side to side movement, pretty OK and yes, native Panny lenses have an edge over Sigma. Reliable tracking forward or away from you. Forget it. Pretty crap. It CAN do it, but you don’t get to decide when those times are. Toss a coin up in the air and the probability of heads or tails is 50:50. That’s S5/S1 tracking as things stand for you.

Last year my friends and I put together a show which we filmed in virtual reality. We tried to make it as much like actual filmmaking as possible, except we were 1000 miles away. That didn't turn out to be as possible as we'd hoped, due to bugs and limited features. The engine is entirely built from scratch using Unity, so I was doing making patches every 10 minutes just to get it to work. Most of the 3D assets were made for the show, maybe 10% or so were found free on the web. Definitely one of the more difficult aspects was building a pipeline entirely remotely for scripts, storyboards, assets, recordings, and then at the very end the relatively simple task of collaborative remote editing with video and audio files. If you're interested you can watch it here (mature audiences) https://www.youtube.com/playlist?list=PLocS26VJsm_2dYcuwrN36ZgrOVtx49urd I've been toying with the idea of going solo on my own virtual production as well.

Hey kids, my perfect camera would have been a Lumix G6 with a 100mbit codec. I love the HD coming from it. Once graded, it really looks organic to me. Just the shadows become super blocky in low light due to the light codec. Maybe I could get a GH4 for cheap and treat it like my super G6.:) My Lumix S1 is an image powerhouse. But sometimes I dont feel it challenging me but giving away a great image to easily. The G6 always gave me great pleasure in giving me an image I had to work for hard. My dearest camera still. I shot this years ago but still remember the profile settings. Here it goes, natural with contrast 0, sharpness, noise and colour at -2. Graded the heck out of it with crazy curves. Lens was the cheap and awesome Canon 28mm 2.8 and a focal reducer.