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I shot a short film yesterday and used the Canon 35mm f/2 for a few shots. What a great utility prime with IS. Here are a few shots with a quick LUT thrown on. The film may end up being in B&W.

There's a bit of buzz building around BM announcing a new camera at NAB. It started in this thread on the BM forums where the release history was outlined by Tim Buttner: UMP Announcements & Releases UM4K: April 13th 2015 - https://www.blackmagicdesign.com/media/ ... 0150413-05 UM4.6K: Announced April 13, 2015 & Released March 17, 2016 - https://www.blackmagicdesign.com/media/ ... 0150413-05 & https://www.blackmagicdesign.com/media/ ... 0160317-01 UMP G1: March 2nd 2017 - https://www.blackmagicdesign.com/media/ ... 0170302-01 UMP G2: March 5th 2019 - https://www.blackmagicdesign.com/media/ ... 0190305-01 UMP 12K: July 16th 2020 - https://www.blackmagicdesign.com/media/ ... 0200716-01 Pocket Announcements & Releases Pocket 4K: April 9th 2018 - https://www.blackmagicdesign.com/media/ ... 0180409-02 Pocket 6K: August 6th 2019 - https://www.blackmagicdesign.com/media/ ... 0190808-01 Pocket 6K Pro: February 17th 2021 - https://www.blackmagicdesign.com/media/ ... 0210217-02 DaVinci Resolve Announcements & Releases Resolve 12: April 13th 2015 - https://www.blackmagicdesign.com/media/ ... 0150413-01 Resolve 12.5: April 18th, 2016 - https://www.blackmagicdesign.com/media/ ... 0160418-05 Resolve 14: April 24th 2017 - https://www.blackmagicdesign.com/media/ ... 0170424-01 Resolve 15: April 9th 2018 - https://www.blackmagicdesign.com/media/ ... 0180409-01 Resolve 16: April 8th 2019 - https://www.blackmagicdesign.com/media/ ... 0190408-05 Resolve 17: November 9th 2020 - https://www.blackmagicdesign.com/media/ ... 0201109-01 ..with the implication that BM have a relatively regular release schedule and that we are either due, or overdue, depending on how you read the timeline. One aspect that was discussed was that BM haven't given any previous PR to anything, which is what they usually do / have done in the past. Then @John Brawley created a new thread talking about how NAB will be the 10 year anniversary of the release of the first BM cinema camera. It starts with this: It was about 10 years ago that Blackmagic truly shocked all by announcing that they had made a cinema camera. Some thought it was a joke. Some said it was a toy. It was announced the first day of NAB in 2012. There were no leaks. It dropped on the floor of NAB like a bomb. This, to me, is an enormous wink and a nod at the idea that BM will announce something big. I have no idea what it would be, but to me there are a couple of key aspects that I think (hope) might play into things: BM discontinued the Micro Cinema Camera relatively recently, and currently have no camera aimed at drones or rigging RED released the Komodo, which seemed to be a GoPro replacement for the cinema industry, and seems to be a popular option (and makes spectacular images) There is chatter about BM putting the sensor from the UMP12K into a smaller form-factor I have no idea if I'm on the right path or not, but it sure would be great if BM released a S35 12K box-style camera with more DR than their other cameras, and would definitely be grabbing the resolution headlines again. Even if they limited the sensor to the 8K mode (which doesn't crop) it would still be a phenomenal camera. But, it's BM, and they like to think big, and for their 10 year anniversary of making cameras, who knows what they'll have up their sleeve. I'm excited!

I can’t answer your technical questions because technical stuff just bores the shit out of me, but I use an S1R, S1H and S5. In terms of photography, the S1R is the winner. For video, the S1H. Obviously…but there isn’t that much in it at identical settings. For ergos and sheer joy of use, S1H and MUCH prefer it’s rear screen over anything else. (Not a fan of flippy side screens, - they are the devils work). S5 the winner in the compact/portability stakes. The S1R is great for video if you are happy with the single option 5k mode. I am and use it maybe 5% of the time or not at all because it’s my primary (only) stills camera. The S1 is arguably a better video option and for most people, 24mp stills is enough. Fantastic value used purchase and S5’s are a steal used or new. If I had to choose just one ring to rule them all, I don’t even need to think about it. S1H all day every day. Looked at buying another last week to replace the S5 (for reasons of I prefer identical bodies) but damn, they are rare as hens teeth and still over 3000 euros on MPB. Nothing exists at this time that would make me give up my S1H. Nothing. I’m off to write a love song about it now. Beauty and a beast at the same time. I don’t know if any of the above helps you but full frame L Mount is IMO a great system and I hope it continues to develop.

I never owned a GX85 but yeah, the footage out of them looks great. The GH2 was not so hot OOC, well it was at the time, but the hacks are what made it memorable, even today. The more DR the better but depending on the scene even 8 or 9 is adequate. Supposedly we can see up to 16 stops with our own eyes. To get that you are going to have to have a 14, 16 bit camera to do that. Most upper tier still cameras have that much DR, no cheap option out there as of yet for the video side. Arri, Red territory.

Highlight roll off with the GH2 is not pleasant in video. Lumix G6 already looks so much better. GH5 is a powerhouse of an image taker. I have a G7 but only tested a for three different shooting days. Loved it in Natural profile, disliked it in CineD in combination with a vintage 28 85 Tokina zoom. HD was beautiful. If it had a 100mbit codec for HD, but that´s my complain about all the panny 8bit cams other than the GH4. But I get your impression regarding quality of a color palette. But it is regarding amount of tones and hues and precision and what you can do with it in post. OOC, the GX85 is the best I have owned. But 709 in camera look for narrative shortfilm is not the greatest idea. You will always need grading or pregrading, if these 8biters allowed 3d lut implementation.

I still use this set up 🤣 It's "good enough" for the stuff I use it for. I'll keep using it until they stop working, then I'll get something better!

And I thought I was crazy. Game of Ping Pong going on. 😮 I can't answer his question. Never owned one.

ECHO!! Echo! echo. e......... ....

Thank you, @PannySVHS. Appreciate it 🙂

Look at Casey Neistat one of the most successful people ever on YouTube, he could afford any camera there was and he used a Canon 80D most all the time. He had talent, came up with crazy great ideas on shots. The footage looked great. He didn't need a Red or an Arri. He was good and knew how to use what he had. The latest camera is not going to make any one of us really better, skill, talent, understanding every ounce your camera has, desire do that.

Anyway, to cover recorders up to the "mid budget" price point, you have, once you go past the price point of Zoom's offerings: Very low budget: 1) Sound Devices MixPre1 (the Gen2 version), basically it doesn't beat a Zoom F8n Pro even though it is a lot more expensive. At best it is "equivalent" to an F8n, but "different". So people might prefer that, just like some people prefer the flavor of hokey pokey icecream over chocolate icecream. Entry level professional: 1) Sound Devices 833, part of their 8 Series and basically the "633 mk2" (the 633 for years was the standard staple for many professional sound mixers, thanks to its affordable price and compact size) however with the tonnes of capability the 833 has it could for many people be all they ever need! (unlike the 633, which is totally unsuitable for mixing drama productions, especially back at launch of the 633) The 833 is out performing the former "high end" products from Sound Sound Devices (788T/688). 2) Zaxcom Nova, a bit like the F8n vs MixPre10 discussion, I wouldn't say the Nova is "better" than the 833, just "different". However to fully get all the benefits of the Nova you really must also buy into the Zaxcom wireless system as well, so don't get a Nova if you're not going to do that. Plus Zaxcom is very much like the "RED of the audio world", rather controversial with a lot of cons lurking under the surface. So while they're a strong choice, and very innovative, don't go in without your eyes being wide open. 3) Sonosax SX-R4+, while I think when the SX-R4+ was released it was probably "the best" in this niche, it was also the first of "the new generation" (i.e. Nova / Deva 24 / 8 Series / Cantar X3 / etc came afterwards), thus I think in 2022 it is much harder to make a strong case for the SX-R4+. Mid budget: 1) Sound Devices 888: this is basically the 833 but with DANTE! And an extra fader. And a few more outputs. And 4 more tracks. 2) Cantar Mini: if I could afford it, I'd get a Cantar Mini in a heart beat, no doubt about it. Many of the top pros in the drama world are switching over to Cantar as they've taken the leader in terms of capabilities / workflow / responsiveness to users / etc High end budget: 1) Sound Devices Scorpio: same as the 833 / 888, but with MORE!! More outputs, more inputs, more faders, more tracks. But fundamentally the same software/features as any other 8 Series. 2) Zaxcom Deva 24: it is a Zaxcom, enough said. (if you are not in the Zaxcom ecosystem, this probably isn't for you. If you are.... then this should be #1 at the top of your shopping list to consider) 3) Cantar X3: The King.

I still do approve of the F8 (or any of the F8 series). The Zoom F8 was a major major major game changer for the no budget / indie / student / aspiring Production Sound Mixer. Bring incredible features/ergonomics/features/specs at a mere fraction of the price of what they used to be. Just like the Canon 5D mk2 / Nikon D90 / Panasonic GH1 was for any of the DoPs / videographers / cameramen like that back at the dawn of the HDSLR Era. Am just very very disappointed that Zoom has dropped the ball, and that the F8 => F8n => F8n Pro progression only gave us extremely small improvements. Not bigger sized leaps such as say happened with the 5Dmk2 => 5Dmk3 => 5Dmk4 However, the competition is such that the Zoom F8n Pro is still the best that you can buy at that price point.

DR always gets peoples knickers in a bunch, especially when they misinterpret it! DR is only relevant when you can compare the results of the test to other tests of other cameras. For this, CineD seems to have the biggest back-catalogue of tests. Their results for the GH6 are 11.0 / 12.2 stops: but this is Prores HQ which has lots of noise: Here is the h.265 results, which has compression suppresses noise - magically it's 11.5 / 12.8 stops: Think the P6K will do better? It's RAW, and has a larger sensor.. well, it gets 11.8 / 12.9 stops: but look at the noise..... That looks like it's got less noise than the GH6, and the 13th and 14th stops are barely peaking out from below the noise floor... Just like the GH6! Just to really put things in perspective, here's the Alexa Mini LF: It gets 13.4 / 14.7 stops on the same test setup. Their comment about it is "Quite interestingly, it’s a tiny bit less (at SNR = 2) than for the ALEXA Classic – it seems that the internal signal processing was changed a bit going even more towards a “raw” signal with less noise filtering. However, more zones are identified and 3 additional stops are buried in the noise floor." Let's look more closely at what is going on. This is the GH6 (from above) and the 10th stop is completely separate from the noise floor, but the 11th is touching. and the Alexa (also from above) has the 13th completely separate, but closer than the 10th on the GH6. So, does that mean that the GH6 is only 3 stops behind the Alexa LF? Well, it depends on what you think a "stop" really is. Do you think that these stops here: are as useful as these stops here? Maybe I'm missing something, but the 14th stop (and the fuzz slightly beyond that) seems like its not going to make much difference to anything in the real world.... That h.265 result of 11.5 / 12.8 is the best MFT sensor that CineD have ever tested as far as I know, so that should put it in perspective. And if you want some real perspective, this is the GH1: If you'd paid good money for that 8th stop then you might feel a little cheated!

Ditto. Most of my wedding is 12-15 hours long and from June-Sep, mostly on 30+C/85+F but can go higher. Plus often in direct sunlight for hours on end which makes cameras hot to touch even when they are not working. Having said that, I have never had a camera overheat and the only one I currently have with a heatsink/fan is my S1H. My old XT3's got pretty hot, but never had a shut off or even a warning. A few years back though, my old Sony RX100V did. All the time. Too small I guess to dissipate the heat? The S1H is the target Fuji need to beat for me. In what way? Ideally, a tad smaller, though no real issue. Ideally lighter by say 200-250 grams. Same kind of screen (and XH1 had a good screen so...) Otherwise, struggling actually... The main thing I am looking for in my next camera body, whenever that time comes, is an amalgamation of all 3 bodies I currently use, into one single body type. The differences between my current S1H/S1R/S5 are actually quite considerable and the only thing all 3 share is actually the LUMIX logo on the front and the ability to use the same lenses. With the XH2, at least from the reports, Fuji may have the answer for me, but we'll see...

Both of the contributors state that they reckon the implementation of the GH6's sensor is designed to favour video rather than photography. Interceptor121 compared VLog dynamic range of GH6 to GH5M2 and found it favourable: And Bill Claff of Photons on Photos found that the dynamic range in RAW stills is pretty much bottom of the barrel

My money is on it being a new selection box.

CineD hasn't tested the FS7mk2, but has tested the FS7 and the FP, and they score basically the same, with 13.3 and 13.4 stops SNR=2. I suspect the same. I imagine that the feverish trend of shooting at maximum resolution under all circumstances without any knowledge of why will have meant that lots of people will be shooting UHD in 8-bit internally, which combined with the usual lack of knowledge from the YT camera folks, will not be creating good images. Also, uncompressed RAW bitrates are unwieldy, pushing some to use the internal compressed codecs, which are.. not good.

I would still buy the one that I have now if I had to buy one tomorrow: the EVO II 6K. Yes the Nano is better in low-light, but where I live 10-20mph sustained winds are common and the smaller drones can't handle that kind of wind. I would rather a drone that I can fly back in the wind than one that is better at low light. I shot this video last year showcasing its abilities. I left DJI due to its very invasive data collection practices and geofencing.

The Mini and the nano are designed to come in at under 250 grams weight so that they can avoid certain FAA regulations (possibly other regulations in other countries, too). Hence, the need for small EVERYTHING on them.

Yeah good lucky Marty on it being real.

I'll cross my fingers that it's genuine and fully functional. If it is then that is an absolutely blindingly good price!

I have an S1, an S1H, and I still have a GH5 as a loaner for other filmmakers I work with, and because I have been working on the same project for a few years - so I haven't had a chance to shoot something in 4:3 yet! I had an S5 briefly but found it hard to hit critical focus. One thing that I love about the S line is the Fotodiox ND Throttle adapter, which essentially gives me an EF mount with a built in variable ND behind the lens. I have the L mount 24-105 but I never really use it. My Contax kit has been a thrill to use with this, and for a zoom I just piked up and am testing a Tokina 28-70mm 2.8.