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So today I had a shoot for a new client and when she saw me take out my Panasonic S5 she was a bit taken back. She thought that I had a more "professional camera." She wasn't mean about it, but she genuinely seemed surprised. It just was kind of an awkward situation, I guess in part because this was my first new client since the pandemic made me scale back, and I'd kinda forgotten what that was like. It did however make me wonder if I should've rigged out the camera more, if for no other reason than to make it look more "professional" and to make the client feel as though she was getting her monies worth. How do others handle this, and is it a consideration at all? I know many will scoff at the idea (I always have in the past), but is this something I should consider more, especially as I work with new clients? I'm interested in how others handle this!

When starting with a new client, I sometimes just build my EOSM with cheap matte box and a top handle, and then put it in a bag. When they see me pull that rig out of the bag, they think they think I am a total pro!

If you can handle the form-factor.....

Ursa mini broadcast Mark 2 is a very interesting camera as well. The Pocket 6K in a Ursa mini pro body, with exchangeable mounts, such as b4 for the tasty broadcast zooms for 2/3inch sensors, EF and PL. UMP Pro 4.6 are getting into 2.5K USD region. Regarding image quality- I think a GH5 is pretty much all one needs for spectacular images and some love to develop passion, skills and art for the moving image. Just saying, because people are dissing the mft image, when it is indeed pretty spectacular. Getting off topic. Well..:)

In my world, the ARRI Mini is still much more common than either of the LFs are. Yesterday's TVC (promoting a big new show coming up) was shot on the original ARRI Mini. Although this weekend I'll be working on a documentary being shot on 2x Mini LF (but it's been a fair few months since I last worked with a Mini LF). Rather you than me! Think I'd rather go for at least an AMIRA, if I was crazy enough to buy an ARRI for myself.

It is a better form factor than a Red. A little box with a monitor on top is not my idea of ideal. It is a baby ENG camera, and they are Really comfortable to use for hours at a time.

Yup, and that's just one person (heck, not even really one whole person... but a person split in their roles between that and in "lighting" as well) with a small handheld machine fogging up everything in view in that forest we were shooting. Get a whole crew in and pipes laid out? Now we're talking!

Its limited to what can be gleaned from the commands from the other cameras so its possible there is something from one of the Panasonic sets that I haven't got (I've tried GH5,GX80,FZ2000) that may do it so if someone else wants to go down that rabbit hole all the tools are available to do it on the other thread. However, from the reaction of the LX15 to those all-i codecs in terms of what went on in the actual UI (as opposed to the corrupt recordings !) then I wouldn't hold out much hope as it blanks out the codec selections completely until you then hit it with something valid.

Thanks for trying. Just a thought from IgnorantVille... is it possible there's another line of code needed to recognize/enable the all-i codecs?

The teleconverter is the Sony VCL-HG2030 and the holder is the Carry Speed MagFilter. Bear in mind that the HG2030 is a 30mm rear thread so will vignette until about 45-50mm (equivalent) of the LX10/15 but as it is a solution to extend the long end then that isn't an issue. I'm looking to pick up a similar adapter for the other end to offset the wide range that is stolen when you are in 4K modes. With regard to bitrate hacks..... Well, I took the extract from the FZ2000 and sent the 200mbps HD to the LX15 and it took it, recorded video but they are unplayable. Which is the age old story from the GX80/85 so thats a no go. So the best you can do with this camera is put my Cinelike D hack on it and it does make quite a difference but with the absence of high bitrate HD modes, I view it as a 4K/24p camera.

Thank you! I used the "crappy" Vivitar 25mm F2.5. Part of the that mojo comes from the lens and its imperfections. I say crappy because for general use it has too many imperfections like very clear ghosting, and crazy lens flares.

The United States is getting worse by the day about people using "real" cameras. I Never feel comfortable using one in public anymore. You stand out like a sore thumb now. This country has never been too keen on poking a camera in someone's face. The USA has really never been a tourist destination like say Europe is. And people here have had the money to buy top end phones for years so there is very few normal cameras here now. Plus, I got my Xperia brand new in a box for $1100.00. Still expensive but not much worse than say a new iPhone or Samsung. And yeah it is not using the whole senor, using 60% of it, and the pixels are larger so better low light and Bokeh ability due to the size. It is a better phone than a lot of people think.

The pleasure of shooting videos for me is to use a dedicated tool that inspires me (the camera of my choice) and my collection of vintage manual lenses to capture moments with a specific character and nuance. And then to re-live those moments at a later time through the whole processing and color grading on the computer. I never use auto focus and I only use smartphones to make calls, send emails or surf the internet when I’m on the road. I don’t want to use a smartphone to take pictures the same way my iPad doesn’t inspire me to make music although I bought many serious music apps at some point thinking I’d use them. No, I want to make music with my analog synths and my vintage digitals, those inspire me, not a tablet. So no, no smartphone video for me! 😁

Love the colour palette. Most of the people make it look to videoish like crayon. Yours looks like a slick Acrylic painting. Love it. Also love the Oilpaint look. Now you guys, please don´t make fun how I put it into words. Or how the marketing youngsters and influmonsters say, wording. Brrr, what a yiksey word. Anyway, thank you for sharing and showing off some gret colours! @tupp Yesterday and tonight I bid on a second Eos M but I didn´t win the auctions. So I might have to buy the additonal adapters and second and third batteries separately for much more money. I still don´t have an adapter for my little beast. 🙂

This new Sony Xperia Pro-I I just bought is Crazy good. I will get some shots up; the weather has been terrible here last few days. This smartphone is a camera first and a phone second. Amazing tech in it. A Sony RX00 VII in your pocket almost.

The 12k is definitely a great offer. I can't help but think a full frame camera would have flown off their shelves. But I do love the 12k sensor tech. Hope to see more from them with that sensor technology.

The USRA Mini Pro 12k with Camera Update 7.7 promises improved performance including: Improved color balance. Improved demosaic for better shadow detail MTF. Improved demosaic to reduce moire effects on fine patterns. USB-C connection improvements. Improved compatibility with ExAscend U.2 disks on URSA Mini Recorder. Here's a link to the press release: https://www.blackmagicdesign.com/media/release/20211220-01 Not bad considering that you can now get them used for $5k. Thanks for continuing to invest Blackmagic, the 12k is my next camera for sure! Does this mean I do not need to purchase the RAWLITE Optical Low Pass Filter? I hope so...

In fact, I always used AWB until a shot that I've taken on a trip - with a GX85, by the way. It was climbing the stairs in the center atrium of the British Museum in London with a gimbal. Even more strange, the atrium is completely flooded with sun light from the ceiling, which in theory should have caused no troubles with AWB. Don't know if the camera picked the warmer tones of the surrounding walls, but from the bottom to the top of the stairs the white balance shifted back and forth around 5 times, ruining the shot. Still forget almost all the times to lock the white balance while filming (I'm an amateur, after all), but this case changed my mind about AWB - now I almost only film my daughter inside home, and with my X-S10 sometime I noticed some AWB shifting too.