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Nice, let's call it OBIS (Out-body image stabilization) 😎

I said something very similar on one of these threads. I became an AF gymnast when working with the GH5 and S5. Basically MF everything, with the GH5 I didn't even bother getting anything but manual lenses. Everything was about jumping through hoops to work around the limitations; wider lenses, deeper F stops, maintaining an equal distance, knowing the footage would be mostly soft but hoping some of it was still useable, etc. etc. The C70 doesn't even have that great of an AF system IMO but it was such a huge upgrade for me. Of course the R5 was a decent upgrade as well for photography, but since my 5D4 had good AF for photos it is not as big of a deal as the C70. Knowing I just have to put that box on whatever I want in focus frees me up in the exact same way....to be more creative, to really focus on framing, composition, lighting, audio, etc etc; vs hoping I haven't violated one of the many rules of a one man band run and gun MF.

This makes me jealous of the Blackmagic cameras right now. Solves a HUGE issue.

For what it's worth, I'll be the second critic to say this. I shot with Panasonic cameras for over a decade starting with the GH1 and owned every GH camera through the GH5s. I then owned the S1 for about a year. I molded my shooting style around the strengths and limitations of Panasonic cameras with AF being their biggest limitation. The S1 was the best of the bunch. I worked within the limits of Panny's AF: well lit situations, with simple movements, usually in 60p, with middle apertures (f/4, f/5.6). Even then the AF only worked OK... I had to be hyper attentive to what the focus was doing to make sure it wasn't going awry. I thought it was good enough, even though I knew it was limiting how I could use the camera. Then I switched to the Sony a7iv and it was a complete revelation. The AF is incredibly accurate, fast, and feature-rich. It works so well and is so intuitive that I have no reservations about using it for any scenario: wide open, poor lighting, fast movement, complex frames. It just delivers the goods. It allows me to take my focus (pun totally intended) off the AF and turn more attention onto sound, exposure, framing, action, and everything else. Switching to a camera with great AF made me realize how much I was compromising by using a camera with poor AF. Old schoolers might call it lazy but I don't care. I've been reinvigorated to create new things because now this critical feature has been unlocked for me. I wish Panasonic could have done it for me, but nope.

Yeah its pretty much supply & demand but also its a camera that cost $16K when released and some owners are probably more reluctant to "dump" it for peanuts. The C300mk2 is still imo a great older cam as is the FS7. Its actually a camera on my current (Canon system) upgrade list. The C300mk2 has that one elusive codec that would be my perfect default go-to: 12-bit 4:4:4 2K Clog2 internal. That codec alone places the C300mk2 the closest to ARRI's ProRes 4444 XQ. The FX6 is also FF (no speed booster needed) and has that game changing E-ND. That said the FS7 is still above class (FX9 is its replacement) and is the only cam I know that has the native ENG shoulder mount with extended arm config. Not for everyone nor for every situation but I love the ease of use and comfort of that setup and the output it gives.. here is an old pic I found on google of Andrew at photokina during release !

Hidden among the news of an unneeded camera update (BMPCC6k G2) was the fact that the Pocket cameras now record the gyro data for stabilisation in an upcoming REsolve update. This is very exciting! Grant mentions it around 1 minute into this video.

The SteadXP has been around for several years and does exactly this. Great results but I think people have been reticent about it because it requires a separate app to process the footage rather than being a plug in as well as being put off by having to shoot at a higher shutter speed for best results.

The problem of the above kit is that the coupler does not deliver enough voltage for 8k 50/60. I found the best solution to use the FXLION One V Mount battery but using the USB-C port on a small rig V-Mount plate mounted on a Cage. It is really not my preferred solution to have a rig instead of a naked body but for people that use external monitors and tons of other things mine not but such bad solution. You can power a external screen from the same battery over D-Tap. Once somebody would build a coupler with d-tap that delivers 9v then I will simply switch the USB cable for the coupler.

So I did many test and the face tracking the R5c thanks to the Face Only mode is more reliable/usable for video than the R5. I did shoot a school theater (not my usual stuff) and with a 70-200 at 2.8 with even changing lights etc the Face AF worked almost perfectly and when it loses the Face the fact that it does not jump focus it does not ruin the shoot. In pure speed R5 and R5c with the AF settings to the max speed/reactive they are exactly the same, I tested side by side with the same lens. Now here is where my problem was the "large AF area" of the R5c is similar to the second smaller AF area of the R5 the one that I use the most for action and it turns out that R5c tend to stick to the BG and not refocus on the subject but surprisingly when using the smaller AF area the R5c works like the R5 in the second smaller area. Bottomline this seems to fix my issue. Still it would be cool to have R5 AF engine animal, vehicle and all the other AF area at disposal but with this setup it seems to work for my stuff as I normal use either Face or the small area AF. Bottomline the camera is growing on me, but it could be just amazing if they would really share more between the two systems.

Z9 heatsink.

Looking pretty seamless so far!

Will also test over the weekend. The beauty of this method is that we can do stabilization with gyro data in Resolve. Newer Sony cameras also have gyro data but stabilization is done in another program. It's additional and time consuming operation. More that 3 years after a camera is out they keep updating the firmware and adding new features. To a 1000$ camera (BMPCC 4K in my case). Stabilization with gyro data is almost a game changer. Hope it will work nicely. How not to like Blackmagic. 😀

I am not sure how Nikon stays in business anymore. Who buys them? The Z9 seems great but you can't even get it for a year, and it is Way out of most people's budget.

Anton Bauer Titon base is the way to go imo for proper batt life.. dummy battery p-tap mode: works handheld too, here in USB-C mode.. most annoying part of the Pocket 6Ks is the unreliable battery life metering.. another reason to go external with indicator.

General use. I have a S1, that I love, but it's so big and heavy it hasn't been out of its bag for the last few months, so I wanted something that I can just pick up and go with. The particular motivation for doing it now is that I'm going on holiday (first time in three years) in a few weeks and the thought of lugging the S1 around was causing me considerable trepidation. With this I can put the camera and my three native lenses (25 1.7, 17 1.8 and 14 2.5), plus my Mavic Mini 2 in my messenger bag and still have room for sun cream (and my Crane 2S maybe)! In fact, after initial testing, I think I'm probably going to sell the S1. I was thinking I would need to hold on to it as I've been asked to do a music video in a couple of months, but I think the GX80 will handle it nicely - in that scenario I'll be speedboosting my set of Super Takumars. A few weeks ago i tried out a FZ2000 for a couple of weeks, but it failed to impress. What's the point of a super zoom when the long end is unusably soft? Also the colours didn't do it for me, but this little chap's rendition is not a million miles away from the S1's. Last night I was using Standard and Natural, both dialled back. Over the weekend I'll be giving @BTM_Pix's bit of wizardry a try to see how Cinelike D fares.

That 10 stops of DR would be for photos, while for videos it would be less than that.

What if I sew a pillowcase onto the chest part of my jumper?

Cool - one person did their own testing and evaluations in their own particular scenarios with their own lenses. Only about 50 more critics left to see if they're talking from experience or hype 🙂 I mean, I shoot MF so I really don't care, but it's pretty obvious that most critics are remembering the AF of the GH5 v1 firmware and haven't actually fact-checked themselves in about half-a-dozen cameras and dozens of firmware updates.

Is it a small battery though? Or is it a normal sized battery with an enormous and very bright screen? The 6K Pro has a 1500 nit 5 inch FHD touchscreen display - with any other camera that would be a separate monitor and would require a separate battery (or two). You can't get something for nothing, despite how much we want to!

Shot some BTS footage of a friend's short film last weekend. Some of it looks good in B&W.

That's been my sense as well. It seemed clear when they released the Broadcast G2 with the 6K sensor and specs. I think I remember Grant Petty saying essentially they couldn't source any more of the original Broadcast sensors so they cannibalized the 6K ones for that line.

WOW ! Really. My plan was to sell BMPCC 4K, since Panasonic S5 became my main one. Now have to pause and think again. 🤔 A little crop is really not a problem if it saves me the efforts to carry and use a gimble for some of the shots.

GX80 works wonderfully with the @BTM_Pix hack to get Cinelike-D. When I had one, used it with Leeming Lut for Cinelike-D and the colors were amazing.

Yep, they revealed today that all the BMPCC cameras (4K, 6K, 6KG2 and 6K Pro - not the OG BMPCC, of course) already had an internal gyro that is now enabled, and the data could be used to stabilize in post using Resolve.

I've arrived late to this party, having taken delivery today of a pristine used GX80. After reading this whole thread I'm raring to go with some testing down at the beach this evening!

Wow, this news about gyro stabilization is fantastic. I use a SteadXP+ with my 6k, and it is kind of a huge pain. Sometimes it just fails to work. It also requires me to either shoot ProRes, or to transcode my BRaw files to a non-raw format before I stabilize. But the result is absolutely worth the trouble. To do this all natively is fantastic. And to not have to buy a new camera to access the feature is pretty great as well.

Film doesn't underexpose well so you get crushed blacks rather quickly hence the contrasty look but it obliterates digital in highlight DR latitude. Kodak Vision has been championing their motion film stock and I remember reading it gives DR readings anywhere from 12 to 20 stops depending on scan techniques and recovery methods. You can check some of the charts yourself: https://www.kodak.com/content/products-brochures/Film/VISION-200T-Sellsheet_US_4PG-EN.pdf The wider exposure latitude in KODAK VISION3 Films differentiate film capture from the limited dynamic range of digital capture. Digital "dodging and burning," a very powerful tool in the colorists' toolkit, is now even more powerful—up to two stops more image information can be extracted from scene highlights in VISION3 Films. If traditional 10-bit scanner data encoding schemes are used to digitize films having this extended density range, highlight information captured on these film could be lost. Kodak has recommendations for extracting the full density range stored on high dynamic range films in a technical document titled Scanning Recommendations for Extended Dynamic Range Camera Films Also recommend some of the great accompanying videos : notice at 1:40 how the DP states he overexposed the highlights by 6-7 stops and again at 2:00 the field is 4 stops over and the sky 7 stops over before recovering the highlights. have fun achieving that kind of highlight latitude in digital! ..again at 7:37 overexposing the grassy area by 3-4 stops and perfect recovery. Just some extra food for thought when comparing film to digital.

I’d personally rather see a Sigma FPv3… I like the image I’m seeing from out of BM cameras, but the rest of it, meh.

I'll take about 5 without even thinking.

Yes I was very vocal in my criticism when the EOS R came out as well as when the overheating controversy with the R5 was just getting started...so vocal in fact that I was banned from the Canon Rumors site where apparently only blindly loyal fanboyism is allowed. As far as the R7 goes, Gordon Lang did a great review of it in the video below. Based on the video I did pick out a few things that I really like and dislike: Dislike - It still requires a USB-PD source to power it. This is important to me because my current V-Mount battery setup that I was able to power the C200, C70, and S5 with won't work for this camera. The R5 has the same problem. Likes Batteries - It uses the same batteries as the R5 and 5DIV, so I would start off on day one with tons of useable batteries already. Lens Compatibility - This camera could possibly be the most compatible camera Canon has ever created. It supports RF-S lenses, RF lenses, EF lenses, AND EF-S lenses, so owners will have a massive array of economical options to shoot with. Of course an adapter is needed for EF and EF-S but I don't think EF-S lenses can be used with the R5 even with the adapter but I could be wrong. Another cool tidbit from the video is that RF-S lenses will be compatible with both crop sensor and FF RF mount cameras. Overheating - Gordon did not mention ambient room temps during his quick overheating test but it was still nice to see 2hrs and 20min recording at its highest 4K mode without overheating. It also has a nifty overheating tracking gauge which showed it wasn't even close. That would be nice to have in the R5. In the video it looked like the 4K HQ mode is a massive improvement over the other modes, not sure if it was just a change in other settings in the camera that Gordon made, but to me its rare to see that big of an increase in quality when switching between different video modes in a camera body. I'm looking forward to seeing more video focused tests and especially low light tests. If this camera had dual native ISO it truly would have been great. Without it, I would be happy if it was useable up to 3200ISO. The seamless integration between this camera and my other Canon cameras (batteries, lenses, adapters, etc.) makes this body very interesting to me. I stick by my original statement that Canon might have accidentally created the hybrid camera we've been waiting for.

GHAlex just did an update/release for the GH6. So excited to mess around with this. He doesn't have any shot of it up yet, but I bet they will be amazing https://www.emotivecolor.com/gallery

I went to a mini airshow F/A 18 and F5 and to a horse show jumping in these 3 days, something that I used a lot the R5 for and unfortunately even with the max speed setting the AF of the R5c is basically unusable for action, where the R5 would mostly keep the subject covered in the AF area in focus, the R5c would mostly stick to the BG 😞. I used the large area that is very similar to the square area of the R5 that I normally used but unfortunately is a no go. On the jet I had to switch to the whole area to get something if focus but with the horse show jumping you can't as it will focus on the obstacles and not the athlete. Not really sure what to try but I would say the AF of the R5c is not ready for action. I really want the R5 AF on the R5c or just enable the video in the photo mode!!!!!!!!!!! Also another annoying thing that when you turn off and back on the camera it put the AF square back to the center, not sure there is a setting for this but it should stay where I left it. On the playback page you cannot applying any lut and you cannot magnify so really hard to tell if it is in focus. Now I need to think if to buy one as B cam where the AF is not so key as I mostly prefocus and for long recording or just stick with 2 R5. Conclusion so far R5c is not a better R5 is a different R5 with some better and some worst part. A missed opportunity imo. The R5 would never do this to stay on the BG and I have done 50+ Show Jumping video with the R5 and the exact same lens.

There’s definitely an advantage. The bodies are usually more compact. Lenses are smaller and more affordable. Also more choice. (Sigma 18-35!) Get closer to the subject for less money (crop factor). Easier to manual focus, not always crazy shallow. Probably more useable shots. Not everyone likes the “gigantic” frame / shallow depth look. Easier to achieve deep focus look. More traditional shooting format. Still the standard.

It really does just look like every other camera out there. The content is all dross. Not a cinematic or emotional moment in any of it. Though of course that isn't the camera's fault is it? It is brash eye candy only fit for tv ads. I would expect the X-H2S's image to be very good but so is the EOS R5C, A7 IV, GH6, OM1, Fp, Fp-L, 1D C, NX1, XT-4, A7S III and so on. If it makes full use of the film simulations with ability to simulate grain styles like the Alexa 35 and has 14 stops dynamic range in 6K then I'll change my mind. Then it is progress! Otherwise it is merely another good offer in a sea of good offers, if you get what I mean.

After reading the original article I bought a GX85, and an adapter for my Panaleica 14-50 fourthirds lens. It was my first cam that could do video. Years later, I have now shot several concert (live or production) video's, up to 10 cam (mainly P4K), 3 manned cams. I currently have 3 fourthirds lenses (adapted to m43) and 8 mft lenses and 14-15 Samsung T5 ... The GX85 still serves (mainly photographs, or as a fourth cam when I am in a pinch). So, a big THANK YOU to Andrew. Without getting into video for music, the last two years would have been a personal disaster ...

We could do a GX85 challenge, including GH2, GH1, GH3, G7 and GH4 aaaand the LX15. The Seven Sisters 8bit Challenge! Let´s do it 🙂

"Version 3" Started again, and used a few global tools to get closer, before employing the selective tools. I also backed away from accuracy to get the "spirit" rather than an absolute match. I smoothed out the grade, trying to ensure it didn't break the image, like the last one did. Here's that grade applied to some real footage. At first I thought that maybe there was some luma vs sat action going on, so I used a node in HSL mode and using the channel mixer I tried mixing in the luma channel to the sat, and vice-versa, but neither generated anything useful. Then I tried using a YUV node, which made it into the final grade. YUV is a strange colour space, where the U and V stretch the vectorscope in two directions, and the Alexa is skewed a little towards amplifying one of those directions. This is a great transformation as it is applied to the whole colour space and therefore does not break the image. Then I applied another colour warper: This time paying careful attention to smooth out the transitions. After the last one breaking the image, I also wondered if I needed to desaturate the transition into pure white, but it turned out that it wasn't necessary. This is pretty subtle stuff, and I'm not really sure if anyone would bother with it TBH. I'm happy to share it if anyone is interested, generating a LUT is very easy. Really, it's a testament to how good the Panasonic colour profiles are to begin with, considering that in comparison to straight "correct" 709 they're both massively far away from that.

Thanks for doing all the work, @kye Probably the thing that is most surprising to me was looking at the scopes between the P2K and the Alexa. When I look at the skin tones, the P2K looks a lot more magenta and the Alexa a lot more green. So I thought the SATURATION levels would be much different than they are on the scopes (i.e., P2K have more saturated magenta, Alexa having more saturated greens). But in the scopes, the main difference seems to be the P2K has magenta rotate more CCW and greens rotated more toward Cyan, while Alexa greens and magentas are more "true" and the yellow is really heavily saturated. Unless i am missing something (I often do)... Oh, and there is a luminance difference between the two captures, which leads into the other part of the equation, which is how bright or dark a profile captures a particular hue. If I understand correctly how the scopes work (and I probably don't), and how the human mind works (I definitely don't understand that) a color checker would show the same saturation levels even if the luminance levels varied somewhat, but the human eye might PERCEIVE more saturation in the darker level. I mention that because it is an old lightroom / photoshop trick that if you wanted to make a bright sky look more saturated, instead of going overboard saturating the blue channel, you would saturate some and then darken the blues to make it look like a deeper blue sky.

I went to a Panasonic Masterclass with William Wages ASC and B&H and he had some interesting things to say. They were demoing a move shot with the Panasonic Varicam and one of the shots were cut with the GH4 flawlessly. I asked how difficult was it to match the shots he said it wasn’t at all and he prefers the GH line for his work. He says the GH4,5 & 5s allows you to get shots you cant with cine cameras and he rates ALL as very good pro level cameras. That settled the “is it good enough” argument for me

Yet another Blackmagic Super35/APS-C camera with an EF mount...