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Made a quick and dirty test today with my BMPCC6K and the new 7.9 software. First clip is shot on a Canon EF 50mm 1.8 (so no OIS and 75mm equivalent) Second clip is shot on a Canon EF 24-105 f4 @ 24mm (36mm equivalent) Overall the new stabilisation works very well especially in situations where the traditional point based stabilisation can create visible warping (i included samples of that as well for comparison) Things to note: - The workflow is fantastic and probably the real advantage of this over any other gyro stabilisation solution.. it's just a new option in the stabilisation panel in Resolve, no extra software and rendering needed! - Like any other gyro stabilisation system nothing can be done to reduce motion blur so, unless you have a miniscule quantity of motion in your shot, you need to shoot with faster shutter speed. I found 45º to work the best (apart from the weird look due to the lack of motion blur, i'm experimenting in dialling that back in afterwards and see how it looks) - Another potential issue with gyro stabilisation is rolling shutter but, according to blackmagic, it's automatically compensated in the algorithm and it doesn't seem to be a big issue (even if the 6K is not the fastest camera around rolling shutter wise). Much more experiments needed but i wanted to share with you my first findings, this is a very exciting development!

Colour looks partially too desaturated in the skintones. Colour in this video reminds me of some GH4 videos shot in Cine D and graded. Not bad but also not astonishing. Here is an example of a GH4 video which compares pretty well to the Fuji video imo. Dynamic range is recognizably less in some parts of the video. It´s a different colour palette and a good example of 8bit goodness under these harsh light conditons. At 2.10 it´s falling apart for a few seconds but other than that, not bad for an 8 year old 8bit camera.

I guess you could use TomTheDP's Arri in it and look like you are 8 months pregnant with triplets!

For some reason, I seem to get the most excited about using the worst cameras I have. I know I'm not alone...... @dreamplayhouse @PannySVHS @QuickHitRecord @mercer I have some spectacular cameras.. the GH5, BMMCC and OG BMPCC. The GX85, XC10, X3000, iPhone don't have 10-bit or RAW so aren't in my top tier, but definitely are no slouches.... and yet, it's the GF3 and SJ4000 action cameras that make me the most excited. My eyes somehow skip over the nicest lenses and camera bodies but yet linger on those cameras and cause "what if" thoughts. I have similar thoughts about some of my worst lenses too. It's like there's a satisfaction from getting results that are better than they should be. A thrill about 'cheating' perhaps? It's not about image quality, otherwise it'd be the GH5 or BM cameras every time, but it's not. I think there's something in here about limited dynamic range. I've noticed that many people seem to be afraid of contrast these days too - maybe it's from staring too long at LOG footage and forgetting that film created rich contrasty images? Sure, these lower-DR 8-bit 709 cameras clip pretty hard, but according to imaging-resource the GF3 has about 10 stops of dynamic range. According to ARRI, colour negative film has 5.5 stops of DR between 2% and 90%. Who knows what film they were talking about but it's a real measurement from a reliable source so it's in the ballpark and worth consideration. According to Sony rec709 has about 5.2 stops - pretty similar to film. This means that we can take the 10-stops from the GF3 and add contrast so that we compress a couple of stops into a highlight rolloff and a couple more into the shadow rolloff and we'll be in the right range of contrast. This equates to 'stretching' the dynamic range of the middle stops. Assuming that the in-camera profile hasn't compressed any highlights/shadows then we only have to stretch the middle stops by a factor of two, which is do-able - just, but in combination with poor quality compression it benefits from a little blurring to smooth over any jagged transitions. I also think it might be the level of detail and sharpness. Steve Yedlin showed that a developed 35mm film has about 2-3K resolving power and high levels of noise (Resolution Demo pt 2 ~19:00). The sharpness is interesting too - film is resolution limited by how soft it is, whereas digital isn't. However, on moderate bitrate cameras the codec tends to obscure fine detail (but not creating artefacts so bad they have overly sharp edges), so this is a comparable aspect too. It's one reason I shoot 1080p on the GH5 - to control the fine detail to a more organic amount. BUT, regardless of the above.. I just know that I get more excited by these 'lesser' cameras than the better ones. I'm looking forward to getting better at grading with higher contrast looks, film emulation looks, and other nicer and stronger and more nostalgic image processing.

Your 18-135 have the better motor indeed with nano USM so paired with ND adapter will be very useful for video, I probably gonna use 18-35 1.8 for video work and the 18-150 for travel. I got m6 ii with 18-150 which i plan to sell once I got the r7 with 18-150. R5 with 24-240 is just a tad big/heavy for casual outting/trips for me. R7 with IPB lite you can get away with v30 cards on 4k60p, just photos will be slower if shooting burst on uhs-1 cards. On normal IPB you do need v60 or more or camera will stop recording due to slow speed. I have the breakthrough X4 VND drop in filter which is a lot better than Canon one with no blue colour shift between min to max ND level, that is really nice with 1.4 lens in bright daylight. ( I have to stop down with canon VND or unless you shoot day for night scene lol) Both the 35mm and 85mm's focus speed is not as good as their EF counterpart due to their "macro" feature, but image quality is not bad. I used to have them but only have the RF 16 and 50mm left for much lighter setup. RF 16 will be nice on R7 as it becomes 25mm. I m waiting for the RF 24mm 1.8 which is more useful for me focal length wise (becomes 38mm on R7), you can also go for the 24mm ef-s pancake for a more casual setup.

Yes, I have ND the SLR Magic Vari ND II. Unfortunately now I am in bed with a sore throat and fever and I have not been able to do any more tests. What I have already done led me to the consideration that Nisi True Color is slightly sharper than SLR Magic and with no color cast at all. If I have to put it in a nutshell, it is almost impossible to distinguish the clip shot with the VND Nisi filter and without the VND Nisi. I had placed the 2 clips on the editing software, side by side and then I watched them carefully on a 27 "4K monitor.

i dont think theres anything wrong with fixing wide angle distortion in post in the first place. did you not like the results from trying that out? as for lens recommendations, i happen to have some similar opinions as @PannySVHS. the meike cine 12mm performs great imo. the first, third and fourth frames i posted from the short were shot on that lens. i think they are coming out now with a stills housed version of the same lens too, if thats interesting for you. if you want something less wide, their 16mm is my most used lens. ive had that same slrmagic 12mm too and i wasnt a big fan due to its rotating front element, which made it unusable with matteboxes. wasn't a true t/1.6 either, and was too soft for me under under t/2.8 as well. it might also be worth mentioning that i have no experience yet with any stills lenses on mft, so i cant recommend any of those myself.

Other than DR I can find no fault in the image. I don’t even think 5d II RAW aliasing is a big deal. I’d go with a 5d iii and just install a stable build, use plain old uncompressed full sensor 14 bit 1080, beautiful image and stable enough for pro work.

Dynamic range is the only weakness of the 5d raw image I think. And at least with it being RAW we can maximize the lower DR to help it look better!

100%, the negative press is doing waaaaaaaaaaay more damage than their actual AF performance!

So you don’t think Panasonic cameras as a brand, have an autofocus related image problem, on-line, on YouTube and within the photography/video community? I’d say it’s their single biggest and perhaps only problem and yes, unless they address it, they will continue to lose sales. But no, before you ask, I do not have any data to back this up, just common sense logic. You just have to read the volume of folks either jumping ship (after “giving it a try”) or just choosing something else because of the majority negative chatter. Make a poll. Post it here or anywhere else and ask the question if you think Panasonic has an image problem (right or wrong) due to it’s AF and the overwhelming response would be, “yes it does”. Ask those who are not using Panasonic or were using, if they would, if Panny had great AF and I’d bet a large portion of the farm, much larger numbers would be all over it. They are also a somewhat frustrating company in that they do not encourage community. In fact they slam the door in it’s face. They put quite a lot out on their channel but then do not allow comments. They might put out a BTS of how something was made and the content of that BTS will be, “I shot it with Panasonic gear that really allows me to tell a story”, but that’s about the sum of it. And comments/questions/discussion/community disabled on that also. Beyond that, no idea what point you are trying to make, but in my own personal opinion, there’s more than a bit of self foot shooting going on with old Pannyboy…

I'm reminded of Werner Herzog saying that his cinematographers need to know their equipment and their especially their camera/lens so that they could shoot without looking through the viewfinder but would still know the framing. It was his minimum criteria for a cinematographer to be considered competent IIRC. It is one of the things that they talk about with street photography and using only a single prime lens - you get to the point of not needing to look because you already know the lens and the compositions you'd get. ...and yes, the grass is always greener with other cameras, but apart from resolution and increased DR, the 5D ML combo is right at the top of what is available, basically regardless of price.

How often do I mention that I'm interested in another camera? And then how often do I buy said cameras? Even though I know the camera in and out, and could probably shoot with it now without any exposure aids, and even a blacked out LiveView, I still feel like I am scratching the surface with what the final output could look like. Other than maybe the FP, I don't know if I could get a purer image without spending a lot more. At that point, I may as well just rent cameras.

‘Mr SMW enters the chat’. The problem with Panny AF is not the AF itself, but many (most) folks perception of it based on nothing but chatter. It’s the number one thing they must rectify because the negative press they get over it must be killing sales.

In the best conditions I think the 5D with ML images are right up there with the Alexa. No, it's not equal, but within the 5Ds DR limitations, it really is an excellent image. Canon sensors and colour science are famous for good reason.

Yeah, you kind of assume it'll be less, but getting any info on the DR of the video mode of early cameras seems to be impossible when I've gone looking. Having a few stops less certainly isn't ideal, even to emulate lesser film stocks, but I do think there's sufficient scope for getting a nice amount of contrast. Good points and you're right, although DR is getting better with each new sensor generation. Smartphones are getting smarter through taking multiple exposures in super-quick bursts which works a lot of the time (but not all the time) and of course are benefiting from improvements in sensor tech too. I do think there's a point where things are enough though. One of the main challenges I have found is fitting in the stops of DR that you get from a modern camera into the limited DR of 709 - it's a question of what parts of the luma range to throw away and/or which to compress, and in making those decisions you're deciding about which things should have contrast and which won't. I guess part of my point with this thread is that the lower DR from 'worse' cameras forces you to choose that when filming, and also makes you have a "full" amount of contrast with most scenes, which I think is a fundamental aspect of nice images, except in very-low DR scenes of course.

They're pretty cheap now. I still love the image and I know that any limitations there are is more based on my skill than the IQ of ML Raw. That's pretty cool. Slowing down makes all the difference sometimes... artistically and practically. I'm sure I would love a Leica, but they're a bit out of my price range. I follow Mattias on IG and he's been shooting with a Pixii camera lately and it's some of his best stuff. Gotta love rangefinders. I just picked up an old Minolta 7s II rangefinder. The damn thing is TINY and the rangefinder patch is just dull enough that it slows me up a touch more. A lot of fun to shoot with.

I think IMCE stated it well in the above video I posted. They can use the same assembly line and just leave the ND's out. That is a dream come true for a company.

Damn impressive results. Thanks for the footage. That is getting into Steadicam territory.

Oly 17mm f1.8 (24mm in S35, 35 in FF), Panasonic 14mm f2.5 (supposely one of the sharpest mft lenses, 20 mm in S35, 28 in FF). First one has a clutch for mechanical feel of MF if I remember correctly, the 14mm is fly by wire without stops. For mechanical pleasure I would go with a Meike 12mm Cine lens, which can be had for around 300 USD. I did not like the 12mm SLR Magic but I (still) have the one with the focussing ring close to the mount. Optically it´s nothing to write home about nor has it the awesome characteristics or colour of my C-mount Fujinon 12.5mm which does not cover full image circle btw. @Kisaha

Great freebie from BM! That builds some kind of trust between the company and the customer which is almost non existent in these - last - days of capitalism.

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.

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. 😀

Since movies are supposed to be a magical representation of our reality, there's always going to be a place for B&W. The lack of chroma makes it inherently unique and other-worldly. Because there's not as much visual data as with color, the frame focuses the viewer's attention to other aspects of the image. If you like cinema, it's really hard not to like what B&W gives you. I'm biased, I guess, because I've always been a fan of old movies and my dad let me use his darkroom when I was a kid. Developing cheap B&W film was quick and easy. Shooting a roll a day with a high-schooler's part-time-work wages was doable -- and a ton of fun.

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.

https://www.youtube.com/watch?v=RM8ejsR_-MQ Pretty good footage with better narrative... First watch on my tablet I didn't notice anything but later on my desktop monitor I found weird noise in the shadows. What do you think guys ?

this is a product that makes sense from a manufacturers perspective, rather than from the customers perspective, since i'm sure this is just production parts-related. i guess it would just be weird to see new p6ks in stores looking very different without any anouncements? dont really get the point of the p6k anymore since the release of the pro anyway, i just would've discontinued it. the 6k g2 lacks the most important quality of life upgrade so why bother? i also dont think the internal battery life of the 6k pro is that bad for the type of camera it is. its a bit more than the included battery you get with the fx6 from what i can recall. how is the battery life of your alexa @TomTheDP? i hope they ever end up doing a 4k pro with internal nds, or sort of a smaller mft ursa with the same sensor. would be cool to have a version of the 4k that isn't annoying to use as a shoulder camera. a lot people would probably appreciate a new micro cam with the 4k innards too probably.

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

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

After various test made with A7SIII, I was not satisfied so I traded in to buy XF605, very similar to my old camera HPX170, more comfortable. Changing lens to have 3x zoom or similar, and the risk of dust into the sensor of A7SIII, make me think is not well designed for my generic use.

Did you buy a new camera, Danilo? What about your aSIII? Un caro saluto, - EAG

The Canon 5D3 is the most stable of all the Magic Lantern cameras. So, it ought to work pretty well. Isn't a bad photo shooter either. 😄

I'd imagine it would make you slow down and be more deliberate? I remember when I was shooting stills there was a heavy "anti-chimping" sentiment, which mostly overlaps in rationale.