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I don't agree with everything you said here, but I think what you're describing is exactly the spirit of this thread. Be it an FZ47 or a Canon t2i... a GH2 or an iPhone... beautiful images can be made with discarded or unassuming cameras. Some of them even have a look that is equally as interesting as old film or something very high end. I've posted these a bunch of times, but I love what the RX10ii can capture in sLog2 with Monochrome color... Or this shot from the D5500 and an old Tokina 24-40mm zoom lens... Now I'm not saying they're great images or anything, but I think they show that these old neglected crappy cameras can produce something interesting... good, bad or otherwise.

Ektar is, to my eye, the most 'digital' of all colour neg. Lovely stuff which as above, I habitually overexpose (https://www.vrimage.co.uk/IShootFilm/Ektar-100-June-2018/) - but I prefer Portra.

I see a S1H, S1, S5 or GH5/6 as a cinema camera such as those from blackmagic. Great image, ergonomics, built quality and battery. Best AF in video for those who need it, no. Best image quality and codec, image stabilisation and camera bodies, yes, Panasonic. S5 going for only 300eur higher than a R7, offering a true cinema image and best in class low light latitude. Plus pixel to pixel S35 4K 24-60p, besides full frame downsampled 4k 24-30p. For Canon AF fans with 10bit love and good 4k up to 30p, the R7 looks fine.

update 0.1: since it doesn't come with mic or mic stand, there were a big ugly hole on the right side handle, so I used some soft silicone rubber that left from some old project, cut it with razor and voila! a rubber cover, not pretty but it works and I don't need to worry dust and rain water will get inside handle anymore. Here are some screen shot fresh comes out of it, RGB444 on PIXE5, 180° shutter and ISO800, SLOG of course, 5600k WB, just transferd it to R709 and a tiny touch to exposure. The dynamic range and color science is truly amazing! Indeed it is a reason that F3 was called 'baby alexa'

I found a pre-ordered R7 that stayed 2 days in the shop and the owner seems reluctant to go get it (maybe he has Fuji glass!)..if that be the case for tomorrow, I may have it at the end of the week.. The adapter is included as a gift from Canon, ordered the 16mm as well and an extra battery.. The lenses are not an issue if someone has EF glass, and we all know what EF glass means for the industry, everyone has some, and I am certain there will be a lot of RF-S releases in the future and additional RF ones.. I will be starting slowly with the system and I will see where it gets me. The thing is, Canon is now relevant, which wasn't 3-4 years ago..well done Canon!

I have a big bag of Ektar, Portra, Fujicolor Industrial and Acros that I'm slowly working my way through. It's actually amazing how well film holds up after long storage in less than ideal conditions.

And that is exactly the reason why b/w footage of "bad" cameras which are exposed for the highlights are still looking good. You can try this easily basically with every photo in Lightroom, if you see the ugly yellow ring around the sun, turn the picture into b/w and the rolloff immediately looks great. 🙂

Same with me. The S1 gives me not as much pleasure as I had hoped when I bought it. @Tim Sewell Here is a musicvideo I did with my Gx85.

Assuming there's not too much of a difference between adapted EF and native RF lenses, I'd probably end up using adapted lenses anyway on the R7, so I don't think it's a huge deal that the lens selection is limited right now. I'd maybe even get full frame lenses anyway, mostly primes, in the event I upgraded to a full frame camera in the future. I imagine the Sigma 18-35mm will be a popular lens on the R7, for example.

THANKS wonderful friends

It's a Premiere this time in the region (north of country) where I was born and raised... Y'all Invited! https://www.avanca.com/ https://filmfreeway.com/avancaff Shot on Blackmagic Pocket 6K camera series (G1). Proudly Co-Produced in Japan by this EOSHD fellow of yours, - EAG

Nice, the 1N sounds like a great camera. Since I already own some EF lenses, I'm looking to pick up a cheap rebel and get some auto features. I must admit that I have a bit of GAS with film cameras lately. I started researching and shooting some film last summer. I started with P&S cameras and rangefinders but the first camera I bought was a brand new Nikon N6006 for $48. I didn't have an AF-D lens for it so it sat away in the closet and I eventually listed it on eBay... it hasn't sold yet. Since then, I started buying and shooting with the typical SLR cameras from the 70s/80s... I'm narrowing down my favorites and will keep a few. I tried to make a rule to only buy an SLR that I had a lens for. Other than the N6006, I've held to that rule. Of course, this rule reminds me that I have too many lenses and I need to thin my herd. And with that, I'm thinking of picking up an AF-D lens for that N6006... haha. It seems like a fine brick of a camera actually. Good news is that I have been looking for an excuse to buy the Nikkor AF-D 35mm f/2 for years... Ugh.

Even with the usual caveats about pre-pro firmware, video AF looks good in this one that @Django posted back on page 3 https://youtu.be/NpBN7-qGgWE

Will the URSA Min Pro 12k get this? I hope so. I also hope that the reset of the USRA Mini Pros and Broadcast get this as well. From what I have seen test wise (thanks for the tests! @FHDcrew and @Davide Roveri), I like the look and feel of the Gyro stabilization, it reminds me of a professional hand held shot rather than a gimbal shot which I am pretty sure I prefer the look of the Gyro. I would also like to see what a gimbal shot without a stabilized lens followed by Gyro stabilization looks like. Should probably look similar, but maybe Gyro stabilization will make it look more like hand held footage and hopefully it will be the best of both worlds. This a game changer feature for me as I like experience of shooing hand held, but it alway looks worse than I think it will when I review the footage. Now I can live in my movie making fantasy world and not have to appologise for following my creative impulses at the end of the day. Thank you Blackmagic!

Lovely shots Tim! The most "digital" film I've shot, in terms of colour, is Ektachrome 100 as its colour seems to be more accurate than negative film is, similar to how any digital stills camera has fairly accurate colour in RAW when rendered with the Adobe colour engine.

Yes indeed and when that happens, is it the sellers fault, or that of the marketplace? I tend to be think the blame lies with the seller because if anything is desirable enough, it tends to sell itself. Panasonic have a perhaps critical issue…but of course we don’t know what is going on behind the scenes. And then not to be racist, but there is a certain Japanese approach to business that can sometimes hurt their image/sales, - resistance to do anything but a certain way. I suspect…or at least hope, there is going to be a next gen S line and perhaps something if not available, at least announced later this year. Will it be enough to turn things around for them, specifically their image? Depends on 2 factors: AF and to a slightly lesser degree, size and weight. Many folks will tolerate the latter as we’re not talking anything that significant in reality, but the AF issue (or perceived AF issue or however you wish to phrase it) I reckon will make or break them. Last Chance Saloon I’m pretty sure. I guess we’ll see some time in the future…

Sounds like you got in at the right time. I do have an XA and don't shoot it quite as much as I should, although I do try as it looks so cute, is very small and results are good if I get the focus right. I had an Olympus RC but it was knackered and I sold it on for parts. Also had a Canon AF35ML and the AF was a crapshoot so that went back into the Bay. I went on a compact film camera binge during lockdown as there was little or no other entertainment. Sold all thatI didn't love before I moved temporarily to New Zealand, which was a mild mistake as I could have made quite a bit more over there, at the ends of the Earth, than I did over here. Here, at the pool in Tuscany there is a Dutch girl taking her first shots with a green sticker Contax G1 that she paid €700 for. I am obsessed with film freshness because I'm profiling various film stocks to make emulation luts (for video) and Lightroom profiles (for photography). I was lucky to be able to buy fresh rolls of everything I'm interested in very shortly before this current shortage / supply chain problem hit. At the same time I have 40 - 50 rolls of various films that have been shipped across the world in the belly of a presumably equator-hugging ship on a five plus month journey at least once and/or zapped by X rays at numerous airports there and back again and I now have absolutely zero qualms about using these rolls for my own personal use now. I don't care how beat up the chemistry is, the value of that at today's prices is insane.

100% viewfinder, that sounds like a great treat. @hyalinejim I´ve had a AE1 for maybe eight years or so but only once sent a roll of film through it. Now, years later, cameras are cheap but film has become expensive. Good thing I had enjoyed my Oly XA, Mju2, RC35 a good deal, among Canon AF35 plastic fantastic with awesome lens and a few others, Yashica 35cc with a f1.8 lens not to forget! @webrunner5 You could also do that with the RAW files or maybe even Jpegs from a good ole Lumix LX3 or Canon S90, which still give you a different approach and different feeling in the hands and using them. I enjoy taking snaps with my phone, but I also enjoy holding a camera. You are right about good photo quality coming from phones and the advantage of light weight, image stabi, small footprint.

I will respond all of you. The EVF in the critical point of the camera, showing a little image very difficult to see. Yes luckily the image is very similar to XC10, but with better performance in low light.

I've made some more research and discovered that Fujifilm's video AF may not be as good (with regard to reliability) as I was thinking. It seems like it still needs some refinement or requires too much playing with the af settings (as shown on one of Philip Bloom's videos). Sony a7 III or Canon R would be a better choice but there aren't any good deals on them right now (to be within my constrained budget). There is a good offer for a Fuji X-T4 - 1000 EUR body only but I'm considering to back out a little and maybe start with some cheaper Canon DSLRs with which I'd have to rely on MF only with my Carl Zeiss 50mm f1.4 and not be disappointed by the faulty AF of Fujifilm. Which one would you choose - Canon 5d mark II or III ML Raw (MF with 50mm Carl Zeiss f1.4) or 5d mark IV (DPAF with Canon 50mm f1.8) in cropped 4k? Maybe give Fujifilm a chance but buy a cheaper X-T30, or wait for reviews of the new Canons i.e. r10 and r7?

Yes, for sure! The 1n is reassuringly heavy and solid. It has an incredibly loud shutter sound which can be a good thing or not. And I forgot to mention it's one of the very few Canon EOS film SLRs with 100% or thereabouts viewfinder coverage.

Well, The Canon is a 1d mk III not a Canon 1DX III. As to smartphone shots and videos yeah, I do like them for the convenience of having it with me all the time and not a lot of need to do anything with them in post. My friends and relatives seem to like them more than any other camera pictures or videos I show. I see what people post on here and YouTube etc. and I am not that impressed with most of that output also. It is only the 12, 14 bit Raw stuff that stands out to me, and that is really pretty damn impactable to use data wise for the average person. If I take a Long video with my Canon 1DC or even my OG BMPCC it is going to take up tons of storage. What the heck on average do I need all that data for. I am not making a full feature movie. Sure it looks better, but how good has it got to be. Filmic, Cinematic has went out the door a long time ago. All these modern cameras are clean as a whistle output wise. I can darken a lot of my footage and get a look like the Sigma FP has, Is it going to look just like it no, but it probably is not a ton off. HDR, HLG stuff adds a lot to these new cameras DR wise. My 1DC works well if it is spot on otherwise it is no beauty, OG BMPCC same way, it is even worse if off if not perfect exposure wise. I am into what I saw these days not trying to pretend it was different. I want memories not something that pretends to be what I saw. I have thought about buying a Sigma FP but after seeing a ton of videos on them and the length of the thread on here about it, nah it is too big of a pain in the butt, and if you rig it like you need to get the best out of it, it is like the OG BMPCC, a huge rig by the time you are done. The PK4 is looking better now with the stabilization but not worth crap for photos. And I am not a super fan of BRAW to be honest compared to the original DNG's. Sony F3 really nice but big and no 4k. I just find less is better in my life anymore. And really don't have the money anymore for the lenses that I would need. I am going to start thinning out the herd, and not sure what to keep.

I find that photos and video are very different and I don't prize either from a smartphone. My friend only takes stills and the really good ones get printed and framed and put on his wall. He's shot many more photos with his phone than with his ancient Canon DSLR (IIRC it's a 40D?) and yet he's never taken a single photo with his phone worthy of being printed. In terms of video, you seem to love your smartphones but I find the images thin and uninspiring. They have large resolutions and frame rates but I feel they lack all the things required to give them feeling, which is why I shoot in the first place. In terms of overthinking things, that's what this forum is for, mostly. Hardly anyone comes on and says "I shoot this what do I need" gets some technical info and then says "thanks, I've got it all working now, bye....". There are a few, but all the rest of us are really just here, overthinking everything!

Absolutely. I'm not sure this really ever gets discussed here - the effect that the setup has on how well you use it and how creative you are when actually shooting and making directing / composition / lighting / etc choices. I know that the GH5 felt way nicer to use than the XC10 and for me I think a big part of that was how the images feel in post and the 10-bit codec - holding the camera and knowing that when you hit record you're making files you will enjoy editing in post certainly contributes a lot to my experience while shooting. Camera size is one of these things - not only does it change how you use it and how you feel about using it but it also changes how the people around you feel about the situation. Filming in public with a huge camera makes people wary and distracted and on set will make them take you more seriously (warranted or not) and the opposite is true of small cameras.

I think we over think the hell out of all of this. When I was going through my 1,000's of pictures, hundreds of videos one camera kept popping up over and over again, well 2 actually. My Apple 6s Plus and my old Canon 1dx mk III with a 70-200 on it, an old 70-200, a black one not a white one In today's world neither would be at the top of the must have list. But they keep coming to the top of mine. Neither one of them is something to write home to mother about in this day and age specs wise. But they both have something special. They are both fairly accurate while not being overbearing. Pretty much their output was as I remembered. And that is pretty much what you are looking for, at least that is what I like to see. And this is straight OOC stuff I am talking about. I can always add to it, but hard to take away stuff. So, the takeaway is I don't think we have hardly progressed at all to be honest. And these are cheap ass cameras to buy in this day. Even the video out of the iPhone 6s Plus is pretty dan impressive, first iPhone to have 4k, first iPhone to have a 12mp sensor, same as today yet. Like I said we really have not progressed much at all. I think I paid 250 dollars for the Canon body and 100 for the iPhone.

Right of course, but I think ergonomics can play a part. Sure it's psychological, but I know I am in better spirits when I'm shooting with a camera that feels like an extension of my arm. If I feel better about the process, then I see clearer and can enjoy the process a little bit more. Sometimes the tools matter more than just the specs.

You got it for that cheap? That’s crazy! Best camera ever at that price. Would be a dream, my ideal image. Beautiful detailed organic 1080p with great DR and color. Kind of hilarious how Sony had their color figured out clear back in the Sony F3 (and even F35) days! And yet the A7sii, A7iii, etc. made it look like Sony color scientists had amnesia. If only the camera was not so big and heavy, then it would be perfect for me. I guess I just don’t care for large setups.

They need to switch AF if only for the PR/marketing. The issue I have is that a lot of people spew the "Panasonic auto focus is useless" stuff without having used it. They're basing it off of YouTubers that only had the camera for a brief period and who did unrealistic tests. It's different when it's @herein2020, @MurtlandPhoto, or you saying it because you guys have used the cameras, learned how to work around the limitations, but ultimately decided that AF was necessary for your needs. My work would greatly benefit from Sony or Canon AF. But Panasonic ticks every other box, giving me things that I value more. All cameras have limitations, unfortunately, it's just a matter of finding a camera that matches most of your needs. To bring this back to the R7, that's part of the reason I am complimentary about this camera even though it isn't perfect. Assuming the overheating isn't an issue, the R7 is a really good option for a lot of people like me that shoot events. And it's competitively priced. An event shooter could buy 3 of these and have a really strong multicam set up for under $4,000. That could be a huge deal. I was leaning towards leaving Panasonic because I have concerns about its long term viability if it doesn't improve the AF and eliminate that stigma. To me, the long term viability of a company matters when investing in equipment. I don't want to sink money into a camera system that could be gone in 5 years, leaving me SOL if I need customer support, etc. Getting such a good deal on the Lumix S5 though got me to stay, at least for now. Things could change in a few years, but until then I'll keep getting the most that I can put of these cameras.

Ok, i did more testing today with a wider lens (10mm so 15ish mm equivalent) and i tried some more complex moves as well.. Few more notes: -45º shutter angle is pretty much a necessity so all the clips have been recorded with that setting (i tried to introduce some motion blur back in in a couple of clips as well and it might even work, i just need to understand how much of it to use) - The camera doesn't seem to record any Gyro data if the lens stabilisation is ON (i'm not entirely sure about this but certainly the option to select the Gyro stabilisation doesn't appear inside Resolve on the clips shot with OIS) so you have to remember switching off the lens stabilisation if you plan to use the gyro. I reckon it kind of make sense though because without knowing the data from the lens gyro the result would probably be a bit messy 😅 - I have noticed some strange sharpening artifacts in high details area when a clip has been stabilised using gyro but thankfully it seems to only affect the GUI and not the monitor output nor the final render (I'm on Windows 10) - The results are overall very good, in shots with simple moves there isn't a great deal of difference between the gyro and the algorithm based stabilisation (the building tilt shot and the cushions shot for istance) but in other shots where there are more complex movements and lots of geometric elements that can (and did) wreak havoc on the traditional stabilisation methods the difference is day and night. I would not suggest this is a gimbal replacement by any means because is not but it's definitely a feature that will enable camera movents that are most probably not possible in any other way when you don't have or want to use a gimbal so it's quite exciting! ps. on the clips where there is severe warping from the perspective stabilisation i tried to use the clips without OIS as well to see if it would fare any better but it made very little difference, it was unusable anyway.

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.

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.

I'm not optimistic about it staying alive very long in here, but anyway.... Is the 18-35 a good lens for AF? I had one on my 700D and when focusing (either PDAF in photo mode or CDAF in video) it was clunky and noisy and felt like it was made of stone-age clockwork.

Thank you guys, if that guy shows up tomorrow though..I am going to be put on a really big list! I was lucky today go in there, seeing the box, asked specifically for that box at the back of the counter (big box also..), and I tried for the kill!. Hope have the same luck tomorrow!

This! Could save us hours of pain. I use currently sony software to stabilise my footage export etc then hit davinci , but im delighted Davinci is stepping up its game.

I didn’t do any tests lol, other than some not so great gyroflow tests with a Nikon Z6, Tamron 45mm 1.8, and iPhone as gyro logger. Didn’t turn out great for me; first time I got success, needed such a severe crop it was unusable. Then I tried recently and the info just didn’t sync up well. I don’t know if it’s a problem with the app i am using?

That's great news, would love to see your thoughts on body, build quality, and low light.

@Kisaha Well done, good luck and post your results!

Its funny you mention that lens, I actually have that lens and completely forgot about it. I got it for my C200 and have barely used it since. That would actually be a great lens for the R7 with the EF adapter.

Yes, I think the image quality from the lens(es) will be stunning. But nowadays if anything goes wrong electronically it looks like you are basically fucked and can kiss goodbye to whatever you paid for it. And that's bound to happen eventually. Even at the height of my film GAS I tried to avoid spending over €100 on anything for this very reason. Anyway, hers is clicking away happily. So far so good!

Wow I always wanted a Contax G1. That was a Very special camera with even more special lenses for it. You can't go wrong with one of those.

I can take the same iPhone 6s picture put it in Lightroom and make it look like it came from an old camera if I want. This stuff is not magic anymore.

Yes. Give it another read. There's something fundamental you're not seeing. The x axis is the log of exposure, which depends on the amount of light (% reflectance) being recorded. The y axis is density, the degree of change in the negative due to exposure. There are lines linking both axes at various exposure levels. "98%" etc are written horizontally but that's just for legibility. They are properties of the x axis, exposure, not of the y axis, density. 98% and 2% are characteristics of the scene, for example white paper and black paper, not of the negative.

Jesus Christ this looks pretty legit. A fucking musical, color me impressed. Are you fluent in Japanese? How long have you been involved in the project? What was the ballpark of the budget? My guess would be 100 million. Yen, that is. Just based on the trailer, I'd have to say I'm not in love with the color grade. But I'm a moody guy. I like my movies to be a little bit on the darker side. Literally darker. Did you experiment with any film grain simulations? On the recent Dune they went so far as to do a 35mm print out from their Alexa source material, which they then rescanned in order to get the slightly softer, grainier look they were after. Again, congratulations on your monumentous achievement of producing a feature length musical in 2022. They are rare birds these days.

Yes, the money I paid is like a steal. Also I managed to find a pretty nice looking used EF-FZ adaptor made by KIPON, no LDS but with full manual iris control just around 90 US$, so the total price is exact 619$. I think the last owner is a well known rental company located in Beijing, the man who sell me this camera says he had to dig in the storage cabinet to get this old camera out, and he still got 5 more in hand with the same price but no 444 upgrade. Funny thing is, although this camera is in CINEALTA product line, but the sensor is actually provided by FUJIFILM, I found a used parts disassembled form F3, and it clearly says the manufacturer. So Sony, what are you guys doing? I don't really mind the weight, in fact I like heavy camera. Heavier camera will gives you a more 'cinematic' movement IMHO. But size does matter. Besides the price, a important reason I choose baby alexa instead of the REAL ALEXA (CLASSIC) is size, the real alexa is just too big for small team operation.

Trouble is with Fuji glass it only works on a Fuji. It is a tempting system but an expensive experiment no doubt.

Let’s revive this threat, shall we? Threads seem to die in these EOSHD sub forums. Anyone use ML RAW on a canon 70d? Just think, pair it with a sigma 18-35 and you have a cheap raw setup with dual pixel AF!!

I gave it a go but, as i feared, the results are awful, even worse than perspective stabilisation alone 😅 I think it's just too complex to process some movements and geometries for warping stabilisation algorithms. I haven't tried with the other options to be fair but i don't expect great results either..

If you want more GX85 nerdery and discussions then look no further.....

If they would work with other cameras with gyro like the latest Sony cameras, that would be even better. I am tired of waiting for gyroflow Resolve plugin.

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.