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Makes you want to sell all your stuff and buy a camcorder. Hmm. 😬

Sounds like small camcorder with a decent rocker zoom and manual capability would be ideal. Markus Pix recently touted the Sony CX405, but it would be smart to look at offerings from other brands: Tell your friend to put all the cameras side-by-side before shooting, and then to white balance them simultaneously off of the same white/gray card. Additionally, your friend should shoot a short clip of the white/gray card with each camera -- just in case!

Looks like it might be time for this gem again....

hey guys!! please help me so i can recommend camera(s) for my friends new ~low budget youtube show~ its a satire of a typical late night talk show... from carson to the present, very similar sets, right? desk, two chairs/couch, etc. this will be a small set in a living room – not the ed sullivan theatre, just fyi the director wants to start with two cameras, allowing for the possibility of adding more in the future, but they need to match – meaning: we need two inexpensive identical camera bodies. two of the same camera the camera needs to: - have reasonable image quality - shoot forever without overheating - have a front facing flippy screen - be super affordable - it does NOT need to shoot stills at all, a 'camcorder' is totally a possibility (something in know nothing about) suggestions?? please help!! thank you!! love u guize!!!

OP said that the cameras will be used in a "talk show" setting. So, they will likely be on sticks and require a lens that can get fairly tight, with smooth zoom-in/zoom-outs.

Does it beat the handy Osmo Pocket series? Camcorder, right? So, forget that cinematic mantra then: Humm... ; ) But if you're not convinced how useful these tools can work out, take a look here and there.

second hand sony pmw 150s, panasonic AG-AC160s, or panasonic aj-hpx255s if the p2 cards are included? new panasonic HC-X1s or sony PXW-Z150s?

Thank you for your reply, we'll see what we can do to share more demos that might be of interest for the community. And we haven't worked with AFX before, but we're excited to reach out to BTM_Pix to see if we can maybe set something up together

Robust Video Matting appears to be open source, licensed under the GPL-3.0. If that is so, there isn't too much to worry about -- the source code is open for all to scrutinize.

60fps 10bit 444 vs 8bit 420 30fps SDI vs HDMI TC vs no-TC Lots of reasons to prefer the F3!

This is somewhat off topic but the software has been mentioned here. I want to use Background Matting V2 professionally; it is very impressive. Essentially it used AI to perform rotoscoping of a subject, allowing you to “green screen without a green screen.” My concern however is privacy. The successor to this project, Robust Video Matting, has the following on its GitHub page: that it was developed at ByteDance Inc. I know this company owns TikTok and are known for storing user data on Chinese servers. My question is, is background matting v2 safe to use? I mean the developers seem like fine people, but the lead developer worked at ByteDance for a while, and just seeing that text I’m the GitHub description I guess got me a little worried. Should I be concerned?https://github.com/PeterL1n/BackgroundMattingV2 https://github.com/PeterL1n/RobustVideoMatting

@webrunner5 Nice shots! Getting sharp images of far-away objects is likely to be heavily dependent on the weather - I've spent a lot of time using my FD 70-200mm to shoot the sunset, and when I put it on a 1.4x teleconverter and use the 2x crop mode all you see is heat shimmer. If I use the same setup to focus on a close subject then the image is crisp, so it's not the optics, it's the distance. The combination of 200mm with 1.4x and 2x crop gives an equivalent of 1120mm, which is all kinds of fun to get steady video with. This setup was using the 4K mode so I could stabilise in post because even in this setup there was image shake and I had to stabilise in post - the image shake was coming from the ground through the limestone pillar!

AFX v1.82 Firmware Now Available (only to those using Blackmagic Cinema Camera Update v7.9) Thanks @BTM_Pix

I've been using the Meike nd adaptor for a little while now and it has been faultless, so much nicer than usual vari nd, no obvious colour change as you get to maximum nd and the 9 stops is enough here for me in the UK afternoon sun with f1.8 lenses at 800 iso. It may be a different story If you use faster lenses and live in brighter parts of the world of course...

That is the lens I m thinking to pair R7 as well, Meike drop in nd adapter come with clear filter too which is a big plus!

I have this one and its a solid all round option for general use, particularly when travelling. These frames are from using it on my OG Pocket.

If you record 1080p Prores HQ then that card should be good for about 94 mins, 422 should be longer... Just in case you're feeling like more testing would be fun 🙂 Great to hear the 2h 17m GH6 result was with the DR boost mode on. I can't think of what other features would drain a battery so much that it would reduce that battery life significantly. Thanks for doing these tests. I've said it before, but I'll say it again. Even basic tests frequently prove that a significant proportion of "what everyone knows" is actually just plain wrong, or so oversimplified or limited in context that it is either so useless or misleading it has the same effect as being wrong. If you can test it yourself, you really should.

@ohheylilly Welcome! We have a number of members who are interested in Virtual Production. Here's a topic for your review: As some people on this forum have professional cameras, lenses, focus and zoom controllers, lighting and green screens, if you would provide an example our how your system works for a non stationary camera (dolly or hand held) in relation to a non stationary subject (distance relative to the camera and focal distance is changing as well as the operator changing the the zoom setting) and a green screen background that gets replaced by a virtual background that changes its perspective and depth of field based on the relationship of the subject to the camera, the realtime reporting of the zoom and focus positions of manual zoom lens using the AFX system by our very own BTM_Pix, and in Unreal Engine 5. That would be greatly appreciated. What makes up a camera tracking system for virtual production from antilatency and how does it compare feature and cost wise to other professional camera tracking systems? Thanks for your interest in our forum and our virtual production needs!

Doing it for them memes yo dawg

This shot was taken with my 12-32mm Panny lens today. I am telling you for the money you can buy one for they are a real sleeper. And they have OIS in them and are small and light as heck. Like having a 24-70 in your pocket. The Raw looked even better.

I would add that from my experience of using a manual focus 58mm Rokkor 1.2 on a 5D3 for photography I found that if I used the optical viewfinder to judge focus, forget it, it was out of focus. I missed it nearly every time. However, I got an almost 100% success rate by using an LCD viewfinder (remember those?). So you're magnifying the large, high resolution image on the rear LCD screen. It's actually possible to nail focus this way.

Yeah, Cleff has been doing tests on DPR for a Long time. I find his stuff more accurate in real life than DXO's. Cine D's DR test of video cameras are way more accurate than what the company's spew out. Like Red's 20 stops bullshit.