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

Magic Lantern for the Canon EOS M really does turn this little camera into a cinematic pocket rocket. Shame so much fine detail and grain is lost with the upload. Post Process: 1. Convert video files in MLV app to Arri Log C 2. Render out from MLV app as ProRes 422 3. Color Grade Arri LOG C files in DaVinci Resolve under a Kodak 2383 Emulation LUT 3. Edit & Render out as ProRes 422 Filmed with a small DIY Anamorfake filter that I made a while back which sits behind the lens. No lens flares, just a certain aesthetic that I personally like :)

I found something strange when I was looking at the chromaticity channels of Fujifilm video files and did some search online, and to my surprise noone is talking about this, so I decided to make a video about it. If you're a Fuji user, you might be interested.

Impossible to recreate that hasn't been there in the first place with just a lut, some good tracking and color grading skills are necessary to create the illusion of chroma detail/tonality on Fuji cameras. Sad to see the issue still hasn't been fixed since the X-T3. I also think it's chroma noise reduction related as well, looks like there are tons of spatial chroma filtering applied.

Yes, it would be similar to the top end bodies from Canon and Nikon that have a built-in grip. I presume it will be called OM something since they started with the OM series now.

A lot of that depends on resolution and camera though too. Like the C100 always impressed me with its imagine given it was only what, 24mbps? On the GH5 I could probably find a scenario where I could break it, but I've never had any problems when filming 100mbps in 4K, which would be about 50mbps in h.265 like the OP is using. The only time these days that I really notice mushy or blocky video is when given footage from action cameras and some phones to edit.

I haven't weighed it, but I suspect that my 3d printed SSD holder with half of a Sandisk Ultra 3D 500GB in it weighs a little bit less than the Andycine thing, given that the Andycine one is metal and has multiple screws to hold everything in place. But the Andycine is already only 55g - so the weight savings would be extremely minimal (if they even exist)... and given that mine relies on holes for ventilation, I suspect that the Andycine will be more robust in light rain, etc. Anyway, if every single milligram counts, you could use mine as a start and modify it to be even smaller and lighter - I think the end away from the SATA interface could be about 3mm closer to the SSD and the ventilation holes could be made a bit bigger, at the cost of structural stability. In addition, instead of using the tiny screws to hold the SSD in place, you could use a few dabs of superglue. Overall, you might be able to drop the weight of my thing by around 20% with all those changes (but it already weighs almost nothing). To make it even lighter YET, you could probably just take the bare circuit board and use some sort of small shim to hold it the right distance from the inner shell and use a piece of tape to keep it from falling out. I feel like there used to be NP-F330's, but I can't remember if they were smaller (and if so, by how much) than an NP-F550. One thought is that there are different capacities of NP-F550 when I look on Amazon. Some of the lower-capacity ones might weight less (less lithium inside them) - as long as the manufacturers don't put some lead or similar in them to make them feel more "professional." Can you relocate some of the weight elsewhere? You could use a dummy NP-F with the Ninja and connect it to a V mount in a backpack or on your belt. Are you willing to modify the Ninja V itself and probably void your warranty and/or increase overheating risk? A simple first thing might be to remove as many screws as possible (if there are 4, usually two diagonal screws are enough to hold things in place, for example). In this YouTube video, the guy disassembles his to fix it. There are multiple sets of screws inside where you could almost certainly remove a few. Maybe there's a lighter version of the fan in a similar form factor. If you were going to mount it on a drone or similar, you could experiment with removing the cooling fan. If you're flying it around on a drone, there might be enough natural airflow to keep it from overheating. If you're handy enough, you could probably even run it completely without the backplate and just wire in some other battery to the contact points for the rear battery shield. https://www.youtube.com/watch?v=18hMNzn34R8

Yeah, you can't draw back the curtain for normal people to read what goes on here 😉

Use however much you need, but be aware that how much you need can vary radically depending on what you're filming. 50Mbps is tonnes if you're filming a talking-head with a blurry background, but point you camera at a tree while there's lots of wind, or during rain or snow, or at the ocean, or from a moving vehicle, and the 50Mbps you were loving before might make you cry. Also, if you're filming in higher frame rates and then conforming to normal speed to make things appear in slow motion then your bitrate will get stretched accordingly. 50Mbps is 25Mbps when viewed at 50% speed on a timeline, etc. You can't add bitrate in post!

This. Do your own tests and trust your judgement, but here's my opinion. If all you care about is how it looks on YouTube, 50 is perfectly fine. No one can tell the difference between a 50 and 100 source file on a 7" phone screen, or a 65" 4k screen 12' away with window glare across the front. I care more about how my content looks in Resolve than on YouTube. And even then, I use 100 mbps H265 (IPB). When I had an XT3, I shot a few full projects at 200 mbps and didn't see any improvement. I've done tests with my Z Cam and can't see benefits to >100. I'd be happy with 50 in most scenarios. It might be confirmation bias but I think I have been in scenarios where 100 looked better than 50, in particular when handheld. Keep in my also, on most cameras, especially consumer cameras, the nominal rate is the upper limit (it would be a BIG problem the encoder went OVER its nominal rate because the SD card requirements would be a lie). So while I shoot at 100, the file size is usually closer to 70, so it might not even be as big a file size increase as you think. But for me, 100 mpbs is the sweet spot, when shooting H265 IPB.

I you are happy I am happy. 🤐 But I agree with you, for the average person on here less is better in the long run. If you are not doing heavy grading why shoot 400mb/s. Hell, I was looking through some of my older stuff because one of my drives was getting full and Jesus, I had like 30 OG BMPCC Raw DNG projects on there. It was taking like a 1/4 of the damn drive up. And don't even ask about the Canon 1DC files. 😬 People that want the Sigma FP need their head examined if they want to shoot Raw out of it. Grab your ass on storage space. I don't even need to turn the heat on in the room where my box computer is, it does all the heat I need!

I think the one thing we can unanimously agree upon is that Fuji makes the best looking hybrid bodies by a significant margin. They’ve had the “vintage manual dial” look locked up for some time, but honestly, this “neo/modern” style they’ve worked out is a straight work of art.