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Filmic Pro is bettered by mcpro24fps on Android in my opinion. But neither are the same proposition as Motion Cam as neither shoot raw video, which is its own thing entirely. The way the image looks, the way it bypasses the phone's processing, the way you grade it, is all totally unique to raw.

what about one of these ? not as bulky as the tube based steady cams or quite so obvious. If a slr balances on it your camera should do it easily. Plus probably less than $30 so its not a huge outlay if it goes pear shaped. I'm of the opinion that with the rise of youtube you see a lot more people waving cameras and phones around mostly phones but i see the occasional camera, also seen a few of those dji osmo things as well. I also think if you feel self conscious then it will show. maybe throw on some hi vis and a press shirt... you know face your fears 😀 another thing i notice if people are around then they will look, however if their any where near the front of the camera they look everywhere but the camera If its any sort of event sporting or whatever there going to be other with cameras and or phones, i like to think i look like a serious amateur. well thats what i tell myself anyway 🙄 Only issue i face i guess is pulling the drone out, That can be quite polarizing. Theres a 50/50 chance of running into someone named karen 😨

July / August 2022 Smartphones and their growing threat to mirrorless cameras – 2022 edition https://www.eoshd.com/news/smartphones-and-their-growing-threat-to-mirrorless-cameras-2022-edition/ 2 years later – Canon quietly removes fake overheating limits of EOS R5 in firmware update https://www.eoshd.com/news/2-years-later-canon-quietly-removes-fake-overheating-limits-of-eos-r5-in-firmware-update/ One step closer to WWIII – Throwback to my Taiwan footage and experience living there https://www.eoshd.com/youtube/one-step-closer-to-wwiii-throwback-to-my-taiwan-footage-and-experience-living-there/ (Shot on Panasonic GH2 and Samsung NX5) Thoughts on the Fuji X-H2S https://www.eoshd.com/news/thoughts-on-the-impressive-fuji-x-h2s/

Alright I need to devise a solution. I’ve got two external recorders for my Z6, an Atomos ninja v and an Atomos ninja star. They work great but I hate having to attach them each time I pull my camera off my bag. I’m also getting a “double” HDMI clamp solution. Basically what is used here, where we have a clamp for the camera’s HDMI port as well as a screw-in female HDMI cable. My question is how to rig this so that my recorder can stay attached, and this clamp setup can stay attached without bending the HDMI port on my Z6, saying as the camera will be in my bag which can be jostled around at times. I want the dual-clamp setup to remain plugged in, and I want either my ninja v or ninja star to stay mounted and ready to go when my camera is in my bag. So I can pull the camera out and begin shooting right away. Any recommendations?

Nikon often announces cameras at the end of summer and there is a rumoured Z8 (Z9 without grip). But I really don't see how Nikon could announce/release that while it still has so many back-ordered Z9's. And yeah plus with the whole RED patent mess I dunno, their camera department must be in serious dismay..

I’m leaning more and more in that direction. I feel uneasy being dependent on mini HDMI and external recorders all the time for my image.

And I have the perfect place to discuss it 😉

Yeah that's definitely an added bonus but not the main appeal to me when deciding in between those two. For me it is a balance of convenience & reliability during the shooting experience, and the final image output and workflow in post. The C70 with its DPAF, NDs, battery life & XLRs in combination with DGO sensor and RAW capabilities really ticks a lot of boxes and for run & gun, corporate work, docu etc it is really a slam dunk of a camera for such usage. Which is why I had it at the top of my next camera purchase list. The Komodo again is a sensor in a box. You will need to rig it although the dual hot swap batteries, PDAF, touch screen, iOS RED app & RF mount (that will allow Canons vari-ND adapter) are all great things to have on the field and are often missing on most cine cams. The simple yet effective traffic light exposure system also seems awesome. These are all features that have pushed me into considering the Komodo even for run & gun applications. And then of course the IQ from the footage. The file sizes of the compressed RAW. The global shutter. The image does feel 'just right' as you say. The 6K doesn't feel over sharp. The motion is beautiful. The CS, the noise. The R3D raw settings. The image also holds even under extreme grades which allows to get more subtle and creative I find, there is great nuance. The LUTs that RED provide are also great. Overall the whole experience just seems to take you closer to that high-end polished "ARRI" cine look. But that's just my reasoning and playing with files, not actual hands-on field experience. A lot of operators here or on YT that have both C70 & Komodo seem to favour the C70 for solo jobs and fast turnarounds. That is a major chunk of my work, I have to think practical too. But then again a lot of higher end clients keep asking for more cinematic look. They want the IQ they see in advertising on TV, Netflix etc. I'm also planning on getting back to music videos and more artistic projects with higher production value. So right now, I am really leaning towards Komodo. I also think working with that footage will excite me and that's also always a good thing!

I don't think there is any phone that does Prores and Raw. The Apple iPhone 13 Pro does Prores at these rates. All iPhone 13 Pro’s ProRes are 10-bitt with 4:2:2 chroma subsampling. These are maximum bitrates tested by FilMiC Pro at 4K 30fps. iPhone 13 Pro’s ProRes variants: ProRes Proxy: 170Mbps = 21MB/s = 1.3GB/m ProRes LT: 360Mbps = 45MB/s = 2.7GB/m ProRes 422: 540Mbps = 67.5MB/s = 4GB/m ProRes 422 HQ: 735Mbps = 92MB/s = 5.5GB/m

Further to what BTM said about doing something custom, if you can't do that then it's worth spending a few hours looking through the camera cage manufacturers websites (small rig, etc) and also scrolling through Google Images search results. I've found in the past that there are rigging attachments that you only find when you see a photo of a rig when flicking through image results. There is a real art to building out a rig that's functional but compact. It's soooo much easier to build a rig when you don't care what it looks like, if there are cables hanging out everywhere, or how big it is.

I'm not being deliberately problematic, just stating why the answers provided don't really suit me and how I shoot. That's fine - not all solutions have answers (if they do then I want the 100g Alexa Pocket for $100!), but you don't find out unless you ask - sometimes you ask the question and someone comes up with an answer you hadn't thought of or didn't know about, so it's worth a bit of a discussion. I'm perhaps putting more emphasis on this than what people might think is reasonable, but it's actually the tip of a large question for me. Currently I shoot with IBIS cameras (GH5, GX85) in auto-modes but am actively considering moving to a more cinema-camera style of shooting without IBIS or auto-modes when it's time for my next upgrade as that can get me a bump in image quality, so there's many thousands of dollars in camera bodies / lenses / accessory purchases that depend on things like me being able to get acceptably stable shots in windy situations. In this sense my problem isn't "how do I get good stabilisation with an OIS only lens", it's really "does OIS give me stable enough shots, in the situations I encounter, with how I shoot". Not so useful in conditions so windy I can't hold the camera steady with both hands! 🙂 🙂 I think you nailed it by talking about being self-conscious, which definitely applies to me. If I could change how I feel then I would do it immediately, but that's not how it works! Getting older is gradually making me give less shits, but I'm not there enough yet 🙂 In terms of running into Karen's, I've found they're everywhere in terms of giving you dirty looks and giving you the non-verbal equivalent of the viral videos you see, which just makes it not worth it for me. That's why I like to do what I can to fly under the radar and not trigger it to begin with. I also shoot a lot in places you're not allowed to be pro in, like museums and galleries and all the other types of private spaces that hold all the interesting things. You never know when you're going to run into a power-hungry security guard who is going to teach you a lesson - unfortunately this seems to be the majority of security guards (although it probably isn't the case it certainly seems like it).

There is nothing off the shelf but what you need to do is fabricate a simple box shroud that protects the ports from being touched in transit. Something like this very crude representation I've done here. Obviously you would have holes in it in the required positions to enable the cables to pass and make it sufficiently deep so that the ports are far enough away. To make it easily removable/re-mountable then take advantage of you having a cage and put magnets around the base of the shroud. These will provide sufficient strength to keep it in place when knocked into but make it easy to remove by hand. In terms of actually designing it, if you are comfortable with 3D design then you can do it yourself or use Fiverr to find someone who will design it to your spec. As it is a very simple design then it will cost around €10-15 for this service. In terms of it then being made from the design, there are a ton of 3D print bureaus that will handle that for you and they have a range of different materials from Nylon PA12 plastic (which will be the most appropriate one for this) up to more exotic metal replacement materials. Price is dependent on the size of the finished design and the 3D print bureau (local in person service will likely be more expensive than an online provider) but I'd guestimate at sub €40 as a one off part.

Well my L Mount buddies (buddy singular, possibly...) Panasonic have announced they are no longer going to be manufacturing their lower end cameras that compete with smart phones. No surprises there. Interpret that as you will but I read it as 'sub-M4/3'...but even then, for how much longer does even the latter have a future? Plus they are actively collaborating on producing at least 'a' camera with Leica. Well they have collaborated many times previously but I suspect this time, it really is going to be a collaboration, partly of survival. I made a prediction over on the Leica forum that it will be two bodies; one S5 size and the other SL2 size. I reckon they will go for a lower mp version and a higher mp version of each size, both hybrid. There would probably be one or two other differences other than just size. Hopefully implementing PDAF. The Leica version will probably cost more and they'll swing that by saying it has some 'extra sauce for photographers'...which it may well have just as the SL2 currently does over the S1R despite having the same sensor. The Panny will be cheaper but can tout the fact that it will probably have some video thing it can do better. Rangefinder? I'd like to see one, but I suspect Leica will keep that format to themselves, but never say never. Announced, end of this year/very early next, for 2023 availability? I reckon they will be chasing just the pro market from this point onward. Or at least the well-heeled. Plus dentists, naturally. PURE SPECULATION (re. the cameras) on my part other than the two announced facts on the Nikkei Report. Too little, too late? Could be for me because unless the next gen system is: A: Readily available by end of Feb 2023 and B: Meets my min spec, I'm going back to Nikon-land and the Z9 as it's the first camera/system to actually tick all my boxes with the only current compromises being initial cost and availability.

I was just going to respond to confirm that! I am currently running about with 2-3 cameras most of the day and 4 at certain times. I would like to get this to 1 most of the day (the Nikon/Tamron combo is currently by far and away the best option), 2 at times and 3 max. I’m also looking to lose 1 tripod and a couple of lenses. The losses (in kit) would make a significant difference. The gains (in tech) would make a decent difference. The combination would be worth it and it now comes down to a question of timing as in I cannot do anything this season, but probably will do something for next because as a business user, if it makes sense, then why not?!

For me it’s the combo of both. The lens with the most appeal to me out there right now is the ‘one and done’ (for 90% of my work anyway) Tamron 35-150mm f2-2.8 in Sony e Mount. However, Megadap do a Sony e to Nikon z adapter and I’ve seen the lens working extremely well on a Nikon Z9. Not cheap and not exactly small or light, but a mega(dap) combo that ticks every ‘needs’ box for me. But 8.5k+ cost is pushing it a bit even for me… I think if that combo was around 5k and actually available with 24 hour shipping, I’d push the button. But it ain’t so I sit on the fence because it’s not as if what I have doesn’t do the job I need it to do, just for the difference right now, I can’t make it swing! 🤪

I don't know what to tell you man! Acting like you're against shooting "eye level," when literally every still photograph, every piece of 16mm, Super 8 etc, is all shot from eye level. You seem to have issues with literally every practical solution! The "head on a swivel" type movements you can get with an EVF create much more interesting footage than swaying from the hip. I think you need to prioritize the stability of the camera over the exact camera height. The Bolex 16mm cameras ergonomically are far better than other cameras I use regularly. You can use your body to get lower for lower angles etc. To summarize, there's really only a few solutions that can solve your problem. The more you add, the smoother your footage will be. - More Weight - More Points of Contact (EVF / Pistol Grip.) - Wider Lens

@TomTheDP Interesting video! I'm a bit late here sorry but after working with Komodo footage for the first time the other day I think I am seriously considering this camera for my high-end cine needs. I love the R3D raw options (skin contrast, highlight rolloff etc) and how ISO works in post, you can get really creative and overall the files have so much information yet the file sizes are so small. The noise is also really organic/filmic compared to let's say BMD or Canon RAW. The motion cadence is also beautiful. Really I'm just blown away by the IQ and how you can massage those files in Davinci. ARRI is still the golden standard, the benchmark, but this feels like its just right below it IQ wise and for resolution or high ISO probably better. The compact size of the camera, the traffic light exposure system, global shutter, RF mount, 6K resolution and even on-board PDAF makes it a really tempting A cam for me personally. I was all set on a C70 but after playing around with Komodo footage, well it just feels like a huge step forward in IQ. I think I will just upgrade my R6 to an R5 for hybrid all-around mid-level projects and go with the Komodo for anything higher. Now of course I gotta figure out how to finance it all!

Who cares with such subject?! LOL ; ) Love the shooter's work BTW :- )

Cameras such as the GH5/GH5S/Z6/G9/X-T3 can all be with luck easily found for sub US$1K Crazy to think that they're "old" cameras!

Here is an interesting examination of the Fuji film simulations: https://www.imaging-resource.com/news/2020/08/18/fujifilm-film-simulations-definitive-guide#eterna discussing the subtle color shifts in certain hues, and "Why can't I just do this in Photoshop?" with Imatest Master graphs and photo comparisons. "Fuji has more than 85 years of color science experience, and a deep understanding of all the complexities of how film works..."