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Forum member @essbe mentioned this in another thread, but I think it deserves it's own topic. Magic Lantern developer theBilalFakhouri is showing compelling evidence that he has figured out how to implement full real-time preview in most raw recording modes across the EOS-M, 100D, 650D, and 700D. Live HDMI output is supported across all recording modes too. Many have found that these are the last two major usability hurdles for these cameras. He is trying to crowdfund £2,214 (about $2750 USD) for the 300 hours he's spent figuring this out before he releases it, and says that he will begin work on full real-time preview on the 5D iii after this campaign gets funded. As of this morning, he's about 2/3 of the way to his goal, but donations have slowed down significantly over the last 24 hours. If you'd like to pitch in, instructions on how to contribute are in the link above. I haven't used either of my ML-enabled cameras in about three years, but this feels like it could be the final chapter in ML history. I would love to see it succeed and keep some of these cameras out of landfill as well as to provide the next generation of broke filmmakers with a truly affordable 16mm/S16 raw camera.

People can repeat that until they're blue in the face but it won't suddenly make it true.

Isn't that an OM-5 😉🙂

A lesson here for any future purchases: If you're buying a Sony camera primarily for filming with, get one of their FX Series bodies which is foremost designed for, not an A Series body that's for the stills photographers.

Does the Gh6 provide a 1.4 crop mode for giving it a S16 sensor width? For what I know it only has a 2x digizoom making suitable for 2/3 c-mount, b3 and b4 lenses. Love what i see regarding color from the Gh6. GH5ii is even more mysterious. No Prores LT and nor Prores in some 4K modes is akward. This should have been an all in camera of what the hardware is capable of.

Aaaaaaaaaaaaaaaaargh, camera change! Nothing new, just going back to my old (used) set up. I had just purchased another S1H to go with the one I already had, plus an S5ii...and was in the process of selling my pair of S1R's but... The 'new' S1H has some issues so is going back and after 2 jobs this season, realised 4 cameras with the lenses available in L Mount, is better than 3 cameras. Oh well, back to what works because as they say, if it ain't broke... The only system I can do a 3 camera set up is Sony + Tamron, but then I'd have to make a YouTube video, "Why I Switched".

After watching at @Andrew Reid's entertaining new YouTube video discussing m4/3, and more specifically, the GH6, I decided to look for some videos on YouTube and Vimeo. Strangely, I had a hard time finding many videos. I am mostly interested in the internal ProRes features of the camera, especially in 1080p and DCI-4K. 5.7K is not really something I would need right now. To my surprise, I had a real hard time finding many samples. The lion's share of the videos were ProRes Raw samples, which look very nice, it's just not what I find intriguing about the camera. I know times have changed and with that interests have as well, but when I saw a c-mount lens attached to Andrew's GH6, I was dying to see some footage of it. And I thought there would be a bunch of samples on YouTube of people experimenting with different optics on the most advanced m4/3 camera ever made... But nope. Obviously, a lot of videographers/filmmakers have moved on from m4/3 to the greener pastures of FF. Being a FF shooter, I understand the appeal, but I still find it sad. So that brings me back to the title of my post... what's the deal with the GH6? I heard there were some issues with pink streaking... has that been solved or has it been discovered why it happens? With all that said, are there any good or creative videos floating around? Have the Nick Driftwood's or anamorphic shooters moved on from GH cameras? I haven't owned a Panasonic camera in a while, but I really enjoyed the ones I have owned/used and I find it sad that the interest is waning. @Andrew Reid can you tell me your experience shooting c-mounts/s16 lenses with it? Do you have any samples you would share?

I had heard it has a 1.5x crop mode but I'm just investigating it right now. As far as ProRes... sure LT would have been nice, but I'd probably end up shooting HQ anyway because why not? You'd still have to use a CF Express card probably, so I may as well get the most data possible at that point. It does C4K and 1080p, up to 60p, in ProRes... what other modes would you want it in? With the dropping price, I must say I am thinking about pulling the trigger on it.

Makes it a BIG BOY CAMERA now with 4K DCI + 24fps + anamorphic desqueeze 4K DCI & 24fps makes a lot of sense, as VENICE/FX9 owners would demand this as important in their D Cam crashcams. Of which the FX3/FX30 is otherwise perfectly suited towards being. It is not an Alpha camera.

The fx3 and fx30 are cameras for people who take video seriously. And cameras like the a7s iii are not for them or other hybrids, with or without breathing compensation. Of course this does not mean an owner of an a7siii is not professional. Just she ended up with the wrong camera.

FX3 & FX30 just got a major 3.0/2.0 update today that adds Anamorphic De-Squeeze, True 24p, 4K DCI Recording.. and Breathing Compensation: Excellent news for users wanting more cine features and this really starts to tie these cameras to the rest of the FX line. Pretty sure this is the first time an alpha camera gets DCI 4K. About time!

Yes, it's a nice lens (used it as my main video lens back when I had Pana G6 with a 'power zoom' toggle on the body). It doesn't support dual-IS though. The Oly 14-42 EZ pancake is also 'OK' and has zoom and focus rings instead of toggles, so is a bit nicer to operate. I think build quality is better on the Pana lens though. Oops - yes, quite correct, I was thinking about the mid-range 20MP Pana cameras (GX9, G95, G100 etc.) when I wrote that, which have 1.25x crop in 4k. No excuse really as I own a GX85... I suspect the processing chips could do 100Mbps All-I 1080p, but having lots of video mode choices in a mid-range camera (aimed at ordinary buyers/users instead of video enthusiasts like us) I think would just be regarded as confusing.

Even the 14-42mm PZ is really compact when not in use and it's very cheap. That small extra tele could be useful too. There's even a cheaper rebranded version on Aliexpress.

Just a solid camera overall. Better colors IMO than the lumix cameras, good auto focus, good 4k codec etc. The DR is a stop or two less than the S1, but probably similar to the GH5s. A little bit worse in low light than the S1. For me it's kind of like a GH5 with more solid color and auto focus and no need for a speedbooster. Also been using it with a ND filter lens adapter, so been digging that too. Mainly been living with a Sigma 18-35 on it or a Canon L 70-200. Technically I should aways go for the S1 because of the better DR and low light, but I keep finding myself go for the R7 because of the user experience

This is true, they are a great value. And I’ve spoke various times about how great the Z6 image is when used with an external recorder. Get a cheap 1080p Prores recorder and get oversampled 10-bit log video. I’m pretty pleased with how the 8 bit internal held up in this piece, however, except at some times I noticed some break-up in the skin due to the 8 bit and the fact that I recorded it in a very flat profile. For the AROLL, I just had a friend hold up a simple 5-in-1 reflector to diffuse the sun.

Did you try adding “Cinematic vs iPhone vs ARRI vs Full Frame smash that like button buy my LUT that I created with ChatGPT should you still buy this vintage one year old camera in 2023” to your search term ? A lot of stuff gets lost because people are trying to create titles that incorporate the phrases du jour that they hope will get them up the search rankings. “Avoid these five scams when using the GH6 for stealth van life with otters” etc From what I’ve seen, the “GH6 vs xyz” is the richest seam to mine as at least you get comparative stuff against known entities like the P4K etc.

I'm into the edit from my last trip. Putting everything on the timeline results in a 5h22m sequence. Resolve interprets still images as a single frame, so they aren't padding out the edit time. My first pass, where I pull in just the good bits of the clips got it down to 1h35m. The way I edit is to use markers to separate locations and sequences within a location, which lets me organise the footage (Resolve isn't great if you're shooting on multiple cameras without timecode, so things are often out-of-order). For example, we went to an aquarium and saw the otters getting fed, saw the sharks getting fed, etc. In a sense, each of these is like a little story, and for each one I have to establish the scene, then have some sort of progression in the sequence that addresses the "who was there", "what did they do", and "what happened" sort of questions. I've identified over 40 location markers and over 40 sequence markers within those locations. Some locations only had one sequence, but others were full day-trips and had a dozen seperate sequences. That's over 80 stories! My next steps are to work out which stories get cut completely, then to confirm the overall style of the edit. My challenge is always how to get from one location to another and establish the change. I typically shoot lots of clips when walking, on buses / trains / taxis, etc for this purpose. As it was South Korea, known for K-pop, K-dramas, and the super-Kute things (their reality TV has lots of overlays like question-marks when people are confused or exploding emojis when people are surprised), I'm contemplating a super-cute style with lots of overlays, perhaps using animated title-cards that show where we are and what we're doing. This would be an alternative style of establishing the location. I could even have little pics of who was there (sometimes the kids came with us and sometimes not). Then I'll identify the best shots from each sequence, which other shots are required to tell the story, and then cull the rest. Normally that shrinks the timeline significantly again.

It is a shame, but the fact that it's a 709-style profile seriously helps out the 8-bit. If it was an 8-bit log profile then you'd be stretching it for a 709 grade, but this isn't the case with these cameras. The iPhone is a 709-style profile and is 10-bit. That's (very-roughly) equivalent to a 12-bit log profile.. very nice! The more I use the GX85, the less I find it wanting TBH. In some ways this would be a good option, but I really really appreciate the smaller size of the 14mm and the 12-32mm (at least when it's not in-use). I found that I would "palm" the camera when carrying it around: This really helped me not attract un-due attention and protected the camera from bumps in crowds etc, but kept it at the ready when needed. I could do this with a longer lens but it makes it significantly larger, and makes pocketing it a lot more challenging. I wouldn't really miss the room range above 32mm, as that's 70.4mm FFequiv when combined with the 2.2x crop-factor of the GX85s 4K mode, when walking around, as I edit in 1080p and could punch-in to 141mm FFequiv. When I was using the 14mm f2.5 I punched in using the 2x digital-zoom all the time and didn't notice any loss of image quality at all. Maybe there would be a small loss in low-light but I never noticed it in the final footage where there wasn't a direct A/B. The GX85 only has a 1.1x crop into the sensor for the 4K mode, and the 1080p mode doesn't have any crop at all. I haven't really experimented with the 1080p modes TBH as I wanted the 100Mbps bitrate of the 4K mode. I do wonder how much would be supported if we had full access to all the modes supported by the chip. Obviously the chip in the GX85 can support being given a 4K read-out, can apply a colour profile and do whatever NR and sharpening is done to a 4K file, and can compress a 4K output file at 100Mbps. To imagine that it might be able to compress a 1080p image at 100Mbps isn't that far-fetched. Who knows what else might be available on the chip. ALL-I codecs, 10-bit, etc.

I am speechless... this is ML cinema camera series 2.0. Yes indeed, this deserves every single donation they can raise. It is the very least decent thing we all users can do. - EAG :- )

That's big news. I don't use my EOS-M often, but this would go a long way toward making it a lot more workable. Thanks for sharing. Donated!

As it has not been up on the forums, I would just like to inform about some recent developments that actually could make the Eos M *THE* digital super-16 camera, as well as a much improved super-35 5.2k raw shooting camera. Just needs some financial support, which I personally think is more than justified. So, if you want an updated user experience for magic lantern on eos m, 650d, 700d and 100d, or just want to support magic lantern, have a look here: https://www.magiclantern.fm/forum/index.php?topic=26851.0

The issue was with light streaking when a bright area is adjacent to a dark area. I was able to reproduce it on my cam but never saw it in real world footage. I'm not sure if some cameras are affected more than others, but people were having conniptions about it on FB and YT. I think it's such a pity that phase AF did not make into the GH6 as it would have reinforced the iconic GH line's standing. Ha ha! No! Not for the GH6 or any other camera these days. People just make videos about cameras, it seems 😂 Joking aside, there was Olan Collardy's launch video for the GH6. I mainly use mine for work and holiday stuff, but I did shoot this with an Isco 36 and gave it a bit of filmic colour treatment, grain etc.

What FF are you shooting? I work for a couple of production companies that still using the GH5 cameras coupled, usually, with the Olympus 12-100mm 4f. They do speciality TV episodes (kind of run and gun stuff) and both shows are very popular. One production company considers moving to either GH6 or S5iiX, the other considers.. nothing at all! The cameras are good for the specific project, and their other projects are very big anyway, so they rent Arri or C300mkIII usually. I did a project with them recently using C70s also.. I have yet to see a GH6, which is strange, and that means that it hasn't sold a lot here in Greece. I know a lot of people that had both the GH5 and bought into BMP4K when first released, but now they have moved to BMP6K and abandon the m43 cameras altogether. I am expecting a slow but steady sales figure for people having a lot of m43 glass and they do not care much to move to other formats, or are perfectly happy with their GH5 cameras anyway and will replace their old and beaten GH5 cameras, but for those, even the cheaper GH5ii maybe will be enough (and another source of sales leaking for the poor GH6..) or a less beaten used GH5 from all these sources that moving to S5ii cameras or other mounts.. All in all, is not 2017 anymore, and there are still GH5/GH5S/GH5mkII cameras to be sold out there while everyone has workhorse hybrid cameras that can bring bread to the table these days..

It's kind of gimmicky, but I kinda like the different colors. They're fun.

Every time I get the itch to acquire an OG Blackmagic Pocket Cinema Camera I decide that a GM1 or GM5 would be a much more sound purchase. I have never been able to find either of these cameras, used, for what I would consider a decent price. Three weeks ago the sweet little thing below popped up at a more than reasonable price and I snagged it quickly. It's essentially brand new. The kit lens was never even taken off. I bought a 20mm pancake for it and have been using it for stills ever since. At first I didn't like the blue but I've grown to like to look of it. This thing is quite an engineering marvel and it would be amazing to see a 4k version from Panasonic sooner than later.

The GX85 is the next challenge. For Priority 1 it needs to be kept handy and accessible. This means either being kept in-the-hand or kept in a pocket - keeping it in a bag adds access time unless the bag is on the front of my chest. Both of these mean that the rig has to be kept as small as possible, which essentially boils down to lens choice. The 14mm f2.5 lens is an absolute gem in this regard. In the 4K mode (which has a 10% crop into the sensor) it's got a 30.8mm equivalent FOV. I edit and deliver in 1080p, like all sensible people in the real world who haven't confused their ass for their elbow do, and so I can also use the 2x digital crop feature, which gives a 61.6mm equivalent FOV. These two FOVs are hugely handy for showing people interacting with the environment around them - environmental portraits. It also has good low-light, good close-focus distance, and has a bit of background defocus if the subject is close. I have the GX85 configured with back-button focus. This means that I hold down a button on the back when I want to engage AF and hitting the shutter button doesn't engage it. This works brilliantly in practice as it means that I can focus once for a scene and then shoot without having to wait for the camera to AF. I also have the viewfinder set to B&W and have focus peaking enabled in red, making it easily visible. The histogram is also really handy to know what is going on too. For Priority 2, this setup works well - the tilt-screen is great, AF is super-fast, IBIS is impressive and very functional, and I find using it in real-world situations to be easy, fast, and very low-friction. It still gets some attention, but it's not excessive. I find that for most shots I want to stop down to ensure that everything is in focus. This is because my work is about the subjects experiencing the location and the interactions that are going on. A nice portrait with a blurred-beyond-recognition serves very little purpose as it could have been shot anywhere at any time and therefore has no relevance. This lens can give a satisfying amount of background defocus for mid-shots if required, and especially for macro shots, which are occasionally relevant in an edit. Here are a few grabs SOOC. In grading I would typically lower the shadows to the point where the contrast is consistent (assuming it makes sense for the scene - lots of these have haze which you have to treat differently) and I would even out the levels of saturation etc. I'd also sharpen or soften images to even out the perceptual sharpness too. Interestingly enough, most of these images have enough DR, and even have elevated shadows, despite the camera not having a log profile. These provide a really solid foundation to grade from.

It's more than just a legacy thing. Canon & Nikon at the DSLR height really took care of their customers with loyalty programs, pro services etc. For major sporting events they have their infamous stockpile rooms available to sponsored photogs: Canon I feel go a step further and since they have the cine line offer services at their Burbank facility in LA. Here in Paris, if I have an issue I can call and meet someone. Nikon used to have a walk-in office Boulevard Beaumarchais, as well as the Nikon School. They do have Nikon Plaza now in the 6ème, pretty cool location too with interesting events and of course the Nikon Film Festival which has become a huge thing in France. Leica are on a similar but different path. Much more intimate. You have official boutiques in every major city. The staff there are extremely knowledgeable and passionate and every shop has their own certified Leica engineer in his white lab coat. Its not just for show as he will fix your camera on the spot. It's basically the traditional experience you'd get at a high-end watchmaker or hand tailor. This type of service to me is invaluable and definitely builds a human connection with the company and hence, loyalty. Sony I'm afraid has nothing of the sort AFAIK. You have an issue, you file a ticket online and have to send the camera/lens back to some warehouse in the Netherlands, if they even accept your claim (I've had mine rejected, no dispute possible). Imaging is just a fraction of their other core businesses. What they have been very strong at, is social media presence, especially YouTube. They keep converting influencers by basically buying them out, luring them to exotic locations for camera releases and then making deals with them. Its fair business I guess but a little disheartening. I've had several Canon shooters I follow switch overnight, no real explanation. Anyways, I am a Sony shooter. Not really by choice but because the industry basically demands it. They make good products no doubt, lousy policies though. Its strictly business to them, zero customer care. So yeah, loyalty wise its no surprise people dip in & out with them. My $0.02c.

Sony not offering firmware updates doesn’t bother me. I use Lumix cameras. But being serious, I have never purchased a camera based on a promise of what it might or will be at some point in the future. I will buy it (or not) based on merit with what it comes with. If something is updated with something I find useful, then that is a bonus, but not an expectation. I’d be very happy with a pair of FX30’s plus a single A7V straight out of their boxes.

You are confounding the new fx30 and firmware updates for the fx3. The fx3 does not have breathing compensation nor improved AF from firmware upgrades special to it. It does not have less noise reduction via firmware updates either. These non additions to the fx3, but features of the fx30, suggest they are not possible for updating the a7siii either. These fx30 added features is not evidence of Sony holding back on firmware updates for older cameras with different hardware. The fx30 is not the same hardware as the fx3 or the a7siii. It is a new model. So, the better AF and breathing compensation that it has may require different hardware, so that no firmware upgrade is possible. fx3 cameras did not get these fx30 features. I think it was you who claimed the fx30 was noisier and thus much inferior in low light to the fx3. Now you are saying less noise reduction is a desirable feature of the fx30? Yes, the smaller sensor/pixels of the fx30 do make it inherently noisier, but for the same NR, not so very much different in most situations. 4K 120p is definitely significantly noisier, but that is because the fx30 uses a 1:1 crop of the sensor in that mode, unlike 4K up through 60 fps, and those smaller pixels then matter. I don't understand how Cine El improves images, it is just a way to shoot. Base ISO and how you use it matters, but that can be done with the a7siii, just less easily. Do you understand how you can get better Slog3 image quality from the same sensor, processor, gamma, gamut, and base ISO from the fx3 compared to the a7siii? Finally, baking in LUTs is indeed a new firmware feature of the fx3. But hardly one meriting all the whining. And, yes, firmware updates are always good, but not always important, or possible for adding certain features given hardware constraints, as we have seen.