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Live from Tokyo She even wanted it in hipster brown with the retro case to match. The man who served me in MapCamera knows me from all my previous visits of excess and was expecting me to ask for a Z9 so was a bit weirded out !

I've just made a YouTube video 'Why I Am Switching' and it's because I am swapping the pig for a cow. So I can make a moovie.

Did he give you the same look the Berlin camera store gives me when I go in to rummage through their 5 euro trash lenses bucket? If you come across any red or gold GH1 in map camera I would encourage you to splash out!! They are fun, especially with an F0.95 Voigtlander You can recreate my Tokyo film with it, just be sure to apply the hack to make it true 24p and English menus!

This film is a 20th Century Studios > Disney production so Sony competitor. CGI is by ILM, Industrial Light & Magic, same owner.

I’ve just ordered 68 units. And a pig.

I would probably only use high resolutions (4K and up) for projects with a heavy amount of VFX which is where I would find the ability to scale and reframe useful. Or if I specifically want that super crispy look. In term of visual quality FHD and 2K are more than adequate for narrative films. Most movie theaters are only projecting 2K DCP. 35mm film prints were only about as sharp as 720p. I even kinda prefer a softer look, and I suspect a lot of others do considering how many people use high res raw shooting cinema cameras, and put vintage lenses and diffusion filters on them. Many of my favorite films are shot on 16mm, and I've always loved that soft, grainy look. I'm a big fan of/greatly respect David Fincher, who uses the highest resolution cameras he can for more flexibility. I personally don't like shooting this way. I prefer to have less flexibility in post. I get optional paralysis and would be too tempted to keep tinkering and tweaking endlessly when the options are limitless. It's easer to force my choices in production because the options and time are limited enough to allow me to make some snap decisions, or to force other decisions. I'd rather get the look I want in-camera. I'm more interested in seeing how upscaling software will advance. The martial arts action film The Raid, which was shot on the Panasonic AF100 (remember that camera??) is being upscaled/remastered in 4K and the frame grab samples released by the director look good.

Things will change. The FX3 is still a far cry from an Alexa 35, but it isn't that far. A few cameras down the line and the different will be even less noticeable. Really their budget savings were in lighting. You can use really small lighting equipment when shooting at 12,800 iso. It feels gimmicky to me though. The movie was funded by Sony. Why didn't they use an FX6? Same sensor but you have SDI outputs and a more rig friendly body. Maybe because advertising the movie was shot with the more expensive FX6 won't sell as many camera bodies?? I am sure the FX3 was a nightmare for AC's to deal with.

Intensely helpful. Cant thank you enough for this guidance. Had a free night last week while my girlfriend was out of town to test everything, plus it was a clear night! So I was able to be much more realistic in running through settings and talking. It takes a few runs, but actually talking to the camera as if it was a colleague interested in my hobbies. I need to work on diluting some of the more scientific terms down to a more digestible format. Explaining what a "calibration dataset" is is easy for me to explain to a fellow geek, but explaining it to a larger diverse audience will be a disaster. I'll lose them right there, no doubt. Hell, sometimes explaining it to myself I get twisted. Second. In doing this dry run (dry as in I have no real astronomical data to collect currently so I pretended ) 1. I walk around, ALOT when doing the scope work. The shotgun mic was good, but clearly had some drawbacks with me moving around. Something like a Wireless ME from Rode might be good just to clip it on and walk around the area without worrying on audio coverage. Cheap too, my work sells them so I can get a major break on cost. 2. I tripped on my giant ass tripod 54 times. I almost threw it to the Sun!! Something I noticed during load-in, the camera tripod was the same size as my tracking mount tripod... which carries a 100lb sub-arc second accurate device... I dont need something equally large for a 4lb Fuji rig. I LOVED my monopod, but didnt trust it on its own un-attended. Travel video tripod here I come. 3. Low Light. This is major issue #1. I tossed about half of the footage because it was beyond what I would be comfortable releasing. Too dark, and when I pushed it, it was a bit gross looking. Something T1.2 or 1.4 I believe is needed here, along with a small LED battery powered fill light. Good music buddy has a couple PavoTubes and I borrowed one from him today for a test tonight. It can't just be the lens, I need more light too. 4. Major Issue #2. With the audio plug and USB power inserted, the floppy screen on the XT4 is useless. My vision isn't perfect either. The 1/8th and USB plug directly covers the audio meter, AF settings, and nearly half the frame. I owned, and sold, a Shinobi a couple years ago and I really am remembering why I bought it in the first place!! Thankfully, this time around I need something much less fancy. I need to confirm framing, audio level and a DC pass through would be super neat. Daytime performance isn't super critical, as I will be using this at night. 5. Power. It would be super neat to power both my monitor and camera off of the same battery on the monitor. Is that a wise idea? I see a ton of monitors with DC outs, and they do make W235 Dummy batteries.. might be a convenient solution

Z9 FW4.0 has a ISO200 mode (Lo 2.0) that dramatically cleans up noise in N-Log: Not sure why Z8 hasn't yet received this update (among other features)..

In the meantime, somewhere in Japan... https://www.43rumors.com/ft3-new-gh6-successor-with-phase-detection-af-is-in-the-works-and-will-be-named-gh7-and-not-gh6ii/

Yes, always base ISO (800). And I do not think that clip was underexposed overall and pushed up in post. Could be just as you say, small pixels necessary for high resolution.

Yeah, when they see you walking in they start rubbing their hands and when you walk out with nothing they end up stroking their chins! GH1 falls into that no man’s land of being too old for their customer’s to find appealing but still not yet old enough to be considered appealing as a retro purchase for them. Basically it’s in the same ballpark as the base level Ford Sierra! Hard Off have one in red with the 14-140 but it’s about £180 which is a bit steep I think. Like I’ll have any money left anyway once the demands for twenty packs of Instax film a day situation kicks in tomorrow

This came out in April 2023 so after The Creator had finished shooting. Also you can already do the desqueeze on the Atomos. There is no 4:3 or 3:2 mode on the FX3, and using a 2x anamorphic on DCI 17:9 or 16:9 doesn't give you the correct aspect ratio for IMAX. So did they crop the sides off, I wonder. The other thing which doesn't stack up is that the FX3 shoots 23.976p, and not true 24p until that April firmware update. Another thing which makes it unsuited to IMAX or cinema. So maybe they had 'special' units from Sony which did all this and more, way before any firmware update. I bet Timecode was a struggle as well.

Exactly! Many many DoPs might never have shot with a Canon camera since the era of the Canon C300mk1. I feel like even Blackmagic gets talked about more than Canon! As they're now the default go to for low/no budget filmmaking recommendations. Not just 16mm film, but consider how many productions got shot on a Sony PMW-EX3 or Panasonic AJ-HDC27 or Sony HDW-F900 Cameras. (or many other similar such cameras) https://shotonwhat.com/cameras/sony-hdw-f900r-camera https://shotonwhat.com/cameras/sony-hdw-f900-camera https://shotonwhat.com/cameras/panasonic-aj-hdc27-varicam-camera https://shotonwhat.com/cameras/sony-pmw-ex3-camera And all of us have "better" cameras at home than those! Keep in mind that Tangerine had easily at least $50K+ of sound gear being used. And probably easily double that in terms of lighting gear.

Give us a livestream! ha I want a brown retro case for my Fujifilm X-A3 too! Lost the case one night while out drinking, but phew, didn't lose the camera itself!!

https://petapixel.com/2023/04/12/sony-fx3-and-fx30-get-anamorphic-de-squeeze-dci-4k-at-24fps-more/

If true, that would definitely explain it. It sounds quite plausible too.

Ah, I just realised I mis-read your comment in my above reply as "the quality that the manufacturers keep in the drawer (through limiting their potential with too heavy-handed image processing and compression)". You are right, of course, especially considering that the main reason people keep them in a drawer is because of their limited technical specifications, when realistically people have just gotten used to the latest technologies. Most cameras we keep on shelves or in drawers are better than 16mm film, and that was what was used to shoot all but the highest budget TV shows and was used on a number of serious feature films too, like Black Swan (2010), Clerks (1994), El Mariachi (1992), The Hurt Locker (2008), Moonrise Kingdom (2012), The Wrestler (2008), etc etc.. I think the biggest problem is that people don't know how to colour grade, or don't know what is possible. I mean, anyone with a Blackmagic camera that shoots RAW has enough image quality to make a feature. Hell, if the movie Tangerine could be a success when shot on the iPhone 5S, then no-one has any excuses for not being able to write a movie that is within the creative limitations of their equipment. Even a shitty webcam could be used to shoot a found-footage horror movie set in the days of analog camcorders!

That said, a smartphone doesn't replace a mirrorless, of course, but the fact some optical and computational photography basics can provide the trick when the best camera is the one you can use and not other, at this level of outcome, transcends anything we've seen so far. Really. It doesn't mean that external SSD and reliability such as overheating issues under control, etc., are beyond any further scrutiny, obviously. But I actually don't know how to call it differently if any. - EAG

Marty, a mirrorless camera is not a cell phone but not vice versa as we all know. Here's why this can be a game changer -- on second 135 Without mention, the BMD App... Apparently, this new tool, worthy of a new capture device by itself, is also able to bypass device's overprocessing because is using Apple Log?

Yeah, if you can bypass whatever the camera is doing and get the RAW straight off the sensor then it should be a good image. Sony know how to make sensors, and the FX3 shouldn't overheat.... From the Atomos page on the FX3: https://www.atomos.com/compatible-cameras/sony-fx3 I never hear people in the pro forums talking about Canon, only ARRI / RED / Venice. Gotta shoot fast and get that IMAX image! Absolutely. It's one of the reasons I am so frustrated, especially as now they've "unlocked" this quality via bolting on an external recorder instead of just giving us better internal codecs. I mean, for goodness sake, just give us an internal downscale to 2.8K Prores HQ with a LOG curve and no other processing! Even the tiny smartphone sensors look great in RAW. Scale that up to MFT or S35 and imagine the quality we'd be getting from every camera! My favourite WanderingDP video explains everything...

I've worked with a film director Chinese-Portuguese from Macau I simply find unique, even though to come to my mind another one from past also 'cause the way they work with female characters: https://wolffianclassicmoviesdigest.wordpress.com/2019/07/07/george-cukors-way-with-women/ I invite everyone of you to pay attention to her career... here is her most recent motion picture released in China these days (September 28, 2023), more specifically Hong Kong production -- where she got her master's degree after graduated from Taiwan: Her debut as director is this one: https://www.cgiii.com/trailers/item/sisterhood

Hi Kye, Your work on analogising iPhone footage looks like just what the doctor ordered (I have a 14 Pro, which doesn't offer the Prores log option, which in turn suffers from crazy space requirements). How did you do that powergrade? It looks great (albeit very strong as you point out – all the better for showing the effect as before/after and in combination with the Hawk V-Lite real world examples).

I agree and I think this idea is nonsense. I use m43, Panasonic/Sony FF, and yet I preorderer the G9II. So why the hell I bought this "big" and "expensive" m43 camera ? There are a few reasons : - Neither my A7IV or S5II can give me the fantastic stabilization of the G9II with "relatively small" telephoto and super telephoto lenses. - Neither of these FF cameras have an acceptable rolling shutter or 60fps Open Gate/120fps 4K. Yes, the A7SIII has good rolling shutter and it has 4K 120fps, but there are always trade-off (much more expensive, low MP, no crop mode,worse details in 4K 120fps). - While they are a lot of really excellent lenses of the FE mount and a few on the L mount, m43 has a lot of jewels as well. I can't see me stopping using some of my Panasonic Leica or my Oly Pro lenses. Some are irremplacable like the 100-400mm PL, some are outstanding to the point that even comparable FF lenses are no match, like the two f1.7 Panasonic zooms (contrast and colors are wonderful). I also tried to replace my 12-32mm, 12-35mm and 35-100mm with some FF lenses on my S5II and my A7IV, I can't. There are some options for Sony to replace the 12-35mm but they are not compelling for me (weight, price or features associated with the camera). - This is subjective but I love the colors from the GH6 and I expect the colors from the G9II to be almost the same. I don't like the colors of the S5II as much, even less the colors of the A7IV. So at the end of the day, there is no perfect camera and system, but they have strengths and weaknesses. No, we can't get the low light performance of the S5II on the G9II. No, we can't get the FF look at some focal lenghts (like the 50mm GM f1.2) with our m43 cameras and lenses. But as pointed out above, m43 gives a lot of advantage as well. And if we should use m43 only with small cameras, we could not get everything this system can offer with the G9II.

I have and use the g9mki a decent amount and don't mind the body size as the lenses are still all so small, especially compared to their FF equivalents. The g9, like most m43 cameras, really got attractive after a few firmware updates and price drops. It's so nice. I still have and love some smaller m43 cameras (gx85, bmpc OG, Z Cam E1) but when I'm doing a video gig I typically will use the g9. It's been wonderful to own and I bought it for $1000 USD new a few years ago. I'm currently still pretty tempted by the gh6 at $1300, but will probably hold off for a bit to see what they do. I love what m43s offers and personally don't mind if the top of the line bodies are a a bit chunky. The platform is still wonderful with the lenses they already have out. I do agree that I hope we see some more compact bodies with the new sensor and now PDAF soon though, but I don't mind the g9ii using the s5ii body.