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Always makes me laugh when I read that someone thinks a 700g mirrorless is heavy. Heavy? What are you? A 5 year old girl? Having said that, this 53 year old girl got pretty tired of his 2.8kg set up from last season so replaced it with something almost exactly 1kg lighter. But then there is pure weight vs weight distribution and handling due to ergos and how you use these things…

A word of caution about the Atomos/Zoom partnership when it comes to the Connect module for the Ninja V is that it doesn’t work. I got the Connect in a bundle with the AtomX Cast so it wasn’t a massive financial hit but it’s annoying nonetheless as I was looking to it to provide sync of my Zoom recorders when recording ProRes RAW. Needless to say no firmware update has been forthcoming. Which brings me to the second note of caution about their alliance which is that the new Atomos branded UltraSync Blue does not work with my Zoom H3VR due to the same Bluetooth incompatibility with their new chipset whereas the original TimecodeSystems ones do. My F2BT and F3 with the BTA-1 module work perfectly with it but it’s a no-go for the H3VR and, again, needless to say no new firmware has been forthcoming to resolve it. It was interesting to see earlier in the week that FujiFilm are releasing a firmware update to allow the XH2 and XH2S to join the Nikon Z8/Z9 in being able to receive timecode from the UltraSync Blue and hopefully Panasonic and Sony might join in to give the option to use their generally underutilised Bluetooth ports (for video at least) for something useful too.

Hey, check out this little music video i shot on the Sony a74 with the helios 44 and sigma 18-35. Helios for Run&Gun - not sure i can recommend. Also did not manage to create the swirley bokeh so far. On the other hand it takes the digital edge of the sony footage which helped tremendously. In the night scenes we also used the Tiffen Black Promist Filter 1/8. I realized i definetely need to learn more about lighting. If you can recommend any youtube channels i would be very happy. Of course i would also be happy about general feedback - and the artist would be happy if you would like or comment on youtube...

If I could have my time over again and be a 20something, or a 30something, or even at a push, a 40something, this is something I could and would want to get into. As a 50something, even a fairly youthful one, I cannot be arsed so remain ‘happily’ a 2/10 one. Possibly a 1/10. Too little time left in the industry for it to have any real affect professionally now and time-wise, yes really do not want to get into 80 hour weeks as my ‘in season’ (Apr-Sep) weeks are already 80 hour weeks. But then again if I could have my time over again, I would not choose the industry I am in 🤪

oh that's right, it was skipping a generation, was a teenager and a grandfather (if you even believe it was two people behind that account, and not just one. I think the "two people are using this account" was just a way to excuse the lies they got trapped in)

Actually, that's an interesting idea - you could take the 4K image and Super Scale it to 8K, then when you crop into it on the timeline you'd be cropping into (let's say) a 6K area of the image, which was originally a 3K area. It's definitely worth trying along side dialling in the sharpness yourself.

Thanks for the suggestion. It is something I can try out. I know that Resolve Studio version (which I have) has a super scaling feature as well. I think the implementation is a bit clunky because, IIRC, you can only up-res in certain pre-defined increments (like double and quadruple the size, or something like that... don't have it open right now). In most cases where I punch in during post, I am only punching in by 40% or less.

I guess this TC approach is technically better than nothing, but I do not like being vendor locked into a closed, proprietary system. BTM_Pix's post perfectly encapsulates why. LTC is simple, works well, and has open documentation, so in the absolute worst case, you can fix problems yourself. Not so with UltraSync Blue. Buying a dongle for TC is fine , but if Zoom made a dongle that takes normal LTC via a BNC or 3.5mm, that would be sooooo much better.

Would love it if @andy lee popped back to give us an update about the Panasonic G7 feature film! And what is he up to now?

Sadly the S1H/BS1H and S1 are the only L Mount cameras which support timecode. There isn't a single Panasonic DPAF camera with timecode support (correct me if I'm wrong, but I'm pretty sure the G9mk2 doesn't have TC. Guess we have to wait for the GH7 and S1H mk2)

I personally have never shot with the EVA1. Have worked on a TV Series where the EVA1 was fairly regularly used as an extra camera. (their day to day usage was shooting with 3x Panasonic Varicam LT Every. Single. Day. That was a joy for the Sound Dept!) Any time a fourth (or even 5th!) camera was needed then it probably was going to be an EVA1 ( think sometimes they could get their hands on 4th Varicam? But wasn't that often during the reason) Also worked on a handful of various no/low/mid budget productions (shorts/commercials/etc) where an EVA1 was used as there was one DoP around here who used to own an EVA1 who I'd semi regularly work with. (he sold it off a couple of years ago? Uses a RED Komodo now. These days I honestly could not think of even one DoPs who has an EVA1 here locally) So yeah, worked in productions using the EVA1 a fair bit, but in the grand scheme of things it was quite rare. I think the Panasonic EVA1 was sadly dead on arrival when launched. As it came out waaaay after the FS7 was already on the scene, thus even though the EVA1 was arguably "better" than the FS7, it was just way way too late. The FS7 was already entrenched in place. Heck, Canon had even already launched the C300mk2! Thus the EVA1 was put squarely in at least 3rd Place (arguably even 4th Place, or worse. As the Blackmagic URSA series attacked hard the no / low budget section of the market which was non-FS7). Here is the niches where the EVA1 still makes sense in 2024 (but only if you're buying it bargain secondhand prices. Would be crazy to buy it brand new!!): 1) you don't need to ever worry about working with productions that use Sony shooters (say for instance if you do everything about a production in house yourself, and not working as a freelance Cameraman For Hire). Has not having a camera compatible with the #1 brand puts you at a big disadvantage (or heck, at least have a camera in the top five! Sony/ARRI/Canon/Blackmagic/RED) 2) you work in a weird little niche where somehow strangely Panasonic has clawed itself into the top three market share or better. As I'm sure there are little pockets of the filmmaking communities where you might find a large handful of your buddies are all shooting Panasonic. (for instance here in NZ if I was not a PSM but a Cam Op / DoP who was tight with Producers / Directors who work all the time 24/7 with SPP, then maaaybe I'd consider picking up a Panasonic EVA1 as maaaaybe it could pick up a few rental dollars here or there going onto those productions which I'd already be working on) 3) you stubbornly ignore all those factors above (or you're lucky and they don't apply to you) and you really want the power of a FS7/XDCA (or F5) but in the smaller form factor of a FS5 body (and/or you don't like "the Sony look") but you can't afford a FX6. (and for whatever reason, you're a Canon hater, so the C300mk2 is ruled out) Then the Panasonic EVA1 is perfect for you! 4) or you already own a Panasonic Varicam, and you need a smaller and/or cheaper B Cam. But you don't want the rigging hassle of a S1H/BS1H. Then the Panasonic EVA1 is perfect for you! 5) you're a S1H/S1/S5/etc shooter and you really really really want built in NDs (or SDI out, or BNC TC, or whatever... but don't want the BS1H). Then the Panasonic EVA1 is perfect for you! 6) you're a contrarian with a conspiracy minded bent. And it was either this or a ZCam/Kinefinity, but you didn't want the CCP spying on you. Then the Panasonic EVA1 is perfect for you! 7) you get offered the EVA1 for free. Then the Panasonic EVA1 is perfect for you! That I think is a fairly extensive list of who I think the Panasonic EVA1 is suitable for someone to get in 2024. Might have missed out one or two niche exceptions, but I think it's quite comprehensive. I hope this year Panasonic brings out an EVA2 with a L Mount (or a MFT mount.... ha!!). But if it happens, the EVA2 will fall victim to the same crime the EVA1 was guilty of: just was simply far too late to market. The FX6 has been out for yonks now (heck, I bet within the next couple of years we'll see a mk2 for either the FX6 and/or the FX9. That's just how long it's been!). And the Canon C70 and Blackmagic Pocket 6K cameras have been out for a good chunk of time too, together with the RED Komodo they've swept up nearly every corner of the low/mid budget market. Only a few little corners left to exist in such as where ZCam and Kinefinity are, or Panasonic's own BS1H. There is very little space left there for EVA2 to take market share, it would have to fight hard for every inch of it. I think Panasonic's best move is not an EVA2, but to relaunch the BS1H (the "BS2H"?) with built in NDs, the AF of the S5mk2, and with the problematic delays of the SDI out fixed that was in the original BS1H. If they can do that at the same price point as the original BS1H was launched at, then they might see some traction they can then build upon. As such a BS2H could be "the poor man's ARRI 35" who can't afford anything close to ARRI prices, but wants: a box format camera, with good color science, 4K, with built in NDs, SDI, TC, and all at an affordable price. (as strangely enough... think about, what camera meets this?? None aside from the ARRI 35!! And Mini LF. Plus perhaps the OG ALEXA Mini if you ignore the fact it's technically upscaled 4K, not true 4K. On a low budget the closest thing otherwise is using a stripped down FX6 body, or similar. Such as C70) But the BS1H is only a little over two years old, so I can't see a BS2H coming out this year so soon. More likely (at least... we hope?? Be terrible if they don't even do at least this) is that the S1H will be updated with the PDAF of the S5mk2, but otherwise no other major changes of note, just general smaller improvements here or there from the original S1H. Then another year or two after that we get the box camera version announced of the S1H mk2. But by that point, it will be too late? As Blackmagic/RED/ZCam/Kinefinity/Canon/etc won't keep standing still in the years to come.

Thanks for the input. I have tried looking up some comparisons, but it really doesn't seem to be a particularly popular camera. Any idea if the EVA1 body has lens compensation for EF / EF-S lenses built in? I know that my S1 / S5 DOESN'T have compensation for, say, my Canon EF-S 10-18 IS STM, so I have to spend a bit of time fixing the vignette and the barrel distortion. Hopefully I will find some of @IronFilm productions on it. Thanks again.

Cool video, and nice use of a projector as light-source. In terms of more normal narrative lighting, I highly recommend the WanderingDP YT channel for cinematography breakdowns, mostly from advertising but also some features. He talks about the whole topic of cinematography, but mostly concentrates on camera placement in the environment, location design, lighting, blocking, etc all together because they interact, but the focus is on the light, which is why I mention it in response to your question. Moving into more interesting lighting for things like music videos, I don't have a specific recommendation, but a couple of thoughts that did occur to me are: Try to create more contrast Music videos are where you can push things, and you can push the colour grade as well as the production design. In the situations like the outside shots where production design is pretty limited, you can still push the contrast in post, you can push the saturation too (perhaps pushing only select hue ranges, and perhaps darkening them to fit the grittier vibe), and you can also do a split-toning effect (like having cooler shadows). All these will create more contrast in post. Try to create more variation in the frame This relies a bit more on equipment, but try having more sources of coloured light and really push the hues. Maybe grab a second projector and shine one on the talent and one on the background but having different colours. Try shining one on the talent from the left and one from the right. Another more general thought is to create a bit more variation in shots. This involves shooting more angles, so would take more time, so maybe it wasn't in the budget, but getting more angles would really help in the edit. Even if you could get the artist to do an additional run-through in each location and you just film it getting as many different angles as possible - high-angle, low angle, close-up, shot of their hands, focus on the background with them blurred in profile etc. Then you can find any interesting little moments in that one and put them over the top in the edit. In terms of inspiration, do a bunch of google image searches for inspiration, and save any images you like. This is the images for the search "great music videos": Lots of cool ideas in there. Remember good artists copy, great artists steal! Why don't you like the Helios for run-n-gun work?

Not this again... You were the one that made the case against 24p, so you provide the proof that it's inferior. We understand, from your posts, that you are most likely a teenager or young adult, and maybe nobody has ever told you how the real world works but your claims, statements and wishes aren't proof that 24p is inferior...

Everyone: Please Sony, give us an A7sIII with professional video features! If you do I will buy at least seven of them. Sony: Ok, here it is! Everyone: Meh it's just a rehashed A7sIII. This is lame and I'm not buying it.