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I think it’s going to be the S35 Gerald1 tribute cam.

“Daddy, please come back inside and play with us” ”Not now kids, the world MUST be told IMMEDIATELY about a rumour I’ve heard about a new camera”. From Mr. Undone to Mr. Unfun, it’s all a bit silly for grown adults this isn’t it?

I understand that they based the algorithm for the battery gauge on the Pocket based on this. Do you have one of ye olde worlde NPF adapters like this one ? It will power the camera all day obviously and with much the lower profile F550 batteries you'll still get plenty of run time without it being too unwieldy. There is actually an argument that adding the weight on to the camera using one of these is beneficial anyway when it comes to it not wafting about. However, the good thing about these plates and the way I use(d) mine when out and about was to have it in my coat/bag and attach it to the camera when moving place to place to top up the charge of the internal battery. Time has moved on though and if I was looking for something a bit more modern to deal with the problem then this small charging case looks pretty interesting. It is to be used with a USB power pack (of which there are a gazillion of various sizes and capacities obviously) and can be used in the jacket/bag in the same way as the battery plate except of course you are background charging batteries to be put in the camera rather than re-charging the one that is currently in it. I think its a decent price for what you get as it includes two batteries and it also doubles as a dual slot USB card reader. It won't stop the randomness of the insta-drain "feature" of the BMPCC so to be totally sure of avoiding that then you'll need the continuous power offered by the NPF adapter.

One can only hope that they didn't lose Jerry's invitation in the mail this time. Their event just won't be the same without him sitting on a couch not shooting anything and distracting other people who are just trying to generate a quick marketing piece.

So cool to have this thread created. Hope everyone is well; haven’t been active in a while. Still love my Z6. Super nice 8 bit image and if you nail your WB grades very nicely. Neutral with I-dynamic on high or Nikon flat with I-dynamic (for very extreme scenes) provides nice colors, decent flexibility and range in post. Grades nicely in Davinci. Autofocus is usable, nowhere near what the latest Canons and Sonys can do but still really solid. If you can get an Atomos Ninja Star you can record oversampled 6k>1080p 10 bit 422 prores which gives a beautiful image and grades just as well as anything out there. One of the best 1080p cams for the money in that regard. 4k 10 bit out of the HDMI to something like a Ninja V looks great; the image holds up with really anything else (Canon R6 II, Sony FX30, etc) but it’s not my favorite setup in terms of ergonomics, weight or battery management. Nice to have as an option but I’d much rather have internal 10 bit log. That being said, the internal 8 bit is great most of the time.

I've got a mate coming round to help me with the few shots that need camera movement or a focus rack. I can fill in the rest solo.

Probably the Panasonic version of the "new" Leica camera.

Between the K-X and the C70? Do you mean to see how well they can match? For that, I'll probably just set them up next to each other on tripods with similar lenses at a similar t-stop and shoot myself holding a color chart. Then I'll use the Resolve color chart tool on both and look at them side-by-side. If I think that they're similar enough that a normal person wouldn't find it jarring, that'll be good enough for me, especially for a 48. Fair enough. There's no wrong choice there, it really just depends on one's goals. I only bought the C70 last year when it was already pretty dated (mine came from a rental house for a great price). With Canon, there's no knowing whether the new version will really improve anything that one cares about and what things that you liked will be removed for seemingly no reason. But at least a new model would be likely to push down prices even more on the used stuff. I'm watching Chimp Empire now. Looks beautiful. Wonderful example of how great the C70 and C300 are for run and gun.

Mixture of 8 bit and external 10 bit. The first location is definitely 8 bit.

Here's one from last week's concert. Shot with BMMCC and the Sigma 18-35; not my lens of choice but it's the one I bring when I don't know what I'll be getting into, and I'd never been to this venue before. It was basically a house concert, but amplified and with some stage lighting on the floor; there was a bit of feedback in the sound system that I tried to notch out with EQ in post and succeeded in attenuating most but not all of the ringing. Some handheld b-roll at the beginning.

If you use autofocus, ibis and like over-sharpened 4K sure its a great camera but if you don't, the Canon 5D iii 14bit 3:2 open gate raw magic lantern video is the winner in my opinion and also much cheaper

Let's take a moment to appreciate the old treasure that is the Nikon Z6 OG, which couldn't have aged better even if it were deposited in an oak barrel in Scotland for the past 6 years. First of all it is £650 now. Secondly of course it is full frame whereas a lot of the other options for this price are crop sensor. Many of the other mirrorless full frame cameras have aged quite badly. The Panasonic S1 is superseded by a smaller cheaper camera with better AF. The Canon EOS R classic has been superseded twice by the R6 and R6 II. The formula of Z6 on the other hand has only merely been tweaked with the Z6 II that doesn't add a huge amount extra, because it just doesn't need to. And the Z8 / Z9 are insanely more money than £650. I like that it has such nice colour science out the box. It also has better custom picture profile management than Canon. The IBIS is superior to the Canon EOS R3 in every way, let alone the EOS R5 or R6 II. The 4K video and 6K sensor is superb in low light, better than the 8K+ stuff. And despite now being very cheap the top LCD and enormous, detailed EVF hold up very favourably today, in fact the EVF competes with some of the best even in 2024. The ergonomics are excellent, it doesn't put a foot wrong in terms of what it tries to do. And what it doesn't do, you probably don't need. OK, so there's no 4K/60p, or faster stacked sensor, and 120fps is limited to 1080p, but everything feels fast and responsive, including the on-sensor phase-detect AF. It is much smaller and lighter than the Panasonic S1 or S1H, yet with phase-detect AF and a very similar sensor under the hood. Z mount has also ripened well... It has a really good line up of lenses and adapters now, including the nifty Leica M mount autofocus adapter which will turn every manual focus lens into a fast and snappy autofocus optic. Plus it's the only mirrorless mount that adapts to Sony E! So you can put your native Sony mirrorless lenses on there and everything works. I can't think of a better deal for £650 at the moment on the used market for cameras. Curious to hear other opinions and what's changed in Nikon land since it came out those long 6 years ago in 2018. I can't for the life of me think of another 6 year old camera that has aged this well.

Coming from years with the trusty GH5 and GH5s combo, I'm missing my Metabones Speed Booster options and want to start playing around on cheap Lumix S cameras now that the prices are dropping like crazy. 4k/60p and Super 35 modes with the speed boosters and my various vintage glass sounds like a fun project. Questions; 1. What ever happened to the Metabones Speed Boosters for L-Mount? There are product pages buried on the site but did they ever actually go into production? Mandela effect? https://www.metabones.com/products/details/MB_SPNFG-L-BM1 2. I read something about some of the flange/clearance distance not working and hitting the shutter? If so, does the S9 now offer the option for a Speed Booster in S35 mode or is it still too compact to allow for the optics? Sigma FP is OK because of no mechanical shutter? https://kipon.com/product/ef-l-af-0-7/ https://laowacine.com/product/0-7x-focal-reducer-for-probe-lens/ With the new batch of Mark ii Lumix S camera's I'm hoping cropped 4k/60p will be a thing of the past but since I will be scooping up used first gen models for cheap B and C cameras, I would like some options for adapting/boosting my vintage glass.

Can't you do 4k raw from fs700 with Ninja and/or Video Assist? I thought it did 4k raw up to like 120p, though I don't remember if that was continuous or only for a few seconds.

Insta drain, that's a good word!:) Thanks for the cool suggestions. @BTM_Pix The charging station looks really cool. NPF route looks spiffy and avoiding the insta drain is a great thing! Still got some NPF batteries laying around. FS700 is collecting dust. Hmm, maybe it is time for some 8bit 420 glory as well.:)

C70 rolling shutter numbers from: https://www.optyczne.pl/48.4-Inne_testy-Canon_EOS_C70_-_test_kamery_Jakość_obrazu.html . 'Matrix' = Sensor (Google translation confusion...) There's also some DR tests towards the bottom of this page - https://www.optyczne.pl/48.3-Inne_testy-Canon_EOS_C70_-_test_kamery_Użytkowanie.html

The C70 seems less sharp, for sure, beyond being 4k vs 6k. Colors are a little punchier straight out of camera. I don't have a Xyla 21 and haven't done anything scientific, but I think the C70 has a little more dynamic range (but the difference is less than I expected). Both sensors are a bit wider than a standard APS-C sensor (26.2mm for the C70 and 27.03mm for the K-X) so with a focal reducer, the field of view/dof of the lenses is a nearly perfect match for full frame. Also, C70 has rolling shutter, but I think it's around 16ms - so it looks mostly fine when shooting moving stuff/moving the camera around. It has the advantage when overcranking to 120fps that it doesn't need to crop in at all, but the disadvantage of turning off DGO and losing dynamic range (though then the RS is even less, like 8ms or something). This weekend, maybe tomorrow, I'll do my side-by-side test and would be glad to post a couple of frame grabs (before and after using the color chart tool in Resolve). Gotta' hand it to those folks - I've done some crazy stuff to get the shot, but I'm not sure I'd be up for standing in the middle of a bunch of fighting apes.

Yeah you can get over an hour on the 5D3 with one battery.

Good catch indeed! What about from the standpoint of pure image? Is the C70 comparable to the K-X? I didn't want to use the word cinematic 😉 Yes, when run&gun meets cinematography

As the saying goes, there are many ways to skin a cat and whilst not an infinite number, no ‘right’ way when it comes to the tools. It can be done with any combo of bodies and lenses including 4/3, APSC, FF, MF, stills plus video, stills from video, FHD, 4k, 6k, 8k, primes, zooms, cine lenses, freehand, tripods, monopods, gimbals, with filters, without filters…and I know this because other than MF and 8k, I’ve tried it over the 13.5 years since I began this journey! Fuji is one of my strongest candidates for 2025, but XH2 only. It’s not top at this present time but has been under consideration several times. For my specific needs, I need as a minimum (and ideally a maximum) 3 bodies and 3 lenses. For ceremonies and speeches, I need 2x static units. A pair of XH2’s shooting 8k for video and frame grab stills would cover that with a 3rd unit roaming. The rest of the day, ie ‘everything else’, one unit stills shooting just 8k video clips and another, landscape, details and family groups as stills because those 3 areas I think will still be better served as actual stills. There are also lenses with focal lengths that meet my needs and everything is relatively compact, light (enough) and not too expensive, especially as all of it can be purchased used. Actually, I’ve just talked it up a notch to myself, but we’ll see how the 6k approach with the kit I have goes first because I’d rather not change anything physical unless I absolutely have to!

I truly hope my dreams come true and it is a S35 EVA2 with L Mount!! Can't make any other sense to release an APS-C L Mount camera??? As it would freak out all the Panasonic MFT users!!! Releasing a Medium Format camera in L Mount makes no sense???? Releasing a brand new mount is even more insane!! Thus surely it must be a MFT camera??? (or it's a P&S, no mount at all) So by a process of elimination the most likely cameras would be a Panasonic GH7 or GX9mk2??? Maybe an extremely small outlier chance of something such as say a Panasonic BGH2 (i.e. a BGH1 but with the guts of a GH6 inside it instead)

This is what I would do too. The next level in matching is to go through the Hue vs Hue, Hue vs Sat, and Hue vs Luma curves and tweak things to match there, paying particular attention to the Hue vs Hue of the skin tones. I'd be gentle with these, so if the curves looked too drastic I'd back them off to minimise the risk of breaking the image (although with cameras like these that's unlikely). Then I'd just save that as a power-grade and apply it if/when required in future. You do it once and have it forever basically. Even this is potentially unnecessary, as once you put on a global look over the whole project it will often obscure differences between cameras to the point they're not visible in context.

I'll start making popcorn.

I'd say the same about the term "filmic." It's usually used by people who clearly never shot on film and seem to think that all film looked the same. But Portra (negative film, low contrast) and Velvia (positive film, high contrast) don't even remotely look alike. In fact, I'd be willing to bet that half of those people would see images shot on Velvia and damn them as being insufficiently filmic. 😉 Similarly, FP4, HP5, Delta 400, and T-Max 3200 all look very distinct from each other - including that the first two are traditional black and white films and the others are modern t-grain films. Even within the same black and white film stock, choice of developer is extremely relevant. Anyway. People use "cinematic" and "filmic" in camera discussions like people used "old-timey" in O Brother Where Art Thou. They just mean it's something they like, but for some reason, won't just say that.

The sticking point is that people don't want "filmic" looking images anymore. Everyone uses and abuses the word "cinematic" and it no longer has anything to do with what is being projected in cinemas, but rather it has come to mean overly sharp images with very shallow DoF and a heavy grade in FilmConvert or Dehancer where the mood of the grade has no connection to the story of the video (if there even is a story at all).

As someone who frequently covers events and a "one man band" travel doc shooter, I have also been watching this space closely the last 10 years. Oftentimes it's just the mental shift for me because stills and video are just different enough to need a slight mental adjustment to plan/prepare for action stuff. I've gotten better with time but my safety net has been to add redundancy and more bodies. Or to just commit to high resolution video and pray some of the stills will work out. (Not ideal) In Tokyo a couple of years back I was shooting some martial arts action and really needed to get some stills but was also unsure of how much time/access I would be given in this very private dojo. I was shooting open gate 5k on two GH5 bodies, (One Static and one Handheld with Sigma 18-35mm f1.8. I also had a little GX85 with wide angle speed boosted Contax mounted overhead at 4k. The mental load of running the 3 cameras for the video shoot was enough that switching modes to cover stills just felt too much to add. Luckily the client was ok pulling 5k stills for social and even printed some of the action shots. With a lot of travel, (Nepal,Japan, India) the M43 system and GH5/s was amazing for size, weight and cost. But jumping back into FF has definelty made things more of a challenge in all of those areas and I am also thinking now about just two GFX bodies now. Maybe a GFX 100 ii and an X-H2s. Or just get 4 various Lumix S bodies in 2024 for pennies and dedicate an S1R for stills and make sure I use it.

Interesting. When I felt it was time for me to go to a better camera I was seriously looking at the Ursa Mini Pro but the fixed pattern noise thing was a turn off. I also was looking at the BM Production Camera 4K, Digital Bolex, the Ursa non-mini even (which were like a full size VHS camcorder). I see the BM 4K Production Cameras now on Craigslist for only CAN$1100 which is pretty amazing for their image quality. I wasn't liking the poor audio quality part though. There are always trade offs with cameras. I ended up getting a deal on a Digital Bolex and loving it. It's not easy to shoot with but the results are worth it for certain types of shooting. I had a small group over for supper and a screening (projected) of my latest film shot with it and one of them, who's a layperson and not involved in film at all, said something like the image had a certain quality to it and wondered if I had a special camera or something. In the end I paid a lot but I'm super happy with what I ended up with. No FPN, good audio, amazing image quality, etc. It's also become a bit of a conversation piece when I've been out shooting. I've met a few interesting camera buffs that way. I think to compliment this would be something like a 4K camcorder with built in gimbal type stabilization. Sony, Canon and Panasonic all make similar models. I have an HD Sony (PJ650) that I love for its ease of use, stabilization and all that. We live in a golden age of so many camera choices and most of them are very good and much better than the few choices we had in the past. In fact we can even get super picky about minor details. It reminds me of coffee and craft beer. Thirty or more years ago it was all crap and now so much amazing beer and coffee is available we can look down upon very good coffee because we can choose super good coffee.

As someone who has owned the OG S5 and uses an S5ii and an S1H, I can confirm. The S5ii has the best stabilisation (by far) and the best AF, (S5ii, then S1H, then OG S5) but actual picture quality, I'd rank them: S1H, OG S5 and last S5ii. But for anyone that doesn't need the stab or the absolute best AF, the OG S5 I think is a steal. In fact, the S5, S5ii, Z6, Z6ii and maybe some others, all share the same sensor, but perhaps with some individual brand tweaks. The S1H has an OLPF so is a slightly different beast but I prefer the still image results I get out of the Z6ii over the S5ii. There is not that much in it, but there's a subtle difference I cannot put my finger on except there is 'something'...

From my experience, ease of use in reaching that best potential image quality goes to the Bmpcc and Bmmcc, among DSLMs and sub 5000 USD class of cameras. @ita149 The og S1, S5 and the S1H provide fantastic potential in post with a modern flawless image, up there with a FX6, dethrowning a r5 in regards of dynamic range and latitude f.i. S1 would be my steal of the current moment, regarding bang for the buck for a cinema dslm. The og Bmpcc and Bmmcc are my image magic recording devices though.:)

All hobbies are like this.