Cinegain

The E2 just seems too much of a hassle to get operational (and intended that way too). Shame, because the E1 was all about getting you a self-contained MFT camera and keeping the smallest formfactor possible. It was sort of a GoPro with MFT mount. The GH5S I really liked because I've always felt the need for APS-C (FF is not an option as I do not like to get married to the fullframe eco system), the performance from the 4/3" sensor always left a little wishing for more flexibility from it. You could of course make stuff work, but you'd put a lot of your capacity to those technical considerations when creativity shouldn't be caged within certain boundaries. I think they really did something cool with the GH5S. The DualISO mostly of course, but there's also a slight improvement in tonality/gradation/color/shadwo details/highlight roll-off. Yes, you trade in the IBIS, but it does seem to help a little with more organic motion and of course prevents this juddering sensor in certain situations. But in the end, it's no difference than the GH2, T2i/550D, 5DmkII days or many present day's cinema camera for that matter. This also concerns C-AF where Canon's DualPixel AF is the top of the field benchmark. Yeah, it's practical as hell at times, but I feel like focus is a creative decision, you're literally directing your audience's focus where you want it to be and for that cinema cameras rely on focus pulling, rather than AF systems. So, in a way, getting to terms with this process will only give you an advantage by the time you're booking bigger projects and start to rent some of these higher-end cameras. The original BMPCC was dope as fuck of course. The small formfactor and the gorgeous thick cinema-feel footage that it recorded. Otherwise, it was pretty much junk. The batterylife, the screen, the way it handles audio... you really sort of have to turn a blind eye to appreciate what it does at the core. So surely, this new BMPCC4K is bigger (and uglier, I'd rather call this the BMUCC (BlackMagic Ugly Cinema Camera)), but it really is sorta form follows function here. No longer S16 but full 4/3" sensor readout you're getting. The question really is... using the same sensor, are they able to pull out that Blackmagic mojo from it? The GH5S also claimed 13 stops I believe, but then the reality of 11 or so stops or something kicks in. And that's really where the Blackmagic Cinema (not Studio so much) cameras shine: that thick organic looking footage with lovely dynamic range/roll-off. Wonder how it will be here. Color is bound to be gorgeous, but Panasonic has made great strides since the GH4 in this area. So it really becomes... will this look more like the original BMPCC or will this look roughly similar to what you'd get out of the GH5S and what people would call 'video-ey'. Aside from that, some cool features. Huge 5" touchscreen on the back running the URSA OS. Excellent ports configuration! What I don't quite get is the hint that this will be great to record oneself, incl. a record button where the thumb rests if you hold it selfie-style. People turn to Canon for vlog cameras because: DualPixel AF. A lot of their cameras are restricted to 1080p, but this allows for smooth editing and quick rendering/exports & uploading = fast turnarounds/content sharing. Colors straight out of camera are considered 'pretty' the way they are and people won't have to do much in terms of colorcorrection/grading. Maybe a quick curve and they're done. So I'm not sure how that translates to a camera of which its purpose is almost the opposite of the above. Regarding framing and checking focus... how'd you do that here without the inclusion of a vari-angle screen? External monitor, sure, but the reason people use a Canon G7XmkII or Canon 6DmkII for vlogging is partly as well because of the integrated flip-out screen (it's a reason why some vloggers didn't pick up a Sony camera). They want an all-in-one package. People need to stop confusing vloggers for cinematographers that want to use cinema-style cameras. With vloggers it's all about convenience and the least possible drawbacks. Anything to make the shooting and post-production as quick as possible. But oh well. For me it's really between the GH5S and BMPCC4K now. We'll indeed need to wait and see how the BMPCC4K will turn out and first sample footage. In the end though, for the cinema-style approach it's probably the best up from a GH4/GH5. And I find the price rather sensational. It includes the Studio NLE and get the Atomos Ninja V monitor to go with it and you're still spending less than a GH5S alone. I'm glad that the MFT ecosystem has a brighter future than ever and I don't need to switch systems just yet. For me what matters is getting results with a compact set-up. I like the possibility of rigging things up like a christmas tree, the way you would a proper modular cinema camera. But to me the ability to keep things very basic and very compact is the biggest plus a camera can have. I will miss out on IBIS and it won't have great options for stills, but that's why I have the G9. In the end all these cameras have different fortes, but the great thing is they share the same lens ecosystem with so many options in terms of budget, sizes, approaches and quality.

One of the reasons as well was an audio interface. Which is why they put out an XLR hotshoe unit along the GH5.

Was a response to what mercer had been saying (regarding EF VS MFT).

It's interesting that we've got a city getting run over by camera geeks... and then we get images served up like that.

Wonder if the 'anti-rolling mechanism' really takes care of that rolling shutter plaguing most things Sony is involved with.

Another image leaked, looks more and more like a collaborative effort together with Sony on this puppy: And yes! A headphone port confirmed!

Actual cinema cameras aren't exactly going for the pocket thing. They go with the proven concept of shooting S35... the gold standard if you will and the industry has better things to do than fiddle around with mount adapters. We (enthusiasts, prosumers, independent filmmakers) on the other hand... don't mind if it means we get better flexibility out of it. Especially now a lot of folks in that scene have been shooting with cameras like the GH2, G7, GH4 and GH5 and have quite the lens collection. The problem now is... where you go from there? Because going Blackmagic/Kinefinity et cetera is no step... it's a giant leap that hurts your pockets once you're done putting all of it together. Panasonic brought the GH5S. Z-Cam E2 at a price tag of 1999? This Blackmagic Pocket rocket 4K to follow along those lines? Makes sense to me. There's not a lot going on in the 1999-3499 completely done cinema package area.

A lot of huuUUUge productions have used the BMPCC for vehicle mounting and sorts...

Think that had more to do with the name 'JVC' giving flashbacks to mom & dad DV camcorders. Apparently there were some letdowns like display quality as well. But all who have tried it had seemed positively suprised by what it was able to do... and now many quite significant firmware updates later, it's quite capable. Really like the idea of an APS-C sensor behind a MFT mount leading to new possibilities. Wouldn't mind the new Blackmagic pocket rocket to be capable of such as well.

Btw, is JVC attending? How old is that GY-LS300 in meanwhile? Would be interesting to see an update to that concept as well.

Yeah, especially for a 'mirrorless' 'pocket' camera... there's always adapting EF to MFT... so, why waste a perfect oppertunity with a limited use EF-mount used on clunky DSLRs. BMPCC was partly so popular because of the size and MFT and even S16 allowed for small lenses (C-mount as well).

Not sure why you're bothering being on here tbh. If getting on with your life is the thing to do here, why don't you do exactly that and let this forum run its course.

I was thinking about ditching the GH5 for the GH5S, because I do like having like a dedicated cinema-style camera, which that definitely is more like. Richer image, forces you to go with more thought-through set-ups (like pre-IBIS days with anything from GH2-GH4). But this... now this might be the actual real deal! The philosophy and pricing behind this is going to be an interesting one. Interesting as well what Z-Cam will finally have to show for... Man, each year schtuff gets more and more exciting; unreal.

Hope it's a GH5-style self-contained 4K camera with ProRes (new ProRes RAW?) & RAW DNG shooter with gorgeous thick footage with tons of dynamic range. Fingers are crossed tight!

It happens a lot that Amazon stores run solidly and then at some point, either they get hacked or that was the idea to begin with, they turn into con fronts. And when every other shop is listing them for way way more... I'd start to get suspicious... I think lenses like the Veydras will stay relevant for quite a little longer. As has been said, it's great for static scenes or where people will hit their mark, otherwise... not so much, so I don't see it as a huge threat to conventional lenses and the conventional ways we've been shooting with them for decades.

Panasonic just dropped a few clips:

Canon EF-M 11-22mm 4.0-5.6 IS STM (Google is your friend) I've personally always heard good things about the Canon EF-S 10-18mm 4.5-5.6 IS STM. Tokina has a few popular wide options as well: https://geizhals.eu/?cat=acamobjo&xf=227_14~785_Tokina~816_Zoomobjektiv~8219_Canon+EF~8219_Canon+EF-M~8219_Canon+EF-S (no IS though).

Hum, I knew they did like E1-style arrays and little cute VR cams along those lines, but that does look a little more serious. Still though, suppose it would still be tough to get some traction in the industry. Lytro was pushing different things as well... and look how that turned out. Anyways. Let it play out. But I'll remain sceptical as fo0k.

Yeah, exactly. Although, I'd be sceptical regardless of the date... 'CRAFT Digital Cinema camera' rings a bell, anyone? But it's rather unlikey that a young Chinese company targeting the low-end market, would suddenly aim for the proper cinema territory targeting products like the ARRI Alexa Mini. That would only make for another Samsung NX1 saga... Besides, those kind of specs in such a small body... what about heat dissipation? And Blackmagic pulled global shutter from the Micro Cinema Camera after initially announcing it would come with it... But I guess some of you either are really gullible or love to stir up some drama around nothing. Couldn't believe how heated and serious things had gotten over the 1st of April NX1 hack either.

Well, I didn't expect them to keep producing a 2014 product with the way tech evolves. But its worrisome that noone pursues anything like it.

True, I believe Ikan has a 3.5" 4K-signal taking monitor that people are quite fond of. And also what has been mentioned earlier, the Atomos Ninja Star didn't even have a screen. They had the Ninja Blade and Samurai Blade which were 5" and the Ninja 2 that was 4.3"... but indeed where are the ones that combine small formfactor with 4K recording features? And where's Blackmagic... upping their 5" game?

Amen brother. The 7" formfactor is a joke, yet most monitors and recorders go for 7 and 10". That is fine for an actual director's monitor. But one that you use on-camera? Especially now in this day and age that we use gimbals where we can't necessarily always see the screen of the camera that well, or when said camera is a GH5 that outputs 4K60p 10-bit that you want to capture, it's about time these screensizes started to make sense. I appreciate what Videodevices did with the PIX-E5(H), but if you're looking at the price to get it up and running, it's not so funny anymore. The Blackmagic Design Video Assist 5" was a great little tool and boy have they added functionality with firmware, but it isn't a great 4K grabber. And then we've already ran out of options I believe. Concerning monitors... there are quite a few, like the Feelworld F570 for example, which I guess is great value. But I fail to understand why Aputure and Lilliput aren't giving 5" a real go... they did for 7". To me a 5" monitor makes more sense than a 7" one. And apparently that echoes here in the comments. Then how is it that we've got so little to pick from here? Are we all just mad and there's just too little of a market for 'em... not sure, but it's a shame there isn't much else going on in this space.

Looks like Canon counters! https://cvp.com/product/canon_eos_c700_ef?utm_source=mailshot&utm_medium=email&utm_campaign=email

Haha true. I always have the same when I'm on 43rumors and Olympus drops prizes on GetOlympus.com or something again. It hurts missing out on solid deals. :P I did once pick up a good deal on the 25mm f/1.7 from B&H for 99 bucks tho. Shipping was surprisingly cheap (like 7 or 8 bucks) and even with considering import tax it would've been cheaper than it was just here (but it got re-labeled in Germany, so by the time it got to me, customs must've thought it came from within the EU and didn't charge me anything). They've also got some sick deals in Sweden every now and again. It's especially interesting to me how they can have prices so much lower than elsewhere, because when you visit you almost have to sell a kidney just to afford some dinner, so prices of electronics to them must feel like spare change. xD

I actually would consider other options... as non of your picks make it to the usual suspects ND quality rankings (think: Breakthrough Photography, SLR Magic, Tiffen, Formatt-Hitech, B+W, Singh-ray, Heliopan, et cetera). Also. People could generally point out that you're better off with a set of fixed value NDs, rather than one vND. But you must have your reasons (like having store credit to spend and finding ease of use of having variable ND outweigh any possible downsides). This has always been a hot subject in the past, so for more: https://www.google.co.uk/search?q=variable+nd+eoshd+site:www.eoshd.com&hl=en . Concerning the mentioned filters... I suppose it's doubtful you'll find much opinions on some of these.