DBounce

So it seems some reviewers are reporting that AF performance gets worse when you connect an external display or recorder to the HDMI port. Mentioned @25:37

It’s getting interesting... I’ll keep the EOS R until the “Pro” version comes out. I personally like having the extra MP sensor. I dislike the new trend of having to choose between higher MP or better video quality. 40MP is divisible by the 8MPs required for 4K video also.

So Olympus could add a flippy screen to the EM1X, while maintaining excellent weather sealing and extreme ruggedness yet Panasonic claims they omitted this option for strength reasons? I call BS: Panasonic omitted this feature to protect the GH5/S.

Specs mean little. I can tell you that the EOS R is a great camera. After comparing to the top contenders from Sony and Nikon, it is the most organic/filmic of the lot. You need to stop thinking in terms of specs and start evaluating on the the basis of image quality, easy of use, reliability etc... As for what will be released... word on the street is a 26MP sensor based camera.

The Nikon get internal raw with the release of the new firmware that supports CFExpress.

Here's a good look at the footage from the S1: At 7:28 he claims it can output 12 Bit 4k.

Until half your shots are out of focus. I think Panasonic dropped the ball on these cameras. Great AF has to be part of the equation for any new camera... for both stills and video.

I can't say the new Panasonic's really interest me. However, I am somewhat intrigued by the upcoming Fujifilm GFX 100. 100MP sensor with no crop in 4k.

It will work, but it will not balance 100%. That's ok because the Ronin S has powerful motors... so close enough will work fine. The overall weight is going to be an issue. For this reason I recommend picking up a glidecam vest and arm. They make an accessory that can attach to the bottom of the Ronin S. With this setup, weight becomes a non-issue. Granted, this does add extra bulk. Zenmuse X5R is no C200.

Raw is all the rage... and it can save the day sometimes. But the truth is if you can avoid the need to shoot in raw you will make your post production much easier. I never shoot raw under controlled conditions. I try to setup my shots so post work involves only minor changes at best. Storage of all that raw data can become a headache quickly. And even though storage can be had pretty cheaply... $3k or so for a raid... physical space for all the hardware starts to become a problem. If Panasonic includes the mythical organic sensor... I believe raw becomes irrelevant for 99% of the user base. But honestly, I see little chance of this sensor making its way into a GH camera any time soon. However, we might see it slow up in a Fuji camera. They partnered with Panasonic to craft the technology. Fixed TC will not happen... they could have fixed it on the GH5/s but chose not to. The 4k slow-mo is nothing I care about. Truthfully, I think I might have used slow-mo once. I don't shoot music videos and when filming my family... well they move at real time speed. I would wager slow-mo is more of a nice to have, but not important to most people here just like it is on smartphones. It's the sort of thing that gets used once and then quickly forgotten about.

For me the eye opener came from watching some old... really old vintage footage. It wasn’t shot great, but still looked like cinema. Motion is the secret sauce. And that makes sense... it is after all “Motion Picture”... so it’s not a big leap to imagine motion would be the key.

It’s motion. That’s the key. Get the most “cinematic” movie you can think of... enable the frame smoothing... or blur reduction or whatever they call it on the TV you are using... and... instant video. I don’t care how it was shot, it doesn’t matter what camera or what lens... it could have been shot on film... instant video. Some cameras pull it off better than others straight out of the box; Most need help by using correct technique. Others are hopeless. The above is an easy experiment to perform. Mystery solved!

To answer the question... there is one thing that almost always makes a video seem cinematic... and that is slow motion. Even smartphone video seems cinematic in slow-mo. That's one of the reasons I detest when people post footage from new cameras but only use slow-mo. It's a cheat, because you can't film usable dialog in slow-mo. If slow-mo can make a smartphone seem cinematic, then we can conclude it's an important part of the cinematic recipe. This can be further evidenced by looking at the other extreme; record in 30p or 60p and you have instant "video" look. So the key would seem to be tied to motion. Sure lights and framing play a part, but I honestly feel the major component is motion. And that motion can also be helped or harmed by how the camera is moved. Speed of camera movement is important. Panning too fast produces a visible judder. Though I'm not certain this is an issue with GS cameras? Direction that the subject moves is also critical. One should try to avoid having subjects move parallel to the lens from one side of the frame to the other; favoring instead movements toward or away from the camera at an angle to enter or exit the frame.

I saw nothing so "Cinematic" in his posted videos. Poorly lit "Christmas with Grandpa" video... overuse of slow-mo in all of his camera videos.... and what story? There was little there that would not put someone to sleep. I think before ripping some of the most successful YouTubers apart, he might consider the context in which almost all of the YouTubers he referenced are shooting. These YouTubers are not trying to shoot full length narrative works... they are Vloggers. Often times lighting means available or practical light. Sound maybe an on-camera mic, or even built in. It's about sharing the knowledge and experience... or if you would reporting the story. Now, if he wants to compare his work to those that are actually attempting to shoot true narrative works, with budgets to do so... there is an available list of academy Award nominated feature films from such folks readily available. In defense of "Scope", While I see no point to merely adding black bars to the top and bottom of a video; I believe that conforming videos to cinemascope aspect ratio is actually a good idea. This belief has nothing to do with weather or not it looks cinematic... I believe this because doing so allows the video to better fill the screen on newer smartphones that have wider aspect ratios.

No doubt those things are very important. But for most users that are purchasing a camera for a couple thousand dollars they are likely also using said camera for personal use... or at minimum operating as a one man band. And where that is the case easy operation and fast results becomes a practical necessity.

Funny, I never ask about specs when I go to the movies. I'm more interested in the image than specs. But if that's your thing have at it. But after having used all of the top contenders, I can tell you the canon just plain looks more cinematic... regardless of specs. Also usability wise, it's by far the easiest to shoot with.

A flop? Canon just released the EOS R and are already number two for mirrorless worldwide, and just took the number one spot in Japan. Not bad for a flop.

Good luck selling a $3k GH6. I cannot fathom what it would need to have to justify that price whilst keeping the smaller sensor. The time for M43 draws to an end. The smaller sensor held the promise of smaller bodies and lenses... but clearly that is not really holding true anymore. Sony’s Alpha series harkened the death of M43. With releases like the Nikon Z6 maintaining a full frame sensor and adding raw capabilities I believe the final blow might have been dealt. A new minimum sensor size standard has been set with the Fuji X-T3. APSC will still have a future, but there is no reason to go smaller. I believe Olympus was unwise to stay out of the L-Mount Alliance.

Now I know where Red got their designs from. It almost looks like one of their cameras.

It's not a E-M1 II with a grip. In terms of the body it is greatly updated. The weather-sealing is top notch. It no doubt is a much tougher camera. Granted, it shares much of its electronics with the E-M1 II, but the body is a huge upgrade. That said, you would have to be a bit insane to want to plop down $3000 for this camera. From all accounts this camera is robust, but it is outdated in many important ways. While the image stabilization is amazing, the warping effect that it sometimes produces will be the gremlin that ruins the important must get shot for you. It's not hard to make the decision to pass on this one. I think this camera may be further proof that M43 is dying. They could have done something epic at this price point.... built in ND, Global shutter, Dual ISO, 120 fps 4k.... the body is certainly large enough; but all they did was to toughen the body and rehash some old tech. Pity.

I wouldn't buy anything on hopes of a firmware. But that said the Z6 is a lot of camera for the money. I don't think you would be disappointed. I can't say I really noticed it at all. But then again I don't shoot wide that much. Is it with adapted lenses? I honestly remain unconvinced by IBIS. I think it makes more sense for stills than for video.

Looks good to me, but the skin tones makes him look like a cat?

Did Canon promise a middle codec? I certainly didn't expect one when I purchased it. But if they did promise one, and it wasn't there and working when I purchased it... I would have returned it. Adding new features is one thing, but shipping with missing core functionality is another. I think what I am saying is little different from what the last reviewer said. Just look at the WB... or should I say yellow balance. Granted, I have seen that many cameras have a slight variance in WB... but this thing is waaayyyy off. You should pick one up and live with it for awhile. I would be curious to see if your view changes after owning one for a little bit. BTW: The Fuji's died. Can't say they were missing any features while they worked though. I'll go one better, up until they died they were lovely to shoot with.

Make certain that the digital image stabilization is off.

So like I said, this camera is a work in progress.