Mattias Burling

I don't, but it's not because I forget. The reason you don't get sdof is because it's a 6mm lens. You get the exact same dof you would on a medium format with a 6mm from the same distance. Aperture is set for the exposure, so applying crop factor to it is simply weird imo.

I would think that peoples skill and creativity will be way more of a deciding factor that the negligible "improvement" 4K gives in a sub $200 camera. Post something online and it will. Same as everything else. Use what ever you like but it might be taken into consideration by people. If it feels ok, it probably is. Anyone ridiculing another persons work in a learning exercise is either jealous, an idiot or a bot. You only need to ever care about constructive criticism and there is never any ridiculing in that.

Yeah, thats actually a smart way to get people to keep it reasonable. One can do everything imaginable to get that BMCC under $200 or slightly above. But if it comes of as "cheating" it might be last and "bye bye camera". Ive always had my trusty old GM1 as my backup incase I don't have time to find something else. But when thinking about it.. I don't want to loose it

In my mind you can do whatever you want and then state your case afterwards. If it feels ok it probably is. The goal is a sub €200 camera and if it's €220 that will be taken into consideration. So if it's neck and neck between two videos and one was under budget it will win. I really don't think we need to have the rules in such detail for a friendly competition. Personally I'm not trying everything to max the budget, instead I will try to go as low as possible. I mean a store here has a used GH4 in the sub €300 so a G6 or GX80 is probably doable. But what's the fun in that

Kipon with Close Focus is always my go-to for MFT. Takes care of the long focus distance inherited by the Leica mount.

Just browsed a little in the sub €200 range. The GX800, EOS-M, Nex-7 etc are all easy to find, but also obvious and a little boring. But the original RX100.. that could be fun.

Ive been editing from a Sandisk 1TB USB3 disk for a couple of years on a MBP. Works perfectly, raw, prores, you name it.

I could test it on both as soon as I find the adapter. I have used it on Fuji and yesterday I was shooting some street with it on the EOS-R. It's a cool lens. Like always with 7artisans it's not clinically sharp, but I know you care as little as I do about that.

I think the camera should remain secret until after the vote. When doing camera side by sides we all know people vote for the one that should be best if presented with their identities. If there was a max budget for camera+lens+mic+what have you, then speed boosters should be fine.

Imo smartphone cameras just means a bunch of missed shots. Specially in street photography. That's why I hate using them.

I know it's a bit like cursing in church to say this in this forum.. but IMHO.. the 1DC was a huge disappointed. I paid less than an A7sii but still it's way over priced (this was maybe two years ago). For video that is. For stills it was excellent. Sold it to a guy who wanted a 1Dx but couldn't afford it, he never ever shoots video. So it hasn't recorded a single frame of video since.

The only thing that's foolish is calling people fools just because they don't order the same ice cream flavor as you. If the competition offered the same features/price it would have been at least debatable. But even then there would be enough difference that some would choose the Canon. I don't even own a Canon but aren't allowed to say I like them without being jumped by fanboys... sigh.. foolish indeed..

If you can't get great images from a 6Dmkii it just means that you are an awful operator. Just terrible.

Nah, they can't even touch a 10 year old DSLR. The CM1 was decent, for a phone. But over all phone cameras suck balls IMHO

I would be super surprised if there was even one single soul out there that bought an E-M1X for the log profile. If we are talking the GH5 etc, sure its aimed a lot towards videographers. But even that is still a stills camera first and foremost. Its like complaining about video on the new Hasselblad... Or better yet, going to an auto dealer and complain that the latest Volvo isn't the perfect wedding camera.. because it isnt.. its a car. Not everything made by man is for shooting video

I think "low" goes without saying when discussing consumer stills cameras. Much worse, I only use it for landscape shots etc where I need the extra detail. So I can live with it. I have the Tamron 17-50/2.8 VC. It works really well to. But I'm bidding on the Canon 17-55 since the Tamron apparently doesn't have stabilization on the BMPCC4K + Viltrox. Stopped reading there. Hyperbole about the 4K and I have no interest to read anything about a $3000 stills camera that doesn't even have a top display. Let alone the other "ifs" and "buts". Plus, this old dead horse debate is off topic. I look forward to reading about Squigs endeavors in comparing the cameras from the side line.

In HD the R has no rolling shutter. That's one of my biggest reasons for using it for all my handheld work. I have a couple of OIS lenses but very rarely use them for video. I stick with EF 1.8 primes and the in body stabilization. I only use my OIS for the BMMCC since it doesn't have any stabilization. That's correct. In Full Frame HD there is no rolling shutter worth mentioning. It's one of the main reasons I told my employer to invest in the R. I could have told them to buy anything I wanted. But since I will be using it, it had to be good at both Run n gun video as well as stills. It was the only choice really. When Sony, Fuji etc can get rid of their rolling shutter as well a few other things I will consider them for hybrid work again. Until then they are stills only in my book.

Smart move. You could get a monitor to upgrade it's exposure and focus aids. Frame guides as well. Or a ninja to get Prores out of the box as icing on the cake.

In s35 mode on the EOS-R I don't think you could get five out of five on a blind test next to the C100mkii. I did some side by side with my BMMCC as well and the R has more detail and almost identical DR to the BMDs Prores HQ. Personally I use it in full frame HD for mini docs all the time. It's either going online for social media or projected on big movie screens. So no need for anymore detail. I always have my BMD on standby but so far I just keep using the R.

I sometimes like to say that "AF for video hasn't been invented yet". And I'm only half kidding. The camera will never know where I want the focus. And like already mentioned, on big shoots you can have a focus puller, so AF in an Arri is probably not high on the priorities. Loosley on the topic, found this a bit interesting to watch.

I don't really use video AF unless its a very specific occasion. And my main work camera is a Canon with DPAF, which is as good as it gets, specially in continuous. With that said, the push AF feature on the BMPCC4K coupled with a native m4/3 lens should not be swept under the rug. It is very usable and quite quick. (No continues worth mentioning though.)

Unfortunately no. I meant that the 240p being only h265 is enough of a letdown for me to become very aware of it's other negatives compared to the BMPCC4K.

Yeah it's the 240 that kills it. That's it's one trick in front of the BMPCC4K in my mind. So not having it in a codec that suites my workflow makes other little "ifs and buts" more noticeable. The BMPCC4K becomes a safer bet. But it has a lot of things going for it. Both LANC and a com port, that little top display would be very handy at times. I like the three mounting points on the side. And the price isn't to bad.

I came very close to ordering the E2 this week. Was interested in the slowmotion. But after some research there where a few things that was annoying, design wise. But the big deal breaker was the h265. God I would hate having to use that. If the slowmotion had been available in Prores I could have looked the other way on the, imo, weird connection placements.