mercer

I assume this was shot with e-m1ii? And wow, this looks really good and a nice comparison to the P4K mountain biking footage. I found the mountain biking and fishing in Shanghai videos to be the most useful footage released from BM. But side by side, for what I would use the camera for, the Olympus seems like the clear winner here. I think there are some questions regarding the P4K that I guess I wasn’t aware of... is there a 2x crop in 1080p Raw? If so, then that’s a 4X crop of FF? Or is it a 2x crop instead of the 1.89x crop? I assume the latter because the former would be ridiculous, unless I could get my D-mount lenses to work with it. I think Andrew’s point about it being the camera of the month is a very salient point. I’m sure the camera is awesome and there will be amazing footage floating around the internet and probably even short and feature films shot with it, but I’m also sure that a lot of people don’t realize how large the file sizes will be, even in ProRes LT. And then when you add the limited ISO options... basically two preset ISOs... 400 and 3200, people will quickly realize that this camera is designed for controlled shootings for shooters with resources. The original Pocket had the native 800 iso which would seem to be more useful than a native 400 and 3200? When you add the cost of the peripherals most likely required... extra batteries, a couple chargers (canon batteries take 2 hours to charge) or an external battery solution, memory cards, lenses, possibly a speedbooster, ND filters, IR cut filters, a follow focus, a cage, etc... you are looking at well over $3000. Now I wouldn’t rig the camera up with half of that stuff but I know I am in the minority with this. So at over $3000 one could get a C100 Mark II and have a usable camera with DPAF right out of the box that will probably be smaller than the Frankenrigged P4K. Or for only a little more new, the FS5 with Raw update will get you ProRes Raw.

I inserted myself into the discussion last night when I probably shouldn’t have, but I do stand by my opinion that Andrew should have been invited to the Manchester event. I, for one, never felt that John Brawley was to blame for this and feel that most people on this site have been very thankful for his contributions, not just about info on the upcoming camera but his openness about the inner workings of a Hollywood set and his methods of shooting. But the disdain displayed to Andrew in this thread is mind boggling. I don’t always agree with him, but the man has wholeheartedly opened his craft and home to a countless amount of strangers for free. There is not one other site in the video community that is completely ad free and he rarely asks for a thank you. I can only imagine the cost it is to upkeep this site. I’d be a liar if I didn’t admit that I find him infuriating at times, but I would never question his devotion to his craft and his readers. With that being said, I feel JB’s reply to the events was unnecessarily rude. Perhaps there was a breakdown in communication as Andrew has already stated but for every person that felt Andrew could have handled the snub differently, they should equally admit that JB could have handled his response differently as well. BM was born on the backs of hobbyists and enthusiasts. We paid for the R&D of the Ursa Pro with every Pocket or Micro we bought. As much as we appreciate their inexpensive cinema cameras, they are only available because we decide to purchase them... it’s like a television show, it only exists at the behest of its viewers. But in the end, they are both artists and artists are passionate, honest and sensitive people... they must be to put themselves and their work out into the world for scrutiny.

I am really looking forward to this review. Please include in your review about the focus peaking. That is the one feature that seems a little fiddly when I tested my friend’s. Since he already owns one, I am seriously considering this as the glovebox, hybrid cam I’ve been looking for. Also if you get a chance, I would love to see some footage with some of those Kern Paillards you have?

Gloucester City, NJ... my union hall was out of there.

My friend has the E-M10iii and loves it. I’ve used it a couple times and it was a blast to shoot with. I’m probably going to follow a similar path. I have my 5D3 for short films and all I really need/want is a second portable camera for fun/casual photo and video. As you and Webrunner said, chasing these disposable toys isn’t worth the time and trouble, for me an E-M5ii or a D5500 will get the job done.

Didn’t know that. I don’t live too far from you. I’m about halfway between Philly and AC. I’ve been shooting my film up and down the coast between AC and Cape May.

Haha, yeah where else could I change my mind every other day about which camera I should get next. Btw, right now I’m thinking D3400, a6000, M50, or G85... lol.

That 17-35mm sings. Is that an f/2.8? Between the Standard and Flat Profile you should be set. I keep hearing people say that the 1080p from the D750 is soft, but I just don’t see it. How much sharper do you need than the frames you posted. I miss my D5500 all the time. I almost bought a D3400 last year for fun because I miss the Nikon Flat Profile so much. Btw, do you live in NJ? That 17-35mm shot looks like Malibu Beach outside of Atlantic City.

Maybe all the members should donate $1-$5 to fund a z-cam e2 for Andrew to review. Or I bet Kinefinity would love for Andrew to review the Terra 4K.

Wow! Are those frame grabs from the D750? If so, go write a feature film, shoot it on the D750 and don’t look back!!!

I don’t know, I think the only logical reason is that Ebrahim stole your invite and sold it to fund his sisters dental abortion. But seriously, this site is the best camera forum online. The members don’t always agree on everything, but we call bullshit when we see it. And the complete lack of an invite is total bullshit, especially since there are a few BM insiders posting here to inflate the product. Obviously, I don’t mean John Brawley, his insight is much respected, but there are most likely a few others.

@Andrew Reid you should send BM an invoice for the advertising your bandwidth paid for.

I don’t know if I agree with that. If I remember correctly, Andrew received a Micro to review. And I believe he gave his honest review. Now he doesn’t receive a camera, or an invite to a local event?That is kinda BS. Everybody wants to act like BM is a different kind of company but that just isn’t true. They saw a hole in the marketplace and dove in. These companies don’t create products solely out of the kindness of their hearts for the indie filmmakers of the world. If BM did, they would have released a logical 2.5K upgrade to the Pocket two years ago. Panasonic, Canon, Sony, Fuji, they are all the same. They exist to make money. And they will take advantage of any free resource they have. @Cinegain

Honestly? I don’t know why you bother. But let me explain... some of your videos have inspired me to be better than I naturally am. Your GH1 video in the Buddhist monastery is one of the nicest videos floating around since the dslr revolution. Your BMCC video at the abandoned amusement park is one of my favorite videos from that camera. Even your simple but fun video of the FZ1000 led me to eventually buy its successor, the FZ2500 (even though you disliked that upgrade) so why eff around with this nonsense when you can be out creating? If you were making money from this site... I’d get it, but why hang out with a bunch of know it alls (myself included) and armchair professionals when you could be working on a feature film and using your money to finance that? Just my opinion. I’d miss the site but I’d understand your reasoning.

Yeah it seems whenever there is a bump in TV resolution, there’s a bump in consumer/prosumer video camera resolution... maybe Samsung will be releasing a new camera. 8K TVs with 720p broadcasting... lol.

You hate slow motion, though. So the video barely had a chance with you. Slow motion aside, Fuji video just has an inherent cinematic quality to it and I’m noticing it even more with F Log. So whatever their Log curve is doing, it is working. I’m still contemplating a hybrid and if the X-T3 brings the price of the X-H1 down, I may have to go that route with the 35mm 1.4. But the GH5, for all of its features alone, is still in the running at this point.

Haha, I honestly thought you were talking about the camera in general. My mistake. Total OT here but why don’t you go and buy an FS5? You seem to be happy with Sony and getting good results with the a7iii. And although I’ve never used one, I have seen one close up on the trade show floor and the thing is tiny. I spoke with the operator for a while and he loved it as an A-Cam to his a6500. From our brief discussions, you seem to be interested in narratives, and an FS5 with ProRes Raw out plus all of the conveniences of a cinema camera would probably suit your long term goals better? Just a thought.

Because who would buy the GH5, 6 months after release, if you could get the GH5s for only a little more with IBIS? They still need to protect the life cycle of the GH5.

Haha, yeah I remember that, Panasonic left out IBIS on the GH5s because that one car show on Amazon asked them too... I wonder how many sales that netted for them... And the GH5s sensor is designed to shoot cleaner at high ISOs but I guess they needed that little extra by leaving out IBIS?

Sorry that’s what I thought you were saying but either way, my response was a joke. Good to know downvotes are fair game though... ?? Btw, I’m just joking around with the middle finger emoji.

As a sensor manufacturer, Sony is in an entirely different position than Canon. It helps their business to showcase their sensor’s capabilities. It helps their business when every GH5s or X-T2 or Z6 sells. So I don’t know if Sony’s camera business model is a fair comparison with Canon’s Also, one could argue that Canon’s DPAF is the single best camera feature in the past 10 years and Canon has happily let that feature funnel down into their cheapest consumer model. And when you look at the features that are funneling down from the C series into the EOS-R, I don’t know if I buy the whole... protecting their C series... argument anymore. The biggest gripe that most people have with the EOS-R is the 4K crop and the lack of 120p in FHD. And I understand that position if slow motion and 4K are important features to you. My biggest fear as I invest in more Canon lenses is that the reason behind the 4K crop and the 120p is technical and I hope Canon starts devoting more money into their R&D budgets. But... even if they were protecting their higher models? People act as if no other company in every other business doesn’t do the exact same thing. Take a look at Panasonic for instance. Unless you buy a GH series camera, you cannot get all-i 1080p... even the expensive G9 doesn’t have it. Panasonic has even done the most baffling of protectionism by protecting a lower model (the GH5) by keeping IBIS out of the more expensive GH5s.

BREAKING X-T3 NEWS: Fujifilm has decided to axe their upcoming X-T3 release because Jon is “not feeling it.” MORE TO COME

I watched that CVP review that @Yurolov posted and I am pretty excited about the manual focus guide. I didn’t realize how that function worked but now that I get the concept, it feels like a must have. As much as I look forward to the DPAF, there are times that I want to use a vintage lens and I have learned to rely on focus peaking. But as good as focus peaking is, it can be off a little with a lot of cameras. Also has there been any good 1080p samples posted online?

That is pretty cool. It seems like the EOS-R is a great hybrid B-Cam for C100/300 users. If I were looking to start doing some paid work, I think the original C100 and an EOS-R would be a killer, workhorse combo. When refurbished units hit the Canon store, I may give it a try. I’m still undecided though, especially after hearing that the ML has made some progress with the 5D4.

I am not one of the technical guys, but when I owned the Micro, I had an issue mounting a couple M4/3 lenses due to an extremely tight fit. So a P4K specific speedbooster may be introduced to reflect the exact mount and filter thickness of the camera. After watching the Shanghai fishing video and learning that the filmmaker used the Turbo II, I would go with that speedbooster, at least temporarily, until we know for sure if Metabones will or won’t make a P4K specific speedbooster.