Phil A

I still have an iPhone 11 Pro Max but my main gripe is how over-sharpened and brittle the image looks. I don't mind shooting with super deep DoF but it's just not a "thick" image like I get with a mirrorless camera (which are also often artificially sharpened). I watched some reviews of ProRes on YT when the 13 came out but I didn't see a huge difference (I think many people pretended that the codec will make a difference, when it's actually more the processing before that). I'd wish we could deactivate sharpening in FilmicPro even further, like it's possible on Android. So personally, I'd rather get a less processed image that's smoother/organic than more dynamic range at the cost of it looking hyper digital.

I think the one bummer with the A7 IV is the rolling shutter of 27ms when shooting in full frame mode (according to Slashcam's measurement). I really can't buy another camera with such bad rolling shutter performance due to mainly shooting handheld, it's a headache. Obviously it's good in APS-C mode but who buys a 2750€ camera to then crop in on the sensor all the time, might as well directly buy a good APS-C camera with other advantages.

The worst is stabilizing in post when someone is (not so carefully) walking with the camera. Everything just rhythmically blurring for a fraction of a second. It shows especially when there’s a lot of trees, traffic signs, etc in the frame.

I don’t think you can use V-LOG for pictures. It was like that on the GH5 which I have, doubt it was changed on the GH6? I always shoot raw and then develop in Adobe Lightroom.

Waveform is quite likely only for video function, for stills you probably have to activate the histogram if you want to see that.

It started in early May which has it running since nearly 2 months now so it pretty strongly feels like getting rid of inventory. I'd feel pretty unhappy about buying a Ninja V+ at retail for it to cost less than 50% now, only 1 year later. Its advantages over the Ninja V are pretty niche and I'm sure a new model will be out by the time that there are more cameras to make use of them.

Looks like they used film grain in the edit and YouTube butchered it like it always does

It, both IBIS and IBIS Boost Mode, is very noticeably worse on the X-T4 than on the GH5 so I assume the X-H2s will be worse than the GH5/GH6 from the footage I've seen

I'm a bit surprised there's no budget I/O for using with the current M1 Mac generation, seeing how the marketing pushes the use case so hard. I had an Intensity Pro 4k in my Windows PC and that worked great for a low price. But for the Mac Mini the options are Ultra Studio Monitor 3G (135$)which only does 1080p60 or then the UltraStudio4k that does 2160p60 for 1095$. There's imho a huge gap in between and getting a PCIe-box to externally connect a Decklink/Intensity card via TB also adds 300$+ to the cost of the card.

Did you consider one of the "travel screens" like the OLED that Andrew posted about recently? They're 14-ish inch and reasonably thin and light. There are also cheaper IPS options. I think the main issue for a travel grading screen is that they need to be reasonably color accurate (calibratable) and have uniform brightness. I don't know how well one can find information regarding that without just buying one and trying/measuring yourself.

Rumors were pretty accurate. Seems like a solid upgrade over A7 III and I like what they did to address usability (e.g. foto - video - switch). But it's 2799 EUR here and at that price point, there are a lot of options, especially when willing to buy used.

I'm using these Cullmann Revomax RX448 quick release plates on my tripods and gimbal. They work reasonably well because there's no fiddling, tightening, etc. I have a Manfrotto plate with a Cullmann quick release on it for when I need to use my fluid head, etc. For the strap I just use the Peak Design anchors.

Dumb question, is anyone else still using the (free) RockyMountains Movie Converter that was brought up when everyone tried to convert the footage of the NX1 to ProRes?

I was so satisfied with EmotiveColor for my GH5 that I purchased it again after switching to a X-T4 but I got a dumb question for @Sage: For the GH5, there was a PRE for levels when transcoding VLOG-L in H.264 to ProRes. Is that not necessary when transcoding the F-LOG H.265 to ProRes and using them in DaVinci Resolve?

I like Gerald's reviews so that's not a good thing for the fp L

I'd assume all the Sigma Art lenses. They're pretty big and heavy compared to old glass because they are very sharp, contrasty and free of imperfections.

It's pretty difficult to know what is decent by looking at YouTube reviews with all the different opinions. On one hand I assume I have trashed ears because I often don't hear the differences they mention, on the other the microphone is only one piece in the whole chain. People say they love mic xyz but their frame of reference is not spending more than 300€ while the next person says it's trash and favors something else but it's 1k and out of the first person's budget (and maybe needs). Do you go into an interface or a field recorder? How much gain do you need? Do you stream live or can you carefully EQ, etc. in post? Anecdotal: I wanted a mic for indoor dialog because a lot of social media content I record can utilize that, so I wanted an upgrade from the Rodeo Video Mic Pro and I tried to kill two stones by also using it for video conferencing. So I bought an Oktava 012 (my voice isn't very deep so I liked the accentuation) that I use via a Focusrite Scarlett Solo (3rd Gen). But even 30cm away from the mic I need ~90% gain on my interface so I'm a bit concerned about booming.

I have some Sanho HyperThin HDMI cable.

It'll have 50 to 100ms lag, within a year there won't be any OS updates for it anymore, the UI will be unresponsive and it'll have a screen with 85% sRGB color space. But the YouTube shills will make 30 unboxing and hands on reviews saying how amazing it is, total game changer, shocked face thumbnail. Everyone who bought one regrets it and 3 months late we moved on to the next gadget of the moment.

I wish they would bring a 27mm with f/1.4 or f/2 ... or for Sigma to finally port their three APS-C mirrorless primes to X mount now that the protocols are being available to 3rd party manufacturers. It's obviously a first world problem but I want a fast lens between 23mm and 35mm. Currently using the EF mount Sigma 30mm 1.4 ART lens on a Viltrox mount adapter but it's bigger & heavier than I'd need to and obviously isn't great from AF perspective.

You must go to very different cinemas than me. I would rather see a movie at home than at the cinema, precisely because at home I can focus on it. At the cinema there's a high chance for people to talk during the movie, kick seats, etc. plus as mentioned before, it's a total rip off with the snacks and all. Last time I was at the cinema I paid 50 CHF (47 €, 57$) for two people. That's just not worth it to me tbh. And then chances are your movie isn't even in the best setup (biggest screen, high res, good audio, etc.) unless it's Marvel Avengers or so.

You were able to change the resolution but not the framerate after adding clips.

Like three days ago I'd have said 16.x is 100% stable for me. Now it out of the blue crashes every time I try to set project framerate / resolution to anything but 24fps, and I didn't update anything (system currently not connected to the network).

But not everyone wants to massively increase the footprint and weight of his camera by adding an external recorder. For many people, the whole point of shooting with a hybrid camera is the size. I couldn't care less what's available via HDMI out, it needs to be in-camera or I'm not going to use it. I'm clearly not in the minority with that opinion. For 90%+ of users, the new Nikons will be 8bit cameras.

I'm mostly interested if it'll get 10bit log internal at least up to 2160p30. It could be the ideal compromise between Sony A7 III (great af, bad codec, great lens options, bad EVF/screen) and Panasonic S5 (great image, bad af, weak lens ecosystem) in the mid price segment of hybrid cams, especially with the TechArt adapter that opens the E mount lens options for it.