Anaconda_

Am I right in thinking the same lens on a p4k with a speedbooster will give close enough to the same image, FOV, bokah etc. only the resolution changes?

Wow! He also mentioned specifically that the footage is all from the P4k...

Classic. I really love BMD presentations. They seem so unplanned and unrehearsed. Comedy gold in the best way every time. EDIT: Boring Detection ?

That's my hope too. There's also rumblings of higher 4k frame rates on the P4K, but I'm not convinced. Also some revisions to Braw to make it even better.

I often do, but with external recorders. For example, I frequently shoot 4k raw on P4k and 1080 ProResLT with a baked in LUT on a Video Assist or Ninja Star. It's a real time saver for my workflow.

JVCs LS300 can record 960x540 proxies, but I think it's only if you're main recording is HD. It appears that 4K & proxies wouldn't work, but I'd have to double check that with the camera in front of me later if you're interested.

Hey guys, Yesterday my daughter and I made this animation. I've not done it much before, but it was a nice way to learn 3d space and camera moves in AE. Although it was just a fun little project for a rainy day and I didn't have any intention of showing it to anyone, I'm proud if it and her in many different ways, so thought I'd upload it. Would love your thoughts. EDIT: the images were scanned from paper drawings with a €70ish camera - does that count for the cheap camera challenge? ?

Let the speculation begin:

I have the Meike 28 2.8 essentially glued onto my gx80, and more often then not use it at 2.8. Monochrome is where it’s at to get the focus haha

Well, even if I do have to reset some settings every now and then, I’m really enjoying shooting with my eos-m and 28mm f2.8 Canon FD lens...

Not sure if it improved the actual peaking at all, but it certainly makes it easier to see where the lines are. Even without peaking, though, monochrome makes it easier for your eyes to see what's in focus.

I always shoot with monochrome LCD settings on my Lumix, and focus peaking turned on as well. I rarely have an issue with focus. I recently bought an EOS-m and the peaking in Magic Lantern wasn't all that accurate for me, but switching to monochrome LV on there has helped too. EDIT: I also shoot monochorme LCD with my LS300, but I think that's by default when you turn peaking on.

So far I'm enjoying shooting with my EOSm, and learning more and more every time I shoot with it. I have one quick question about updating ML when a new build is released though... Is there a way to keep all my settings, LV options, recording formats etc. each time I update? Or do I have to set it up from scratch each time?

I’ve been sticking pretty strictly to iso 400 and 3200 and controlling my exposure with a vnd and have absolutely zero problems. I think the thing with the highlight recovery is that you can now compare two different options. With a lot of other cameras, if the highlights are blown, tough luck. Now you can compare, so there’s one more thing to consider while shooting. It’s far from a problem and if anything, I see it as a bonus. Just like many things, don’t rely on it and have it as an emergency backup. It’s like a ‘don’t worry we’ll fix it in post’ kind of thing. Thinking that way about audio, lights or any other aspect of film making is a bad idea, so why do it with video?

Wouldn't it be better to pay more money for a more fleshed out camera, instead of having to choose which features you value most out of 4 bodies? Z-cam are competing against themselves by announcing so many great cameras so quickly with each one having something special none of the others do. I don't believe the full frame or 35mm versions aren't powerful enough to do 160fps 4k, even if it's cropped to the same size as the e2s sensor in doing it. But as far as I know they've not included it. So now any buyer's choice on the e2 range is: FF 8k FF 6k s35 6k MFT 4k with great slow mo. Really the FF8k should be able to do all of the above... it's got to have the same or better processor etc. than the rest anyway. So, have they purposefully limited the more powerful camera? I get different versions is a good thing, and other companies do it too, but in my opinion, this many models is excessive. It makes it harder to decided which specs you need or want over others, and then you need to worry about is 6k worth the extra money if you lose slow motion because of it? All that said, each one of them is a fantastic camera and I'm glad the boundaries are being pushed, however for the foreseeable future, I won't be buying any of them, so my thoughts are basically irrelevant anyway ?

I think those lines mean that the source clip isn’t as long as the clip shown in the timeline. For example, if you nest some footage, and put the nest in a sequence, then delete half the footage from the nest, the clip in your main sequence will show those lines from the last usable frame until the end of itself - does that make sense? it could be for whatever reason, Premiere can’t read the original file, so is marking it in a similar way. Strangely, it’s not the offline graphic warning, so I would investigate the original file, and try opening it in other software to fine out what it is. (Right click>Show in Finder)

I like the look and ideas of the Z Cam, but also feel there's too many versions of it, which makes it hard to really pin down the model you like. Some features are handy in certain situations, but are they worth buying a whole new camera over? It's almost like they've announced too much too quickly. Also, it looks very much like you're here to sell HDMI cables.

This is truly amazing work. You should also share the article on the BMD forums.

That is amazing! Can't wait for the Kickstarter to begin. Well done guys! I'm already looking forward to getting this on a gimbal.

While this is of course true, speaking in terms of relativity; I could either buy this EVF, or another P4K for the same(ish) price. And I know which route I'd go. I personally don't even feel and EVF is strictly necessary. I've shot with the P4K in very bright sunlight, and while it was a little challenging, it was far from impossible and I got great results. Here's a couple examples, both shot with no external batteries, monitors, hoods etc. Just the camera and 14-140mm Pana lens. Here you can see by the shadows that I'm on the sunny side of the street. And here, there are no shadows, which shows the screen would have been hit by direct sunlight. (Grabs are off YoutTube, so anyone looking for blue sky funniness, it's on compression not the camera)

https://store.dji.com/product/ronin-sc?utm_source=newsletter&utm_medium=edm&utm_campaign=ronin-sc-launch&sc_src=email_2781404&sc_eh=dc77b18ffe8764571&sc_llid=83273&sc_lid=134555375&sc_uid=DYH7XcS1Vw&vid=82221 359e for basic kit 459e for 'PRO' kit which has follow focus included.

So it doesn't suit the way you film. Great. If you're shooting live performances of bands, or short films or feature films or music videos or many other things you will be walking around with a big (or bigish) camera on a gimbal fairly regularly. I'd buy a gimbal and the camera I want to put on it any day over a gimbal with a built in camera that you can't change.

Shirley worrying about photographers shooting video has been a problem since the 5DII? I wouldn't have thought the difference between someone shooting h264 and RAW would make it any more of a concern.

Don't forget those few people with GHx cameras and boosters. I know there's not many, but you gotta count them.

It's just a shame they went for the smaller NPF batteries in the grip. I can't remember off the top of my head, but I think it only extends the life to 1.5 or 2 hours. Considering an NPF sled and a bigger battery can run all day, and cost a fraction of the price, you're only really paying for the streamline design. You also lose the option to hot-swap batteries with the grip.