Anaconda_

Well then I jumped the gun with my response, sorry about that. If 60p at 216 works for you, crack on. Personally I’d stick to 50p and have more flexibility, both while shooting and in the edit.

Ah - but you edited you post while I was replying haha. Anyway, my point is if you deviate from multiples of the project frame rate you’re allowing space for flicker and if you change your mind later and want to play back at normal speed, you’re making life hard for yourself. Stick to multiples of the project frame rate and you can use whatever shutter speed/angle you want and never worry - even if you want to playback at full speed later.

Mostly, but it’s more of a ‘only use multiples of project frame rate exclusively’. I only mentioned 30fps as it’ll have the same flicker as 60 at 180deg The shutter angle/speed introduces or reduces motion blur. So if you shot at 60fps with 90deg you’d also loose (hide) the flicker. In that scenario though, you won’t have sharp slowmo which mean ugly footage. I actually read for nicer slow motion, you should use more than 180deg. The sharper the better. Motion blur at real time allows the footage to look realistic, but slow motion by nature is not realistic and so shouldn’t live by the 180 rule.

Right. You could also shoot at 30p with that shutter angle and the lights won’t flicker. I still wouldn’t do it though haha.

To everyone who asked me why they shouldn’t shoot 60fps (or 120) for a 25p project. This is why. Everything is so flickery.

My 4 year old has a Sony PD170.

As with all things, that's so dependent on what and how you shoot. I don't think it's about rain as yes, most people would get a proper cover, but what if you're filming sports, be it skiing, motocross or even nature films in the jungle or the desert. I wouldn't want a full cover, but weather sealing will definitely help against the sand and snow, dust, dirt and moisture. Obviously you don't change lenses in those conditions, but if you are filming in those conditions you likely have plenty of time to plan what and how you're going to film it. For example, if you want to film a lion in the Savannah, I would strongly advise against a wide angle lens. If you're shooting something in the jungle though, wide angle might be the way to go.

Controversial ?

This is basically my planned workflow. It'll be so good for quick turnaround interview/news based pieces. Doing this, you could even record to ProRes LT on the Star as you won't be needing any extra info to grade with, since the grade is already basically done.

I got confirmation from Kamera Express yesterday that they received a shipment and have sent it out to people who had preorders. I'm number 10 on their list, but didn't get one, so I guess they didn't get many and assume (really hope) I'll be in the next batch. Meanwhile, a few other places I've contacted expect to sell to people without pre-orders in 4 months. - but that seemed like a total guess.

Philip Bloom has shared a small edit which he says is from one continuous shot. He’s also given a link to download the original file... it’s 22gb.

50fps slowed to 50% is 25fps. It’s the same reason it’s not advised to put 30p footage in a 25p timeline, you’ll see skipping and generally not smooth playback. 60fps at 50% is not notocibly slower than 50fps at 50% but 50fps at 50% will playback a hell of a lot smoother in a 25p edit. It’s a pal/ntsc issue.

Yeah, but if your camera project is frame rate is 25p, set the off speed to 50p not 60p.

In there is says : ‘set the camera project frame rate to 25p, but set the off speed frame rate to 60p.’ don’t do that.

Judging by some of the sample clips they shot by the river for the stress test around 14.10. The mojo is there for those who want it.

Same as the Ursa models. A guy filmed rhinos in the desert and had helicopters blowing dust and sand all around him. Camera was fine.

ISO test - It looks like YouTube's compression is having a lot of fun with the noise though, so not sure how accurate it is.

I don’t think this camera is aimed at the average person. It’s not a camera for filming family holidays. Of course, you can use it for that, but the target demographic is as an A cam for young filmmakers and students or a B cam for higher profile projects. In those scenarios what you give up may not be relevant.

So 'Girl' was brilliant, a very sensitive story, that I'd highly recommend. Aside from the obvious main themes, much of the underlying plot were the same as in 'Beautiful Boy', essentially both films about a child struggling with something within them, ultimately leading to self destruction, meanwhile the father tries desperately to communicate with, comfort and understand the inner-struggle. In my opinion, both movies were about the child, but the father was the main character. I'm not sure if it's the screen I saw it on, which may have given the illusion, but it looks like 'Girl' was shot in a 4:3 format. Quoting myself to show the relevance here. I also saw Audiard's new movie 'The Sisters Brothers', his first English language movie. It was a very funny, quirky script and definitely worth checking out whether you like Westerns or not. The cast was just superb, and John C. Reilly surprised me a lot. It's not on par with the other films I've mentioned, and is much more easy going. To bring this thread full circle, tomorrow morning I'll be seeing 'Roma', and I'm pumped. If there's interest, I'll post back again.

Well I've found myself in a place where I can see a lot of these films, and am hoping to see 'Girl' tomorrow morning. This afternoon I watched 'Beautiful Boy', and it was brilliant. Timothee Chalamet wasn't the most convincing, but he was far from wrong for the part. The camera and lighting was fantastic, and I like Steve Carell in these drama roles. I'll post back on 'Girl' when I can.

@CyclingBen Is that straight out of camera?

the back fin also keeps the connections in place, so you need to saw a bit off. I did it the other day on the 10-20mm. I use it with the Viltrox EF-M2 and it's crazy wide. Strangely though, I can only zoom out to 11ish mm as I guess the glass in the lens hits a part of the booster at that point. I think it even hits the glass in the booster, so keep that in mind if you plan on doing something similar.

It's amazing how much of this was handheld. https://youtu.be/vNPZzNchyCw