Anaconda_

I think that would be seen as a backwards step. I would also imagine if that was planned, they would have unveiled them both at the same time. Where would it even sit pricewise?

I mean... that is a boat. I shoot handheld with my Pocket 4k all the time. Mostly with unstabilised lenses like the Sigma 18-35. It just depends on the look you want. With the announcement, the thing that got me most excited is the firmware for the other pockets. The new histogram is alright I suppose, but Gen5 colour inside the camera will be great. I also noticed the new camera shoots more versions of Braw, with Q1 and Q3 being added, so for now I'm assuming that will also come to the other cameras. Making my 2 main hopes a reality.

2 XLRs?

I dunno - it's definitely the camera Batman would use.

Tilty screen and internal ND on the BMPCC6kPro

I think my favourite lens is the Meike 28mm f2.8. I have it for Fuji-x and MFT and really enjoy using it. Fully manual, clickless aperture, very small physical size and a great focal length and aperture for basically anything. Best of all, it's super cheap.

Based on the fact it's bundled in with the ATEM Mini update, and that seems to be the headline; I doubt there will be any new camera announcements - but it'd be nice to be proven wrong. I'm hoping for new firmware with extra braw compression ratios - from what I've read q3 is a perfect, use all the time option. I'm also hoping for Gen5 colour in the Pocket cameras. I know I can switch it in post, but in camera would be preferable.

Maybe it's a version with no raw options, and it stands for 'Loaf - all the colour is baked in'

Wow, that would be amazing! One thing to consider though, how much would an EVF coming from that connection affect the internal battery life? Looking forward to seeing what they come up with.

I don't know about that. In many ways, I'd rather have a mega clear window that I can make as dirty as I like, than a window that's dirty to begin with. I could film something today, give it to 100 different editors and they'd all make it look different. In fact, I can grade something myself today and tomorrow decide I don't like it and create a whole new look. Maybe that's where the artistry will lie? Rather than filming on a grainy 16mm filmstock and assuming that makes you an artist. You also need to factor in lighting and set design etc. which plays a huge part in the quality of the final image. Plenty of artistry to be found, even if you're looking through a window.

Why not also make photographic dog treats called Bony? Or Dummy cameras for conspiracy theorists called Qanon? Or gender blind gear called Pan-anasonic?

@BTM_Pix is the man to talk to.

I recently picked up an amazing deal of the FP. So far, I'm having a lot of fun with it, but have a couple questions...and probably some more as time goes on. Any help is appreciated! 1. Can I set Aperture Priority for stills and Manual for Cine? It seems the settings in one are also the settings for the other. 2. Can I pull off, and later reattach the flaps over the ports on the left hand side? 3. Is 'Off' the optimal color setting for shooting raw video? Does it even matter for raw? 4. If shooting to an SD card, is it best to shoot FHD 12bit or UHD 8bit? 4 Rephrased. Does FHD 12bit introduce issues with the downscaling that out weight the color depth loss in UHD 8bit.

Well, that plan didn't work. Found a crazy deal on a Sigma FP with a bag full of accessories (VF, shutter release, hot shoe etc.) So I now have that in front of me as my 'B-cam'. Looking forward to testing it out tomorrow and seeing how it holds up in the snowy streets. One thing I'm already struggling with though, and perhaps people can help me (If not I'll ask in the FP discussion tomorrow) Is it possible to have different modes for Stills and Cine? I want Manual for Cine and Aperture Priority for stills. With the menus being based on the setting your on, I kind of assumed shoot settings wouldn't change with the mode switch. Any help is appreciated!

C50 specs are expected as: Super 35mm 4K sensor (same as the Cinema EOS C200) No IBIS RF Mount Internal ND (10 Stops) CLog 2 & CLog 3 4:2:0 8bit internally onto SD cards up to 4K60 & 1080/120 4:2:2: 10bit external in HD No RAW Dual LP-E6NH battery slot Rumored US price: $3,299 Seems like a lot for 4:2:0 8bit internal. It's also expected to be a box camera, so on top of the price you also need a VF / monitor. Speaking of needing 3rd party tools to get the camera up and running - My plans are to wait and see whan BMD announce in April/May and either wait for that, or pickup a second Pocket camera. Not sure about 4k or 6k yet, but will see what the prices do in the next few months and base my decision on that.

Yes, my wording was a little strong. What I meant is : The conversation here is about why TV companies aren't making it easy for consumers to consume the way the media was meant to be. They are, but apparently not well enough. They can only do so much and the rest is down to the user, like fiddling with the bass and treble knobs on a stereo. Some TV companies have made it as easy as possible to achieve what you're looking for, but the user needs to turn that function on if they want it on... The users who need to do that, likely aren't here, they're elsewhere. The Canon thing is different, the issues are not user definable, they're issues from the manufacturer. It's also not a 'consumer product' in the same way a TV is. --- Separately, where I can and feel comfortable, I've been adjusting people TVs for them while they pop to the toilet or whatever.

I mean... Your calibrated monitor doesn't get delivered calibrated... if it did, you should recalibrate it before trusting it. I don't know how they could make what your asking for any easier. Turn the mode on and it auto detects your media's requirements and plays it as intended. No sliders, menus or anything. TVs out the box are perfect for watching sports on, and I'd argue your average Joe would be more upset about watching sports in 24p than watching a movie at 60p. We are the minority in this instance, and the manufacturer can't cater to every possible viewing requirement with no setup needed. If Filmmaker Mode doesn't solve your issue, then the issue isn't with the TVs or their makers, its with the people watching them. Arguing about it online, with people who are also part of the minority, isn't going to get anyone anywhere.

LG have a 'Film Maker Mode' on their TVs. I'm sure many other companies do too. In fact, @Andrew Reid wrote a post about it last year. https://www.eoshd.com/news/martin-scorsese-and-christopher-nolan-campaign-launches-filmmaker-mode-tv-settings-on-upcoming-lg-and-panasonic-sets/

For anyone else looking for something like this, I also found Wistia. You can have password protection, and people need to type in an email address before they can view the video. Granted, it doesn't have to be a real one, but it's another step. You can also embed the video into your own website, so it looks quite professional. Then on the backend, you can see how long each email address watched the video. This seems to be more secure and gives a better impression.

And 4k raw internal.

I've had projects like this in the past. My favourite ways of doing it - although very time consuming are: 1. Print the photos, place them in a suitable location, similar to the theme and then film that scene, add some camera movement and it can look really nice. Even placing them in a frame and putting them on a wall / windowsill can help give them sentimental value for people who weren't on the trip. 2. Create parallaxes. Cut out the main subject, and separate the photo into a number of layers. Add a camera, put it all in a 3D space and do very small camera moves. From there, you can also add puppet pins and give people very small movements as well - like waving, or something. The main thing is, don't add too much movement, even doing the Ken Burns thing. Subtlety is key with stills.

I'm liking the limitation, but I'm sure I'm missing a lot of good material because of it. That said, the audience will never know what isn't in the film, so I can overlook that for the most part. On the flip side. I can film for those few hours and then I have 6 days to process, think and even edit the material. As it stands, I'm about half way through the whole shooting process, but already have a clean 1hr edit that's basically ready to go. I'm aiming for 1hr30 in total. The story is there, I now just need to expand on a few points and film some sequences that can't be done right now due to the season. Working this way, means if I need a specific shot to illustrate something, I know that I can pick it up next week. Due to the nature of the subject, filming this way fits a lot better than filming a few 3 hour interviews and then making the film. Instead, we can do half an hour a week focused on one specific topic, then I can shoot broll that will fit into it. I'll head home, edit the segment, see what's missing and pick it up next week before moving onto the next topic. I can also watch the film from beginning to end and think about how to transition between topics, and themes. it also means I can develop a closer relationship with the subjects as I see them regularly. The type and depth of information I'm given now compared to the first day is light night and day.

Great topic. I've never really looked into anyone else's workflows, but it's nice to learn what I've read here. I'm currently filming a documentary where I've imposed some minor limitations. The one which is having the most impact is only shooting between 2 and 6pm on the same day every week. This started out as a scheduling limitation, but I've come to really embrace it. I make sure I'm 110% focused for those short hours, and since the whole film is outside, the light and scenery has changed dramatically since I started in August. I won't be able to finish it until the start of next summer, so there's still a lot more change to come. For personal stuff, I can basically echo @kyeExclusively hand held, natural light, a 35mm lens. I love it.

That's wild generalizing. You can't narrow a whole field down to one piece of software.

I just heard of the Dehancer plug-in, what are the main differences to Film Convert? https://www.dehancer.com/store Dehancer seems to have more options. Input camera profiles 53 Film profiles Expand tool Print options CMY Color Head Film Grain Bloom Halation v2 Gate Weave NEW Film Breath NEW Defringe Vignette False Colors LUT Generator ACES support