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I agree about the feeling of it feeling special. I used a few different apps, the first shot was from an app called "Tintype by Hipstamatic" and I can't recall the other app I shot the second photo with, but googling will find some cool apps. In a way the app doesn't matter much as long as it does those delays and limitations. I really recommend Tintype though, a great all-around experience, and as you can see it can deliver really lo-fi results!

Edit: I played around with an app for iPhone that simulated the experience of film. It gave a square format, introduced a random amount of shutter delay, and wouldn't let you take photos faster than a few seconds apart. It then applied various filters to degrade the image (which had random factors built-in) and would save the photo but not show it to you. Even with this "far from analogue" setup the experience of shooting photos was remarkably different, in a good way. It made you slow down, there was anticipation about what you'd get (eg, if the tin-type stains would frame the person or obscure their face!) and the photos had some X-factor to them that made the whole thing worthwhile.

Finally it's time for the roles to be reversed and for me to tell someone else that their setup is tiny and they're worrying about nothing!! ??? Think about what a typical video setup looks like: and now think about the size of a MF stills camera..... I hand-hold a GH5, Rode VMP+, and all-metal MF primes for hours while on holiday - anything short of a film camera requiring bellows is reasonably carry-able!

Even that depends.. If you're shooting a long-form without access to huge HDD space then 1080p acquisition might be the best way to go, with some of the smart upscaling algorithms to get it to 4K delivery. Slow-motion is normally forced at 1080p on affordable cameras, but even if it wasn't the file sizes might be prohibitive for some. Then in terms of delivery, YouTube compresses the absolute life out of video so you're better off "delivering" in 4K even if you didn't shoot in 4K. However, if you're delivering straight to the client then a higher quality 1080p might be preferable to a lower quality 4K, for macro-blocking in shadows or other compression artefacts. Shooting 4K for 1080 delivery has many benefits, but it's not a one-size-fits-all option.

I've heard it's going to be absolutely GREAT!!

I didn't vote because you didn't put an option for "it depends".

Cool!! Stop thinking about cameras, and start thinking about making awesome films.

Even if they aren't - the ability to get good results in seriously difficult situations is what separates the amateurs from the pros. Even if they just commissioned a few short films by hiring a respected DoP, a good editor, and a great colourist, it might make all the difference. With how cameras are tested nowadays it's really hard to tell what is the weakness of the camera, what is the weakness of the professional YT, and what is "I only had this camera for 17 minutes and only had 12 minutes to edit and grade because I wanted to upload before I got on the flight to the next fully-paid camera launch trip".

Shot yesterdays game in 125p (for 5x reduction to 25p) and you were absolutely bang on - I'm definitely not going back. Now to learn how to edit this stuff nicely... ??? oh, and you weren't wrong about scrubbing through the conformed media - I only rolled when my son was doing something interesting. I can't imagine if you shot the whole game! What do you deliver to the client, eg, every game there's a 4 minute highlights reel, or every game you deliver 2x 30s hype videos for social media, or...?

All tech is a dead down the road, and your thinking is faulty if you don't understand this. The third biggest gamble in this stuff is buying into a system with the assumption that the extra lenses or features you need will be released at some point in the future, the second biggest gamble is that this is the right tech for your particular needs, and the biggest gamble of all is that you'll be able to create work that justifies spending all this money in the first place.

I agree with previous comments.. the GH5 is a solid camera, tech marches on and if you can wait it might be worth it, etc. I bought a GH5 late last year and haven't regretted it, but like all things you have to know what you want, when you want it, and what is out there. I just bought a Sony X3000 action camera in preparation of a trip I'm doing in September. It's several years old and could be replaced with something way better at almost any moment, but I bought it now because of two factors: it is the best tool for what I am doing, and I want to learn to use it first, get a rig set up, understand what modes and settings work best, etc. I don't want to unbox it on the plane and then make all the mistakes while trying to film something real. Having said that though, I made the decision to buy it a week before the DJI Osmo Action came out, so I waited a week just in case that changed my mind (it didn't). So, wait if you can, but don't wait too much. Work out what you want the camera for and how much setup time you will need (including buying accessories, them getting shipped, then them not working or you having to buy other ones, them shipping, then working out your workflow, etc) and then wait until the last moment and then just buy whatever is best. If you wait long enough the GH5 will be so obsolete it's a paperweight, so just accept that and go make films

I think one of the key benefits of going to film school is that they force you to look at films and analyse them, force you to make films of different kinds, force you to use each type of shot, each type of lighting setup, each type of whatever. In this sense, if you can overcome the laziness and also push yourself out of your comfort zone and try new things then this is the answer. I'm a big fan of just making lots of videos, and also of making different types of videos. However, this is only half of the picture. The analysis of what other people did is the issue for me, thus the idea of just watching something over and over again. I make videos of my family, so in terms of genres, its: travel docos (when we travel), nature docos (when we visit zoos and wildlife sanctuaries), action/hype videos (when we swim, or when we attend sports events like bull riding), and sports videos (when the kids play sport). What are the finest examples of those genres I should be watching 100 times over?

People certainly discuss codecs like there are lives at stake, but this is the first evidence I've seen of it being true!

Yeah, but I'm losing a lot in the process. 4k25 is 10-bit 4:2:2 (or h265 and 4:2:0). Going to 50p I either lose colour (4k50 8-bit 4:2:0) or I lose resolution (1080p50 10-bit 4:2:2).. Anything faster than that is another step down (1080 8-bit 4:2:0). And each of those steps also stays at similar bitrates, so the bitrate on the conformed footage gets worse and worse. It's wall-to-wall first-world problems! Maybe I'll just sell a kidney and buy a Venice... Edit: or the other route is to do it in post, but that's no picnic either. There's a feature shot I really want at 120 and as Resolves new Speed Warp feature frequently crashes my laptop (woefully underpowered video card) I am exporting it as 120 to a Prores 4444 file which I can then pull into the project and use easily. It's a 3 second clip and it's on track to take about 4 hours to export!

I agree. Some time ago Philip Bloom posted a 10-bit prores file from the P4K of a pretty high DR scene and it was amazing how far you could push it around. I pushed it to breaking point in both directions just to test it and it was much further than you would ever sensibly go in real life, so I tend to think of 10-bit as being all you'd need, unless you have a habit of forgetting to remove that 5-stop ND filter and just thinking that the display was turned off or something! Of course, this is all in the context of cameras with 11-13 stops of DR, if we get more DR then we'll probably want a bit of extra bit depth to go with it.

Do you think you'll be shooting 10-bit 240fps as your default resolution then? I'm still trying to decide if I'll shoot 1080p100, 1080p125 or 4k50 by default. I had kind of decided it would be 4K50 but now I'm trying to finish the rodeo video where I shot 4K50 and it's not slow enough to really get the slow-motion to feel like a special effect, instead you get that slightly-dreamy feel that doesn't quite stand out enough. I can't even imagine 10-bit 240fps!

I think people can get a bit precious when talking about bit depths for colour, when I think that above 10-bit it's the compression and codec that is much more important. If someone reading this disagrees then I'd highly encourage them to get your hands on some 14-bit RAW files and export them to a 10-bit, 12-bit and 14-bit uncompressed files and then compare those files in post. There's lots of debate about if 8-bit is enough or if 10-bit is required, but there's no huge emotions in talking about 10 and up. I shot a bunch of RAW test clips with ML at different bit depths and decided that 10-bit was all I needed, and coming from that footage to the 10-bit files from my GH5 I don't miss anything in terms of colour grading ability. What I do miss is the RAW image quality and how analogue it is in comparison to h264 and even h265.

In the spirit of "the more you look, the more you will see", I was wondering if I should just pick something brilliantly made and just watch it over and over and over again. Kind of learning by osmosis. I'm thinking that at first you'll see the story, but after a while once you get bored of that, you'll start noticing more and more, and eventually you'll be aware of framing, lighting, dialogue, pacing, editing, music, sfx, vfx, grading, etc etc. Instead, we watch things once, or maybe a few times, but never enough time to notice everything about it. Has anyone done this? What would you watch? Could you watch it 100 times? or more?

@Cinegain I hear you.. Reminds me of this video which was also posted very recently, where he had visa trouble because the government didn't understand that someone would do video work for free.

To me, the rules: Help out professional drone pilots (or will create a domestic marketplace) Hinder the average YT person that wants high IQ but won't become a pilot Help to shift demand from mid-sized drones (eg, Mavic) to tiny drones that are below the maximum weight for unrestricted drone use (normally something like under 250-300g IIRC)

I'll add USB-C port to the spec then, a la P4K. However, the price of CFast cards are partly offset by their small size in comparison to an external SSD.

I'll take two!

The drone market is a strange one. Simultaneously you've got DJI pumping out better, faster, cheaper drones with higher and higher image quality, while simultaneously countries are bring in legislation that prohibits anyone flying them unless they're basically a pilot. eg (ignore the click-bait title) I see a collision of supply and demand that won't end well for DJI stock prices.

Nice! What are the additional features this gives that you're most excited about? Very similar to the Sun zoom I have now, the pump style is very nice to use. I must admit that I've been a little curious of the difference between what good optics vs no-name optics are like, so I just ordered a Canon 70-210 F4, a Canon 2X TC, and an FD-MFT adapter (my first canon to m43 adapter!) so I'll be able to compare genuine glass vs the no-name stuff. Do it!! Lots of great vintage primes out there. There's lots of love for the Takumars (which have the focus backwards) but the Minolta stuff is also excellent.

I love the clickbait-ey thumbnail... because people just don't care about secrets if they're only revealed in 1080 ???