kye

It was on automatic, but setting it manually didn't seem to make any differences. I wish it was that simple 🙂

Has YouTube CGU/GPU usage gone up in the last week or so? Before that my MBP did 4K 24-30p videos fine, fullscreen on my UHD panel, in any browser. Now, in Firefox, the same videos max out the fans and it sounds like it's trying to take off vertically, and even more odd, switching to something easy like 480p would have the same effect. Safari is better, but still has noticeably more fan speed than a fortnight ago. ....or maybe my computer is getting a hernia or something? I did the usual troubleshooting, restarting etc, and haven't had any hardware changes either.

+1 for some of these older cameras really having a great look to them. There are lots of threads here about the older cameras, like F3, that have continued on because the image really holds up and has a certain magic to it that is difficult to replicate with modern ultra-resolution cameras. Sadly, most people know very little about how to manipulate the image in post so have to "buy" the image they want from the camera. Older cameras are a way to get a more cinematic look without knowing how to push and pull the image significantly in post.

In practical terms, how much difference do you think that the size / weight differences between the GX850 and GX85 makes? Genuine question. For example, is there something you find you're able to do with the smaller form-factor that can't be done with the larger one? I ask because I have the GF3, which is of a similar size to the GX850, but in many ways I see that it's too small. Panasonic has made a good attempt at the ergonomics with little grip formations, but I find it too small for my hands, and also by the time that you add any non-tiny lens then the size of the camera body no longer really contributes much to the overall size of the rig. In some ways I really wanted the GF3 to be passable in 1080p, but whenever I shoot with it the softness of the 1080p is too soft for me, and the micro-jitters also too much, so by the time you add a lens with OIS, you're better off with the GX85 IBIS and a smaller lens. I must admit that this thread has made me pick up the GF3 again. It's currently sitting with the 15mm F8 body-cap lens on it, and me in a bit of a mental loop. I want the GF3 to work - the small size seems like fun, but if I use a small aperture lens then I'm better off using my phone, and if I want shallow DoF or a vintage lens vibe then the size advantage disappears and I might as well use the GX85. But then I want to use the GF3, so I lament the fact that the sensor can shoot 12MP RAW stills, but the video is so soft, and I remember the hack that I couldn't get working for it. Then I just get disappointed about how old tech was needlessly bottlenecked. Then a day or so later, I see it and it looks like fun, and the cycle starts again! I shot some test videos on it using a number of different lenses, but I just couldn't get anything on it that wouldn't have been better using something else. Maybe the GX850 is different in some way?

Yes. 30p and 60p completely ruin the viewing experience for me - like if someone peed in my drink. It doesn't matter what else the drink had in it, I'm not drinking it with pee in it. You're not convincing anyone to like what you like, we're not convincing you to like what we like. Time to stop posting.

Is this another specifications-only thread? Or is there some point to it? Are you looking to buy one? If so, please provide information about what you want and what your requirements are. If not, why are you asking? Otherwise there's no point and it'll be yet another thread where the participants don't even agree what the fundamental goal is that is trying to be achieved, and it'll be like asking my wife about something and the only answer you get is that she wants the red one because it goes with the interior decorating.

Even better!

My GF3 is like this - full auto in video mode. A "cheat" workflow I developed is this: Put camera into full-manual mode, base ISO and 180 shutter Using a fully manual lens, set desired aperture / focus / ND to get correct exposure Hit dedicated video record button The camera will then automatically adjust ISO and SS, preferring longer SS until at 360 shutter before raising ISO above base ISO, so it will stay around the right settings. It will still be doing auto-WB too, but you can't have everything 🙂

This is the same for me, the good stuff is all personal. I make lots of little edits as camera tests, and put a reasonable amount of time into the edit, adding music etc, to keep as a momento. So by the time I've done that the last thing I want to do is another public edit and re-do the frame-level editing and music and sound design etc. One thing I did do, which is a little besides the point but might be useful, is I found that I wanted to repeatedly reference clips from various cameras and projects, typically to try new colour grading techniques, but sometimes for other stuff too. What I did was I got organised and found the best clips from each trip / shoot and copied them onto a folder on my SSD as reference clips. Under that I had two folders for each camera, one for clips I can share in public and the other for personal stuff. Then I made a timeline with all the personal clips from each camera first, then a gap, then all the publicly sharable clips from each camera after that. Then if I have an idea for trying out some technique I can quickly pull that up, maybe take a copy of the timeline, and experiment on footage from across all the cameras I've shot on over the years. I've found it really handy since I did it actually, and I refer to it quite a bit.

Yep, that sure is small.... If Panasonic do announce an updated small-form-factor MILC it'll be interesting what they choose. They sure have made some progress with sensor design since the GX85 / GF9 came out, so hopefully it'll be a good bump in spec 🙂 Do you have any footage to share @John Matthews?

It's a subtle thing - shooting 24p won't make something instantly cinematic or larger than life. The 'recipe' for making something look cinematic or larger than life (or any of the other dozens of ways to describe it) is that you need to do everything in a way to emphasise that experience. Everything from the writing to the acting to the lighting to the framing to the production design to the editing to the colour grading to the sound design to the mastering to the way that the finished product is viewed. They all matter, otherwise the studios would simply not pay for them. The cinematic look is a feeling you create inside the viewer by making 1000 small decisions about every aspect of the whole process.

Slashcam footage of BMCC 6K FF camera. Looks pretty nice to me! Especially the anamorphic images 🙂

Recording externally via USB-C seems to be an emerging standard across lots of devices, so rather than have associated products and discussions embedded in various camera threads, I figured a new topic might be easier where all the options can be compared in one place. To kick things off, this popped up in my feed, and happens to work well for iPhones but might also be good for other solutions too. It's a paid video (AD), but product looks interesting, as do the cables, if you're trying to make a compact setup.

Are you sure? I'm going to have to think about that for a couple of weeks and I'll get back to you then.

Since computers transitioned to SSDs, the memory swapping mechanisms (where they put a chunk of memory onto the drive and load another one into RAM when needed) have become very useful and quite high performance. If FCPX is running out of RAM, I wonder if your SSD is running out of swap space somehow. I'm not exactly sure how you'd check these things, but that's worth looking into. A few suggestions.. if your SSD is close to being full, try clearing some extra space and seeing if that helps performance. I'd suggest reviewing FCPX settings to see if there's a setting that limits how much swap space it is allowed to use. Do a google on FCPX RAM usage - I just did a search and there's lots of threads of people talking about it, so there might be good tips in there that might help. Also, some folks report that having files (like source media, proxies, etc) on an external drive rather than the internal drive can improve performance too. I'm not sure of your current setup but that's something to check. Good test, but it might not be enough. With all these companies building in AI to their software now I suspect that RAM requirements might gradually balloon over the next years as they integrate this stuff. This is likely to be the same with CPU/GPU as well. Resolve has quietly introduced a number of AI functions for things like NR and frame interpolation and audio processing etc, and I can tell you these things absolutely KILL your computer. I'm talking where you have it on "Faster" and you can do 24fps, on "Better" and it can do 20fps, and then "Enhanced" (which is the AI one) and it can only manage a frame every few seconds, and will crash 8 times out of 10 trying to export the project. If you can, I suggest giving yourself some head room in the specs, especially as you can't upgrade them later!

I suspect that another variable in your observations will be the particular implementation of the system. One thing that frustrates me no end is how these stabilisation systems are specified. The "5 stops" rating is a measure of how much vibration is left in the image compared to how much the camera was subjected to. That's fine, but in my experience this isn't the factor that is dominant at all. My experience is that if you are able to hold a camera steady and only have a small amount of shake then they all do a good job - where the residual is practically invisible. The situation where the system isn't able to do such a great job is where the amount of camera shake is more than the mechanism is able to eliminate - i.e. the mechanism reaches the mechanical limits of its movement. These are the situations that show the limits to the mechanism, and (I suspect) one of the reasons that MFT is often reported as being better than larger sensors. This would make sense as to get the same range of stabilisation an MFT sensor would only have to move half as far as a FF sensor, and do so with a quarter the weight. So, if the systems reveal themselves at their limits, another aspect is how they behave at their limits. No manufacturer implements this in a way that absorbs all movement and then instantly transitions to having zero impact when the mechanisms boundaries are met, and this would be a terrible design choice, so there needs to be some sort of transition zone between full stabilisation and none, like a 'knee' or 'rolloff', and the characteristic of this function would likely impart some sort of 'feel' to the user I would expect. Also, each of the mechanisms is likely to be quite benign when they are operating well within their range of stabilisation, but the further towards their limits you push, they will reveal various artefacts. The combination of IBIS and ultra-wide-angle lenses is well known with the corners wobbling about like jelly on a rickshaw, but I would imagine that there are other combinations that all have their own issues with differing aesthetics too. The sad thing is that with a very rudimentary testing setup, someone that had access to all the cameras (like DXO or some other tester) would be easily able to measure these things, and give some data around them. I think it would be exceedingly useful to know that one camera was able to stabilise twice as much movement as another camera, despite both of them having the same ratio of reduction ("stops") when both are well within their functional range. There are also other aspects that bear mentioning that just aren't well known, for example that IBIS and DIS stabilises camera roll motion, but OIS does not. With all the reading I do, and with the huge emphasis that my own shooting places on stabilisation, I never knew that and learned it the hard way on a shoot of my own.

A few points.. I have no idea how much is spent, but it's enough for them to shoot everything in 1000fps if they wanted to, but they don't The thread is literally titled "24p is outdated", so translating that to be "old" and "wrong" isn't too far a stretch The firestorm is likely a reaction to the increasing popularity of 30p and 60p video, which just looks awful to many of us... perhaps a good parallel was if restaurants all over the world all started cooking every dish with Kale (or some other ingredient that many people hate) - lots of people who don't mind Kale would just say "eat somewhere else" but it would really be a bad outcome. and then the Kale Lovers Association starts a thread on their cooking forums saying that everything except Kale is crap... that is the response here. The thread didn't "degenerate" into a discussion about art, it actually elevated because creativity and art is the whole point of film-making, which is a point you seem completely impervious to hearing Yes, the goal of the industry is to make money, but in case you didn't notice, emotion is what drives sales. Newspaper headlines, clickbait video titles, social media feuds, etc - these all generate the most sales and clicks because they stimulate the human emotional system. You can think what you like about rationality and realism, but it's not how the vast majority of humans work. A great movie is one where the reaction is "I laughed, I cried", not "I found it to be sensible and factual". Movies make us feel to generate sales. To make money, movies make us feel. To make us feel, movies have to be emotive. To be emotive, they use all the tricks.. one of which, out of literally hundreds that are in use, is 24p.

I'd suggest an alternative approach. You should really be buying 2 x S5iiX cameras, Angenieux EZ-2 15-40mm T2.0 lens, and an Apple Studio with M2 Ultra 24-Core CPU, 64GB Unified RAM, 1TB SSD, which totals USD$21,500 so if you ONLY buy the things you've listed above then you're SAVING a ton of money! I've been watching fashion influencers on TikTok and I'm pretty sure that's how financial management is done these days. If you do enough of these deals, the reward seems to be a big house with sports cars in the driveway.

I'm not saying that any of these are better or worse overall, it's just that they work differently, and for any given situation the pros and cons of one method might be more beneficial than another method. There will be situations where IBIS is the best, situations where OIS is the best, and situations where EIS / DIS is the best. The same will be true for all the combinations too. Throw in gimbals and sliders and cranes and you will still find that the answer of "which is better" will still depend on the circumstances. I just posted because Ty mentioned he wasn't aware of the situations when IBIS is better than DIS, and so I provided an example. There are examples where DIS is better. It's like anything, there's nuance and the more you can understand this then the more you'll be able to optimise your own work. Yeah, ROI doesn't really factor in to these discussions.. if it did, the answer would almost always be that the "Buy nothing" option would be best! Or, if there is money to be invested, it would be better put into marketing or some other skill that can actually move the needle on the financial performance of your business. The cold reality is that the quality of the product isn't actually the limiting factor in most small businesses, which is why the world is full of smooth-talking people selling things that are mediocre at best and driving around in luxury cars.

Like @mercer has said, this is ridiculous. There's two people in this thread who are making post after post about how 24p is old and wrong etc, and then there's the entire industry spending trillions of dollars a year shooting films and who have access to any camera they want and could shoot in any frame rate they liked, and yet they select 24p. So, who is right? Two internet keyboard warriors, or the entire worlds entertainment industry? Please. We did a survey, and you didn't win this "debate".

Time is more relative than you think. For example, there are lots of political parties that still think it's the 1950s!

A realist... I like it!

The key difference is that OIS and IBIS will stabilise during the exposure, and digital IS stabilises afterwards. I did a test some time ago to show what this looks like. This test is deliberately with a long lens, so is somewhat exaggerated, but should be indicative of the issue. If you are using very short shutter speeds then it doesn't matter, it's only when using a 45-360 degree shutter angle that these effects would be visible. Once you know how to recognise it, you see it in YT content every so often, so it does happen in real-life. The combination of action-camera and low-light is particularly succeptible. Digital IS is a great tool, and for some people it's sufficient. Use whatever works for you 🙂

NICE! That sounds like a great way to really help out the folks downstream in the image pipeline without much extra effort. I've never heard of anyone doing that before, and yet it seems so obvious..

Semi-recently a certain cat-lover on YT who shall-not-be-named did a video talking about variable ND filters, the different types, and the different issues that vNDs can have. I was surprised at how complex the situation is and how many things can go wrong when using them. In the tests he showed, which included a range of vNDs, performance didn't seem to correlate much with price, but that might also have been intentional as I think he was launching his own line and therefore had a vested interest in not showing any good ones that are out there. The take-aways that I got were: there's lots happening in there, even from a single vND changing when you turn it lots of things can go wrong, depending on the type used and how they're used better to use fixed NDs or simply to accept the errors and fix what you can in post