kye

That would be super-cool.... but I'd prefer a PDAF GX95 🙂

It is meant to be announced later today, and things have leaked already... Leaked (translated) specs: Micro 4/3 Live MOS Sensor Image plane phase detection AF Internal 5.7K 60/50p 10bit recording ProRes 5.7K & ALL-Intra 800Mbps via USB-SSD Anamorphic Mode 5.8K 30p 10bit Burst 75fps AFS – 60fps AFC For everyone that wanted a PDAF GH5 v3, this looks like it.

Depending on who you ask, OG can either mean 1080p-era (or prior for bonus points!), or more than 8 minutes old.

When a thread is linked to it uses a seemingly random image. Kye isn't exactly sure why it does that, but he agrees that it's rather strange and not something that he or anyone else can control when linking to it..

Duplicate thread... Also, it's a P&S, not a cinema camera 🙂

I recently posted about the benefits of trying to push your image as much as possible in this thread, and I this is a good strategy for you here. I'd suggest: Shoot a side-by-side test between the Sony and the BM cameras in increasingly low lighting conditions so you can see how far each is capable of going into low-light conditions Grade the side-by-side footage as hard as you can, pushing as much contrast, saturation, and pushing and pulling it as hard as you can Grade each to match the other, seeing what is practical in matching them, and this will also reveal the little nuances of each of them that won't be obvious when you're just grading creatively This will enable you to understand the relative strengths of each, will push you to learn more about colour grading (over the years I've been able to learn how to push things further and further, which gives me more freedom in post to create whatever looks I want). The Sigma FP is a great camera, if a little finicky to use and with brutal data-rates for the RAW codecs. I was seriously considering it for some time and the low-light is quite impressive.

Cool, Resolve is the most powerful with really serious adjustments. Probably the biggest priority in all this is not breaking the image, so I suggest not trying to use any qualifiers or even any of the Hue Vs curves. Beyond just normal grading by adjusting WB/contrast/sat couple of tricks come to mind: If you increase the saturation and then shift the WB warmer then you can keep the blues roughly where they are but make the neutral and warmer areas much more warm, which will give your skin tones a bit more separation. Use the 3x3 matrix and adjust your WB by adding some of your blue channel (which you have a lot of!) into the Red channel (and a little into the Green too). By putting more of these in you'll push the image warmer, and by adjusting the ratio of red to green you can control where the skin tones end up (which is the most important thing). The goal isn't to make neutral skin tones of course, but probably to create some more variation in the colours in the image. You might have to add saturation after this 3x3 as it will lower the overall perceived saturation, and keeping the strong blues will probably look really good. If you run into any more serious issues let me know, this is just scratching the surface of what is possible.

I have consulted all the internet experts I could find and the overwhelming consensus is that these are aliens that were cloaked and only visible to the camera! Seriously though, those are some rather distinctive internal reflections... I don't think they're quite to my taste, but the glow from the lights is rather nice. That lens is definitely an exceptional piece of glass.

Nice work! Video looked pretty clean to me, and colours etc seemed nicely rendered too, considering the crazily coloured lighting. I didn't get any odd impressions about what was in focus and what wasn't, so that seemed fine too. When you go the promo edit I would suggest adding a bit of sharpening on the slow-mo shots to even them out a bit, but I'm seriously nit-picking there. I don't know what NLE you're editing / colour-grading in but if you want to even out the parts with very blue lighting a bit then I have a bunch of cool tricks I've picked up that I'm happy to share, just ask.

Lots of lens deals on at B&H.... https://www.bhphotovideo.com/c/products/Dealzone/di/13592?sort=PRICE_LOW_TO_HIGH Including the Tokina 11-16 which is reduced $200 to $299, and some of the Sirui 1.33x anamorphics are less than half price.

I'd prefer it to be adjustable in post to give extra control after the fact. For example, if I'm shooting out of the window of a moving vehicle on a rough road then getting a completely gimbal-like level of stabilisation may require too much cropping for my desired framing. Or if I'm shooting a static shot hand-held I may want to smooth any micro-jitters in there but keep a slightly moving camera for a hand-held feel, or I may want to lock it off completely, but that decision is one of those ones where you'd want to make it based on the edit. I wouldn't want to have a whole edit with just hand-held but not locked-off shots (or locked-off only) if I could have the ability to vary it in post. I'm not familiar with the plugin - does it handle gyro data from multiple manufacturers? If so, that would be great!

Or LIDAR..... as part of Panasonics partnership with DJI, which seems to be progressing, and works with manual focus lenses too. Not a lot of AF anamorphics, and with Pannys support of anamorphics on MFT maybe that's the direction they'll go...

That's an interesting product. Obviously you'd have to rig it up by adding a recorder, power solution, and some sort of control setup, but it's not too far off the "Blackmagic Box Camera" that so many people online seem to want. Depending on what controls are available, for example if there's a handle with these things integrated, then maybe paired with a recorder that can deliver power out, it might be a small setup. I'd also hazard a guess that as it's aimed at drones etc it might have more effective thermal management as the old logic of "just buy a proper cinema camera" doesn't really work.

I'm also starting to see the benefits of gyro stabilisation in the newer cameras. My preferred camera is the Panasonic GX85 but if they released a successor that had internal gyro data (and the tools necessary to utilise it in post) then that would be an attractive feature for me - far more than 10-bit or log or other more technical upgrades.

I found this video to be a breath of fresh air.....

I don't mind manufacturers segmenting by price, in a way that's sort-of reasonable, as long as it doesn't go too far in the direction of being anti-competitive. The thing I mind is that they also segment on camera size. If you want great image quality then the cameras just become unwieldy and attention-grabbing. Modern technology makes everything smaller over time, but they ate up that size advantage with extra megapixels. Of course, the elephant in the room with overheating is that it's caused by the blind pursuit of more and more pixels. Of course, some people have convinced themselves of the "need" for more pixels, but the frilly pink dress that the elephant is wearing that no-one will discuss is that you can't see anything more than 720p (at best) on a smartphone, which is the primary viewing device for most of what is being filmed by these people.

Nice!

I thought it was everywhere - one thing we're quite good at down here is shopping online! I think their prices must have come down over time. I'd imagine they'll be very good 🙂 Fingers crossed, but make sure to test them thoroughly when you get them so that if they fail then you can return them quickly enough to not have any issues.

They're the ones that I always hear the pros talking about, but they also seem to have "pro" prices!

I use a range of Sandisk cards, including some special models that work with the BMPCC OG and M2K, but I also have a Samsung EVO micro SD that seems to work well and was a good price. I don't really shoot long takes at horrific bitrates though, and my cameras all have competent thermal management, so I'm not really stressing the reliability of these.

Yes, 10-bit vs 8-bit is a much larger consideration, especially if you're shooting in log. It's rare to see issues with either 8-bit or 4:2:0 in real-world examples, but the ones I have seen appeared to have a similar impact where skin tones had larger squares of yellow/orange/pink instead of the same colours being much more granular and natural-looking. The other consideration is resolution. We haven't all changed to displays that are 4x the size since before 4K was released and 1080p was the standard, therefore the individual pixels are smaller today in the viewers field-of-view than they used to be. IIRC 4:2:0 in 4K is the same as 4:4:4 in 1080p.

The way to choose the best camera for you is to look at what absolutely sucks about each camera (every camera sucks in several major ways) then pick the one that would hurt you the least. Film-making equipment involves a huge amount of compromise, at every level, even regardless of budget (although that definitely sucks for most cameras!).

More sample footage from S5iiX and Sirui 150mm anamorphic lens. Nothing wrong with these images...

Just watched this again, and my impression from the YT upload was that if you'd told me this was Alexa / FX9 / RED I wouldn't have questioned it. It definitely has that high-end look. @deezid I'm curious - to get this level of image did it require being really careful with every element of production/post-production? Or was the look achievable without getting everything perfect? I find that some cameras are super-fragile requiring everything to go right and others are far more robust and much easier to work with and get good results. For me, this robustness is much more important for getting a good result rather than how good the camera is when everything is perfect.

Nice work! No video-ish look at all (I've become super-sensitive to this recently), great edit with cool subtle little moments, and nice colour grade 🙂