billdoubleu

@fuzzynormal, if you plan on using this as your actual personal device, be sure to research what will work with your carrier. I believe you are in the US, and many of these Chinese phones, if you can even find them, won't work with certain networks. This is especially true of Verizon.

Fantastic video! The quality of RAW on a light, slim phone, plus grading software, compared to the gigantic VHS camera my dad had in the 80s is absolutely unbelievable. I love using motioncam on my Pixel 6a for a 15fps 8mm feel. It's really fun and freeing in the sense that I don't stress about getting a perfect image with it like I do my mirrorless cameras. I just get the exposure as close as I can and let 'er rip. It's easier to focus on framing when you aren't worried about exposure or focus. Though I do wish the focusing had a better, less chaotic, feel with the slider. I like the feeling on the focus ring in my hand. The only other thing I find frustrating with Android phones in comparison to an iphone is the lack of good accessories due to the inexistence of standardization between manufacturers. I would love to be able to get a nice variND for my phone that doesn't seem janky or third party. I'm not a fan of fluctuating shutter speed for exposure.

Every time I get the itch to acquire an OG Blackmagic Pocket Cinema Camera I decide that a GM1 or GM5 would be a much more sound purchase. I have never been able to find either of these cameras, used, for what I would consider a decent price. Three weeks ago the sweet little thing below popped up at a more than reasonable price and I snagged it quickly. It's essentially brand new. The kit lens was never even taken off. I bought a 20mm pancake for it and have been using it for stills ever since. At first I didn't like the blue but I've grown to like to look of it. This thing is quite an engineering marvel and it would be amazing to see a 4k version from Panasonic sooner than later.

I do all family oriented photos and videos. The last few months I've mainly been using the Motioncam app on my Pixel 6a to shoot full sensor RAW video @15fps. For photos I've been using my newly acquired Panasonic Lumix GM1. But the love is equally shared with my GX85 and G85.

Perhaps it mostly still comes down to cost and reliability? Mainly in regards to storage media. Cameras are only very recently able to take advantage of low(ish) cost SSDs that are fast and of large capacity. In the recent past storage media was slow, low capacity, and expensive; or slow, high capacity, and really expensive. Couple that with the variance in card speed and card compatibility with different cameras, even with the same card brand. It's difficult to ensure a quality customer experience with these issues. Also, you're an experienced DP, you may be more willing to work with difficult equipment (like a hacked Canon) to aquire a better image. I would venture to say that the majority of these cameras end up in the hands of jackoffs like me who participate in this as a hobby and don't have the inclination to dick around with a finicky camera. RED caught a lot of shit for charging astronomical prices for their branded SSDs but it makes sense if you are quality assuring reliability and compatibility. I'm not sure how ARRI handles this aspect of their cameras but I'm sure it's much of the same. Limit the customer to what you're sure will work even though the cost is high. In these two cases you can do that, but with a consumer camera you will probably account for the lowest common denominator and accommodate accordingly. Democracy at it's finest.

I suspect it's more a matter of why would a large Japanese manufacturer provide such a feature. There doesn't seem to be much incentive to include high bit depth RAW in the compact mirrorless market. It seems people are demanding that bodies get smaller, more lightweight, and provide higher resolution (I know the last one is debatable). Smaller bodies introduce heat management and battery life issues. Higher resolution introduces more data to process and store. Miniaturization costs money. The manufacturer also has to consider the goal of the end user. The people on this forum are regular guys and gals busting their asses day to day competing in a thankless market where there is always someone who will do the job cheaper and faster. I think most want to get as much done in-camera as possible and get it out the door. Not every project should involve processing and coloring footage. Most one man bands or small production teams just don't have the time or resources for that. In one of Andrew's latest front page articles he is proving that codecs are getting really good and flexible and the data rates are far more manageable than RAW. Ten years ago codecs were either shit at low data rates or on the flip side you needed a beefy computer to handle the high data rate codecs. From what I understand, and I could be wrong, the majority of productions using a cinema camera like an ARRI don't use a RAW workflow, aside from scenes with a challenging lighting situation. The data collection and management is too much for all but the biggest budgets. And any niche cases are being handled by the likes of Blackmagic with their sort-of-RAW or that other company we all know who owns the compressed RAW market (which in and of itself is enough reason for manufacturers to not want to deal with it). So basically I don't think enough people give a shit about 14 but RAW for it to be a readily available option. If there is one thing I took away from my economics courses is that incentive is everything.

It looks to be a 1/1.9" sensor, so 6.92 crop. This would be closer to standard 8mm film than super. Only very slightly larger. This would be incredibly fun to play around with as an all manual RAW camera. As much as I love to play around with the Motion Cam app on my android, I feel so disconnected from the image without a focus ring or aperture control. Hopefully Octopus Cinema can really deliver something for these modules this year.

I read a few days ago that Sony changed the Imaging Edge app to Creators app, and that then connects to the Creators Cloud. Very creative indeed. It's been happening for some time but only now feels like it's happening all at once. It has certainly become a calling card of younger millennials and older gen z to present themselves as "multi-disciplined". One can't just be a photographer anymore, but a photographer, videographer, model, talent agent, etc. It's not just social media in the creative sector of the economy that has ruined us but work culture in general. In a capitalist dominant world where the few with resources ensure that the many without resources know that they are replaceable, what other outcome could you expect. Make yourself irreplaceable and you'll prosper, right? Regarding older millennials, like myself, and younger gen z I believe; millennials have grown tired of busting their ass to chase a carrot they'll never eat and gen z have seen enough from the older generations to know that the hustle is a fruitless effort. This is all coming from mine own American perspective. I know this forum spans many cultures and generations. If you embrace the hustle, more power to you and I wish you the best. As far as the "good-enough-is-good-enough" goes in the creative world, It has simply become an esthetic for the younger population and of course corporate number crunchers will happily follow suit. The current state of the arts and creative commerce tells us all we need to know. Vinyl records are outselling cds. Music is being made made in Garage Band with cheap instruments and microphones. More people will watch a Tik-Tok video that took 15 minutes to make than will watch a properly produced motion picture that took 3 years and thousands of man-hours to make. Polaroid and other film technologies are being embraced once again. As well, early digital camera technology is exploding on the secondhand market. Look at the success of the horror movie Skinamarink (2022). It was shot with an FX-6 but it looks like absolute shit . The lo-fi look is where it's at right now. Why is that? I definitely have thoughts on the subject, but I'll save everyone's eyes from continuing this rant.

The actual image the camera produces or the image that is shown on the LCD screen? Also, what firmware version do you have installed?

Haha! Did you swipe over to the next photo, @PannySVHS?

Now things are getting fun! https://www.instagram.com/p/CosIwV5KmyS/?igshid=YmMyMTA2M2Y=

I'm terribly sorry to hear about your sister, Andrew. My father-in-law is fighting the cancer battle now. He's the fourth family member or friend of mine to do so. I've learned to never be shy about telling the one's I care about that I love them. Hopefully you can take this time to bond and heal with your family. I'll be rooting for your success in the future.

Internal prores and external braw and prores raw. There are a couple pre production reviews on YouTube this morning. Nothing mind blowing. Great camera, but par-for-the-course.

In my experience; any classic film that has been properly restored and transferred to 4K will look absolutely amazing in comparison to any copy you have seen in the past. This is especially true for black & white films. Recent examples like The Godfather and Citizen Kane are well worth it. In contrast, recent films, especially those captured digitally, you probably won't see much of a difference between the 1080p and UHD versions.

Very true, and my mind is always fixated on Blackmagic's codec rather than any true RAW data collection. I feel like it's a technology that isn't getting enough respect in a Prores dominated world. It is young yet though. I would most likely be using a flavor of h265 most of the time on the GH6. Especially having an M1 Mac makes working with those files possible. Regardless, bottom line, the GH6 looks like one sweet picture making machine. I think my next camera is going to have to be my forever camera, and this is on the short list.

Reviews most certainly have had these cameras in hand for a number of weeks now.

Sure, people were complaining about not having professional editing codecs available internally in cameras like the GH5, but, those complaints began at least five years ago when Prores was already 10 years old. Prores was an option in every blackmagic camera alongside CinemaDNG starting in 2012, so, there's no logical argument that those codecs couldn't have been included in the GH5. The GH3 should've been the last GH camera sans Prores. Here we are in 2022 and there is a growing list of RAW/ RAW(ish) codecs that didn't exist five years ago. ProresRAW, BlackmagicRAW, TICO-RAW are innovations sprung from the limitations imposed by RED's patents. These are all available internally in one or more cameras. Along with uncompressed RAW in the Sigma fp. So, while Prores is a welcome addition, no one should be impressed by it. Panasonic should either have developed a RAW technology by now or be licencing one.

I've only been in the camera/ video hobby for 5 years now. But, I'm shocked more and more every year by how much money people will lay down for what seems like only iterative cameras (same with smartphones). This is a bit more than an enthusiast like me wants to spend, but, I think professionals will respond to this well enough.

I bet this item will see a large sales boom once the GH6 is released. https://www.tomshardware.com/news/adapter-turns-ssds-into-cfexpress

I've always wanted a Blackmagic camera, but the lack of IBIS is the main gotcha for me and my use case. I also wish they put the tilt screen on the 4k from the jump. Better yet, in my opinion, Blackmagic are in the best spot to pioneer a detachable screen you could mount anywhere. You're already providing a large, high quality screen. Just give me a cable and let me mount it wherever the fuck I want! I don't know that the big boy companies could pull that off, but BM has right clientele for it. I think for the price they're going for on ebay I would rather buy a Sigma fp. The two are neck-and-neck on the used market. I don't know if the fp gets the love it deserves. It was a bold move on Sigma's part. But, hell, by the end of the year Blackmagic may be the only company left selling affordable cameras with a high quality image. Might as well get on board now.

Apologies for resurrecting such an old thread. But I found it amazing that, here we are, 8 years after this thread was started and you still cannot find firmware, whether official or dumped, for the 1DC on the internet. A 1DX can be had fairly cheap these days and would be so fun to have with 4k capabilities. No wonder canon will always own this camera market. They play the game better than anyone.

I have no specific knowledge other than it makes sense. They're pulling from the same playbook as Olympus. The only new products they're sending out are a repackaging of their old technology. How long can one new camera (GH6) carry you as a business? I love VariCam but Arri is too sexy for productions to resist. Blackmagic is too attractive to smaller productions due to the super low cost, great image, and streamlined ecosystem. If Panasonic made the bold move with the EVA1 to strap an MFT mount to the front, they no doubt would've had more success with it. No guts no glory. Camera technology is seemingly a very difficult space to innovate in currently. The only companies making headway seem to be cell phone manufacturers who are willing and able to throw a mass of resources at the problem. Not to mention those companies also peddle in data mining, so, it only behoves them to keep that technology updated and exciting and in the best position to learn who you are as a consumer.

I found some time to mess around with this video a bit more. Same screen grab as before but on a 4k timeline with Blackmagic 4k Film output gamma and I played with the colors a bit. BTW, I do not have anything close to a grading monitor. I play these videos through my Plex server on my budget TV and if it looks right I go with it. Though, I haven't looked at the video as is yet. I also overlaid the video with 16mm film grain. I'm generally not a fan of film grain for my own stuff, but, it seems to fit-the-bill here. The colors are so much more easily manipulated here as compared to my usual G85/ GX85 CineD files. I have also learned that Davinci resolve will not export any of the frame rates I want for this video (e.g. 12, 16, 18fps). So, I am exporting 24fps and using handbrake to convert to 12fps. Handbrake also doesn't output 16 or 18fps. Any tips or tricks are welcome! I took some 4k 60p video with the standard pixel camera app in this same scenario. I started playing around with that mess last night. The image is horrendously oversharpened and noisy. The crop is ridiculous with the OIS activated, as if it weren't bad enough with the 4k crop alone. Curiously enough the 1080p crop is the same as the 4k, so, even in 1080p they aren't sampling the full width of the sensor. You also can't do much of anything with the image in post. I made some slight contrast adjustments with curves, but anything else blows the image into orbit.

I've always preferred the Varicam look over any other dominate cine camera. I know I'm in the minority here, haha! A good and recent example is The Art of Self-Defense. Red is the dominate color throughout the film and I think it looks fantastic. They were heavy handed with the grain, but, I think it works with the tone of the film and looks amazing overall. https://film-grab.com/2020/08/07/the-art-of-self-defence/

So, I recently picked up a Pixel 5a on sale and gave the Motion Cam app a go on it. I've been having some fun and finding some fairly consistent results with the full sensor (4032X3024) @ 12FPS. I think the sensor size comes close to super 8mm sizing and the results definitely have an 8mm vibe. The screen grab below is from a cinemaDNG sequence dropped into Resolve on a 1080p/ rec709/ linear timeline -> color space transform (which I didn't even know you could use in the free version) ARRI LogC output gamma -> ARRI Alexa LogC to rec709 LUT -> bumped up the saturation a bit and brought the shadows down with the log wheels Be gentle; what I know of a RAW workflow has been learned in about 2 hours this week. There's no noise reduction applied, but it seems like the downscale helped clean things up and give a more film like quality. The app is a bit clunky, but is obviously in beta and can't be fully criticized yet. Manual focus would be amazing and there were some exposure shifts that may or may not have been my fault. If someone sold this technology with a MFT lens mount on it as a modern 8mm camera I would for sure buy one. It's been fun and I'm enjoying learning about RAW correction/ grading. There seems to be a few people catching on to the app on YouTube. People with more powerful phones seem to be having better luck with things. Hopefully development continues with success and RED doesn't interfere!