eatstoomuchjam

The raw crop will add to the normal 2x crop. If you shoot in open gate or in 6k mode, the raw crop should be 0x extra crop. If you set the camera to 4K mode, the raw crop will be about 1.5x and it will be effectively a 3x crop vs full frame.

If you want to shoot raw, yes. If there's a non-windowed ProRes or H.265 mode, though, they should be about like a 16mm FOV on ff.

To be clear, lenses don't have a crop factor. Lenses project an image circle of a certain size. When the image circle is smaller than is needed to cover a full camera sensor, you will get dark corners or in some extreme cases, the outline of a circle. As long as the sensor is smaller than the image circle, though, you will get an image that covers the entire sensor. If the sensor is 24x36mm (full frame), this would be referred to as a "1x" crop factor in modern terminology. If you put a smaller sensor with the same lens or only capture a portion of the above sensor, the crop factor will increase. We usually calculate this by calculating the diagonal lengths of the sensors and dividing them (or the areas of the sensors and dividing them). So a sensor of around 22.3 x 14.9mm ends up with a diagonal about 1.5x that of 24x36 and Micro 4/3 is about 2x. If you then choose to use only a portion of the Micro 4/3 sensor, the crop factor would increase again. So in raw, going to 4k from 6k is usually an additional 1.5x crop and going to 2k from 6k will be closer to a 2x crop.

It's not a question of quality, but purpose. Is a car better than a truck? Is a TV better than a tablet? Are headphones better than loudspeakers?

You're watching a video with a single person in an otherwise-quiet room. Unless listening on high-quality speakers/headphones, the differences will be negligible. Here's a more useful YouTube search for you to be able to understand why a cardioid or supercardioid mic is different from an omnidirectional mic and when you might choose to use one vs the other. https://www.youtube.com/results?search_query=omnidirectional+microphone+vs+cardioid

I doubt anybody here can actually answer that, but if I'm guessing I'd say that the difficulty in finding them used relates to the reason they're unavailable new. They probably sold barely any of them in the first place which is why they aren't making more.

Keep in mind that the signal is not HDMI. It's DisplayPort. HDMI to DisplayPort adapters exist, but they will add some bulk and probably some processing time. Similar with SDI.

Interesting idea! I hadn't thought of it, but I'll have to give it a try someday. I'll have to dig up one of my older/smaller monopods, I suspect. The one I use now is a Cobra and they're like 2 feet long at their shortest.

As something to put on my camera and pick up noise when the camera is pointed at something, much better, I suspect. Guessing the larks are omnidirectional and would pick up all sorts of other stuff like focus motor, me breathing, etc.

EVF doesn't "fix" it. However, it's broadly believed that having more points of contact between the camera and the shooter increases overall stability. The comment above includes one of the other common methods of increasing stability - adding more/balanced weight to the camera system. Combining one of these things is how run and gun news shooters managed to get their footage to look pretty good 40 years ago - big heavy shoulder-mounted cameras with an EVF. There are other tricks you can try too, even with a smaller camera or no EVF - including getting a pretty thick string and attaching one side to a 1/4x20 screw. Screw it into the camera's tripod mount and let the other end dangle to the ground. Step on it and pull the string taut. Congrats, your footage is now a bit more stable. Though you may want to avoid this strategy on a professional shoot. Many clients might not be thrilled to have spent hundreds or thousands of dollars for somebody to show up with some string and about 60 cents in hardware store fasteners. (It's saved me in a pinch before, but I'm also not a working professional)

Saying something is popular with a niche group (high frame rates) of another niche group (Panasonic L mount camera owners/shooters) does not make it less niche. 😉

It would make good sense. The cost to develop one's own chips/signaling for it would be pretty high* so one might as well use the perfectly good open standard. * Exception being Red who used open standards unchanged, but found douchey ways like proprietary connectors to still render things generally inoperable

As far as I know, a single store put it on clearance for closer to 1/3 price (1/4 price for open box). For a store like Best Buy, this isn't at all atypical. If a product is barely selling and discontinued by the manufacturer, sometimes they'll just blow it out at ridiculous prices and write off the loss. My guess is that they hit the limit of how many Panasonic would refund them.

I ended up ordering the s-mic 3s. Showed up today. I laughed more than a little bit at the box it came in (the image at the top of the thread didn't register with me for some reason). Nice of 'em to include a wooden box, but it's kind of a bummer there's not an option to order without the fancy box for what's going to be used as an on-camera mic!

It's a pretty niche use case. 🙂

If you find a generic external EVF that isn't big, please do share the info! I have yet to see one that isn't kind of weirdly big (including Oeye and Z Cam)

Good news! I had forgotten before that I had the GFX 100 II when I went to Turkey last year. I added a clip of a bunch of people fishing from a bridge in Istanbul with tourists passing behind them.

Nobody outside of Atomos has been allowed thus far to add braw to their camera and it doesn't seem, in any way, like BMD have much interest in licensing their proprietary codec to others, outside of using their own recorders.

Probably almost nobody. The C70 still has a market, though. Maybe the same way that DJI has supported it on the Ronin 4D for a while now? It's not out of the question that one or both companies negotiated a contract with Red/Nikon to allow it - that or maybe lawyers for both companies decided that PRR doesn't infringe the DJI patent enough that a lawsuit would be likely successful. I think DJI's is a paid upgrade which would imply that they pay a license fee. Maybe Panasonic just built that into the price.

Whoa. None left in my area either, open box or otherwise, but $550 might have been low enough for me to consider shooting M43 again.

Of course not, though if working with minimal time and delivering in 4k, 6k or 8k can be nice for framing a bit wide and then pulling multiple angles out in the edit. I hear it can also be nice for pulling a key, though I very rarely need to do that. I also watched a BTS video of some National Geographic stuff the other day. Their videographer was using some form of DSMC2 with a Canon 50-1000. I'd be surprised if it weren't an 8k model. Reframing from 8k seems like a great option there too. Regardless, the industry has been pretty lethargic to care about 8k or 12k. To this date, vendors are announcing 6k cameras and people are happy for them. How were sales of the OG UMP12K? Judging by how many I've ever seen in use or credited for being used in something, I'm going to guess "extremely poor." There were too many other drawbacks for most people to be excited for it. Does more DR make the image better? No. But in uncontrolled lighting, it can make a noticeable difference in what's captured. As always, a mediocre camera with an expert operator is going to be better than the world's best camera with a clueless operator. If you're on the sort of big production with the support system to make the DP look good enough to win the oscar, there's a good chance you're shooting on Arri. You also probably have an entire support crew dedicated to stuff like laying down dolly tracks and a couple of dozen people whose only job is setting up the lights in a place where you say. Once the budget is that big, the price of Arri purchase or rental seems insignificant.

Apparently it can use the EVF-50, same as the C300 III and C500. Bummer is that the placement doesn't seem flexible (at least in the video I saw, it looked like it hard mounted to the back of the camera, centered on top). https://www.usa.canon.com/shop/p/evf-v50?color=Black&type=New

DP Journey shot an official promo video for it, says he'll publish a review later:

Chris and Jordan trying to up their thumbnail game, but succeeding only in inviting any number of rude photoshops:

There are tons of people using C70's and C300 II's. I doubt they're selling a ton of them these days, given that they're several years old and most people in the target market already have them and have been using them. I think that they know that their target market isn't people who want weird pretentious talk or wild claims, but working shooters who aren't spending all day on internet forums. (That is, not me - I'm unlikely to buy this camera any time soon and I hang out on internet forums too much) I'm guessing that it's either cost or that more people told them they wanted multiple base ISO's. It also gives people a potential reason to keep buying the C70 - which they really wouldn't have otherwise.