zlfan

now, the discussion is more interesting. if i shoot a news using red one mx at 24p, isn't this a news?

you see, now a lot of practical reasons show up, not only about aesthetics any more.

also, about news. nowdays news are shot by fx9, fx6, c300 3, c70, etc. why should news be shot on 29.97p 30p? news can be shot mimicking a cinema style. with some basic lighting, interview in news can be shot s35 or vv at 24p, the same as classic drama with a lot of dialogues. what is the difference? why should a dialogue in a drama should be shot at 24p, whereas a dialogue in news interview should be shot at 30p? i think that habit or tradition determines here.

i agree with you that hollywood is just a small segment of film industry. my point here is just to extrapolate the logic behind thinking of the 60p for sports and 24p for cinema. because if this holds true, action pacted films are like sports, 24p may not be suitable for them. on the other hand, many action heavy movies are still 24p. so there is inconsistency of this logic. 24p and 60p are more a mandate thing. also, nowadays network based soap opera use cinema cams too, alexa mini, f55, not to say f5, fs7, fx9, fx6, c300 2 or 3. the choice of 24p versus 30p is just one click on the cam menu. should a soap opera be shot at 30p only because it is broadcasted on tv? how about the same program be distributed on streaming services? everything is just blurred, due to widely available large sensor cams that can do 24p, 30p, 60p so easily.

right now there is only cine pi 2, but the release of pi 5 will almost certainly help out a cine pi3. certainly cine pi cams are not as mature as the p4k etc, but the open structures make them very easy to customize. and a new generation of cam makers may come out of it, making cheap raw cams, even cheaper than bm ones.

with widely available 4k 60p acquisition tools like phones and action cams, and with ubiquitous youtube 4k 60p viewing mode, the new generation of viewers' eyes and brains are trained very differently. and the rest is just history.

his choice is rx100 7 what is yours? i know i cannot narrow down to one. if i have to, 650d/700d ml crop mood with a 512gb or 1tgb sandisk extreme pro, mke400 mk1.

you just don't get the message, like some people i know at the time of 2008 arrogantly looking at the 5d2 despisingly with an ex1 in their hands.

it is interesting to see how people are locked in the stereotypic ideas. 24p for cinema, 30p for tv broadcast, 60p for sports. right now, holly wood block busters are typically action packed, green screen vfx focused. so high res high fr are actually very suitable for hollywood features, these are more sports like than classic drama dialogue center like. the classic drama which emphasizes on dialogue is moving into the broadcast or streaming service. so if 24p is critical for this kind of drama, actually 24p should be used for soap opera on tv or netflix. in summary, the paradigm has shifted. 60p should be for hollywood feature cinema 24p should be for tv soap opera, netfix 30p is still for news.

gp12 media mod has additional audio meter and hdmi out, better than the audio module and third party cage, seems the way to go. will mount my mke 200 on the cold shoe. another cold shoe may be for some high quality small size preamp in the future. any suggestion on small size high quality preamps? thx.

smallrig has a cage for gp12, much cheaper. seems using usb-c for audio adapter. anyone has experience on this cage and audio adapter? https://www.smallrig.com/smallrig-gopro-hero-10-9-black-camera-cage-3083.html?gclid=Cj0KCQiA67CrBhC1ARIsACKAa8TN3XBU3UK7fGldDgzTDyUhD6FCi_bo3Y0i5w95qyIklK0L6mwBM3saAh2TEALw_wcB

seems gopro has this media mod providing 3.5mm mic port and cold shoes. anyone has experience of this? i am thinking to mount my seinheiser mke 200 with a dead cat on it. i just cannot bear the sound from the integrated mic on gp12, it does not cancel wind at all.

so, you think that em1.3 and om1 can use 100 mm lens (200mm full frame eqiv) and still tripod like? very nice to hear. regards,

i tested em5 many yeas ago for its ibis. basically, at 25mm m43 (50mm full frame equivalent) or less, it is tripod proof; 25-50mm, it is like on a monopod; over 50mm, it is shaky. gp12 seems to have very effective stabilization, but i think the lens is also on the wide angle. can om1 or g9 ii or gh6 stabilize 100 mm or above lenses like it is on a tripod? thanks in advance.

yoga masters or qigong masters may have espn 60p crystal clear dreams or imagination or out of body experience. when i was young, my dreams were clear and colorful, not now anymore, just some close to bw unclear dreams. but i never count frame rates in my dreams, i was either enjoy pursuing pretty girls, or afraid of being pursued by someone who wants to detain me or kill me for some reasons.

actually 4:3 is in fashion again, in the new name of open gate anamorphic, thanks to alexa. lol.

i agree that 60p or 120p is not for everything, but they are getting more and more popular, with the help of youtube. yeh, hfr really infuses too much info into the eyes and brain, the same as the 8k and 12k. i think 120p is kind of extreme, also the shutter speed of 1/240 s requires a lot of lighting, kind of unnecessary. but 60p or 48p will very possibly popularize in the next several decades. also for the same reason, i really doubt that 8k or 12k will kick off, but 4k will stay long.

I consider myself power viewer, above 95% common viewers in theatre or watching tv. if power viewers like me don't give a dime about 48 p vs 24p, typically those 95% viewers don't neither. it is just like red fans brag about 8k and bm fans brag about 12k, at the end of the day, typical users are satisfied with high quality good color 720p, at most 1080p. you can say they are uneducated, unsophisticated, stupid, but they are the customers buying the tickets.

this correlates to my previous comment that displaying technology is democratizing 60p. giving another one or two decades, people will get used to watch 60p and shoot 60p using their phones. i remember when 5d2 and 7d just came out, about 2008-2009, i told someone who thought he was better than me in photography and videography that 5d2 and 7d would disrupt the ex1/ex3 and 2/3 pro eng cams, he laughed that such a stupid idea would even existed. years later, i saw him bring his rebel t5i doing hybrid shooting on street fairs. lol.

gp 12 battery each lasts about 1 h at most. probably i need to find some usb charging cable for longer time car mount usage.

i watched titanic and avatar i 3d in theatre when they were just released. never thought they were shot on 48p. i also watched hobbit series in theatre, although i knew they were shot on 48p, but hey, my eyes did not care less.