Which camera are you most excited about? What did I get wrong? Let me go first: 24mm on GH7 (Micro 4/3) = 48mm on a Full Frame, my mistake! Also the Fx6 & GH7 does not have MINI XLR but regular size XLR.... Also also I hate Mini-XLR
I just want a light affair, a Lumix S9, Full-Frame, IBIS, 6K Open Gate, Anamorphic Dee-squeeze with the sexiest Image that fits inside a pocket (no skinny jeans) for $1,500
24mm x 2x crop factor = 48mm not 65mm. But also lumix has an awesome 12mm f1.4 lens with Leica that gives the 24mm equivalent. 👍👍 I don’t plan on getting a GH7 but just wanted to put it out there that you can get an awesome 24mm field of view with the MFT system.
also, Gerald Undone's video was due to the S9 launch, not the GH7. Also, he didn't really say M4/3 was dead but that its peak image quality had been reached (when reviewing the GH6). That was the statement he retracted.
@@ethanmitchell7753😂 - lol NOPE - LUMIX always pushing the limits and with such a small sensor they deliver epic results. I own a GH5 s - and a C300 mkiii The 5 year old GH5 s - still holds up as a powerful camera 🔥🔥 the GH7 is wild!
"but I need my internal raw, 8k at 120fps no crop for my RUclips shorts! also, primes are always better and you're a fool for not zooming with your feet." Mark is legit, but there's so many content creators out there that have no clue what is actually useful or necessary on real projects and just latch on to buzzwords. People need to be reminded that most of us aren't close to working on projects like Mark and that we don't need cameras any more fancy or expensive than what he uses for our relatively simple purposes.
@@stevesdead You meant to say that we don't need cameras as fancy or expensive as he uses for our relatively simple purposes. He's the "king of overkill" imo. But his information is solid, not knocking his talent or knowledge.
When it comes to Blackmagic you gotta mention that they are brutally honest when it comes to the advertised dynamic range compared to Sony or Canon for example.. you'llreally get those 13 stops outta that camera.
So many mention how canon or Sony is has better dynamic range but, (which is true if you go on what the companies claim, but BlackMagic typically does better in the that field.
Blackmagic aren't honest about two things though; firstly the poor quality control/build quality and failure rate of their cameras and secondly their awful after sales service.
I’m happy with my S5iix (although I’d love the 32-bit float of the GH7). Timecode, OLPF and built-in ND filters would make it the perfect camera for me. Looking forward to seeing what the S1hii has to offer.
Both are great cameras. GH7 has less rolling shutter, better slow mo options, a wider selection of cheaper lenses, 32-bit float (with the XLR accessory), internal ProRes recording with CF card, and ARRI Log. S5iix has the advantage in low light, dynamic range and shallow depth of field (and is preferable for photography). I previously had a GH5 and am happy with the change. Petapixel has a great review of the GH7 if you want more info. Ultimately it depends on your use-case. I’d say GH7 for pure video, S5iix for hybrid (although I’m hoping the successor to the S1h will have the best of both worlds - but this will probably come at a significantly higher cost).
@@kazlepek6552 the XLR2 adapter is currently only listed as compatible with the GH7. The best alternative for the S5iiX is the Zoom F3 (although you can actually buy the Zoom F6 for the same price as the XLR2).
The GH7 and other M43 cameras can be used with most lens mounts with adapters. When running a Metabones Speedbooster we are getting an extra stop of light, better clarity and a unique look with our Nikkor primes for example. The "crop factor" becomes about 1.25 on our version, putting it between full frame and S35 so you can get decently shallow depth of field. We run native M43 lenses when we want a smaller and lighter package or greater depth of field. Very versatile. We have the GH6, GH5s, and EVA1; they color match perfectly in Vlog. We're also a Red shop. Thanks for your excellent videos Mark!
Just goes to tell u gear aquring obssesion has gotten out of hand. Like every new camera braging about 6k,8k etc and everyone needs to have it and then 95% of that footage ends up on instagram, tiktok or youtube lol. 4k is gonna be viable for at least 5 more years, and even tho cameras advanced the equipment required to show that camera work has not.
Doesn’t matter if its 4k or 1080p where most content are consumed aka phones, they pretty much look the same, it doesn’t even matter how high res the screen is. Where it matters is in post, 8k would probably save money in terms of lenses.
I dont own that camera, but its really hard to deny how awesome it is. I have this weird feeling nikon is going to be dropping strait heat from here on out
I don't understand why people are so scared of BRAW. You get so much more flexibility and the data rates are way smaller than prores. The only small drawback is needing the dedicated player for playback on computers outside of an NLE. I think everyone is just misinformed and still thinks it's unmanageable.
Maybe for shooters who edit their own content. But for some of us who we have to hand over footage to clients in most cases this isn’t really an option.
A couple thoughts/clarifications 1. Crop sensor cameras (s35/mft) offer a couple of unique advantages over full frame in the adaptability of lenses and the ability to have a more compact package overall. A lot of cinema lenses were made specifically for s35 so adapting them to like formats is a lot easier, especially considering that when adapting s35 lenses to full frame, you are losing resolution. Crop sensor formats also have the unique ability to use focal reducers and achieve looks very similar to full frame with .71x adapters for s35 and .64 adapters for mft, while also gathering a stop more light. This isn’t to say crop sensors don’t have downsides, because they absolutely do, but there are a plethora of reasons a discerning videographer would choose these formats. 2. Mft crop factor is 2x so a 24mm becomes a 48mm not a 65mm. 3. The pyxis, though great, can only shoot in full frame formats up to 30p and can only achieve up to 60p in a s35 crop 4k. If slow motion is your thing, don’t get the pyxis. (Edit: yeah, this is wrong, I think I misremembered the tech sheet. Apologies for misinformation) 4. I honestly have doubts on the fx6 ii. Sony’s probably been developing it for a while now, and they may be too far along in development to produce a proper response. I hope I’m wrong though.
@@Jeff_Lathrop yeah, I know the formats are the same between the pyxis and CC6K, I was saying I misremembered the tech sheet. I could’ve sworn when it was launching that it was stuck at 6k 36, but clearly I’ve had the wrong information this whole time lol.
You can always use speedbooster on m4/3, i use canons Sigma 18-35 and my aperture goes to F1.2 so it’s awesome in low light. Also to use ARRI LogC3 on this small camera is amazing…
I actually recently bought a used Sony Venice. Great package at a great price (way cheaper than a new Burano). Of course one could argue if a Venice is the ultimate doc camera... the biggest downside is that it's really heavy. But the weight also helps to keep the camera movement really steady. It's also kind of power hungry (especially with the raw recorder attached). But the image.... wow! Just wow!
S5II and X are worthy in this lineup. 6K open gate, no internal ND or SDI but the ND is mitigated with the drop in filter PL adapter I have. I’m about to do a build on the channel with my new Rigid Pro Cine Back. It makes it feel like a whole new camera. I appreciate your video though as it was very insightful and you always give the best value. Thank you Mark
I am a canon shooter, I own the C70 and it’s been my favorite camera I’ve ever owned or used. I tend to gravitate more towards the mid to tight range with focal lengths, I just like how it looks, so the super35 doesn’t bother me. If I need ultra wide, I have the speed booster that pairs wonderfully with my EF 24 lens, but I also have a 16mm cine lens in the bag too. The image that comes out of the C70 is really what sells it for me. It’s not as sharp as my R5, but the colors, the dynamic range, and the feel of it just really appeal to me. Not to mention it’s really a great size and form factor for when I’m on an RS3. I am intrigued by the C400, it seems like that and the C70 could actually pair nicely!
@@markbone never got to use it, but from what I heard it’s on point with matching alongside ARRI cameras especially in risky situations for example near water, near a cliff, or for small tight spot or on a drone those kind of situations you don’t wanna risk a +$100,000 camera vs just a $2,200 smaller camera 😂 I think it’s super clutch it’s the ULTIMATE B CAM can be an A CAM if you’re an up & coming budget filmmaker can definitely get the job done especially with a large availability for cheap lens options 🎥🙏
For someone starting in the wedding, event, or corporate space, the GH7 is an amazing choice. It's small, light and super capable. Plus you can find fast MFT glass on the used market for a fraction of the cost of the other options.
@@TimNovotney-ui1rr Right!? Open gate has changed my ability to quickly turnaround higher quality work with better framing and options alongside how great both the regular and high e-stabilization is. The high stabilization is pretty much a tripod whenever you move the image.
After joining AOD, I've really leaned into the camera doesn't matter as much aspect. I think we've reached a point where many cameras from different brands are really good and you can't really go wrong with your choice if it was for yourself. As someone that really enjoys customization and deeper colors, I enjoy the Lumix color science and recently switched from Sony to Lumix after joining AOD. I'm excited for the films I'll be able to make thanks to the skills I'm learning over waiting to buy new gear just to feel like I'm making good films. It starts in mastering the basics and craft, not the gear you have.
Love your perspective CK! Choosing a camera is a wild world that really doesn't matter much in the end as long as you comfortable with the one in your hand!
Hi Mark. I agree it's a great time with new innovations. It can be a little confusing for me being new to these types of cameras. Last time I shot actual film was 16mm in 1972.
I'm gravitating to the Pyxis 6 because of the price at the moment. My FS5 is simply too old, and i need an upgrade, i dont even use my sony for work anymore, it doesn't meet my client's needs. I now use it only for skating. If only i could afford the C400, this camera is very compelling. If i had to choose between the Fx6 and C400, it would definitely be the C400. But like i said before. i cannot afford anything above 4k.
@@markbone I’m sure the flange distance wouldn’t work, But it would be amazing if Panasonic made a native speedbooster for full frame L-Mount glass on M43 bodies to get closer to full frame and have Phase detect AF. Or if metabones updated the EF to M43 booster with phase detect AF motors!
This whole “I like wide angle so MFT doesnt work for me” sentiment I’ve seen from multiple RUclipsrs is so weird to me… makes it clear they don’t really research and try these cameras before talking about them.
Exciting times, and yep, spot on with your final comments Mark ;-) I wouldn't hold my breath on Sony adding Burano/Venice codecs to lower-price models - heck, how long did they leave between announcing an fx3 firmware update with shutter angle and actually releasing it?
Good thoughts, mate! Being afraid to “drive” when comparing specs is something that continually hits home for me. I see stories slipping by while I’m studying test charts and whatnot. Thanks for keeping it real.
If you opt into the MFT format you'll probably only end up having a small selection of native MFT lenses. For a large part you're adapting up to canon EF which gives you loads of cheap APSC and full frame options.
Have the Gh6, will get the Gh7. Sirui have the Nightwalker series(T1.2) Leica have both the 10-25mm and 25-50mm f1.7 OIS. And then there is my all time favorite Leica 12-35mm f2.8 OIS, tiny and buttersmooth. I suggest on trying it on the Gh7, I can imagine it being the ultimate handheld combo paired with the XLR module.
About MFT: You can use so many lenses on it like Canon EF or FD with the added benefit of an extra stop if you use a speed booster adapter. I use a Canon 24 - 105 mm, with a max. apperture of 4, which turns into a 2.8 appature on my GH5S. You have already corrected your mistake about 24 mm translating to 65 mm. 😊With a speedbooster, the factor is only 1.3. So it's really versatile for a low budget.
Love the personality and authenticity you're bringing to these videos, Mark! Bummed I missed you while you were in Austin. I've shot with Chris Bourke before, he's a chill dude. Next time you come into town I can take you to a much better BBQ place. Tell me you jumped in Barton Springs though!? It's overcrowded these days, but a local gem.
The BM Pyxis uses L-mount and PL and not EF so they have the same Sigma lenses as E-mount plus it's just as easy to adapt vintage lenses as it is on E-mount. As for codecs it ONLY has RAW which is big drawback if you ask me. BRAW is great but only BRAW and no ProRes or anything else? Big miss imo.
@@pchuck1439 Cool! Wasn't available in my country when i looked at them. Only L-mount and PL but either way, you got the same Sigma DG DN lenses for L-mount as you do for E-mount and it's just as easy to adapt vintage glass to L as E as they're both short flanged mirrorless mounts. So you do not have to stick with EF glass if you don't want to anyway but it's cool that it's an option :)
Hi Mark. Love your honesty and sharing philosophy. May have been mentioned here already, but the GH7 has Arri log and the comparisons are interesting. I have been using M43 since 2012 and although I also use full frame Panasonics, they are still viable and when compared to many S35 formats, logical even. Yes you need a 12mm to be a 24 (like you need an 18mm in S35), but have you seen the options? 10-25 f1.7 cine lens with near perfect glass!
Under the Pyxis a better note would have been " 3:2 Sensor ". Didn't hear that mentioned. Love this comparison! Canon C400 is gonna be an absolute unit.
I own a RED Komodo, an URSA 4.6K G2, a Sony A7sIII and a Canon R5C. I just love to try stuff. I think it's important to keep an open mind, they all have pros and cons. And I have PL adapters for all of them, so I can use all my PL lenses no problem! I would have LOVED it if Blackmagic had announced a third camera to fit between the 12K Cine and the Pyxis. I feel like the gap is pretty big.
Thinking of getting the R5C myself. I keep coming back to it.
4 месяца назад
I went with MFT because of Pocket 4K years ago. It's great format for compact shooting. Camera and lenses are small great for gimbal use. BRAW the quality of the picture is incredible. You can always go with a speedbooster and full frame lenses. I use olympus zoom, Meike Primes and Canon EF. Planning on buying Leica R lenses. I wish BM did Pocket 4K Pro with GH7 sensor.
@@GrayGhostDog1 he began by saying that he prefers to shoot with a full frame camera, so I would argue that for the money, the S5IIx brings more to the table based on his preference.
@@SomewhatAbnormal … I think you mean it may be a choice because the specific user prefers full-frame. The S5IIX does not bring more to the table than the GH7 just because it is full-frame.
@@GrayGhostDog1 I guess we can agree to disagree on this one. Having the ability to use lenses without a crop factor on a full size sensor is key. The video specs on the S5IIx are 6K vs. 5.7K on the GH7, which gives us even more ability to punch in. You can do 32 bit float audio on the GH7, but you need the DMW-XLR2 to make this happen. I'd love to have 300fps video, but at the end of the day it's 300fps @FHD. The ARRI LOG-C is nice, but it doesn't offer any dynamic range improvements over V-log - it just makes matching across cameras easier. At the end of the day, all of the features added to the GH7 don't outweigh the fact that it's not a full frame camera - at least it doesn't for me. I love Panasonic Lumix cameras - I own a BS1H and an S5IIx. I would have loved to see some of the features in the GH7 included in the full frame S5IIx.
Red sold licenses for internal compressed raw to all of the major camera manufacturers. The former CEO mentioned this in a live stream. He even said they can use R3D. So far the only ones with no mirrorless offerings with internal compressed raw are Sony and Fujifilm. Hopefully they will offer it via a firmware update.
I think one of the important tech stats that matters is the ability to shoot in 10Bit or higher. For the start this might not be a big deal, but I'm getting to the limits of my A7c when editing. The 8-Bit Colour kinda fells apart fast when Colour grading. Most Cameras these days can shoot 4k and you can get nice lenses and audio from various brands. overall I feel like that you should choose a brand that you feel good with. I LOVE the feel of my A7c with the smallrig cage. I hold it in my hands and want to shoot something. I think that matters more than having the best stats on paper. Worked with an BM 6K and it was pretty bad ergonomic wise, the footage quality was good though.
Good point about raw recording. I've worked on three docs for HBO and Amazon in the last two years and they were entirely shot in ProRes HQ. Every now and then Raw recording is worth it for me, but 9 times out of 10 it ain't.
When people ask me about cameras, I always tell them that Sony has the best ecosystem. Low point of entry and relatively similar experience up the line.
@@markbone The FX9 came before the FX6. The FX9 has something built in, which on the FX6 is only available with the FX6 top handle: audio connectors. So for me, it´s more possible, that Sony would make a smaller FX9 II, or however they will call it...something between a FX6 and a FX9, but with all connectors and ports, the FX9 has. Also, the FX9 can do 6k. Whatever the next Sony FX camera will be, i wouldn´t call it a successor of the FX6.
You missed the fact, that the EOS C400 actually can have 4 XLR ports. The 2 mini-XLRs on the camera and then an additional 2 full size XLRs using the Tascam Audio adapter in the multifunction hotshoe .. and 4 tracks in your video footage .. indeed.
Regarding the lack of HDMI on the PYXIS, there's the SDI as you mention but also the front USB-C with monitoring capabilities. BMD is rumored to release affordable USB-C monitors. Great camera but wish it had less rolling shutter (though that can be fixed in DaVinci Resolve easily).
I mean that internal ND used to be seen as “prosumer” so it was a statement to the professional side of the industry that drop in matte box filters aren’t the only way to ND when Arri did it
@@markbone interesting, I've never even remotely considered internal NDs "prosumer" (unlike things like IBIS for example) - but maybe that's because when I started out, it was only available in higher-end cameras (and by higher end I mean more than 10k).
Pyxis is on my list. But I'm hoping it's my last BM camera and then move to either Sony or RED. Well, I have to see about RED with the whole Nikon thing. But if I'm being honest, I think the FX6 is the reigning king among these four. I used to be a Canon user but it was getting annoying to see them pull back and BM rise up with features being added, price point, and instant access to film tools on set in the camera.
I appreciate the comparisons. Though, it was odd that the only non-full-frame was the Lumix, when the Lumix S5Xii exists and is a pretty popular camera currently. It seems like comparing 3 apples and 1 orange.
The gear obsession is real out here lol..yeah, its hard to get a bad camera nowadays. A large percentage of people believe they need the newest camera to create "cinematic" images (it hurt saying that word) but they are mostly shooting for RUclips, or the marketing hype sells them on a camera they dont need at this point in their career. It is a good time to be in the industry though due to accessibility!
It's a horrible time for the industry of filmmaking with way too much content and fewer and fewer places to market that content. So spend 7,000 to 10,000 on a camera and try making back that money of a good movie or mini-series or anything that might gain more traction than a festival. Find out what kind of time we are really in.
What if you can’t afford one of these cameras? What if your budget is around $2k-$2,500 including one lens? I’m currently saving for the Sony A74 maybe with a 35mm lens. Any advice?
At 12:51, that's what I need in my life 😊 Just someone to care!! Yea cameras are just too crazy anymore. All I need is to make my fx6 heavier so theres less shake. I find myself using an A7siii if I don't need good audio just for form factor. I'd rather just use a smaller camera with image stabilization. I know I know I'm weird. I've thought about selling my fx6 a few times, but using it makes me feel cool.
Hi Mark, very interesting video! I am a videomaker from Italy and I’m a Sony FX3 and FX6 owner. When I shoot with FX6 (cine EI log 3 cine) the image is more noisy than the FX3, do u know why? I know that the noise reduction is always enabled on the FX3 unlike the FX6 who is manual (I keep it off) but with the same exposure the FX6 is noisier… Do you have any suggestions? Thank you in advance!
Every time i see a new camera releasing i get fomo. But as a parttime filmmaker who also shoots photos there is no way i can justify a FX3. So i got my XH2S and XE4 from fujifilm. One for professional work and one to take pictures in the weekend and on holidays. And honestly the footage you get from these camera's is mind blowing if you know how to shoot and light.
I own all canon gear and was super pumped for the c400 since it’s actually good and I think an fx6 killer unfortunately I don’t think it’s an fx6 mkii killer which it kinda needed to be. My company just bought 2 Buranos and XOCN is INCREDIBLE. It’s incredibly efficient for RAW and the downsampled 6k sensor format is perfect. Love the format. If they release and fx6 mkii with xocn and internal audio I’m sold and swapping to Sony. If not might give the c400 a shot. The rf 24-105 2.8 is my new favorite lens
MFT is bad low light but you can shoot f1.4/f2 let that light in and have an f2.8/f4 DoF, so because of the format you win 1 stop of light vs FF. For a videographer, or someone who doesn't do big budget or cinema jobs the GH7 seems unbeatable. Like you get around 60-70-80% of the bigger name cameras for quarter of the price
I know that the gh7 is the newest camera from panasonic, but the s5 iix is a great camera, it has Braw to external ssd and I think proRes internal or on ssd. It's can do 6k open-gate, is full frame, has the same IBIS than the GH7 and hopefully there will be some L-mount speedboosters to compensate for crops. Having said that, the C400 looks very very intresting for what it can do as it comes ready to shoot out from the box, the 3 native ISOs, autofocus (it always helps), and the canon raw.
I own 2 panasonic gh5s cameras. Both with metabones soeedboosters and I only use EF lenses. Sigma zooms from 18-35MM 24-70MM 50-100MM 150-600MM also xeen cf primes. The coverage is close to 35mm, and the image is great. I am planning on selling my Panasonic s1h and both gh5s cameras and getting a C400 and a lumix S5iix ..
Tips for mft users, buy a ef speed booster and you’ll be able to shoot on ef and mft and even rf with the adapters plus the speed booster will make the 2x crop factor into 1.3x more like super 35
A9iii with a Ninja V+ tbh. I think Sony missed a hit by not using the A9iii sensor in the Burano, 6k XOCN with AF and IBIS with a global shutter and maybe cranking up the FPS options beyond 120fps because global shutter
Raw does not like you keep implying, give you more dynamic range. It gives you more data to change colors and push a grade harder. It can also help with keying as every pixel have full data. But most log curves (except the Canon cameras locked out of c-log2) have det full dynamic range of the sensor build in. Try to record raw on you fx6 and compair. Its the same for red, arri and Sony. You get more data and sometime ever so slightly more dynamic range but nothing that would help you recover a blown sky or Window.
Have you ever tried to look side by side? I have on both arri, red and Sony. You get at best like 0.25 stops more of real usable dynamic range. It is not enough to make a real difference.
@@LucasHoller In my case I'm comparing a $4500 Canon XF 605 log3 to a $1500 Z Cam micro 4/3 shooting RAW. I was astonished when the Z Cam blew the Canon out of the water. Midday Sun footage of great egrets and the Z cam can show every detail and tone in the feathers. Canon Log 3 422 10 bit is essentially unusable for that footage.
I have a couple of Pocket Cinema Camera 4Ks as well as a Ursa Mini Pro G2. The Pockets with a speed booster will give you close to an S35 look plus you also gain a full stop of light. I've shot lots of stuff with them with both M43 lenses and S35 PL mount lenses with a Metabone speed booster and I'm getting similar results. Now this said, I get your point about M43. Maybe Lumix should move away from that if they really want to get in the filmmakers' market and not stay in a hybrid photo camera/video camera state. By the way, I use Tilta cages on my Pocket Cinema 4Ks with a side handle that has a follow focus wheel. The handle houses a Sony NP-F970 so the battery life on that camera is quite good. The BRAW codec is really great on so many levels. Yeah, Prores is fine too and I sometimes use that depending on the gigs/client needs. However, lately, I've been editing everything I shoot so I always choose BRAW in those situations. You can change your white balance and ISO after the fact so very convenient when you're doing colour correcting/grading. One day I may make the move to Sony though. I love those FX9, FX6 and FX3.
RAW is indispensable for any shoot where you can't control light. That means you have to shoot it when it happens, not when you and your crew are ready and everything is optimized. Lots of filmmakers fall into that and are saved by RAW
Mark primarily shoots docs. I also shoot primarily short form run and gun content, and none of it requires RAW. All that RAW is, is the preservation of RGB instead of conversion to Y’UV in camera and reasonably high bit rate. Literally that’s it. Highlight reconstruction is a software trick, not saying it’s not useful, just saying that RAW isn’t magic.
@@JeremiahBostwick I'm not disagreeing with you. I realize one can shoot very high-quality without using raw. We're both on opposite sides of the coin. For me, I struggled with 10-bit 422, even with a $5,000 Canon camcorder. Switching to raw on a micro 4/3 Z Cam quadrupled image quality. We're just different use cases.
The reason these topics are so tasty is it makes you feel,”if I only had THAT camera, I could make something great.” Then I remind myself some of the greatest movies of all time were shot on film and they had no clue what they were actually shooting because there wasn’t even a viewfinder then. Sean…just go make shit
Mark is the man, and I am a long term AOD member. And I totally disagree with him about the gh7. Here’s why. Full frame sensors just by the way of physics are going to be limited in terms of ibis. And while they give us great options on lenses and looks, they lack the ibis and focus needed for true handheld work. The gh7 is simply an amazing b cam, handheld beast. I don’t think it is suppose to be a rigged out cinema camera. It’s suppose to be a vlog, documentary run and film beast. I can take that camera, and then take my fx3 and go film the same handheld thing. And we both know which one is going to look better . (And be easier to color grade…. Cough … saturation.)
@@markbone I hear ya mark:) don’t worry I still have my fx3 with way, way too many lenses. And a Helios 44;)- I know how you roll lol. And when the fx6 ii comes out, I’ll be the first in the list. Sold my last one, just could not get over the sound and rigging. And as far as the lumix, 32 bit in camera, ProRes raw, arri log, open gate,cfas type b, one of the best ibis ever made with Leica glass… that’s a beast of a rig. And all that with a wee wee tiny sensor lol. Btw all the new updates on AOD are rad. My printer is busy. So much good information
![Overrated: Camera features that don't matter [ft Gerald Undone]](http://i.ytimg.com/vi/SlLbkeNH9to/mqdefault.jpg)
![Overrated: Camera features that don't matter [ft Gerald Undone]](/img/tr.png)
Which camera are you most excited about? What did I get wrong? Let me go first: 24mm on GH7 (Micro 4/3) = 48mm on a Full Frame, my mistake! Also the Fx6 & GH7 does not have MINI XLR but regular size XLR.... Also also I hate Mini-XLR
No Fujifilm xh2s 🧐
Lumix s5iix!!!!! Need to add that camera to the list honestly. Cant wait for the new flagship release from Lumix, it's been agessss
I just want a light affair, a Lumix S9, Full-Frame, IBIS, 6K Open Gate, Anamorphic Dee-squeeze with the sexiest Image that fits inside a pocket (no skinny jeans) for $1,500
Never Nikon...
@Boss you miss Arri Log in GH7
24mm x 2x crop factor = 48mm not 65mm. But also lumix has an awesome 12mm f1.4 lens with Leica that gives the 24mm equivalent. 👍👍 I don’t plan on getting a GH7 but just wanted to put it out there that you can get an awesome 24mm field of view with the MFT system.
yeah i think i was referencing 1inch... ooops!
also, Gerald Undone's video was due to the S9 launch, not the GH7. Also, he didn't really say M4/3 was dead but that its peak image quality had been reached (when reviewing the GH6). That was the statement he retracted.
@@markboneLike I said, pixel snob that can not even count.😂😅. Stop hating on m4/3
Exactly! I was like- where's he getting his info..
Also you can use a speedbooster and any lens you what. Friend of mine use a lot of sigma lenses and thinks that they are the best option for his gh6
GH7 MFT against cinema line cameras from another brands? This says a lot from Panasonic.
Yeah that they are stuck in the past.
@@ethanmitchell7753 😂
@@ethanmitchell7753 lol, if you went to the theater instead of watching Netflix, you're stuck in the past.Yeah?
@@ethanmitchell7753😂 - lol NOPE - LUMIX always pushing the limits and with such a small sensor they deliver epic results. I own a GH5 s - and a C300 mkiii
The 5 year old GH5 s - still holds up as a powerful camera 🔥🔥 the GH7 is wild!
@@ethanmitchell7753 name any MFT camera that gets compared to cinema line cameras. ☕☕
We're all looking at the super car engine and then we get into our mini vans and drive the speed limit home.
"but I need my internal raw, 8k at 120fps no crop for my RUclips shorts! also, primes are always better and you're a fool for not zooming with your feet."
Mark is legit, but there's so many content creators out there that have no clue what is actually useful or necessary on real projects and just latch on to buzzwords. People need to be reminded that most of us aren't close to working on projects like Mark and that we don't need cameras any more fancy or expensive than what he uses for our relatively simple purposes.
@@stevesdead You meant to say that we don't need cameras as fancy or expensive as he uses for our relatively simple purposes. He's the "king of overkill" imo. But his information is solid, not knocking his talent or knowledge.
When it comes to Blackmagic you gotta mention that they are brutally honest when it comes to the advertised dynamic range compared to Sony or Canon for example.. you'llreally get those 13 stops outta that camera.
So many mention how canon or Sony is has better dynamic range but, (which is true if you go on what the companies claim, but BlackMagic typically does better in the that field.
Blackmagic aren't honest about two things though; firstly the poor quality control/build quality and failure rate of their cameras and secondly their awful after sales service.
I’m happy with my S5iix (although I’d love the 32-bit float of the GH7). Timecode, OLPF and built-in ND filters would make it the perfect camera for me. Looking forward to seeing what the S1hii has to offer.
I’m stuck between the S5IIx and the GH7. Any advice from an S5IIx user?
Both are great cameras. GH7 has less rolling shutter, better slow mo options, a wider selection of cheaper lenses, 32-bit float (with the XLR accessory), internal ProRes recording with CF card, and ARRI Log. S5iix has the advantage in low light, dynamic range and shallow depth of field (and is preferable for photography).
I previously had a GH5 and am happy with the change. Petapixel has a great review of the GH7 if you want more info. Ultimately it depends on your use-case. I’d say GH7 for pure video, S5iix for hybrid (although I’m hoping the successor to the S1h will have the best of both worlds - but this will probably come at a significantly higher cost).
What about that XLR adapter from Panasonic? Can’t you get 32bit Float on the S5iiX with the adapter?
@@kazlepek6552 the XLR2 adapter is currently only listed as compatible with the GH7. The best alternative for the S5iiX is the Zoom F3 (although you can actually buy the Zoom F6 for the same price as the XLR2).
Nikon s6iii?
The GH7 and other M43 cameras can be used with most lens mounts with adapters. When running a Metabones Speedbooster we are getting an extra stop of light, better clarity and a unique look with our Nikkor primes for example. The "crop factor" becomes about 1.25 on our version, putting it between full frame and S35 so you can get decently shallow depth of field. We run native M43 lenses when we want a smaller and lighter package or greater depth of field. Very versatile. We have the GH6, GH5s, and EVA1; they color match perfectly in Vlog. We're also a Red shop. Thanks for your excellent videos Mark!
For the desktop background, it is from "Happy Together" by Wong Kar-wai.
Legend. Thank you!
Trailer: ruclips.net/video/5VPvFaAWX9U/видео.html
A7S3/FX3 is already 4 years old, and still is almost perfect tool for any job.
you mean fx3
Just goes to tell u gear aquring obssesion has gotten out of hand. Like every new camera braging about 6k,8k etc and everyone needs to have it and then 95% of that footage ends up on instagram, tiktok or youtube lol. 4k is gonna be viable for at least 5 more years, and even tho cameras advanced the equipment required to show that camera work has not.
Doesn’t matter if its 4k or 1080p where most content are consumed aka phones, they pretty much look the same, it doesn’t even matter how high res the screen is.
Where it matters is in post, 8k would probably save money in terms of lenses.
Fx3 has actually done so much work for me. There are entire films ive shot that I genuinely could not have without the lowlight prowess of that one
No Z8/Z9? Internal Raw, 6k60p plus every other codec/frame rate you can think of. Now if they only added shutter angle and waveforms...
I dont own that camera, but its really hard to deny how awesome it is. I have this weird feeling nikon is going to be dropping strait heat from here on out
8K60p* 😊
It's nikon
Why does the FX9 image always look green?
I don't understand why people are so scared of BRAW. You get so much more flexibility and the data rates are way smaller than prores. The only small drawback is needing the dedicated player for playback on computers outside of an NLE. I think everyone is just misinformed and still thinks it's unmanageable.
Maybe for shooters who edit their own content. But for some of us who we have to hand over footage to clients in most cases this isn’t really an option.
Because those people don’t use resolve
@@JojoJoget I mainly use premiere still. Only use resolve for proxy generation and color.
A couple thoughts/clarifications
1. Crop sensor cameras (s35/mft) offer a couple of unique advantages over full frame in the adaptability of lenses and the ability to have a more compact package overall. A lot of cinema lenses were made specifically for s35 so adapting them to like formats is a lot easier, especially considering that when adapting s35 lenses to full frame, you are losing resolution. Crop sensor formats also have the unique ability to use focal reducers and achieve looks very similar to full frame with .71x adapters for s35 and .64 adapters for mft, while also gathering a stop more light. This isn’t to say crop sensors don’t have downsides, because they absolutely do, but there are a plethora of reasons a discerning videographer would choose these formats.
2. Mft crop factor is 2x so a 24mm becomes a 48mm not a 65mm.
3. The pyxis, though great, can only shoot in full frame formats up to 30p and can only achieve up to 60p in a s35 crop 4k. If slow motion is your thing, don’t get the pyxis. (Edit: yeah, this is wrong, I think I misremembered the tech sheet. Apologies for misinformation)
4. I honestly have doubts on the fx6 ii. Sony’s probably been developing it for a while now, and they may be too far along in development to produce a proper response. I hope I’m wrong though.
The Pyxis notes is incorrect. The camera can shoot 6K up to 60fps. It’s only up to 36FPS in the 3:2 mode.
@@JamesJacksonFilmz you’re 100% correct, I must’ve misremembered the frame rates and tech sheet from the cinema camera 6k
@questioneverything680 the bmcc 6k is the same fyi and can also shoot 60fps outside of open gate.
@@Jeff_Lathrop yeah, I know the formats are the same between the pyxis and CC6K, I was saying I misremembered the tech sheet. I could’ve sworn when it was launching that it was stuck at 6k 36, but clearly I’ve had the wrong information this whole time lol.
@@questioneverything680change your comment
You can always use speedbooster on m4/3, i use canons Sigma 18-35 and my aperture goes to F1.2 so it’s awesome in low light. Also to use ARRI LogC3 on this small camera is amazing…
I actually recently bought a used Sony Venice. Great package at a great price (way cheaper than a new Burano). Of course one could argue if a Venice is the ultimate doc camera... the biggest downside is that it's really heavy. But the weight also helps to keep the camera movement really steady. It's also kind of power hungry (especially with the raw recorder attached). But the image.... wow! Just wow!
I’ve been shooting on a GH5 for years and JUST rented the S5iiX and I am blown away! Fixed everything the GH5 lacked
How does it compare to the gh7?
S5II and X are worthy in this lineup. 6K open gate, no internal ND or SDI but the ND is mitigated with the drop in filter PL adapter I have. I’m about to do a build on the channel with my new Rigid Pro Cine Back. It makes it feel like a whole new camera. I appreciate your video though as it was very insightful and you always give the best value. Thank you Mark
6:14 Isn't Pyxis connects as a web cam via USB? As BMCC6K Full Frame can in its 8.6 software.
As a 4/3rds user, the GH7 is my next camera. But I use a BMPCC4K so I’m already in the system. Adapting lenses is so easy!!!
man id hate to buy this fx3 and they drop fx3 mark 2 smh....cuz I really want low light full frame and not the fx30....any timeline yall?
I am a canon shooter, I own the C70 and it’s been my favorite camera I’ve ever owned or used. I tend to gravitate more towards the mid to tight range with focal lengths, I just like how it looks, so the super35 doesn’t bother me. If I need ultra wide, I have the speed booster that pairs wonderfully with my EF 24 lens, but I also have a 16mm cine lens in the bag too. The image that comes out of the C70 is really what sells it for me. It’s not as sharp as my R5, but the colors, the dynamic range, and the feel of it just really appeal to me. Not to mention it’s really a great size and form factor for when I’m on an RS3. I am intrigued by the C400, it seems like that and the C70 could actually pair nicely!
The equivalent focal length on the GH7 is 48mm and around 43mm on the GH5s/BGH1 when using a 24mm lens.
Forgot to mention that ARRI LOG C3 in the GH7 now
oOOOOOoOOoOoooooooooo LOVE ME SOME LOG-C
@@markbone never got to use it, but from what I heard it’s on point with matching alongside ARRI cameras especially in risky situations for example near water, near a cliff, or for small tight spot or on a drone those kind of situations you don’t wanna risk a +$100,000 camera vs just a $2,200 smaller camera 😂 I think it’s super clutch it’s the ULTIMATE B CAM can be an A CAM if you’re an up & coming budget filmmaker can definitely get the job done especially with a large availability for cheap lens options 🎥🙏
For someone starting in the wedding, event, or corporate space, the GH7 is an amazing choice. It's small, light and super capable. Plus you can find fast MFT glass on the used market for a fraction of the cost of the other options.
You can also get a speed booster...
The eternal question - if I buy a Sony FX 6 right now, will the FX 6 Mark II be announced 1 month later?
Maybe😮
Yes. Thats how it works.
The Lumix S5 ii because it's the camera that I own.
Same! Let's go!
I have the S5iix and it has exceeded my expectations on quality and usability. The Autofocus and stabilization is amazing.
@@TimNovotney-ui1rr Right!? Open gate has changed my ability to quickly turnaround higher quality work with better framing and options alongside how great both the regular and high e-stabilization is. The high stabilization is pretty much a tripod whenever you move the image.
@@TimNovotney-ui1rr #IBIS FTW
How does the GH7 stack up
FX9 for a Zoom call, Mark Bone that is a baller move. Great video,.
Bro why the gh7 in this list when you have the panasonic lumix s5IIx for almost the same price? It makes no sense buddy
After joining AOD, I've really leaned into the camera doesn't matter as much aspect. I think we've reached a point where many cameras from different brands are really good and you can't really go wrong with your choice if it was for yourself. As someone that really enjoys customization and deeper colors, I enjoy the Lumix color science and recently switched from Sony to Lumix after joining AOD. I'm excited for the films I'll be able to make thanks to the skills I'm learning over waiting to buy new gear just to feel like I'm making good films. It starts in mastering the basics and craft, not the gear you have.
Love your perspective CK! Choosing a camera is a wild world that really doesn't matter much in the end as long as you comfortable with the one in your hand!
@@markbone You, the team, and AOD community are teaching me that, appreciate it!
Hi Mark. I agree it's a great time with new innovations. It can be a little confusing for me being new to these types of cameras. Last time I shot actual film was 16mm in 1972.
why no Lumix s5IIx insteas GH7?
Fujifilm GFX100 Mark II is not on the list?
14:02 what is that audio set up?
I'm gravitating to the Pyxis 6 because of the price at the moment. My FS5 is simply too old, and i need an upgrade, i dont even use my sony for work anymore, it doesn't meet my client's needs. I now use it only for skating. If only i could afford the C400, this camera is very compelling. If i had to choose between the Fx6 and C400, it would definitely be the C400. But like i said before. i cannot afford anything above 4k.
Waiting for the updates for Panasonic S series and Sony FX6/3
How is 24mm on MFT equivalent to 65mm? It is equivalent to 48mm
micro 4/3
24mm would approx be 65mm on a 1-inch type sensor. Or he’s just really bad at math.
@@MattParson i realize my chart i was referencing was a 1inch sensor. MY BAD. Shows how much i use micro 4/3
@@markbone I’m sure the flange distance wouldn’t work, But it would be amazing if Panasonic made a native speedbooster for full frame L-Mount glass on M43 bodies to get closer to full frame and have Phase detect AF.
Or if metabones updated the EF to M43 booster with phase detect AF motors!
This whole “I like wide angle so MFT doesnt work for me” sentiment I’ve seen from multiple RUclipsrs is so weird to me… makes it clear they don’t really research and try these cameras before talking about them.
Exciting times, and yep, spot on with your final comments Mark ;-)
I wouldn't hold my breath on Sony adding Burano/Venice codecs to lower-price models - heck, how long did they leave between announcing an fx3 firmware update with shutter angle and actually releasing it?
GH7 will get Arri RAW as a codec. As a non cinematograph, is that a big deal?
Good thoughts, mate! Being afraid to “drive” when comparing specs is something that continually hits home for me. I see stories slipping by while I’m studying test charts and whatnot. Thanks for keeping it real.
Hey Mark, great vid! Just wondering what lens was used to shoot the shot at 2:02? Need those flares in an upcoming project! Thanks mate
Pretty sure it's a Helios
If you opt into the MFT format you'll probably only end up having a small selection of native MFT lenses. For a large part you're adapting up to canon EF which gives you loads of cheap APSC and full frame options.
Have the Gh6, will get the Gh7. Sirui have the Nightwalker series(T1.2) Leica have both the 10-25mm and 25-50mm f1.7 OIS. And then there is my all time favorite Leica 12-35mm f2.8 OIS, tiny and buttersmooth. I suggest on trying it on the Gh7, I can imagine it being the ultimate handheld combo paired with the XLR module.
About MFT: You can use so many lenses on it like Canon EF or FD with the added benefit of an extra stop if you use a speed booster adapter. I use a Canon 24 - 105 mm, with a max. apperture of 4, which turns into a 2.8 appature on my GH5S. You have already corrected your mistake about 24 mm translating to 65 mm. 😊With a speedbooster, the factor is only 1.3. So it's really versatile for a low budget.
But because of the m4/3 sensor, an f2.8 would really be like an f5.6 full-frame equivalent, if I’m not mistaken. 😅
I think you are mistaken, a 2.8 remains a 2.8 no matter what the sensor is. More light is more light. @@stevenkralovec
@@falkiser2882 light transmission-wise I’m not sure, but depth of field wise I am correct. See Gerald Undone’s video on Depth of Field Myths
that's kinda why I'm still rocking the BMPCC 4K in 2024 lol
error in fx6 audio, two full size xlr no 3.5mm
Love the personality and authenticity you're bringing to these videos, Mark! Bummed I missed you while you were in Austin. I've shot with Chris Bourke before, he's a chill dude. Next time you come into town I can take you to a much better BBQ place. Tell me you jumped in Barton Springs though!? It's overcrowded these days, but a local gem.
The BM Pyxis uses L-mount and PL and not EF so they have the same Sigma lenses as E-mount plus it's just as easy to adapt vintage lenses as it is on E-mount. As for codecs it ONLY has RAW which is big drawback if you ask me. BRAW is great but only BRAW and no ProRes or anything else? Big miss imo.
You can choose between an EF, PL or L mount for the Pyxis.
@@pchuck1439 Cool! Wasn't available in my country when i looked at them. Only L-mount and PL but either way, you got the same Sigma DG DN lenses for L-mount as you do for E-mount and it's just as easy to adapt vintage glass to L as E as they're both short flanged mirrorless mounts. So you do not have to stick with EF glass if you don't want to anyway but it's cool that it's an option :)
I thought for the pyxis the USB C has the ability to do HDMI to USB-C, right?
Hi Mark. Love your honesty and sharing philosophy. May have been mentioned here already, but the GH7 has Arri log and the comparisons are interesting. I have been using M43 since 2012 and although I also use full frame Panasonics, they are still viable and when compared to many S35 formats, logical even. Yes you need a 12mm to be a 24 (like you need an 18mm in S35), but have you seen the options? 10-25 f1.7 cine lens with near perfect glass!
The $25k Burano only has XOCN LT, so hard to see how Sony will bring XOCN to FX6 anytime soon and still justify price of Burano
I totally agree with you about the X-OCN format… would love to be able to get black magic 12 bit quality internally on my FX6.
Under the Pyxis a better note would have been " 3:2 Sensor ". Didn't hear that mentioned. Love this comparison! Canon C400 is gonna be an absolute unit.
I own a RED Komodo, an URSA 4.6K G2, a Sony A7sIII and a Canon R5C. I just love to try stuff. I think it's important to keep an open mind, they all have pros and cons. And I have PL adapters for all of them, so I can use all my PL lenses no problem! I would have LOVED it if Blackmagic had announced a third camera to fit between the 12K Cine and the Pyxis. I feel like the gap is pretty big.
Thinking of getting the R5C myself. I keep coming back to it.
I went with MFT because of Pocket 4K years ago. It's great format for compact shooting. Camera and lenses are small great for gimbal use. BRAW the quality of the picture is incredible. You can always go with a speedbooster and full frame lenses. I use olympus zoom, Meike Primes and Canon EF. Planning on buying Leica R lenses. I wish BM did Pocket 4K Pro with GH7 sensor.
I'm not sure why you didn't talk about the Panasonic Lumix S5IIx? It's full frame and has everything the GH7 has and more.
This is a comparison of Mark’s current camera and new cameras.
The S5IIX does NOT have everything and more than the GH7...
@@GrayGhostDog1 he began by saying that he prefers to shoot with a full frame camera, so I would argue that for the money, the S5IIx brings more to the table based on his preference.
@@SomewhatAbnormal … I think you mean it may be a choice because the specific user prefers full-frame. The S5IIX does not bring more to the table than the GH7 just because it is full-frame.
@@GrayGhostDog1 I guess we can agree to disagree on this one. Having the ability to use lenses without a crop factor on a full size sensor is key. The video specs on the S5IIx are 6K vs. 5.7K on the GH7, which gives us even more ability to punch in. You can do 32 bit float audio on the GH7, but you need the DMW-XLR2 to make this happen. I'd love to have 300fps video, but at the end of the day it's 300fps @FHD. The ARRI LOG-C is nice, but it doesn't offer any dynamic range improvements over V-log - it just makes matching across cameras easier. At the end of the day, all of the features added to the GH7 don't outweigh the fact that it's not a full frame camera - at least it doesn't for me. I love Panasonic Lumix cameras - I own a BS1H and an S5IIx. I would have loved to see some of the features in the GH7 included in the full frame S5IIx.
What about Nikon and RED
Red sold licenses for internal compressed raw to all of the major camera manufacturers. The former CEO mentioned this in a live stream. He even said they can use R3D. So far the only ones with no mirrorless offerings with internal compressed raw are Sony and Fujifilm. Hopefully they will offer it via a firmware update.
With a GH7 you can use two types of Speedbooster and get an equivalent to S35 or FF, it's pretty versatile
I think one of the important tech stats that matters is the ability to shoot in 10Bit or higher.
For the start this might not be a big deal, but I'm getting to the limits of my A7c when editing. The 8-Bit Colour kinda fells apart fast when Colour grading.
Most Cameras these days can shoot 4k and you can get nice lenses and audio from various brands.
overall I feel like that you should choose a brand that you feel good with. I LOVE the feel of my A7c with the smallrig cage. I hold it in my hands and want to shoot something. I think that matters more than having the best stats on paper. Worked with an BM 6K and it was pretty bad ergonomic wise, the footage quality was good though.
I just want canon to make a native RF camera that can do 4k at 1000 frames per second. Is that too much to ask?
Good point about raw recording. I've worked on three docs for HBO and Amazon in the last two years and they were entirely shot in ProRes HQ. Every now and then Raw recording is worth it for me, but 9 times out of 10 it ain't.
well, if dont like gh7 go to s5iix with full framebut no prores raw
When people ask me about cameras, I always tell them that Sony has the best ecosystem. Low point of entry and relatively similar experience up the line.
Wouldn´t be the Sony FX9 the first one to get an upgrade...before the FX6?
naw, what's the point of the Fx9 at this point?
@@markbone The FX9 came before the FX6. The FX9 has something built in, which on the FX6 is only available with the FX6 top handle: audio connectors. So for me, it´s more possible, that Sony would make a smaller FX9 II, or however they will call it...something between a FX6 and a FX9, but with all connectors and ports, the FX9 has. Also, the FX9 can do 6k. Whatever the next Sony FX camera will be, i wouldn´t call it a successor of the FX6.
You missed the fact, that the EOS C400 actually can have 4 XLR ports. The 2 mini-XLRs on the camera and then an additional 2 full size XLRs using the Tascam Audio adapter in the multifunction hotshoe .. and 4 tracks in your video footage .. indeed.
Regarding the lack of HDMI on the PYXIS, there's the SDI as you mention but also the front USB-C with monitoring capabilities. BMD is rumored to release affordable USB-C monitors. Great camera but wish it had less rolling shutter (though that can be fixed in DaVinci Resolve easily).
3:06 "even Arri have introduced it in the past years in their cameras" - lol, what do you mean by "even"? They've had it for over 10 years btw.
I mean that internal ND used to be seen as “prosumer” so it was a statement to the professional side of the industry that drop in matte box filters aren’t the only way to ND when Arri did it
Imo
@@markbone interesting, I've never even remotely considered internal NDs "prosumer" (unlike things like IBIS for example) - but maybe that's because when I started out, it was only available in higher-end cameras (and by higher end I mean more than 10k).
Pyxis is on my list. But I'm hoping it's my last BM camera and then move to either Sony or RED. Well, I have to see about RED with the whole Nikon thing. But if I'm being honest, I think the FX6 is the reigning king among these four. I used to be a Canon user but it was getting annoying to see them pull back and BM rise up with features being added, price point, and instant access to film tools on set in the camera.
Just wanted to point out that on the Sony FX3 (I don't know if the FX6 has it) has native ISO of 100 and 2000 if you don't use Log.
I appreciate the comparisons.
Though, it was odd that the only non-full-frame was the Lumix, when the Lumix S5Xii exists and is a pretty popular camera currently.
It seems like comparing 3 apples and 1 orange.
It’s a look at new cameras compared to what Mark is already using, the FX6. Does that context help you?
Ah. Yeah, he does say cameras “coming out”.
The gear obsession is real out here lol..yeah, its hard to get a bad camera nowadays. A large percentage of people believe they need the newest camera to create "cinematic" images (it hurt saying that word) but they are mostly shooting for RUclips, or the marketing hype sells them on a camera they dont need at this point in their career. It is a good time to be in the industry though due to accessibility!
It's a horrible time for the industry of filmmaking with way too much content and fewer and fewer places to market that content. So spend 7,000 to 10,000 on a camera and try making back that money of a good movie or mini-series or anything that might gain more traction than a festival. Find out what kind of time we are really in.
Threw a like for those Final Thoughts - that image of people talking about a car motor and not driving was wonderful
Agreed!
FX6 has got 2 full size XLR, or did I miss something?
Good catch! Changing that now
What if you can’t afford one of these cameras? What if your budget is around $2k-$2,500 including one lens? I’m currently saving for the Sony A74 maybe with a 35mm lens. Any advice?
Not new, but what are your thoughts on Fuji XH2s?
What about the new Z6iii or z9, those cameras have N-Raw, 6k/60p no crop. And a good hybrid still. Nikon keeps being sidelined and im no nikon fan.
No NIKON z6III ?
At 12:51, that's what I need in my life 😊 Just someone to care!! Yea cameras are just too crazy anymore. All I need is to make my fx6 heavier so theres less shake. I find myself using an A7siii if I don't need good audio just for form factor. I'd rather just use a smaller camera with image stabilization. I know I know I'm weird. I've thought about selling my fx6 a few times, but using it makes me feel cool.
Hi Mark, very interesting video! I am a videomaker from Italy and I’m a Sony FX3 and FX6 owner. When I shoot with FX6 (cine EI log 3 cine) the image is more noisy than the FX3, do u know why? I know that the noise reduction is always enabled on the FX3 unlike the FX6 who is manual (I keep it off) but with the same exposure the FX6 is noisier…
Do you have any suggestions? Thank you in advance!
If you post this on Reddit in the videography forum or maybe the Sony fx3 and fx6 forum, I think a lot of people will reply to you
You need postediting
Every time i see a new camera releasing i get fomo. But as a parttime filmmaker who also shoots photos there is no way i can justify a FX3. So i got my XH2S and XE4 from fujifilm. One for professional work and one to take pictures in the weekend and on holidays. And honestly the footage you get from these camera's is mind blowing if you know how to shoot and light.
I own all canon gear and was super pumped for the c400 since it’s actually good and I think an fx6 killer unfortunately I don’t think it’s an fx6 mkii killer which it kinda needed to be. My company just bought 2 Buranos and XOCN is INCREDIBLE. It’s incredibly efficient for RAW and the downsampled 6k sensor format is perfect. Love the format. If they release and fx6 mkii with xocn and internal audio I’m sold and swapping to Sony. If not might give the c400 a shot. The rf 24-105 2.8 is my new favorite lens
MFT is bad low light but you can shoot f1.4/f2 let that light in and have an f2.8/f4 DoF, so because of the format you win 1 stop of light vs FF.
For a videographer, or someone who doesn't do big budget or cinema jobs the GH7 seems unbeatable. Like you get around 60-70-80% of the bigger name cameras for quarter of the price
I know that the gh7 is the newest camera from panasonic, but the s5 iix is a great camera, it has Braw to external ssd and I think proRes internal or on ssd. It's can do 6k open-gate, is full frame, has the same IBIS than the GH7 and hopefully there will be some L-mount speedboosters to compensate for crops. Having said that, the C400 looks very very intresting for what it can do as it comes ready to shoot out from the box, the 3 native ISOs, autofocus (it always helps), and the canon raw.
The great thing with mft is that you can adapt s35 or FF lenses with a vocal reducer. Then one, is able to reduce that 2x crop to 1,5x or even less.
No Nikon?
never thought I may want a m43 again but this is tempting and small lenses. also a nice welcome.
One advantage of stepped ND’s like on the C400 is that you don’t have the polarizer issues which you encounter with the Fx6 e-nd
I own 2 panasonic gh5s cameras. Both with metabones soeedboosters and I only use EF lenses. Sigma zooms from 18-35MM 24-70MM 50-100MM 150-600MM also xeen cf primes. The coverage is close to 35mm, and the image is great. I am planning on selling my Panasonic s1h and both gh5s cameras and getting a C400 and a lumix S5iix ..
Sparking a BBQ debate for your outro… you’re a brave man 😂
Tips for mft users, buy a ef speed booster and you’ll be able to shoot on ef and mft and even rf with the adapters plus the speed booster will make the 2x crop factor into 1.3x more like super 35
A9iii with a Ninja V+ tbh. I think Sony missed a hit by not using the A9iii sensor in the Burano, 6k XOCN with AF and IBIS with a global shutter and maybe cranking up the FPS options beyond 120fps because global shutter
Raw does not like you keep implying, give you more dynamic range. It gives you more data to change colors and push a grade harder. It can also help with keying as every pixel have full data. But most log curves (except the Canon cameras locked out of c-log2) have det full dynamic range of the sensor build in. Try to record raw on you fx6 and compair. Its the same for red, arri and Sony. You get more data and sometime ever so slightly more dynamic range but nothing that would help you recover a blown sky or Window.
More data includes more available dynamic range
Have you ever tried to look side by side? I have on both arri, red and Sony. You get at best like 0.25 stops more of real usable dynamic range. It is not enough to make a real difference.
@@LucasHoller In my case I'm comparing a $4500 Canon XF 605 log3 to a $1500 Z Cam micro 4/3 shooting RAW. I was astonished when the Z Cam blew the Canon out of the water. Midday Sun footage of great egrets and the Z cam can show every detail and tone in the feathers. Canon Log 3 422 10 bit is essentially unusable for that footage.
Nice video thanks for sharing, I for one love the image that comes out of the Blackmagic cameras and the sony cameras.
9:20 its a 2x Crop so 48 not 65
I wish I could crop all my misinformation in this video
I have a couple of Pocket Cinema Camera 4Ks as well as a Ursa Mini Pro G2. The Pockets with a speed booster will give you close to an S35 look plus you also gain a full stop of light. I've shot lots of stuff with them with both M43 lenses and S35 PL mount lenses with a Metabone speed booster and I'm getting similar results. Now this said, I get your point about M43. Maybe Lumix should move away from that if they really want to get in the filmmakers' market and not stay in a hybrid photo camera/video camera state. By the way, I use Tilta cages on my Pocket Cinema 4Ks with a side handle that has a follow focus wheel. The handle houses a Sony NP-F970 so the battery life on that camera is quite good. The BRAW codec is really great on so many levels. Yeah, Prores is fine too and I sometimes use that depending on the gigs/client needs. However, lately, I've been editing everything I shoot so I always choose BRAW in those situations. You can change your white balance and ISO after the fact so very convenient when you're doing colour correcting/grading. One day I may make the move to Sony though. I love those FX9, FX6 and FX3.
RAW is indispensable for any shoot where you can't control light. That means you have to shoot it when it happens, not when you and your crew are ready and everything is optimized. Lots of filmmakers fall into that and are saved by RAW
Mark primarily shoots docs. I also shoot primarily short form run and gun content, and none of it requires RAW.
All that RAW is, is the preservation of RGB instead of conversion to Y’UV in camera and reasonably high bit rate. Literally that’s it.
Highlight reconstruction is a software trick, not saying it’s not useful, just saying that RAW isn’t magic.
@@JeremiahBostwick I'm not disagreeing with you. I realize one can shoot very high-quality without using raw. We're both on opposite sides of the coin. For me, I struggled with 10-bit 422, even with a $5,000 Canon camcorder. Switching to raw on a micro 4/3 Z Cam quadrupled image quality. We're just different use cases.
Speedbooster with FF EF L lenses work a treat for me on m43 as well as the Sigmas.
I think you need an updated video already😂 nikon z6iii (€2,500)
Internal nraw and proress raw.
I am sony lover and user, but than nikon move hit me
I think I do!
The reason these topics are so tasty is it makes you feel,”if I only had THAT camera, I could make something great.” Then I remind myself some of the greatest movies of all time were shot on film and they had no clue what they were actually shooting because there wasn’t even a viewfinder then.
Sean…just go make shit
Mark is the man, and I am a long term AOD member.
And I totally disagree with him about the gh7.
Here’s why.
Full frame sensors just by the way of physics are going to be limited in terms of ibis. And while they give us great options on lenses and looks, they lack the ibis and focus needed for true handheld work.
The gh7 is simply an amazing b cam, handheld beast. I don’t think it is suppose to be a rigged out cinema camera. It’s suppose to be a vlog, documentary run and film beast.
I can take that camera, and then take my fx3 and go film the same handheld thing. And we both know which one is going to look better . (And be easier to color grade…. Cough … saturation.)
I love strong opinions! thank you for sharing yours! I still don't like 4/3 toooooooo tiny for my stubborn shallow DoF brain
@@markbone I hear ya mark:) don’t worry I still have my fx3 with way, way too many lenses. And a Helios 44;)- I know how you roll lol.
And when the fx6 ii comes out, I’ll be the first in the list. Sold my last one, just could not get over the sound and rigging.
And as far as the lumix, 32 bit in camera, ProRes raw, arri log, open gate,cfas type b, one of the best ibis ever made with Leica glass… that’s a beast of a rig.
And all that with a wee wee tiny sensor lol.
Btw all the new updates on AOD are rad. My printer is busy. So much good information
12:45 its the cutes thing fx6 with helios lens love it