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Some interesting tidbits found tonight. "setpath 0 - 2(0:OTF/1:IPCout/2:RawOut/3:Ldc Out/4:120FPS OTF/5:120FPS IPC out 6:120FPS Raw Out/7:120FPS Ldc Out/8:panorama/9:MFZoom)" "sensorframerate 12,15,20,24,25,30,40,50,60,100,120,240 outputframerate 12,15,20,24,25,30,40,50,60,100,120,240 dataframerate 12,15,20,24,25,30,40,50,60,100,120,240" Still looking for the encoder though. To confirm srp or other hardware. But the closer it gets. And then the real fun happens! I can look into the nx500 firmware deeper after I do the nx1 and see what can be added or changed. I do have a want for a nx500 b cam, especially as a gopro stand in due to them being cheaper! Make everyone want this samsung gear now that they cant get them. Maybe it was samsungs plan all along. Edit "HEVC Encoder %s:%s(%d)> Width(%d) or height(%d) is not multiple of 8 %s:%s(%d)> HEVC[%d] Cfg WH %dx%d %d, BR:%dkbps GOP:%d > size 0x%x > return %d" the full sensor read out should be possible with this also notice gop setting and bit rate. I will have to look at the encoder.cpp file which is where things get more complicated but this is very good news.

Don't worry, the 6K 18 stops with global shutter cam will be announced at NAB.

http://***URL removed***/forums/thread/3980221#forum-post-57456639 :-)

I have a few githubs for other projects and its a good idea. it would be more of a blog, the amount of data I have examined would be too much to try to make sense of, as I said, I was working on this for my own personal goals a few months before I even found this thread. Ill see if I can create something tangible in the next few days github wise and Ill post up. Alas text cant convey how excited I am as I go through all this info. I had a want for it to be a good system and it has surpassed my expectations. Great things can be done with it.

Hey guys, I'm not sure anyone cares, considering that these are two quite different creatures, but while I have both the SmallHD 501 and PIX-E5 still here I made a rough comparison between the two. Quick upfront comment: the SmallHD 501 is a pure field monitor while the VideoDevices PIX-E5 can record in ProRes to a Speed Drive (a mSata SSD in a proprietary USB3 case). I have only tested the monitor functions and not the recording. If you're looking for an alternative to a Shogun or Odyssey you will want the PIX-E. The SmallHD 501 allows to attach the sidefinder attachment, turning it into a not perfect but good EVF. As most know, both of them are field monitors with 5 inch 1920x1080 pixel IPS screens. Both of them run on dual batteries so you can hot swap during use, the SmallHd using the ubiquitous Canon LP-E6 while the PIX-E5 takes the just as common Sony L batteries. Both monitors have a lot of exposure, focus and framing helps and can load LUTs from a SD card, a great feature to separate them from the cheaper low budget offering when shooting LOG profiles. So far with the similarities, I'll go a bit deeper on the specific stuff and differencies. Models and operation: The Small HD 501 is the cheaper 500series model, lacking the SDI in- & outputs that the more expensive SmallHD 502 brings, otherwise boasting exactly the same features. There's also more expensive 7 inch models. The SmallHD operates completely over the joystick plus back button, you'll won't have smudges on the screen like with a touch screen. The VideoDevices PIX-E5 is the more expensive 5 inch PIX-E due to the SDI in- & outs, there's also a cheaper PIX-E5H that only has HDMI . Just like with SmallHD, VideoDevices also makes a 7 inch model. While the SmallHD has a very minimalist operating approach, the PIX-E5 on the other hand features a twist & push know on one side, 13 buttons on the front and touch screen in addition. I'd give the point here to the PIX-E, it's just more pleasant to set up and toggle the functions. Operating system logic: The 501 offers a page logic. You can create multiple pages that you set up with the tools of your choice (in whatever combination you need) and then just left-right jump with the joystick between the pages. So you might have one page with all your tools to set the right exposure and then the next page with your framing guides and focus helps. Nifty. On the PIX-E5 you can activate and deactivate the different tools with the buttons on the bottom of the screen, configure them by holding the button. Works easy and quick, especially on combination with the touch screen. I'll give this point to the SmallHD. While I think setting up the tools is quicker on the PIX-E, you only set them up once and then toggle between pages on the 501 while you would always turn tools on and off on the PIX-E. But this is by a hair, I think both is perfectly fine, might be a draw for others. Exposure tools: Both have configurable zebras, false colour, histogram, waveform and vectorscope. They feel slightly laggy and pixelated on the PIX-E but that's nit picking. A clear draw. Focus tools: They both have colored edge peaking in configurable strength and color. The 501 features additional edge sharpening that emphasizes in focus edges so it's really easier to pull focus directly from the full screen video without the distracting peaking colors. It works quite well in my opinion and is better than colored edge peaking when using a nice big 5 or 7 inch monitor. The PIX-E5 features a cool zoom function to punch in on the picture via touch screen, you can even move the zoomed frame area. Which is better? It depends. For me I'd say the full screen edge sharpening is better for run & gun where you want to keep an eye on the whole frame while the great punch in is good when shooting from sticks or in a more narrative setting. Inputs & Outputs: Both feature HDMI and SDI depending on the model as well as doing loop through. The point goes clearly to the PIX-E5 though as it has 4k via 6G SDI and HDMI while the Small HD only does FullHD. In addition the PIX-E5 can do FullHD up to 120fps (not that most consumer/prosumer cameras would even give that out, they only do it internally). Image lag: I've tested this point because a lot of people complained about the image lag of the PIX-E5 with roughly 5 frames of delay. VideoDevices really improved this a lot with the last firmware updates. Both monitors show a comparable amount of delay connected via HDMI to a Samsung NX1 or Nikon D750. If shot the camera screens and monitors with the iPhone in 240fps and both monitors lagged roughly the same behind the camera screens and reality. Keep in mind that if you do loop through, there will be additional delay. The SmallHD won't work on the NX1 but it works when looping through the PIX-E5 (makes you wonder how SmallHD is incapable to fix this if even that is enough?) but obviously it will lag even more then. This is probably only relevant for the people who want to run multiple monitors/recorders on one camera to have separate view for operator and focus puller (and director). Recording: DUH! PIX-E5 because the SmallHD 501 is no recorder. In addition the PIX-E5 comes with the PIX-LR module to high quality audio features such as phantom powered XLR inputs. Weight and size: The SmallHD 501 is smaller by quite a margin, I didn't measure them but you can see it on the picture or look it up in the tech specs. The SmallHD 501 weighs 205g without batteries and 365g with my two aftermarket LP-E6. These bring 2000 mAh each. The VideoDevices PIX-E5 is 450g without batteries and reachs 635g with two aftermarket NP-F550 (2900 mAh each) or, if you need a lot of juice, 1050g with two NP-F970 (7800 mAh each). We don't have to discuss this, it's clearly in favor of the SmallHD 501. This was when using them as pure monitors, if you add the Speed Drive to record to the PIX-E5 will get even heavier. So when shooting with a A7s with a vintage lens, the PIX-E5 with batteries and media is as heavy as the camera. This is actually on the level of the bigger Shogun. One reason clearly is the superior build quality. While the SmallHD 501 is in no way flimsy, the PIX-E5 has a massive metal housing used for robustness and to dissipate heat (it also has an active cooling fan but the volume is perfectly fine). Start up time: Here comes the last point in my list and the absolute deal breaker for me. Everything above would be perfectly fine with both monitors and I think both are great choices but depending on how you want to shoot, the start up time of the PIX-E5 will be unacceptable. I've stopped the time between pushing the button / shoving the slider and the image appearing on screen for both monitors multiple times. SmallHD 501: 3 seconds PIX-E5: 32 seconds For me that was just not workable as I like to pull the camera out of the bag, flip it on and shoot. I often won't want to stand around 30 seconds and wait for the monitor to power on. If you're shooting a music video or a narrative that might be fine though, it's more some documentary & travel style situations where I see this as a problem. So this is my rough and brief impression of the two monitors (slash recorder). To be honest I think the VideoDevices PIX-E5 is the more extensive product, especially with the recording function, but due to the difference in weight and start up time I see the SmallHD 501 as more usable in my personal opinion and goals. I'm sure I forgot something and will then add that later. If you have any questions, just ask. [edit] There is further information about the startup time of the PIX-E5 further down in this thread.

@SMGJohn di-camera-app is leaking (not freeing after use properly) a small amount of RAM every frame it processes. Normally this is not an issue since it does not exhaust the available RAM in 30 minutes, but with time restriction lifted you hit it at ~75min. There are two options to fix this - find a memory leak and fix it in di-camera-app binary (hard) and this possible quick hack if you (or somebody else) is willing to try - create and enable swap file and use it (leaked memory is no actually used and can be safely moved to swap). For some reason swap file on SD card is not working (swap partition might, but it's too much work for an average person), but there is a writeable partition in camera already with ~2GB free, mounted on /opt/usr, so this might help: First to see hwo things look before (all commands from telnet session): [root@drime5 ~]£ free total used free shared buffers cached Mem: 511580 499896 11684 0 5260 70556 -/+ buffers/cache: 424080 87500 Swap: 0 0 0 [root@drime5 ~]£ df -h /opt/usr Filesystem Size Used Avail Use% Mounted on /dev/mmcblk0p14 2.3G 105M 2.1G 5% /opt/usr OK, so we have no swap and have plenty of free disk space on /opt/usr, let's create some swap: [root@drime5 ~]£ dd if=/dev/zero of=/opt/usr/swap bs=1M count=512 512+0 records in 512+0 records out 536870912 bytes (537 MB) copied, 42.882 s, 12.5 MB/s [root@drime5 ~]£ mkswap /opt/usr/swap Setting up swapspace version 1, size = 524284 KiB no label, UUID=63995c82-cf71-43c6-ae32-34e520e7e280 Ouch, internal storage is not very fast... Let's turn it on: [root@drime5 ~]£ swapon /opt/usr/swap [root@drime5 ~]£ free total used free shared buffers cached Mem: 511580 506540 5040 0 4404 82108 -/+ buffers/cache: 420028 91552 Swap: 524284 0 524284 [root@drime5 ~]£ df -h /opt/usr Filesystem Size Used Avail Use% Mounted on /dev/mmcblk0p14 2.3G 617M 1.6G 29% /opt/usr Yup, it works You have to do everything before swapon only once, after that (and after every reboot) you only have to re-enable the swap with swapon /opt/usr/swap I hope sombody with enough free time tests this, I have a good feeling.

http://***URL removed***/forums/post/57456860 :-)

If the URSA mini has lost the Global Shutter, thats one thing. But if the Micro has lost it... then I see Zero reasons to by it unless you are a drone shooter or in desperate need for slowmo.

I understood it as the feature has been scrapped from plans. He didn't talk anything about the BMMCC. No global shutter anymore so basically a BMPCC that changes screen for bigger batteries and has a 60fps mode. To be honest I think it's kind of disappointing that the scrap one of the highlight features without any impact on price... but then they've probably calculated so close to cost and burned so much in development that the prices have no additional margin to compensate.

But you lose the possibility to use it without an external monitor so you'll always have to rig it. I guess I could live with that. It will run you 1200 € in Germany while a used BMPCC is like 700€. I'm really torn to be honest. I'm curious how the menu is implemented with only the few buttons, even less than the BMPCC. Is there any video available? Edit: I think my feelings have to do with the fact that this is roughly identical to the BMPCC. A camera available since 2013. In the time between a lot of cameras have released in the price bracket or slightly above that are very attractive. I like the RAW and ProRes possibility... but you get no 120fps, you get no 2.5k or 4k, no weather sealing, no inbuilt NDs, etc. I feel BMD is moving on in it's portfolio orientation and moving "up hill" with Ursa Minis. They are great but they're too big & heavy for what I'm interested in. I'm curious how they'll position themselfes for the future. The whole business behaviour in this case gave me a bad taste.

I want to thank all the guys who are working hard for our project to make great cameras Samsung NX1, and younger sister NX500. Samsung one year ago, has introduced them in the market as spaceships and then abandoned them in our hands. Internal Technology Samsung nx1 and NX500 (28mp BSI sensor, Drime V and Drime Vs engine processor, HEVC codec) is superior than all cameras which are still planned. it is my belief to think that the processing power allows recording 4k in 4.2.2. without difficulty or 4k Raw internal recording and beyond.

It seems that way, or at least going down the bit stream things are implemented. There is so so so so many cpp files as you have probley seen. But thats part of the task haha! The hevc stream is interesting if you feed it into a parser. the compression is very dynamic. But pumping it up to the max of the sd bus speed could garner results. The gop of the file I tested was 15frames(500ms) So there is some possible quality improvements from there.

i am SOOOOoooo glad to see gunpowder doing better!!!!

A little testy test with them. Silly video..but LOVE this glass

I don't think that's fair. A lot of people have been waiting for a promised product, perhaps even started planning projects based on these promised specs, or decided against other equipment because of BM's promised specs. Why should they be told how to feel when disappointment is forced upon them?

I wish I could agree. But I can't think of another line of products, in any industry, where companies have played so fast and loose with features, and where paying customers themselves apologize for the companies lack of follow through. It's almost a form of masochism, and I get the impression companies like Sony and BMD bank on this attitude to help them cover a multitude of engineering compromises. But the real killer here, for me, is the BMMCC product web page I perused last April/May (after NAB, when the camera was announced.) At some point, BMD product planners sat around a table designing that web page...which features to emphasize and specifications to call out...while apparently fully cognizant of the fact that the thing didn't even exist. That strikes me as a HUGE ethical failing on the part of BMD. (Sony never advertised that their cameras will run unhindered by heat, so credit where credit is due.) The creative community has enough of an uphill battle that they shouldn't feel obliged to be jerked around like this.

If I had to buy 2 lights to start a kit it would be a KinoFlo/FloLight/Lightstorm bank with barn doors, and a fresnel spot light that's at least 650w. Mix those with your diffusion and you can achieve a HUGE array of looks.

enny - show us the video (make it private/password protected), then at least we can advise you better. We won't hammer you, but it would be interesting - especially since you're doing it for free & i've got a feeling that in future you should be charging, even if it is a nominal fee. If you post yours, i'll post my first free music video, which was a complete nightmare as well! The problem with musicians is that they can be a pain, like a real pain. Nowadays everyone thinks that they can make a video/film (armchair directors), but in reality its a lot harder than that. The last live video that I made got a bit a criticism from the main guy, simply because he showed it to loads of people & a few of them had convinced him that the edits should be quicker. This was also coupled with the fact that he wasn't in it as much as the singer - starting to see the problem with working with bands?! I met him face to face and explained to him very nicely that this was the best edit possible - the main reason being that I got some great footage during the sound check & then during the gig, the lighting guys went crazy with strobe lighting, which ruined everything and made my job 10 times harder. He obviously came around to my way of thinking - I am very persuasive, in a nice way. Show us the video, as i'm almost 100% sure the singer wants to re-edit the footage so he's in it a lot more than the others! Meet them all, face-to-face and I think that they will be your allies (you said the others liked it) in convincing the troublesome one that you've done them a great video for free! Remember, you've done them a video for free! If after meeting them, he's still a pain, then you just look him in the eyes and tell him that you don't need the hassle and are walking away from it all.

It might be better to split into two topics, nx500 and nx1. Or front end and back end. The things Otto is doing to the nx500 are amazing, but less similar to what I am doing with going into the firmware. It may be better to have things split up so updates dont get lost in the posts. My work has less shareability and its not something someone would want to play with unless they want a nice nx1 sized brick. I will be doing a comparison on the nx500-nx1 firmware to see if things can be added or removed by just copying the .cpp files. But if you compare the fcc internal photos https://fccid.io/document.php?id=2507770 nx500 and https://fccid.io/document.php?id=2394073 nx1 you can see the change in size of the drime-v and drime-vs. There is also the unreleased nxmini2 which had the drime-vs in it also https://fccid.io/document.php?id=2594973 nxf2 From my end the later updates of the firmware do have a lot of changes, obviously due to file size less changes, but the specific documentation is there. But things are still progressing on my end.

Underlit and not at all flattering. :/

Why don't we just ban this fool

I think vasile's idea of using the existing menu and then just overriding the bitrate values that Samsung has assigned to the options is probably the best option because it is the most integrated. Another potential option could be to add a menu option to pull up the keyboard and ask for a custom setting of resolution, frame rate, bitrate (and maybe anything else necessary like video profile). We should try to avoid out of place, unintegrated UI if possible. It just adds clutter. @vasile can you explain what tbn and tbc are? Also, can you check if there is a flag or something in the Dev menu that lets Samsung know if the video time limit has ever been disabled? (Assuming of course that you can uncheck the box in the menu).

It isn't a MUST if you are experienced with shooting with gimbals, electronic or not (though know the difference!). It helps to have IS in most cases, but I've even found myself turning off lens/sensor IS for certain steadicam motions due to jitters or complete jumps in motion. Something to consider. A well balanced camera+lens with moderate weight within the steadicam system (and a tiny bit of digital stabilization if needed for some troublesome clips) can go a long way, so don't be afraid of lenses without IS if you're finding yourself in a corner with options!

Can I recommend you try editing in Edius if you experience major banding issues? Their pseudo 10-bit conversion actually helps smooth gradients in all my 8 bit footage, especially from my LX100.

Well, not all DSLRs will be replaced by a phone...

Lens Porn?

Awesome, do you have a stream parser so you can compare the two bitrates? zond 265 worked for me. They have trials as most are very costly. Do a sample with the before and after frame rate and then see what the analyzer says. This is a step for sure!

Supposedly the iPhone 7 is going to have dual lenses. One wide angle, and one telephoto.

Can't wait for the 1mm f/0.05 lens

That is hard to say, might be able to load something like magic lantern, but the way the camera uses the .cpp files firmware wise make it limiting in what can be done. ML uses a modded firmware with a boot flag to enable what they use. But can be added to the list of things to look into. There will probley be a few variations of firmware, I found a log file of what they did to test and try to break the firmware so imitating it could be helpful. With luck that will be possible! The di-camera-app is interesting. I found the package info for it last night as well. Flat or log or cine gamma. All similar but not if you know what I mean. My want is for something to be similar to red.

I figured the cat would've been the princess. They're usually such divas. They're equally cute though. And... true! I was thinking about these or Leica R. But it seemed although the Leicas are gorgeous, sure, they perhaps just have a bit more of a specific look, whereas it appeared the Contax Zeiss ones would have a bit generic look to 'em (which is not a bad thing). And you're right on! They're reasonably affordable and yet so up there in quality. It's like they are on that line of realism and really have that 3D pop <insert laugh-tape - reference joke>. But seriously though, they do have something special about 'em. There are some good reads and recommendations out there regarding these. Even in comparison with the big boy Zeiss optics. Of course it too helps that andy lee stands behind them! I guess the 21mm would be the one to get on the wide end, but I think it roughly sells for more than the ones in the other ranges combined. Ouch. Nah, in that case I'm good with 25mm being the widest I guess (wishlist). And focal reducing is still a thing if you're commited to small sensor cameras.

I saw a post on this forum where a guy debunked the sensor size myth. Another guy said that the smaller the sensor, the smaller the equivalent lenses. Cellphones are the future, Imagine a camera the size of your fingertip shooting IMAX quality pictures.

Thats why I added all the dots..... didn't have the energy to google that Futurama picture

I have not tried any of the hack yet but I agree that I would prefer to not touch the original firmware and not need to flash anything to the cameras internal memory. IMO the idea hack (if possible) would be somewhere in between what both of you are doing with the ability to reboot into a separate OS from the SD card. Chant, from what you have seen do you think it would be possible to do this or do you think you would need to flash something new to the camera?

Why would you do that? There is no difference whatsover between formats, the size of the sensor is totally irrelevant.

I remember pre-ordering both these cameras as a "get in line incase it's good" kind of thing. Didn't last long as I used my funds elsewhere on stuff I needed immediately. No global shutter is no big deal. It will come in later models - shipping in July. I love Blackmagic cameras as the aesthetic is awesome, especially for the money. It's a pity the 120fps is limited on the Ursa Mini though. The great thing is there are a lot of options for all types of shooters. I personally don't buy many cameras at all - I just get one when I need one and spent most of my surplus funds on gear that is current for a long time. No need to get angry over cameras and gear though. There's a world out there.

Because it's meaningless I don't mind getting upset about it. It doesn't actually affect my happy state of mind unlike real issues do. But I get what you're saying.

Id pay for this as well !

Are CFast prices dropping yet? I haven't followed them but a quick check on Amazon shows me that they're still stupidly expensive relative to SSDs

Hi everyone first of all i would like to thank everyone who is involved in the hacking !! amazing talent !! and i would i like to request some hacks which will be useful to everyone 1. AFAIK video settings cannot be saved into the custom modes on the dial.. so if there is a way to save video settings such UHD or 1080 120fps into the custom modes.. it will easy to switch between the modes without having to goto the settings menu. thank you.

if you use your fresnel for a hard backlight and your Kino for a soft front light you can create any movie set ups like Aaron says , the Chinese Arri Fresnel copies on ebay are actually very good- with the right globes in them .... - I have alot of Arri Fresnels and recently used a Chinese copy on a set and it was just as good - just alot cheaper off ebay

How can someone getting all your work for free possibly own anything? Sounds like bullshit to me. You hold all the cards here: you've done all of it with your gear for nothing, so at least hold out to get what you want from it, and for God's sake don't be bullied by someone with too big an ego.

The armwrestlers look 'big and bad' while the monstars girls look cute :-P great footage!

If it were a paying client, they'd almost definitely have final cut. And you'd have been fired by now. Treat this like a paying client, keep the directors' cut on your website/reel and meet them halfway with the changes (or ask to be paid for changes beyond the third revision). If it's great, great, you'll get high paying clients soon. Don't let a reputation for being difficult from a small local act hurt your potential for commercial success in greater arenas. Work this out amicably.

Actually, my first thought was "it could use some diffusion." It's a little crunchy-sharp for my taste. Also, those skintones are WACK, man. Crazy flatness and oversaturation in the yellows. Some skin colors fare better than others, but none hold a candle to Panasonic/Blackmagic.

Amen to this. Exactly. Bad things can happen when clarity and communication is not given across all concerned parties. Even if it's an unpaid project, there still needs to be clear deadlines agreed and understanding of what is to be delivered. Always keep control by retaining footage and submit viewing copies as low/SD resolution or with a fat 30% opacity watermark over the middle of the footage until you get paid. If you are to agree that you are to simply shoot and submit footage, get that in writing. Otherwise once you send the raw rushes, it is then up to trust that the person will pay you the agreed amount. Any verbal agreement that is made should at the very least be put into an email or writing - so there is some kind of record of what has been agreed to (legally binding or not) This will quickly prove if someone has gone against their word, straight up lied or not clarified conditions clearly. Luckily my memory is getting worse as i get closer to 40 so after I talk to people in person or over the phone - I ask them to put it into an email, which allows me to refresh my memory and creates a paper trail If you like. It allows easy tracking of progress and what has been agreed. Where applicable, get the relevant release forms/ permissions you need to cover your ass. As a photographer or videographer you simply need to ensure that you retain the rights to your raw images/ footage until you get paid or complete a submission to the terms of agreement to a contract. I'd say it is even more important to have written contracts between friends (especially when money is involved) - as that way, everyone knows where they stand - even if the project falls apart for whatever reason, you are more likely to remain friends afterwards, draw a line under it and put it down to bad luck. I'd much rather remain friends with someone if a project goes to the wall, and especially if it was out of their control. Over the years I've been duped out of about 6 grand by taking on projects from friends or for pitches - only to be given endless deferment promises, or simply no response at all after handing in an invoice. Those times I took the projects 'on trust' and the footage and final edits were sent before payment was received. Never again.

My plan is to see if I can replace Pro bitrate from 80 Mbps with something else, say 47 Mbps (my age :)) for example, without otherwise touching the menu system or firmware internals.

I think my overall impression of this camera (after a day of shooting so take that with a grain of salt) it a positive one. These Sony cameras bring options not available on something like a Canon and it comes with a steep learning curve. However, using the camera correctly (using S-log 2 only when necessary, getting white balance right, avoiding rolling shutter, maximizing function buttons, finding audio solution) you're really getting a lot for $1k. As always it depends on your needs. I did a little first impressions write up here: http://www.fennworld.com/sony-a6300-the-good-and-bad/ A lot of what I found has already been mentioned in this forum thread. My biggest disappointment was LACK OF CANON AF FOR VIDEO. I can't even select AF-C with a Canon lens attached via Metabones.

Admittedly, Andrew did try one of the first ones and concluded that, and I'm pharaphrasing, 'ok, this is a thing now and it's kinda decent'. I went and got one of these glidecam mechanical things from China too to go with the GH2 and Tokina 11-16mm way back when. Quickly gave up and when these electronic pistol grip gimbal stabilizers started to pop-up, I perked my ears... opened my eyes. But I've been waiting forever to reach a certain point I'd felt comfortable getting one. Especially since the earlier ones really showed signs of like a delay on the correction and then correcting in a digital and excessive way, really robotic, not organic. That one video with the Pilotfly H1 then looked really nice and this H2 went up in processing and controlling and as well important: way of set-up. I looks like an OSMO-type device for mirrorless cameras and DSLRs now. Seems like a nicely polished product. Allows you full freedom and flexibility, you can use the tilty-screen of your camera, you can attach a monitor rather easily. It's looking good. I guess the pre-order special price runs until the 21th, so I got a little longer to make up my mind and indeed, hopefully more videos will come out!

Those are NOTHING! Man, you should have seen the complaints on the first year of the Nebula 4000! Almost all the gimbals rack up complaints. Mine was all hosed up when it arrived - thought it was defective. Turned out someone loaded in the wrong PID software profile in manufacturing. Loaded up the correct one from the drop-down list. Then did the 20-second horizon auto-calibration and it's been right on the money ever since.