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As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing. You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is. And yes, it does look rather like a calculator doesn't it? The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are. Here is the finished spec and features : Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories : Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders. The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever. I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then. So, I have been a bit less lazy than first imagined By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??

Maybe it was posted from a RED Hydrogen and none of us can see it in its holographic glory on our regular antique phones?

jasper loves the forest

Well the thread was originally meant to be a simple post that a new firmware was out and hopefully for people to discuss how good or flawed it is. But Kisaha just has to take any opportunity to gloat about his beloved camera. I see it in so many threads and its just getting annoying.

I kept wondering what is about you that don't draw as Much attending with a boom Mic and Large Sound Equipment (or camera equipment in this case) as everyone else. Sir, you look like Einstein testing for things nobody is quite sure of, in the city. They probably won't suspect that you are part of a film crew. I won't be surprised if some bystanders stand next to you for Yoga lessons and lessons on Eastern Mysticism. You have almost 2 careers running parallel. The Sound Yogi ?

The Pocket 4k does have four microphones apparently.

I have something similar to @kye

Still makes more sense than the average Hydrogen post on reduser.

From the demo footage that was leaked, the audio did sound very good.

I picked up a Helios 44-2 for £5 in a local camera shop... Its battered with large scratches on the elements but delivers a fantastic low contrast image, blooming highlights and good looking flares and outstanding bokeh. for £10 (£5 adapter) it puts many lenses to shame. I paired it with my GH5 & Speedbooster to test it out on a dog walk. All images have been transformed to Rec709 with minor contrast adjustments on some images. (loving the low contrast!)

I take my hat off to you, sir

@DevonChris Yes, I thought about Nikon bodies. But with a camera like a D500, I would need to buy more AF lenses from Nikon, as with such a camera manual focusing will be quite hard, especially on long lenses and without a proper focusing screen for manual lenses. @Kisaha I think you are right about color rendition of GH5/GH5s. I have seen some reviews like this one https://www.youtube.com/watch?v=Xo_YQgBgtL8 which I found really interesting @Luke Mason Thanks for the clarification. I think I will have motion to record, but nothing too fast. @Mokara Thanks for the explanations. I was thinking the main processor was the “brain” behind everything. If you say the hdmi can pull more than what the main processor could record internally, then probably the XH1 will be a good choice as, from specs, it records colors in the wider space rec2020 than the 709. @Django Thanks for the link. I think you are right, considering body construction, Fuji and Panasonic would be better. I remember some old blogs/forum discussions from people using the GH4 in some tough places without issues. The GH5 would be the same I think. And XH1 vs XT2, I think the bigger grip and the top lcd are some nice features to have for fieldwork. I was just taking for granted the intervallometer in the A7III. I know (now) about the latest firmware for the XT2. When I was writing this tread, I was not aware yet of the new firmware.

Thanks. I should probably call it the EPOX-I due to my unfounded reputation on here for wanting to glue things to cameras. I haven't really looked at the Sony stuff in any detail but both of those things are fairly trivial on Panasonic. They must be, as I know how to do them After a bit of lateral thinking I do have a way of simulating a proper app for Fuji by giving wireless video to an Android phone via some relatively cheap cobbling together and then using a wireless release to trigger the recording. However, they have thrown a massive spanner in the works for the XT2 with the weird HDMI behaviour when you record internal FLOG.

Yeah I wanted to shrink it as much as I could. I used velcro to mount it on the camera, which also removes some of the vibration transfer from the body. Of course not as good as the native mount. I also modified a cable to reduce the profile of the 3.5" head, but you can find short cables from ebay.

I was thinking video auto focus improvements and fixes to the VFR noise. Maybe we'll get a higher bit rate H.265, but I doubt we'll get RAW.

That's very impressive! Well done!!

Wow. Great job. I'm impressed you went all the way through with it!!!

The problem in the UK isn't caused by the real Police but by the private security companies. The Police (by and large) know the actual law about theses things and if they don't they can at least be reasoned with in regard to you asking them specifically about which laws you are breaking. The private security companies think they know the law and also, bizarrely enough, think they have the right to enforce them, both the real law and the ones they think should be law. The really stupid thing here - which should be blindingly obvious to both the real Police and the pretend ones - is that because of their overt paranoia about photographers then anyone who is genuinely up to no good will of course never be carrying a camera and a tripod because they run the risk of being pulled. One thing that you do have to be careful of is that, increasingly, what you think is public land in the UK actually isn't, often due to council's selling off areas for development to private companies. It might be a public space and have no deterrent to access but its not actually publicly owned so in that instance the private security companies are well within their rights to ask you to leave.

So my methodology for a skintone comparison would be: Use various models with various ethnicities. Standard profile comparison (Fuji Provia vs Sony Standard or perhaps one of the Cine profiles). Once with auto WB and again with manual WB (using one of these) Using Fuji 35mm f1.8 and Sony FE 50mm f1.8 In a variety of locations with different lighting. I think I would also do more takes using Sony's other profiles; SLOG2, SLOG3 and HLG. The objective of this comparison would be to get enough data in order to gauge the differences between the various profiles and make LUTs to match them to the best looking one. Does that seem right?

Please, share your results! I always enjoy that Try Cine-D (with the noted settings) - I made that PRE conversion (and tested all the settings) just for that purpose That being said, with V2 I'm definitely a VLog guy. For accuracy and smoothness, nothing beats the directness of that conversion (even counting 8-bit concerns), and its something I might look into at some point for Cine-D

Not everyone is as lucky as you... The US: https://petapixel.com/2016/02/25/ive-stopped-20-times-police-camera-tripod/ The UK: https://petapixel.com/2016/07/16/video-photographer-tests-rights-streets-london/ https://petapixel.com/2011/07/20/six-photographers-test-their-right-to-shoot-in-london/ Australia: https://petapixel.com/2015/11/30/top-australian-photographer-fighting-for-rights-after-near-arrest-on-public-land/ Terrorism video warning about photography in public: https://petapixel.com/2012/08/09/terrorism-prevention-video-asks-public-to-report-photographers-to-police/ And if those are too tame, then this one is just great.. https://petapixel.com/2015/04/21/woman-pointing-smartphone-camera-at-police-has-it-snatched-and-smashed/ That was just a few quick searches of one photography website. The moral of the story is don't attract attention.

I'll actually echo jonpais on this one. Most of those shots are harsh direct lighting and the white balance was off on the Fuji.

@Kisaha A broken record player is not funny

Did I ever share this recent video? Not only are we shooting with an Arri AMIRA in public, and I'm fully rigged up in my sound gear, but heck the producer even goes and asks the construction road workers to stop! You can "get away" with an awful lot.

Here's the mic with the foam cover on top of the 700D and Sigma 18-35: With the flash bracket underneath allowing the mic to be mounted on the side: Underneath of the same setup - notice that the flash bracket is one of the smaller ones (15cm long) and it's in its shortest configuration: If you put the whole thing on your palm then you can operate the focus (and maybe the zoom) with your left hand and hold the grip in your right: or, if you extend it, then you can get to the zoom by going in-between the mic and the camera: I've used larger brackets in the past to have multiple cameras when I wanted more than one focal length to enable jump-cuts. This is the only pic I could find, but I'm pretty sure that I actually used it with the mic in the middle like above. The more angle you put on the bracket the nicer it is to hold, but the more likely the mic or other camera will get in shot if you're using a wider lens. On a sound-quality-related note, I have played around with many audio setups too, and found a few interesting things. In terms of quality: The primary thing is self-noise (hiss) which you want to be low, the secondary thing is isolation where you pick up less background sounds, and the third is having a safety-track if something peaks, then last is 'sound quality' When YouTubers (and I assume non-audio people) talk about sound quality they are talking about hiss and then about EQ Talking about EQ is silly because you can adjust it in post in every video editing software known to man - at one point I was wondering about buying an expensive stereo mic for ambience, but I did some tests with the built-in mics on my cameras and they sounded just fine (with some EQ in post!) so I saved myself some money and carrying around a separate microphone, and now when I want some ambience I just unplug my shotgun mic and hit record and use the in-built mics I've got the Beachtek unit mentioned and battery life was just awful - 5 hours with freshly-charged rechargeables. Forget the price of alkalines - it's approaching $1 per hour of use. I ended up buying the Rode VMP+ which has 19 hours of battery life and means I don't need a mic pre-amp at all, plus it charges via USB. If you sleep more than 5 hours a night you can literally just turn it on when you wake up and off when you put it back on charge at night! That makes it much less likely to stuff up a shot by forgetting to turn the mic on. All of the above relates to on-camera shot-gun style sound setups, and for my home videos. I haven't messed with lavs or boom mics, so I'll leave that to Ironfilm in the other thread

Yes. I read that, but that makes even less sense than BMD and Panasonic offering only EF mounts (or longer) for their S35 cameras. What if somebody wants to use a M4/3 lens on the Yongnuo M4/3 camera? or, what if somebody wants to use a speed booster, tilt-shift adapter, c-mount lens, etc. on the Yongnuo M4/3 camera? All they have to do to easily solve those dilemmas (and probably sell more cameras) is to start with a M4/3 mount and supply the camera with a smart, reinforced M4/3-to-EF adapter... and the camera will still take the Yongnuo lenses.

Deep down, I think we all knew this..

@mercer I quoted this from your audio recorders thread as my reply would have been a bit OT there. I also own the Rode Video Micro and found that you can buy some cheap eBay foam covers that fit quite well and are a lot smaller. I bought a number of them to get the right sizing (the diameter of the Rode VM is on the larger size for the foam covers) but if you buy one that's a bit too big a cable tie or even a twisty-tie would secure it. The one I ended up using was for a long shotgun mic and I trimmed it down to length. I haven't tested them for wind resistance, but it'll be better than nothing and the size difference is huge! Another 'trick' is instead of using them on the hot-shoe (which makes it look tall) you can buy dual flash brackets (eg http://www.ebay.com.au/itm/Dual-Flash-Bracket-Holder-For-1-4-Screw-Studio-Tripod-Light-Stand-Camera-GA-/182389726343?hash=item2a77465c87) and get a tripod to cold-shoe adapter which allows you to mount the mic next to the camera instead of on top, which hides the size a little bit. I found angling the bracket can make it quite ergonomic too. Happy to take some pics of the setup if this is useful.

If one lens seems to work fine and others don't then perhaps it could be a bad connection between the lens and the adapter? I'd suggest cleaning the lens contacts on the offending lenses, on the adapter and on the camera as well. It's quick and easy and worst case is the problem persists but now your lenses are a bit cleaner and you've ruled out a possible source of the issue

HLG as I understand it is a standard curve applied to footage for final display on a HDR / HLG complient TV. I imagine that this is a bit like using REC709 to monitor. You most likely only want to monitor your image using this curve rather than bake it in. Otherwise it’s like shooting VIDEO instead of FILM. The Pocket 2 does feature the new version of VIDEO, EXTENDED VIDEO. This is an awesome new curve that I’ve been using a lot in other scenarios. This is doing what we all wish VIDEO should have done in the first place. Make a nice looking picture that doens’t require too much post to tweak into something nice. If you wanted to hit the HLG, I’m sure you could easily do a LUT that would do this as well if EXTENDED VIDEO doesn’t push your buttons. JB

Based on the songs rank, it appears the damned have quite a few fans. Who are you/I/we to judge a multitude on their intellect or taste? What I find intriguing is why the continual discussion, excitement, arguement etc... about new cameras if Oliver is correct? Or why those like Juan Melara, continue to lug around beastly monstrosities costing small fortunes? I like the gh series cams as much as the next, but what is it about the current crop of smaller/budget cam shooters constantly reminding everyone how amazing their cam du jour is?

The reassuring thing about the Pocket 4K is that BM are already taking it around to most of the Pro Sales and Rental houses here in Australia and letting people (rental managers, sales people, and industry professionals) play with it. We are still four months away from its scheduled release and the camera is doing the rounds. While they do state that it's a 'preproduction model' so not allowing anyone record footage with it, in terms of issues, these should be greatly minimised as they are getting feedback a long time before release.

Your post is is condescending. Nothing more. It's not a comparison of anything constructive. "Have Fun!" being the tell tale phrase... My comment was a ridiculous throw away line to try to demonstrate how silly your comment was. Yes, I know full well that you can't compare an Alexa with a phone camera. It was a silly comment aimed at the same level of your two comments boasting that you had been doting 240p for four years..... So what? A camera is more than one feature I don't have a problem with Samsung's colour science but do prefer Fuji's by a long shot.

Reminiscent of the Olympus Air or the Sony QX, which are linked in your article along with a couple of other similar concepts from Kodak and DxO. Can't understand why they decided on an EF mount for a M4/3 camera, but it seems like many camera manufacturers wear blinders when it comes to considering any lens mount other than EF.

You know you can decide your shutter on a GoPro with Protune? Gone are the days from the Hero3 where exposure was automatic unless you want that.

@1Ale82 If your shooting out in the mountains with cold/rain elements i'd forget the sony's especially A7III as it's only dust/moisture proof vs complete splash/freeze weather sealing for XH1. And with the WR primes you could have a rock solid setup. Also you mentioned timelapse, another point for XH1 as it's got an intervalometer function. no can't do on A73. Btw, don't discard your XT2, with the latest update it's got F-Log, 120fps and couple other enhancements. XT2 + XH1 could be an awesome combo and minimize lens swapping. As for the 200Mbit vs 100Mbit, less compressed means less artifacts which could be very useful in nature/water shots imo. Check out the thorough A73 vs XH1 comparison here: https://mirrorlesscomparison.com/sony-vs-fujifilm/a7iii-vs-fuji-xh1/4/

Nah, not really at all, because it doesn't provide phantom power. Sooooo.... you'd still need to lug in something like say a MixPreD, defeating the entire purpose of trying to use the EXH6?! Or at least in that situation. Having said that, I do indeed own a EXH6, as it is quite useful for a totally different purpose (accessing 5/6 on the F4). "Reviews" be default tend to be quite positive, especially when it is a flashy new toy. And yeah, people get wowed by its "swiss army knife" nature. Yet in reality I think it would have been better off if it tried to do just one thing WELL, and take head on the DR10L/PDR. Smaller, size is everything with a bodypack recorder. Also no safety track. (arguably essential if you're unable to monitor the audio!) A deadly double blow to the F1. New the H6 is $350, new the F4 at B&H is $450. That difference is nothing when you think about what a steal the F4 is.

I did a shoot with EOSHD settings on both the a7iii and a7sii and I find they are nearly identical imo. Easy to match anyhow.

As per the other thread, here's a sneak peek

Sneak peek

When this camera arrives there will be no more rain Jon. There'll only be sunshine and nice things for everyone.

How wonderful, so pleasant overall pastel quality and blur distribution away of center. And story is so deeply human.

Don't. Own it, I love the look. Watched this earlier today and both the director and the DoP appear to be big fans of using diffusion wherever possible.

You can do it with the same precision as you can with their app. I'll leave you to work out what that means! They only offer two levels of sensitivity in terms of speed of focus movement so I scale those on the joystick to give some feeling to it and to be fair its not that bad. Hard stop A/B focus points driven by the joystick will be incorporated. Joystick driven focus point (i.e. use it to move to a point on the screen and then a single press A/F) will be incorporated as well.