Leaderboard

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 ??

Quite a personal attack you unleashed there Kisaha just because I said "thats what I'm finding too". I'll regret it but screw it, I'll bite..... Sorry, I didn't know that we had to be funny on the EOSHD forum. Can't say I've seen you post a funny comment but maybe I haven't looked hard enough. I have a 16MP camera from 2014? Not too intelligent are you then. Can you read? BTW, My critical judgement sees me earn a good living as a professional in this industry. I have many clients that are extremely happy with the work I produce and value my critical judgement. "Fuji arrogance"? I use all sorts of cameras for my video work. From Red, Arri, Sony F55, FS7, FS5, A7SII Blackmagic UMP etc. How am I a Fuji fanboy? Did you take offence because I prefer Fuji's colour science to Samsungs? Grow up! And quoting some rich boy Vlogger, Yuryev (yes, i looked him up) that is a Youtube hack shows your level of intelligence. I'm not great at "writing sentences" ....and then you type "stop-ing" and "you bored me to death" (past tense, do I not bore you anymore?) Enough said! You are nothing but an angry troll. Pathetic.

From the article : "A North-American company, producing special cameras for the movie and defence industry - Photo-Sonics, founded by Adolf Furer in 1924 - used many Nikkors with special converted mounts." Boy, that was a hell of an unfortunate name to have a few years later. Reminds me of this

Unfortunately, there is no way. Neither internal, nor external capture.

The hack doesn't change the usability of the camera - you can use it the same way as without the hack. You can shoot without crop mode with the hack enabled, although it's probably not worth it? You can shoot all bitrates in raw with sound, but not with lossless raw since that uses the mlv_lite module. However I think someone managed to enable sound recording with the mlv_lite module - worth checking on the magic lantern forum. In non crop mode the EOS M can only record up to 720p raw (with a lot of aliasing and moire). Using 3x3 pixel binning mode (also non crop) it's still 720p max but at least there's slightly less moire. Regular h.264 is 1080p in non crop mode (with or without the bitrate hack). There's a discussion about that camera here: https://www.eoshd.com/comments/topic/26577-is-the-eos-m-the-digital-super-8-camera/ I posted a video I've done with the EOS M + SD card overclocking on that thread, but reposting it here since that hack is relevant to a number of other Canon DSLRs. Works the same way on the 100D, 700D, 650D and others:

Those are the ones, especially the 105mm f2.5, also it's worth trying the 28mm, but i suppose it's quite close to the 5mm - these really are a great set of lenses. Most people will be put off by the fact that they aren't very fast, but that's just silly & normally it's people following the idiotic rule that you should shoot wide open with fast apertures. For vintage lenses, 55mm is normally the best due to the fact that the lens recipe is simpler & they perfected it. Have you tried any Tomioka (Japan) made lenses? The 55mm f1.4's are worth a try, very nice for video. They made for various people: Chinon, Yashinon, Revuenon etc.., must have "Tomioka Japan" on the inner ring & have the "Auto" moniker. They did do a 55mm f1.2, which is dreamy wide open & a lot more expensive. At the moment, my goto lenses have been either the Tokina AT-X Pro 28-70mm f2.6-28 (the first version is an Angenieaux lens recipe) or the Mir 24m 35mm f2 - for me they are must have lenses. You're right on the money there - 44-2 is an excellent lens if you get a good copy. Lots of other Russain lenses, actually most of them, give this lovely low contrast - it's why people have raved about them for video for a long time. Dirt cheap as well, but you might need to shop around for good copies

1. I shoot by myself and with my assistant. We always have the SmallHD focus monitor on it. 2. I’ve always shot on gimbals with manual focus. I’ve always shot on cameras that only have manual focus. This is not an issue. It’s how I learned and how I’ve always shot. I just set the focus, look at my monitor and make sure the subject I want to be in focus is in focus, then I make my move. Very simple really. On the MoVI M5 you can take one hand off and change focus while you hold the gimbal by the top handle. You have to treat the 1DC like a 5D mkiii basically. Use a monitor or a Zacuto Z finder and you’re set! It’s what we all did back in 2010 and that’s all I’m doing now.

Worth bumping this thread considering the Resolve 15 release. When you try and leave Adobe they will try and charge you for an extra half year or offer you "free three months" to stay on. Just keep on reminding them about your history with them and insistence that you can't afford it and eventually they move onto the next step in the prepared script and waive the fee. Be firm but polite. Currently Premiere just crashes on brand new machines so it just does not cut it for dependable editing.

Bizarrely enough, I have a use case for it exactly as they show it with their 14mm lens that means I might well buy it! Or two actually ! Basically, taking a fully fledged DSLR for the goal cam shots is a waste of camera, lens and packing most of the time. To get proper coverage you ideally need two (which hardly anyone does for obvious reasons) so a lot of the time its a bit of a lottery as to how successful the image is as you have to go very wide and crop in depending on which side the ball goes in the net etc. They are also a right royal pain in the arse to set up as you have lie down on the (often soaking wet) pitch to set the framing and then there is the issue of getting the images off them in any sort of timely manner as you aren't allowed to access the pitch until half and full time (hence the enormously long ethernet cables you can see which lead back to the main photo positions). All in all, they are a hassle and of course you are going to have to get lucky to get something different from everyone else but they are a necessary evil and I've tried numerous different strategies to ease the process (especially the framing issue without getting soaked) but its still a pain. So..... Looking at that module, it might be a bit of a godsend if its the right price. If the camera is say £200 then the package with their 14mm lens (which will give 28mm if its MFT) would be just over £500. So for £1000 (way less than the price of any lens you can see there!) you can cover both sides of the goal with something much, much smaller to carry round. With it connecting to a smartphone then the framing issue is sorted because you can do it standing up. As a smartphone is part of the deal then that means it would be eminently feasible to automatically ftp the shots wirelessly to the editing computer. The only missing link then would be the triggering but if there is one company that know a bit about triggering remotely then its YongNuo. If they built a triggering port in to it (which I'm guessing they could because it is likely to have a USB port) then it would cover every need that I would have for it. Unless it does like 1fps or something stupid obviously

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.

@Kisaha A broken record player is not funny

Thought it would be interesting to share the BTS videos we take on shoots. This is BTS from a car mount shoot, and what I did to capture the audio:

I'd likely avoid log in that case (it'll be a lot of testing)

Thanks Jonesy Jones, now I've got to go shoot a movie with it hehe Feel free to reach out. Stills from David L'Abbée:

Una mala tarde la tiene cualquiera!!!

Yep, it`s in spam folder. Thank you!

Guys i have a question. with the new uhs-i hack, you can record with 14-12-10bit in with sound and without crop mode? get an eos m1 plus a focal reducer would be a cheapest fullframe killer solution!

Nice one. I'll try and deliver it before your Hydrogen arrives. <Relaxes and takes 2 years off>

There is definitely some strange colour splotchiness going on, but my question is what the signal path of the image has been to get it from the camera to my monitor. I agree with @Cinegain that it could be from some wayward processing. The ISO performance on that image is terrible!!! And it's a daylight landscape too!

I saw this as a facebook ad, the info and branding etc scream "fantasma" , "ghost" in spanish. That's how we call patological bluffers.

She's very self-concious about her skin condition, no need to harshly point it out like that. You're definitely right, that looks concerning. But it seems like it could be a post thing from removing noise, adding grain and weird adjustments.

The monitors were sold and I owned one. But mine was an exact replica of a feelworld monitor just rebranded. The owner is a fiery spaniard but I dont see why they couldn't pull it off. Just dont expect any kind of service if you do buy it.

As far as price to performance it puts other lenses to shame, although I do prefer lower contrast and a softer image

it's the same cinemartin brand as those suspicious "cheap monitors" that never came to be sold and that were supposed to be rebranded chinese product?

Thanks. I'll hold you to that ! Wait til you see the as yet unrevealed focus method. You'll need a lie down after that I think he's probably got a bit too much on his plate to be bothered about my little calculator ! I'm not quite sure what you need it to do regarding the screen, can you elaborate? I'm looking at various options at the moment but I suppose much of it depends on the implementation of the other protocols. My thinking now is to have it ready to go from the off with more than just Lumix control. Cheers mate And you might be interested to know that a Sony implementation of it will be coming sooner than I thought....

Not as yet but I suspect even on here we'd struggle to match the argument going on about it over at NewsShooter - with the designer no less - where there are accusations of plagiarism, lies and even outright racism with someone claiming because the designer is Spanish it will never get finished on time ! https://www.newsshooter.com/2018/05/09/cinemartin-fran-8k-camera/ Main bone of contention/accusation seems to be that some posters are convinced that Cinemartin are passing this camera off as their own https://www.ximea.com/en/products-news/pci-express-camera-cmv50000

I don’t believe it actually is the same sensor. All BMD files in RAW are 12bit LOG / 16 BIT LIN. JB

I could; its really a matter of access to the cameras. Is there any way to get 10 bit out of them? I'm considering whether to expand beyond the GH5. If so, I want to pursue an absolute precision standard. I've been using it on some of my footage today without grading, Very happy

Well its certainly almost driven me insane at times! I'm going to start porting it ahead of time based on their documents but it'll be a bit blind until I get hold of a unit but I would expect it to be done within a month of that. I will be looking at making it dual boot so you select on startup if its controlling a Panasonic or Pocket. I don't know at this point. It depends on how it is distributed. I would say it will be around €150 for a dual boot with the additional options for joystick and audio recorder sync start.

LOndon is a complete nightmare (especially the public/private land thing), but where I am in Bristol, no one cares. I've even had 2 Policemen stopping whilst I was filming so as not to walk into shot - I was using the BMPCC with a K3 pistol grip/shoulder mount & probably looked like we were filming tourist stuff. As far as photography is concerned, there's a 24hr photo competition & you get given a time slot to take a photo - never heard of anyone being stopped or the police being called, but they do have better things to be doing & you hardly ever see them walking about these days. If you are filming with a crew, whether it be 2 or 5, it's really easy to get a permit to film & doesn't cost a bomb. But i've shot loads of stuff & never been stopped - quick & discrete is the rule of thumb. But in general, where I am, no one is going to approach you or call the police - perhaps we're just a little bit more chilled as a city.

Thanks Thanks. I suppose thats where a Kickstarter thing could come in useful to raise the registration cost.

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.

@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/

And I had a 4K shooting phone before Arri had a 4K Alexa........whats the point you're trying to make?

It was full HD. I think that the sharpness of the lens, combined with the subject distance and the fineness of the wood texture made for a "perfect storm." However, I have made some more tests, which I will try to post soon, and there was also moire problems with some coarse fabric. This is an amazing capability for such an inexpensive camera! Thanks for sharing! I've got to get some S16 lenses, or try the BMPCC speed booster (if/when the Photodiox M4/3 to EF-M adapter appears). By the way, I tested it, and one can't shoot video with a manual lens while the "Release shutter without lens" is disabled -- so one might have to be careful not to press the shutter button when using the BMPCC speed booster on the EOSM. Oh, that's a bummer. Hope someone finds a way around that. The thing is, I would be happy with just 1920x1080 and less overclocking.

Agreed, the 3x crop mode is still very unique advantage - especially for macro video. The ability to also shoot higher resolution (even at reduced frame rate) in raw is quite amazing.

The repair center where going to repair it(since they said they already ordered the parts from Apple), but where forced to deny repair since Apple refused to send any parts for it. This is Apple denying there own service center parts and making it so that noone can fix it, anywhere, ever. No matter how you dress that up the smell still going to come through.

Which is something that I and plenty of other people find obscene. No company should have a say with what I do on something that I have bought. Or how I want to upgrade my computer that is. https://www.bleepingcomputer.com/news/government/eu-prepares-right-to-repair-legislation-to-fight-short-product-lifespans/ https://www.bleepingcomputer.com/news/government/us-states-considering-legislation-to-introduce-right-to-repair-for-electronics/ https://www.bleepingcomputer.com/news/government/ftc-warranty-void-if-removed-stickers-are-illegal/ "Limiting repair options illegal under 1975 US law The FTC says that such practices are illegal under the Magnuson-Moss Warranty Act, a law that governs consumer product warranties, and which states that no company can put restrictions on the way users choose to repair their products. The law says that companies can't force users to use only certain types of (astronomically-priced) replacement parts, take produces for repair jobs only at certain repair shops, or can't plaster anti-tampering stickers on products to prevent users from repairing their own products."

What I am finding is some people with no sense of humor (nothing funny you ever said), no spirit (nothing intelligent), no critical judgement (you have a Fuji from 2014? with 16mgpxls sensor that doesn't do video? great buy), no humility (Fuji arrogance, we can call it check Yuryev's video mentioning Fuji fanboys), no witt at all (seriously, read some books), and not great in writing sentences (I hope English is not your mother tongue). I am just stop-ing here, first because you are a pack of wolves attacking me personally, and that is extremely primitive and pathetic, especially when you do that for thousands of miles away, but more importantly, because you bored me to death.

With such a high amount of shadow lifting and highlight recovery you get unrealistic colors. You have to do proper tone-mapping and get the contrast back. These images might look good if you grade for proper REC2020 ST2084 HDR. Just switch output color space in RCM, and set your levels properly. Dont forget to switch your scopes to HDR in Perferences / User / Color tab. And buy a HDR capable display :D