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So... I've been messing around with making a new add on for my controller system and this is it in its embryonic (cardboard and electrical taped chassis) form. It has 3 dedicated keys on the controller for incrementing and decrementing in stops (it goes to about 95% total blackout) and a clear function. Though this is not a full clear as there is about a half stop of ND at the lowest position. The level of reduction is actually fully variable but for the implementation I'm after it makes more sense to control it in stops. As with the other functions, it can be recalled within one of the 8 one touch recall global presets along with exposure, white balance and picture settings. I've also incorporated an automatic aperture tracking function. This means that you set the exposure and ND level that you want at a given stop (say f8) and it will adjust the amount of ND up and down as the aperture changes to keep the exposure constant at any aperture. Right, thats the good news out of the way.... The bad news is that the surface area is going to need to be a lot bigger (these things are usually mounted at the back of the lens but I'm after a front mounting solution for flexibility) to work properly. Quite a bit bigger and unfortunately that will mean quite a lot more expensive. The question is how big and how expensive would this be before you wouldn't want it, if you even want it at all? (currently its part of my controller system but I've already ported it to a small micro controller to have it be a standalone as well). The other question is would you want it within a lens adapter solution anyway rather than it being front mounted (as per the Lens Throttle EF to MFT) so it could be an electronically controlled version of one of those ?

That sorta crossed my mind of doing... was hoping to pair it with that one Laowa/Venus Optics lens... ?

Have a look at this in-depth tutorial, there is the option under color matrix to select "Cinema EOS Original" to match the C200 with C300/C100 (around 13mn in): Lot of cool little features in this cam.. i should be getting mine next week, stay tuned ?

My wife and I have been working in Wellington, New Zealand for the last two months (shooting and cutting behind the scenes for a movie) and finally got a weekend to go explore. We drove onto a ferry to the south island and made our way along its northern coast to Golden Bay. I brought my EVA1 & Gratical Eye with me. Sadly, I couldn't shoot some of the amazing hikes we went on due to heavy rain, but got some good stuff nonetheless. Most of this is DCI 2K in 10-bit 422 All-I at 120fps. At least two clips are scaled down from DCI 4K at 23.976. Lenses were my Contax Zeiss 35mm & 85mm. Both modded with a 2x oval fixed aperture for a faux anamorphic look. Everything was composed for 2.39:1. Graded in DaVinci. Couldn’t spend as much time on it as I wanted to because of work. Might revisit when I have more time. Sweet as. The North Side of the South Island - New Zealand

A lot of the reason the bokeh look feels overdone is that it's cheaper to buy a fast lens and open it up on a night scene than light up a huge area and stop down. So with the flood of content from cheaper cameras and less-experienced filmmakers, we tend to see that look a lot. Aesthetically speaking, though, the only thing that matters is how the story works, how a particular shot makes the audience feel in the telling of the story. The dreamy quality of bokeh can't be denied. Even Wes Anderson uses it from time to time: The other is a grab from my film where a tough-talking street dude is also surprisingly witty. The bokeh enhances the dreamy-turns-nightmarish quality of the scene as the lead character is has fallen asleep on the subway and wakes up in an unfamiliar neighborhood. But for other night scenes we pushed the ISO and stopped down to mitigate the effect. The key is to have total control of the image as a storytelling tool. Bokeh is a part of image-making, so use it as it suits the content.

I get the feeling that fewer and fewer people are using ML. For me the flexibility of the raw files is the main reason to use ML, this paired with the 'fullframe look' makes it such a versatile cam that looks different than most with their 'video' look. My guess is that most people can't be bothered with the workflow but any RAW format will require a lot of time, thats what you choose for when you shoot RAW. Using ML on paid shoots is something I'm entirely comfortable with. To keep it going, some projects of mine:

The protruding wires are an essential part of my design brand DNA though

I get your point but I mostly disagree on a conceptual level. I am somewhat positive on the digital camera you are negative (as are most people.) No problem - time will tell. But where I have a problem is this. Imagine you invested in a 'tech mutual fund'. Why would you do this? Well because you thought that tech stocks are going to rise. Right? So imagine if your tech fund manager decided that tech stock prices were too high and instead of investing your money actually sold the stocks and put it on deposit. What would happen? Well if stock prices rose you would be royally pissed off because you would see no gain and you invested solely on the basis that you would see a gain if stock prices rose. And if tech stock prices fell? Well you would be better off but only in the sense that you didnt expect to be - on the basis that the fund manager had done the exact opposite of what you wanted. And this is what Thom Hogan means by the fact that Nikon is being run by 'bankers'. Who really have little interest in what the company invests in apart from whether they get their dividend at the end of the day. Sony have been very aggressive in the ILC market - whether it will prove right or wrong only time will tell. But to me the management of the Nikon brand taking the view that the brand and its products are going nowhere is not in the interests of shareholders - because if shareholders believed that they wouldnt be shareholders in the first place.

This is possibly worth its own thread. According to Nikonrumors (no idea how reliable they are), Nikon mirrorless is coming and coming soon (possibly later this month.) https://nikonrumors.com/2018/07/03/first-set-of-rumored-specifications-for-the-nikon-mirrorless-cameras.aspx/ The specs sound very similar to the Sony A7iii and A7riii. (Which sounds good to me.) The big surprise (at least to me) is that it will supposedly have IBIS. It appears to have a new mount which will take an adaptor for f mount lenses.

Right. So price was a barrier. You weren't prepared to pay the price required for those features. Or you dibdn;t want them enough to pay the extra premium. Everyone wanted the kodak CCD that did glorious global shutter colour but no one wanted to PAY for it. Hence they went out of business. I'm sure if they COULD have done it cheaper, they would have done so to stay afloat. But they couldn't. So making a camera with a robust enough interchangeable mount system COSTS MORE. As evidence'd by RED's 700 dollar adaptor. Even the PL mount version of a lot of BMD's cameras COSTS MORE. Because that PL mount is hard to make cheaply to the tolerance required. I think Ursa was closer to 6K ? But not that big of a difference compared to the DB example. Again, no one wanted to pay the premium for what many thought was the BETTER made camera. Better ergonomics, better profile, much lighter weight. Everyone laughed at the giant iPad screen of the Ursa. And yet, though it failed, it was still more successful than the Cion. So here's a camera company that has a track record of making cheaper priced cameras. They know exactly the advantages of what's being asked. But they've made a COMMERCIAL decision about what features to bring to market. JB

Thanks, this sample is pretty decent, especially considering 120p... These guys behind ZCam seems to me very unpretentious, fool of naive but lovely self-assured enthusiasm... I'm really glad about their effort.

If being a supplier falls under the "two hard basket" (I doubt it... plus all that manufacturing equipment which used to make point and shoots might at least be partially used for smartphone sensors and optics instead) then they could just license their name and tech knowledge instead. (also like Zeiss & Leica are doing with smartphones) Yes with the new 400mm lens then Sony is going deep into Nikon/Canon territory and attacking them. Still feel that Nikon doesn't need to make a mirrorless D5/D500 just yet, and should concentrate instead on bringing out the core mirrorless models first (something like a D850/D750/D7500 equivalent). However Nikon needs to get these first mirrorless models out soon as there will be a time not far away (I suspect within 5yrs) when that need to have a response to Sony's mirrorless attack on their sports/birding/wildlife market will mean that Nikon must put out a mirrorless response rather than keep on relying upon their D5/D6 top tier DSLRs.

Yeah that thought crossed my mind too, it's a pretty obvious move. I don't really know how the camera industry works in terms of which people are primary producers and which only assemble things and who specialises in what.. I guess if Nikon hasn't got much experience of tech at that physical scale, and doesn't make any, then it might be a hard transition to become a preferred supplier for a major smartphone brand. I watched a review of the new Sony 400mm(?) lens and the reviewers took the A9(?) to a sports game and their conclusion was that the lens was slightly more expensive than Canon or Nikon, slightly lighter than Canon or Nikon, and performed similarly (ie, great) but that when following a subject in AF-C the combination got 20fps instead of the 10-11 that Canon and Nikon got. If you're a sports shooter then that's going to be a set of features that will be really hard to ignore. Hey - be careful being critical of Aussies!! I do it all the time, but it's like many things - only we're allowed to do it!!!! ????

Surprised nobody's posted this yet, but there's more footage and original files to download. 120fps graded: https://drive.google.com/file/d/1h7s7w21AWbu_ExvcluOTwk3A_-A1bsmU/view 120fps Zlog: https://drive.google.com/open?id=13flDM9StynsRi-DuaSHoihz1XBPGsG5V

Nice shot. It isn't necessary if you want to do it in post, no. It is more usual to get ND for free as it were by using low ISO (though I have used NDs for twilight traffic shots with wider apertures to get the exposure down to get effective streaks) but NDs can still often be necessary if you want to avoid diffraction if you have to step the lens down too far to make the exposure. The standard method now might be to use Photoshop but I'm an old git The ghosting is dependent on just how long you are prepared to make the exposure and I've seen some that are measured in minutes rather than seconds where its imperceptible. It throws up a load of other problems with trees and clouds of course which they then have to fix in Photoshop anyway so..... Agreed that it is becoming less of an issue with more recent cameras but I still have quite a few cameras in my collection that don't go beyond 1/4000th though and even those that do can't always make the exposure without some ND. Case in point even from yesterday is the SD Quattro for the DNG that @mercer wanted where I was also using a 1.4 lens but couldn't open it beyond 2.8 because of the light here in Spain and the camera maxing out at 1/4000th. This would've been your second 1/8000th at f2 shot and I think I only posses one camera that could've made a 1.4 exposure in that light (albeit with electronic shutter) which would be the X-T2 so while we've gained recently on the one hand with faster shutters we've lost on the other with faster lenses and a thirst for shallow depth of field. Of course I didn't follow my own advice and happily wandered out of the house without an ND filter (or sunscreen) Having said all that.... I wouldn't buy my own device for stills either as it is sledgehammer to crack a nut when there are enough existing cheaper and more appropriate solutions.

Sorry to go off topic, but SmallRig are already working on a cage for the P4K, and a holder for the Samsung T5.

I love the functionality of this device and hate messing with my manual variable ND while shooting video. I hate to say though that I probably wouldn't buy one unless it was almost as small as a variable ND. Maybe a bit bigger radius and thicker but not nearly as big as the prototype there.. it would need to be small enough to fit into a camera bag while attached to a lens. I'm a hobbyist shooter though, I could maybe see a dedicated crew shooting with something that large.

Yikes LoL. This is Really getting weird!

Unless you are thinking of opening a Colonoscopy Business, and need to stick this thing up peoples butts, I see no need for it for the crazy money they want..

stuff seems ok to me... maybe post a link so we can compare?

This is absolutely killer!! Nice work!

Was a fan of the E1's concept. The E2... not really. I'll pick up a BMPCC4K due to its all-in-one nature.

No problemo on this end. Did you select somewhere on the timeline? That's a trick carried over from YouTube to force a new load with the set parameters.

Wow, you are the man! Very talented indeed. I will take a 4x4 one. Is it available to be variable? Or just in stops? Since it is digital, there is always steps/stops as it isn't analog...

Ah Spain , Australia, they all look alike. Seen one you have seen them all as they say. I could have sworn you were one of those Crocodile Wrestlers from down under. Now being a Conquistador invading Mexico, I, I can't envision that. But being at the advanced age I am, some things do seen to escape me. My Bad. My Sincere apologizes for calling you a Bloke. eh, tail between my legs. ☹️ Still looks like Alice Springs. Maybe it is Alicia Muelles?

That SONY MADE camera was released in 2012. That's not licensing. That's OEM No one has ever made THEIR OWN camera with a native E mount. Like I said. Never going to happen. I have plenty of adaptors for PL mft and a lovely collection of lenses including Contax, Leica R, leica M and of course PL. That's how I know that in the end it's futzing. It's not really good for primetime. See above. See my many blog posts about using vintage lenses. I know the point you think I'm not getting. It's still painful TO DO. Have shorter focus throws, clicked iris, more problems with breathing and zoom tracking. All over it. But i never hear it being talked about as a camera except in this exact context. Not because of the pictures it makes, But because it has a native MFT mount with a larger than MFT sensor behind it. If this is the design ideal, as a proof of concept, it's hardly been stellar. I look at a camera like the Digital Bolex as a camera with similarly noble ideals that had a lot more directed visual impact. It's a fine idea. But why limit it to a native mount that's always smaller than the full sensor resolution that you have to use an adapted lens with. Play along with me and accept that Sony will never licence E mount. You want another lens mount is all. I'm not against what you're pitching, I just think it's dumb to do it with MFT or a mount you'll never see on camera not made by Sony. No. You disparaged manufactures for making cameras in a mount that's incredibly prevalent and means they can stay in business and instead advocate a native mount that would force any user to use another adaptor to get the full sensor resolution out of and realistically few people want. I don't think you get it. Kinifinity made an E mount. But they can't put an E mount lens on there. Because the lens protocol is what's protected. You can't talk to an E mount lens without that. Thus... No native E mount from Kinifinity. It's the only thing that can be done because it's DUMB to use MFT as an intermediary mount. What are you talking about "the cost" of the RED plate ? It sells for 700 bucks. Go check the price of the Titanium one. 99% of people that buy this camera aren't going to want to know about shimming anything. Most people don't even understand how to do it correctly. Gee like Blackmagic did with their first EF mount cameras that were the EXACT FFD for EF mount ? Ask all those Tokina owners how they feel about their lenses not hitting infinity. And that's EACTLY the kind of things that start happening when you start introducing mount adaptors or interchangeable mounts. You mean those ones you were just saying don't have to be expensive ? Which is it then ? Not for 99 bucks. Except with a camera that has a universal mount they're MORE LIKELY to have problems even if they don't use that feature. Right now EF mount's aren't generally shimmable (except for a couple of higher end C seriesd Canon cameras and a few RED's) There's no real mechanism to do it easily (user). You mean those 700 dollar ones you keep saying don't have to be expensive ? You want your cake don't you. You can't argue it's not problem when the ones you keep pointing to prove my point. To do anything as PRECISE as a lens mount needs to be it has to be done with great care and precision with the added complication of the electronic side of things. It's fine if you're used to still lenses that NEVER have accurate witness marks in the first place and usually overshoot infinity JUST BECAUSE the tolerances are far less. It's feasible, but it won't cost 99 bucks for an adaptor. Every mount will cost many hundreds if you want it done well and reliably. To argue otherwise says you're just an armchair engineer. I've had these conversations with people that do this kind of work. It's grossly insulting to say it can be done reliably for the cost of an 50 dollar ebay adaptor. On this forum. But not many others. I'm sure the market will reward them. I think youre confusing things. I hate EF leneses. I hate EF mount. But I can understand why a manufacturer would prefer to make a camera for a lens mount that has . amuch larger installed user base. Now I don't agree with that., But I can empathise with that thinking. It's so hard to make a camera and make money. Ask, Dalsa, Aaton, AJA, Digital Bolex, Ikonoscope, Panavison (two shelved cameras) Only if you accept the cost of that is 700 bucks my friend. I think you said it earlier. It's about degrees of precision. A bit out for you might be acceptable for for other sit most certainly won't be. No no no. You're keep claiming this and using RED as example. You can't have it both ways This getting tiring. Nope. RED is your example. They charge 700 bucks for their CHEAP version. The titanium version is 2000 dollars. More than the cost of the camera we're discussing here. Why do you think they even have those two options ? Why do you think they're charging that much if it can really be done so easily and cheaply like you claim ? JB

It seems that the timing would be right for an adapter solution. Canon and Nikon are bringing out mirrorless and we are likely to see a lot of adapter use in the next 5 years.

Discount for early adopters. Says its shipping this month.

Heey, I took the ump and the leica-r summicrons for a testspin. I did make a lot of errors but learned from them, so I can take that with me on the next project. Feedback is welcome. Kind regards,

Yes. And a privilege to read.

As the OP, I concur. The ship will right itself once new information comes to hand, at which time the discussion will return once more to focus on the camera.

I don't see a problem with the way this discussion has evolved. It has naturally evolved to what it is based on the lack of new info on the Pocket. Let's not be so militant that natural conversation be stifled for needing to start new threads for each and every little tangent that a conversation might go on. I see JB as a BMD ambassador so his input is highly valued here.

Nah f*ck Keynes.

@mercer thanks! I do need to make a short film and should watch Rear Window, can't believe I haven't seen that yet! Yes I'm using Juan Melara's method on resolve, at least for clips where any highlights are blown out otherwise it's not needed. It's the easiest way to get highlight rolloff to look ok - I have it all set up on resolve so it only takes a click and minor exposure / colour balance adjustments after that.

Just received my HTN ring v2 for the Kowa 16H and can confirm it is the best way to attach the rectilux. Rock solid and zero extra vignetting Thanks to HuuTuan from Vietnam for his product and service and @Tito Ferradans for the advice.

I first heard about this from my teen/pre-teen kids (like most new things online TBH). When I asked about it, apart from them eagerly showing me some videos, they mentioned that they didn't get the sensation, but they sometimes listened while falling asleep. There is an entire genre of cam girls (in Japan IIRC) that will have dinner with you. There are lots of lonely people in the world, and they are more likely to die than people who aren't lonely. I'm not saying that people who make these videos are saints or anything, but it's probably doing more good than harm, and doing it in a way that society isn't dealing with yet.

The Leica T touch screen interface is a breath of fresh air. You instantly see the current settings and tap to change any of them, without tapping a d-pad endlessly through a long list. There's also still a latency to the Sony UI that is completely unacceptable in 2018. As if it is running on a slow processor, or with a lot of background tasks. The bottom line is, Sony should have fired their UX team a long time ago. The HFR mode (esp. on the RX100 M6) is another example of why they should all be fired. The standby mode is unnecessary, first of all, if you are triggering the shot the normal way start/stop on the record button. Also it's not clear enough when you are in standby mode, yet there is text all over the screen and any half brush of a control brings up a prompt telling you to exit standby mode... so you press the key to exit but that just dismisses the prompt... So you think you've existed and start adjusting the zoom, exposure or whatever, and it just comes up with the shitty prompt again, like an endless loop of frustration. That would be a sackable offence at any of the other major companies in their user interface teams. If you look back to the Sony A900 the menus were fine. Simple, logically laid out and clean looking. Maybe they should not have replaced all those Minolta engineers who understood photography, with people from the thermostat division.