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Pleased to announce that my Pocket4K app for Android is now complete and is with beta testers so barring any calamties will be available from the Play store on the 21st of December. Here is a screen shot with a quick run through of the features from top to bottom : Across the top we have the controls for Aperture, ISO and shutter angle. Next up we have the colour temperature and tint controls, the preset white balance selectors, the Auto White Balance button and, of course, the Record button. Beneath that we have the 8 snapshot memories which you can use to store and instantly recall 8 different custom settings of ISO, Aperture, Shutter Angle and White Balance. To store the preset you long press on the memory slot that you want to use and to recall it just short press. Haptic feedback is given to indicate that the preset has been written and the currently loaded preset is denoted in orange (M1 in the shot above). Presets are stored in non volatile memory so are always available in any session. Next is the focus controller, which is operated using the slider and/or the fine tune buttons. A long press of the button moves instantly to closest focus and infinity respectively. The AF button in ths row activates the single shot auto focus. To accompany the focus controls, you then have 6 memory slots (A to F) to store focus points and you can switch instantly between them by simply pressing the required one. In addition, next to these are the controls for A-B-A focus transition and the speed control. Again, all focus points are stored in non volatile memory for use in any session. Finally we have the controls for applicable MFT power zoom lenses with the same interface as the focus controls (including long press for instant minimum/maximum zoom) and 4 non volatile memory positions for later recall. There is another function that it can do that I'll let you know about closer to release date and I will put up a little demo video of it in action late next week.

Here’s a quick play with high ISO... both internal and external to a Ninja V. There are no official Luts from Nikon yet. No noise reduction applied. I had some trouble getting good manual focus in low light... but that’s on me.

Didn't see too many GH5s examples in here. I went back to an old project and used the Cine-D to V-Log pre and then applied the GHa Daylight V3 in DaVinci Resolve. It worked out better than I thought it would. I'll be shooting more V-Log L in the future with this LUT in mind to test it out. Shot in 4K UHD with Contax Zeiss lenses and a Zhongyi Lens Turbo 2.

I remember thinking to myself a short while ago, “The current camera so damn good, Do we really need anything better? “ It seems many in Hollywood are taking note. I recently read a article which can be found here in which they state that the new movie “The Haunting of Hannah Grace” was shot entirely on the Sony A7S2. Granted, they rigged it up pretty good. But at the heart of that rigging was a Sony A7S2. So the day has come... hell has indeed frozen over. A humble prosumer camera can be used to shoot a Hollywood feature. Now if anamorphic lenses would follow suit, we would really be in business.

For me, I noticed the problem after exporting the video but the issue was visible in the timeline also. I just didn't see it in the small preview panel before. But yeah, It just looks like another Adobe problem....

Have you looked at the file in other programs? Can you confirm whether it's exclusively a Premiere problem, or is the problem with the files themselves?

I had a similar issue with CC2019, the file were Cineform though and the tiny strip was white and on the right side of the frame (vertical line on the edge). I haven't noticed anything in h.264. I messed with Premiere for one hour trying to figure out what was going on but I couldn't find the source of the problem nor a quick fix so I decided to apply a tiny bit of crop on the entire timeline (something like 100.1) and the line was not visible anymore. Not ideal but it fixed the problem rapidly until the geniuses at adobe can fix their beta software in 6 months. If anything, It reminded me why I usually never jump on the latest version. I'm back to CC2017 now... #adobe

Yep, a Panasonic advertising video pushes a specific Varicam. No surprises here, but when you compare Alexa vs Varicam in real world productions, the difference is something like 9.9 out of 10 productions use Alexa and 0.1 Panasonic (in the productions between them and not other brands). Sony and Red have a much bigger share in such productions also. My point was that consumers/prosumers/pros have/need different equipment. You are trying to mix consumers, prosumers and pros in one camera, while even the Varicams are highly specialized professional cameras than noone will say "what should I buy? A Samsung S9+, GH5 or a Varicam LT?".

No espresso??!!? Looks like you really did fall in love with someone you shouldn't have fallen in love with.

I'm not owning a P4K at the moment, but man, you did it again!

I'll certainly bear that in mind.

Given a choice I usually go wider. However, if you are shooting anamorphic with a 1.33 squeeze, you are better off using the 4K crop as 1.33x is made for 4K. 4K fits the TV better... C4K fits 2:1 smartphones better.

Fabulous! Now I can justify my Red Hydrogen!!!

The obvious and widely available option with those lenses would be the SLR Magic Anamorphot-50 1.33x. On the 35mm you could probably also get away with the SLR Magic Compact Anamorphot-40. Beware of the heavy blue flaring. Sharpness gets nice from F4 and up. Vintage (more pricey, rare) options would include LA7200 and Century WS-13. Check out Tito Ferradans' Youtube reviews for all the aforementioned. Current high-end option would be the Letus Anamorphx http://www.letus35.com/letus-anamorphx-pro-1-3x-adapter/

I don't understand the logic of this conclusion at all. I mean why should... "almost exclusively" be people with a large selection of Nikkor AF glass chose the z6. It is nothing outrageous to say that the z6 is the best video MILC for now and only behind the XT3 if you really want 4k 60 fps and don't care about IBIS. So why should only Nikon users be interested in the top 2 best video MILC. As illustrated by the video below, the guy finding himself so much liking the z6 that he doesn't know what to choose between it and the A73 which he already has. What some will point out is the native lens selection. If someone starts from zero for sure the Sony has more lens but Nikon has already put out a roadmap. By this time next year we will have most of the pro quality lens to cater for 80% of use, and in two years 90% of what most people use. We already have FTZ adapter which caters for everything. The only grippe with the Ftz is video, because of motor noise. But as seen by most account the F mount lens work very well with the z6 ftz adapter combo. But if you are serious about video you will never use the internal microphone but get an external one. Another thing with the FTZ adapter, waiting for native lens, I could buy new or even better used, a bunch of quality Fmount lens for the price of one new Sony lens. The other thing about the Z lens mount is, do you buy into Sony system (which is already very costly) or buy into a new system that is planed to be future proof. With that bigger mount we can already see with Nikon and Canon that it opens new possibilities with higher quality fast lens and completely new formula as F2 zoom. Other innovation like third ring that can be programmed for smooth aperture or Iso change. So my conclusion of this conclusion, why should the z6 "almost exclusively" be people with a large selection of Nikkor AF glass, when ultimately it is at least as good and potentially much better than the competition.

If you know in advance that you are going to slow down to 24p then 180 degree will give you the "correct" amount of blur for whatever your original frame rate. The problem comes if you decide to use your footage at actual speed say 60p footage on a 30p timeline by dropping half the frames. It will look a bit choppy as your 1/120 shutter is now the equivalent of a 90 degree shutter. After Effects has slightly more sophisticated tools for retiming footage, if you want to ramp it up and down, and recreate "correct" motion blur in post (see Pixel Motion Blur) In Premiere you can just send a single clip to After Effects, retime it, apply effects and still render it within your Premiere timeline. If you are just editing in Premiere and getting creative with retiming, you will probably have to put up with some choppiness.

I'm not sure there has been another product that has created a market for someone to make one. RED cameras and BM Video Assist are two products that spring to mind that use mini XLRs but they would generally expect people to be connecting microphones/mixers with XLR outputs on them hence why they are the only ones available. If you want to keep the adapters to a minimum then one option is to buy the BM Video Assist and cut one of the cables and put a 3.5mm socket on it. You can then have it the exact length you need. It would also mean you would still have the other cable of course so you would now have a cable kit to cover both 3.5mm and XLR mics.

Can you switch it over to NTSC? Maybe then you can see 24p as an option??

You may have seen this, but I shot this when I first bought the camera. Looking at this footage reminds of how crazy easy the camera is to shoot with and how good the stabilizer on the long end is crazy good. The shots at :09 were shot on the "standard" profile I believe, with the NR and Sharpening all the way down. They seem to have a thicker color than the other clips I shot. You could easily cut shots like that with a C300 and not notice. The indoor shots are all ETTR (expose to the right, kept the clouds jammed to the right on the histogram.) The highlights are so soft I don't think it would matter if they clipped anyway.

Everything coming from this guy is silly, except the tons of money he does with his idle reviews, isn't it? ; -) EDIT -- I thought some other Neistat's one... How unfair I was LOL well, no more than this review, I bet : -D

The review seems unfortunate. It doesn't address what issues could be fixed with a firmware and what couldn't. And his running style in the last video was hilarious, but it seemed to highlight an issue with the stabilization correctly. I am guessing that the stabilization could be better if he didn't set the autofocus to fast, or if that was not the case, then it could be corrected by way of a firmware handling the speed and accuracy of the gimbal stabilization could be brought out by DJI. IMHO no review on this should be final, till such time as it is established that the issues can be addressed with firmware. Until then asking for a Version 2 of the Osmo Pocket is silly.

You get a wider shot with C4K. Otherwise they both look the same.

I usually never record or register my productions layout but if I find some time I'll try to write something about it. If you have any specific question you wanna know, write me a private massage and I'll try to put it on a different thread so we don't go off topic.

Yes, you're totally right. As I'm debating between the old 300 f4 and the 300 VR PF, I want to know what works (and don't) by combining ibis + ftz + vr lenses. I even got a tamron 150-600 to try out :D But, I do not have a lot of vr/G lenses anymore, so I'm gonna see what I can do (maybe borrow from friends).

I forgot it went to 2.8 on the wide end. 2.8 is great. I just notice the image gets noticeably mushy if you’re all the way closed down.

That's one of the attractions of the Swiss Army Knife approach of the Nikon. You can stick the same camera in small bag for spontaneous moments at unprecedented quality, but the same body can also be used in the studio for shooting 10 bit log for green screen, with a recorder and audio extras.

I know the forum is mainly driven by lusting after gear and pixel peeping but if you should ever have the time and motivation, I would love to see a "behind the scenes" thread from you where you tell more about your process (without hijacking this one). Planning, shooting, post. I think your videos are some of the best I've ever seen by a participant of this forum.

I'm one of those that does. But that said, the 8 bit is not bad. It's nice to have options, especially when you are traveling light.

Don, I agree with David, I would surely do it along 4K 60p if/when available... : -)

Built in ND and audio controls cannot be undervalued.

Working on the website as fast as I can (the primary reason is to support the S and P4K). This is the best possible news for S owners ;) Not working on the GH5 at the moment, but there will be more news there once the S is addressed. I need a spotlessly clear, *sunny day. Many layers will be worn

Anybody interested in boarding the 8K train, can buy a 8K monitor from Dell now... https://www.dell.com/en-ca/shop/dell-ultrasharp-32-8k-monitor-up3218k/apd/210-alez/monitors-monitor-accessories I'd be interested if it weren't so expensive

Yeah, I'm really unhappy with how I delivered that conclusion. The point I was trying to make is that if you only want to carry the camera, the GH5 and X-T3 are much more full featured. If you add an external recorder, however the Z6 and to a lesser extent the Z7 become extremely compelling. The audio issues can certainly be worked around as well, but I remember shooting with Canon DSLRs and occasionally being forced to use an underpowered mic. I do think the main purchasers for video will almost exclusively be people with a large selection of Nikkor AF glass.