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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.

Incorrect!

No converter ever seems to have the options I'm looking for. I first started using ffmpeg to create proxies. After shooting I run a little python script that scans input folders and creates tiny 500 kb/s H.264 proxies with metadata burn in. I tried other converters but I had so many issues with not being able to preserve folder structure, not being able to control framerate, not being able to burn in the metadata I want, etc. I've also had issues with reading metadata--sometimes VLC's media information seems off, but if I use ffprobe I can get a lot of details about a media file. I also use ffmpeg now to create H.265 files since Resolve's encoders are not very good. I can get SIGNIFICANTLY fewer artifacts if I export to DNxHR, and then use ffmpeg to convert to H.265 than if I export from Resolve as H.265. And recently I did a job that asked for a specific codec for video and audio, the combination of which wasn't available to export straight out. So I exported video once, then audio, then used fmpeg to losslessly mux the two streams. And another little project that required me to convert video to GIF. It's become a real swiss army knife for me. Yes, Resolve has a batch converter. Put all your files on a timeline, and then go to the deliver page. You'll want to select "Individual Clips" instead of "Single Clip." Then in the File tab you can choose to use the source filename.

Getting close ? https://www.apertus.org/november-2018-news-article

Yes you are right about that. But I don't see how they are going to keep up with development as fast as the rest of the industry is going. And it is going crazy fast. Non of this open source stuff goes very fast. Linux is a great example of that. Sure it gets better, but not as some rapid pace. Sony seems to be pumping out Sensors faster and faster.

WDR test, looks decent!

A loupe solution... Looks kinda Homemade. But it does have a opening in the bottom to use the touch screen when its on. https://www.ebay.com/itm/5-LCD-View-finder-for-Black-Magic-Pocket-Cinema-Camera-4K/332908493006?hash=item4d82e478ce:g:5NgAAOSwD1pb~iTC

My general battery solution has been this.... https://www.amazon.com/gp/product/B06XWTY96G/ref=oh_aui_detailpage_o04_s00?ie=UTF8&psc=1 ITs looks just like the classic Juicebox battery here but it costs $40 Less. and comes with many adapters. https://www.amazon.com/Juicebox-Battery-Blackmagic-Cameras-Production/dp/B073BMTFFJ/ref=sr_1_3?s=electronics&ie=UTF8&qid=1544257154&sr=1-3&keywords=juice+box+battery I connected it with the P4k Dc cable pack. it seems to work pretty good I haven't used it till it died yet but Powered my p4k and my SmallHD DP4 together for about an hour and it dropped to around 66% doesn't seem bad considering the DP4 is a power hog in my opinion. The voltage meter works very well. I also came across this https://www.amazon.com/XTPower-MP-50000-Power-Bank-Notebooks/dp/B00N4XK7RG/ref=lp_9455594011_1_7?srs=9455594011&ie=UTF8&qid=1544257835&sr=8-7 its seems to be the same thing but newer and 60% battery more life than the older ones above. but at $200 your already flirting with Vmount territory.

I shot with an xt3 and an nx1 on a recent project, and while the xt3's footage was visibly better in 4k 24 when i pixel peeped, i really can't say it really made a difference for my project. Of course having that quality in higher frame rates and a faster readout are real benefits, but even the nx1 peaked for diminishing returns in terms of color, compression, and dynamic range. At this point the biggest upgrades i want are for workflow: timecode, ergonomics, false color, and such.

No problem! Good luck!

I was using the C300 Log 2 or 3 LUT? Probably not the proper way to do it, but I am happy with the results. Sorry, I can't remember which profile it was. Early on people were recommending it as the best profile with the least amount of NR.

So the current situation is that: 1. You have H.264 footage, but it is not linking properly in Premiere 2. You can convert H.264 to ProRes with Adobe Media Encoder, but it bakes a black bar at the bottom 3. You can convert H.264 to ProRes with Compressor, but there is a color shift 4. IF you could convert to a properly scaled ProRes file, you can get it to work properly in Premiere. Are all of those correct and am I missing anything major? If not, one option is to use ffmpeg for conversion. It's is my go-to program for any encoding or muxing tasks, and I've never had any issues with it encoding poorly or shifting colors. Is this an option?

Yeah all shot at f2 on the Helios. It does get sharper but it does have a bit of a smearing issue on most of the lenses I've tested, others have pointed this out on here too. If you want super sharp images it isn't the lens for you. It's nothing like as sharp as an Iscorama or a Bolex Moller. However saying all that I tested it with my Canon 50mm 0.95 dream lens and at 0.95 it was relatively sharp!! So maybe we've all been testing it with the wrong lenses....... Maybe there's something out there it matches well with. I've tested it with Helios 44/2, Jupiter 85mm, some Canon FD's and the dream lens. Dream lens seemed sharpest very randomly..... The E mount I have on the dream lens is a bit dodgy though thats why i didn't do the test on that. Focus is ok, throw is short nowhere near as long as an Iscorama. Infinity isn't great but it very old so maybe its slightly off. The best thing about it is how close you can focus without diopters. Maybe a foot and its sharp well as sharp as it can go...... I need to do more tests though and try and find some lenses it works well with. I would potentially get it rehoused by Van Diemen if I do find a set of lenses it matches well with. It has something about it. Definitely an interesting lens!

Brilliant idea! looks good!

The truly abysmal EVF is a joke though. And the fold out LCD doesn't inspire much confidence. But.... The release of the Ninja V changes things considerably for the LS300 as it is compact enough to address those issues without making it unwieldly like the 7" recorders did whilst adding additional monitoring functionality. Of course it also enables the recording of 4K60p which the LS300 can't do internally and offers a ProRes workflow. If the LS300 drops below £1500 (which it is well on the way to doing) then the two together is quite the package for £2000. I've said it before but if there is one company that I could see working with Atomos to do ProRes RAW over HDMI it would be JVC for the LS300. Considering how much JVC have enhanced its functionality since its release, I wouldn't say one last hurrah like that would be out of the question

"You can take any brand of camera that shoots video and shoot excellent video with it"

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.

Thats the one....... The red dot is part of the alignement mechanism (how you adjust the alignment of the anamorphot) However that whole black plastic bottom part is removable. It's best to remove that and get a clamp so you can align it properly. This is a video I uploaded tonight all shot on the Ikon and Helios 44/2 as the taking lens........ Its nothing special just a journey home from work I shot the other night. I've been so busy I've not really shot much with it. There's not much info on this lens though so thought I would upload something. If anyone has any questions about it I'm happy to answer.

Canon makes everyone's skin look like they have just been on a sunbed - flattering is not accurate.

This didn't happen just now either. Older cameras like the GH4 / 5Dmk3 / D750 / etc have all been very good. Heck even the old Panasonic GH2/GH1 are perfectly respectably good if you work to its capabailities! As the Zacuto Shootout showed. https://www.zacuto.com/revenge-of-the-great-camera-shootout-2012 Or the various films done with the Panasonic GH2: If you look broader than "hybrids" and say "sub $1K" then has been more than true since at least the BMPCC. (or "sub $3K", which is a common enough price for many DSLRs, then the original BMCC in 2012) Being spoiled for choice in 2018 with all our luxuries we can choose from the many amazing cameras which got released this year, doesn't change the broader fact we've had "good enough" for a long time now!

Where's it going to end. How many times splitting the atom will be enough?