Leaderboard

More DR, internal ProRes and external RAW would be preferably to more pixels.

i just wanted to post Jasper's first (legit) snow pictures... he had so much fun today!!! ITS ALWAYS BEEN MY DREAM FOR HIM TO USE HIS SNOWSHOES AND ITS FINALLY HAPPENING my angel ? thanks for the opportunity @thebrothersthre3 lut

So I've been shooting a new mockumentary/short movie where I'm using both the URSA Mini 4.6K and the Pocket 4K side by side, for interviews etc. Did some preliminary tests on grading the footage today, and they match quite nicely. Nothing scientific (and not all 100% going for cinematic since it is a mockumentary) about this one so it's not as if you can take it as a direct comparison - but I think some of you might find it interesting. Both cameras were at 800ISO (which theoretically is sub-optimal ISO for the Pocket but eh) and shooting at 4K Prores HQ, only difference in grading is that tint is set to -8 on the URSA and 0 on the pocket. Top one is Pocket, bottom one URSA. Looking at them full-res, the most obvious difference is that yes, the Pocket is sharper. I may have mistaken about in-camera sharpening in Prores - on the other hand, they have drastically different lenses too; Pocket is running on Sigma 18-35 at 1.8 and a speedbooster while URSA was shooting with a Takumar 50/1.2 which is quite milky by nature. Anyways, it's proving to be a nice b-cam for the big bro Ursa.

I don't care about af but i really want magnification to check focus whilst filming. That would be huge. Change the headphone input to avoid clashes with the screen. Battery remain in minutes. Move display button. Lowlight like GH5S and lockable ibis. Prores maybe?

BM Raw coming soon?

Thanks for the heads up. Things are different since the last time I looked. Going to start checking job listings again. And while I'm at it, I'll check Australia, the UK and English speaking jobs in other places. I'd really like to work/live in places outside the U.S. Chris

The Sigma 18-35mm paired with the Sigma Art 30mm 1.4 could be a good combo? The 18-35mm for your bread and butter and the 30mm when you need that extra half stop of light. But if you are thinking ahead to a possible FF mirrorless camera, then maybe the Sigma 24-35mm f/2 could be an option although you'll lose the wide end on S35... then I guess the Sigma Art 20mm could come in handy. Tough call... I used to only shoot cropped sensor and then when I switched to FF, I had to rethink all of my lenses. Now that I have that sorted out, it's hard to think about going back to a cropped sensor.

There is nothing wrong really using FF lenses on crop cameras. It is simply that you do not get the same angle of view. It can be an advantage sometimes even (when you want more "reach"). I just find it frustrating with wide angles sometimes though there are other lenses you can use on crop cameras to get the same angle of view as you would get with a 20mm on FF. Of course, DOF depends on distance to subject as well as focal length and aperture.

Hey, if we're going to hijack a disposable discussion thread with doggos, I've got something for y'all: https://www.path88productions.com/latest-news/2019/2/6/flying-fur-trailer

We should have a dog thread. I love dogs.

That makes total sense. In a business environment- which I think most of us would like to find ourselves in if we can make it happen- it's not practical to jump through that many hoops for something a lot of clients frankly don't even notice. (unless you've been hired specifically for it) Those square fronts are going to be sick! How long until you think you'll be able to get them?

I agree, everything has pros and cons. Just think about how every new camera release we all turn ourselves inside out because there's no perfect camera I think it also depends on what situations you shoot. Some people have control and the time to tweak things as they shoot, and there are real advantages to getting it right in-camera. Others are recording with varying levels of control or even influence on their situation, and just getting the shot might be the best they can hope for. For these people, moving light-sources or tweaking settings just isn't feasible, so adjusting things in post when the pressure is off gives them extra creative expression. My personal situation is that in shooting my family and travel videos I don't have time to fiddle around with various things. This is partly because we go where it's interesting and not where the light is good, partly because for me the holiday comes before the photography, and partly because I'm just not skilled enough to operate the camera and think about every variable all at once, which is why I rely on automatic settings for some things. I started this thread because I really like the look of the BPM filters and was using the Glow OFX plugin with Resolve (that does an ok job at this effect) and wanted to see how well I could replicate the real filters. I shared it partly because others might learn something useful, because it's nice to give back to the community, and because writing it up forces me to think clearly and critically about it so I learn more effectively by doing it. Education is one of those things where everyone wins Edit: I also really love that look during golden hour when the sun is out of frame but catches the BPM and gives a warm light-leak style rendering to part of the frame. That's also something you could model through tracking and placing the lens flare effect off screen, but light-leaks and flares is something I haven't added to my videos yet, so maybe that's something I'll explore in the future. I want to really push my videos but not to the point where the medium gets in the way of the content, if that makes sense

Reasons that adding the effect in post is better: It's free It works on all your cameras and lenses without adapters It works on all your past footage It works on all stock footage You can control the strength of it shot to shot You can control it within frame (you can have the nice skin smoothing effects on skin and not have it go nuts from a direct light-source also in frame) You can change the colour rendering like the Warm Pro Mist filters, or any other tint you care to make (even ones Tiffen doesn't offer) You can change the characteristics to emulate their other filters (Black Pro Mist is only one of the filters they offer - https://tiffen.com/diffusion/ ) You can even have hybrid effects like light sources glow green with a red outer ring around them, all adjustable to taste Real filters can have reflections under certain circumstances Reasons that adding the effect in post isn't better: It doesn't work properly if any channel is clipped It doesn't work with any light-source that isn't in the frame It isn't an exact match to the look Things that aren't good reasons for doing anything: That's how they do it in Hollywood

Sci fi short, shot on Iscorama and Contax Zeiss taking lenses + Original 2.5K BMCC

Do you have much experience as a war correspondent?

Summer in Poland isn't that much fun, to be honest. ? For the last few years it has been pretty hot (~30 - 35C) and dry. If I could suggest a perfect time for visiting, it'd be late September. The temperatures are perfect (~15C) and it's the time for first signs of golden polish autumn to show up. You'd be surprised! Maybe we are not the in the 'top 10 must see', but we're there, somewhere. Haha. ? Believe me, no one is.

Maybe, but I, personally, don't think so, or at least I can't approved that nostalgia effect in myself. Simply argument? I watched Tarkovski's Nostalghia 100 times (btw even wrote big 3-parts novel with same title and motto from that movie) - but I properly enjoyed just in last restоration of it, which is, actually, pretty sharp and detailed The same goes with 3 movies from Parajanov that are, finally, very recently restored/saved out from too soft, muddy look. Or, maybe there's some false hope for me, maybe I'm still not too old?

I had the same doubt when I've been looking myself for a gimbal for the P4K as user. I've finally found a manufacturer who is releasing a new one fully featured and other goodies available in the second half of February as far as the last update I received from them. Seems to me a much better deal without mention the first feedback coming from the initial tests, reason why I've placed my bets on their product. They are closed until February 14 because of Chinese New Year's celebration. Once I am committed for some business related with, you can reach me through my PM inbox. Send me a private message as you wish and I may somehow contribute to satisfy your needs. Hope this helps, E : -)

dammit too many entrepreneurs these days

Why shouldn't it be? ProRes Proxy is 10-bit 4:2:2, one of the reasons I see it as much interesting than H.264 no matter what. Here's an useful chart: https://blog.frame.io/2017/02/13/50-intermediate-codecs-compared/ Banding can also happen with low bit rate, but you're right, 8-bit is the limitation there.

New Pocket 4k Update https://www.blackmagicdesign.com/support/readme/878cd30c9aea48b1924f99c741e9af09 Added support for pixel remapping in camera. Added 2:1 monitoring frame guide. Improved media formatting user interface. Improved audio monitoring latency performance. Improved auto focus performance. Improved signal to noise ratio performance of camera internal microphone. Improved power efficiency for improved battery life. Improved 3.5mm audio input selection interface. Improved AV sync performance. Fixed an issue where time and date is not updated on camera when connected to the Blackmagic Camera Setup utility. Fixed an issue where the 3.5mm audio input level is 6dB lower than expected. Fixed an auto focusing issue with Lumix 20mm f/1.7 lens. Fixed an issue where some USB-C external SSDs were not detected when connected before camera is powered up. Fixed an issue where some batteries might shut off earlier than expected. Fixed an issue where low battery indicator is not displayed appropriately. Fixed an issue with camera not being detected by host computer when connected to certain USB ports. Updated dynamic range and ISO chart in user manual.

I quite like the look of the Tiffen Black Pro Mist filter, and thought that I could simulate the effect in Resolve. (This conversation started in another thread but I think it deserves its own) My theory was that if you can simulate it in post then it's more flexible, so you can mix it in to taste, and its also cheaper, applies to all your lenses, can be applied to historic footage, etc.. Here's the video showing what these filters do thanks to @heart0less I've had an attempt and I'm now convinced that a completely accurate simulation is not possible. To explain why, here's an unmodified screen grab: and here's the waveform of that shot: Here are the reasons you can't do a completely accurate emulation: The Tiffen doesn't "clip". The flare from the light globe is much brighter than the flare from the hair light on the blond lady, but in the "no filter" waveform you will note that these have very similar values because the globe is clipped. Also, the flare from the globe is coloured, which presumably is from the tint of the globe, however because the waveform is clipped that colour information is lost. The Tiffen has a very wide flare pattern and will include lights outside the field of view. There don't appear to be any flares from off-camera lights in the above shot, however we can tell that the Tiffen has a very wide pattern because the level of the dark background is raised for almost the entire width of the frame but the exposure seems to be the same (by comparing the levels of the grey cards at the left of the shot). If you are using this filter and it is being hit with sunlight from any angle I think you'll get the influence of that everywhere in the shot, because although it might be very off-angle the sun is practically an infinitely bright light. However, I think we can probably make a passable attempt that might work in some situations. Here's the original of lady #1: and my simulation: Lady #2: Same simulation as above applied to lady #2: The logic of this preset is this: The Tiffen has a non-linear rolloff, so I have simulated it using blurs of two different sizes, one smaller size applied to the Highlights and a larger one applied to the Mids and Shadows. If I really wanted to get serious about it I might try converting to a Log colour space and doing the blur in there before converting back to REC709, but that's something for another day. I think that preset looks pretty good for both of these shots, but unfortunately, if we apply that preset to the main shot then we see that it definitely isn't suitable for all shots: If I play with the levels and add a third blur that is highlights only and is even smaller radius then we get a better result, but it highlights the issues I mentioned earlier: If you're going to try and use this effect in post then I would suggest a number of things: Shoot in Log and don't clip any highlights from any colour channel If you move the camera don't have any lighting going in and out of the frame (because the effect will start and stop when it does which will look very un-natural) Experiment with applying the effect before you convert from log to any other colour space (after all, a Tiffen filter gets applied before the conversion) Experiment with different blur types - I used Gaussian Blur in the above, but maybe other types will look nicer? The Mids and Shadows processing chain is the kind of "beauty" element, and the Highlights processing chain is the "flares" element, so you can mix these to your taste I hope that is useful, and that Tiffen don't object to me using clips from their video!!

Difficult to recommend any legs but the Flowtech for a 75mm bowl. As stiff as carbon twin tube designs but more compact and once you have used the top leg lock system you will never go back.

Well I think the C200 is the a Super 35mm crop, so it’s smaller than 1.6x crop.

Alas, no. It is actually worse as Canon crop is 1.6x and not 1.5x as Pentax, Nikon, Fuji and Sony are. A spacer would just take away infinity focus. Best to use another mount camera that does have focal reducers available. I am using a cheap old Canon crop camera while my A7s is dead and it is frustrating with lenses like my 17 TS-E. I have found a very cheap A3500 that I might get just so I can get a focal reducer for my EF lenses.

Nope. I’m just a hobbyist that has nobody to answer to. I shoot 1080p Raw because I like the image and it’s more than enough to quench my hobby projects. I was just discussing the difference between needs and wants. Interesting topic but would probably stop all of this gear lust in its tracks.

It sounds like you want to just stay with Fuji

You can get an adapter for the FVD that gives it 72mm threads, and then just use a step ring to connect it to the front of your 40-Compact.

I'd give the UK a wide berth for a while until it all shakes out. I was outside Parliament shooting a news job today and lets just say its all getting a bit fraught as the countdown ticks louder. Ireland might be worth a look though.

I mean don't act suprised.

Grant Petty, CEO of the BM Design, said so in his presentation of BRAW (at 4:29 and 27:14):

I can't believe they are serving the 6DII sensor in this camera. This company will never stop to disappoint. A $200 APSC Nikon D5200 has better DR and produce better landscape photos than this. That's insane, really insane. They just have to put a decent sony-like sensor in their cameras and give decent specs like 4K no crop (like ALL FF mirrorless manufacturers in the world do except them) and people would be all over Canon. Every body out there no exception would buy Canon if they matched A7III specs even for more expensive because everybody agree their ergonomics is better. Yet ergonomics is not all. At the end of the day if I have the best body and menus in the world to output a 1.7 crop wobbly image at this price then I have got nothing. Yet they prefer to release garbage and only retain some of their users, with 80% of Sony/Nikon users laughing at them. Can't understand this company.

If anybody wants cheap but decent quality rechargeable 9V batteries then buy Soshine 9V direct from China, after much experimentation, it is what I ended up settling on to power all my older Lectrosonics gear Agreed, you should have just gone straight to the VMP

Updated ISO/Dynamic Range Chart

@Andrew Reid Hey Andrew, great interview. I really like the introduction. Awesome that you had a such an open talk and constructive time with the Lumix S1 team and its leading gentleman. The current codec choices are Lumix G7 territory, which would not make me consider to buy this camera. I hope for GH5 codec choices, ALL Intra included and full VLOG. Then this would be my first full frame video/cinema camera. All full frame GH5 with full VLOG and without artificial sharpening and good battery life- here is my money! For now these codecs area available, which give Lumix G7 and GX85 quality.

I only see people who don't have one trying to sustain to themselves their miss... LOL : -)

It CAN be cleaner, it is not necessarily clean if you need, want or look for something else... You can have 1 million if you'll have a 10-million account. The opposite is harder to achieve on the other hand ; -)

Well, some people take this stuff a bit more serious than strictly in a geek perspective : -)

LOL I wish this community would pay my bills to match the countless responsibilities I have to fill the cup! Time is short. I will tell you something though. One of these days I'll have posted some paid gig shot with this same unit. Count on it : ) When people will probably be hysteric with some other new release over here. That's my cup of tea, takes years to fulfill... : -)

There should be distinct products, of course. My pleasure is checking how close they are. This is truly sweet. Other than that, clickbait and nonsense rule the internet world these days : -D

A 50x difference...? LOL Coming from a writer/author to operate in the indie realm, ML lover no more than me, that's very funny to say the least : ) Sorry mate, I don't want to look like harsh with a forum buddy : D Just sayin' though ; ) It is what it is : -)

C'mon, I follow your point but... WTH it is BMD! What's your skepticism on them? Why that?

Don is one of my/our good fellows here. Just stubborn like hell : D He never shot with one or he would arrive to the same conclusion as I've arrived. Today as for instance. I brought with me literally inside my pocket my GX80 for a family's celebration in a restaurant. Great monochrome output BTW. When arrived to home for the second part, I immediately changed for my fav cam ever: the new P4K. I completely missed how ease is to set up and shoot. A pleasure to be with. The more I shoot the more I regret to not have it a few years earlier. It is a perfect device to me and definitely to everyone who starts shooting with one. @webrunner5 dare yourself to buy one mate and you'll never desire to replace it. Mark my words : -) 4592 x 2584 JPEG shot on GX80 1920 x 1080 grab from ProRes PXY shot on P4K 25fps aka 25p Both straight out of the camera with zero grading. Still room for any doubts? When you come from an intuitive menu like the P4K is to a much complicated BORING menu of these small digital devices you promise to yourself to never underestimate these Aussie goodfellas... LOL

Why so angry about camera you don't own and don't intend to own ?

Please don't feed the troll.

@webrunner5 please stop reading B&H and Amazon reviews and then come here speaking like you have first hand expertise with the technology. It’s hysterical. I don’t know why you’re saying not enough footage is being provided when there’s tons of P4K footage up online. You’re also comparing it to a camera (OG Pocket) that’s been out way longer therefor lots of more footage too find. I will tell you that my reason to not upload a lot is because I’ve used the P4K for work, work that I’m not allowed to show because companies own the footage and it takes a while before it becomes uploaded to the public. Also, owning both the OG and P4K I will tell you, working with both then seeing the results are night and day. I save so much time getting the image that I want with the P4K while I would spend hours adjusting the OG pockets footage before sending it off to client. This goes with handling and shooting with the two cameras as well. I think what you’re missing is that ALL footage you see has been manipulated (and a lot of these people shooting and grading are NOT professionals). Also, I don’t think a lot of people are trying to get the P4K to look like the OG, it’s another market out there today and NO companies would come to you and ask for the “look” of the OG. No one would pay money for it (I’m not talking indie filmmakers here but corporate). Again, someone wrote above the authority to speak out, and I agree, like intrigue me please, show me ONE thing you’ve done that could change my mind on that you actually know in practice what you’re talking about. I’ve never seen anything you’ve shot. Why in the world do you think anyone cares that you wanna buy a GH5s?

Nikon is nailing it!!

On your GH5s remark Don, it is not a better camera at all. Funny the fact just a couple of hours ago I was talking with a GH5/GH5s owner complaining about the fact he needs to wait for March at his best estimated date to own a much superior camera like P4K effectively is, despite so many similarities both camera models share. This Panasonic owner has tested my unit BTW. I find some advantages with Panasonic anyway, amongst them, a solid manufacturer like this major player is. Don't ignore the excellence of a professional service from these Aussies to begin with. I don't compare them with those found with the BMD output. Let alone their superior color science. To my book, much beyond that, actually. We can call it further cinematography and camera design sciences as well. There's life out there : ) People who don't live to show off footage from forum posts. Such activity doesn't pay our bills : )) You're just stuck to some other production values you've found in a few stuff shot over there. BMD have their own marketing footage and shooters in their payroll. You or anyone else here can only complain but to them. I stand every Jim's single comma up here. It is simply unreal and inaccurate any different : -)

Not really. These cameras are much user friendly. Easier to shoot with one than with any mirrorless camera these days. Boring automated devices fully messed up IMO. P4K seems an old film stills camera centered on ISO & WB controls but for motion picture in hybrid age. HFR or not + shutter at the distance of a button or alike without forgetting the best of the digital world: zebras and focus assist. Not even need for other tools very easy to get from the most intuitive menu I've ever found in a camera and you can set off by default. Set up your lens aperture and that's it. You can even select a LUT of your preference. Import anything you want. Lots of free stuff out there BTW. A breeze, my friend. What else a shooter can ask? Test one Don to begin with ; ) E : -)

You can say "4K 7 units + 1080p 5 units" or "7x 4K units + 5x 1080p units"... Does it make any difference for real? ; -) “When you believe in the power of doubt instead of the power of God, you much see the works of doubt and least see the works of God” ~ Ernest Agyemang Yeboah : -P