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Yeah, this can't be overstated. All of the critical differences mentioned in discussions are in blown up stills. Actual running footage, let alone footage compressed for broadcast and web delivery, is simply indistinguisable to a viewer. Period. I did a blind test with a few people at different times in the studio the other day and the responses were exactly what I expected - "What difference am I supposed to see...they all look the same" kind of stuff. What people should be talking about is how "organic" and "film like" Braw and Gen 4 processed in Resolve actually look. It's sort of the Holy Grail that so many people have been looking for. 4k, raw, detail, file size, smooth roll off in shadows and highlights, deep accurate colors, ease of editing. The only people still debating the issue aren't the ones shooting with the new cameras and codecs. The debate is over for all of them/us.

penis camera look like a serious product now

I finally figured out why I experienced problems with the LUT. An incorrect YCbCr->RGB conversion will result in values outside the 0-1 range. The LUT sees these values as 0 and 1 in Resolve, that's the reason for the inaccuracy. Premiere handles the LUT differently, there is no clamping there, and the results will be perfect, identical to using the DCTL version in Resolve. However it's possible the build a perfect LUT for Resolve as well, which will come in handy for non-Studio users. I actually built one, I plan to publish it alongside a video describing the problem in detail.

DNG 'looks' like it has sharpening applied with it's overly emphasised edges. Anyway who looks at a film at 300% an come to think of it who look at a film at 100%??? 'sharpness' is not the reason to choose BRAW anyway. Having the post production flexibility of not having and ISO curve and WB baked in is a bigger advantage than apparent 'sharpness' gains at 300%.

Congrats! I think cartoons and animation are a very interesting media because they're the only visual forms where creating a world that works very differently to ours isn't harder than just having something realistic. With film it used to be impossible but now with VFX so accessible building a convincing alternate world has gone from being impossible to impossibly expensive! It's interesting to see the differences between the worlds that exist in japanese anime with the worlds that Hollywood creates with VFX. In a sense these mediums allow unrestricted creativity and Hollywoods creations are reflective of their very recent ability to start thinking in these terms, whereas the worlds created in anime are obviously the product of a much more mature environment where highly creative thinkers have been bouncing off each-other creatively for a long time. I played computer games and the game Myst was a fascinating game because it took place in a world that really did not function the same way that ours did, and it was really evident when playing the game that you couldn't really predict what effects doing something would have.

Recently I had a lot of requests, so I decided to do a limited production.

Haven't really looked into it, but I suppose most manufacturers sip your data without permission anyways. Don't think Huawei is doing much out of the ordinary, but people like to blow things up and find stuff to be upset about. Guess the US will be missing out then. ? Parker before did a sponsorship with LG, so could be some unannounced phone from theirs, but I don't think any was rumored and they've already got a flagship out I believe. OPPO and other Chinese manufacturers are looking to shake things up as well, incl. 10x zoom schtuff, so maybe it's them. It's just more obvious that it's Huawei, because they've continuously been dropping hints recently and the announcement is next week.

Indeed. CinemaDNG lossless would surely be too : ) Nothing against softness approach to create cinematic pictures. We can apply it or not with the tools we have, not else though. Without mention the introduction of artifacts such as moiré and aliasing. Take a look in those tests from the 2nd link there, no doubts on. It is what it is.

Yep, its the current winner. I do feel morally obliged as a fully paid up member of the remoaning liberal elite to take a Leica though

MFT only I believe. Focus direction. Original mockup showed Nikon style.

From the E2 FB group. Lens will also be parfocal. Interesting! MFT mount

Resolve 15.3 has a build of SDK 1.3 which does support LUTs in the sidecar, they just need to be manually placed in the sidecar at this time (we would like to add the ability to add LUTs to the sidecar through the Resolve UI in a future update). If you're brave I've attached a sample sidecar with a 3DLUT (B&W to make it easy to tell its working) which shows the syntax needed. Open the sidecar in a text editor and you can copy in any Resolve formatted 3DLUT (can also open LUTs in a text editor) into the sidecar file data section (inside the quotes) and make sure the "post_3dlut_sidecar_size" number matches the "LUT_3D_SIZE" from the 3DLUT. Just rename the sidecar file to the same as your clip. If you are going to add it to an existing sidecar, put it at the top of the sidecar data inside the curly brace (the current build in Resolve requires it but a future build will not be as strict) and put a comma after the LUT data quote (this is JSON syntax). If you already have the clip in a Resolve timeline, you'll need to remove the clip from the timeline and from the media pool and relink it as Resolve will cache and not pick up the sidecar change. If you just want to test, making a new project and bringing in the clip might be faster. You'll need to use Blackmagic RAW player 1.3 which is inside the Resolve app bundle so make sure that version is the one being used when viewing clips not using Resolve. In general though so you are aware the sidecar is just for the controls you find in the RAW panel, the SDK (and applications using it) can't recreate all the complex colour grading operations you can do in Resolve. I've also attached a sample Blackmagic RAW frame with an embedded 3DLUT. If you view this in Resolve, go to the RAW panel and change to clip decode and you will see you can enable/disable the 3DLUT, and change from the embedded 3DLUT to the sidecar LUT. This gives you more options for making sure when passing around clips the intention of how you want it to look is preserved non-destructively in any app that supports SDK 1.3+ (when released) which i think is pretty cool! sample.sidecar sample.braw

And then that whacko who drives around in a Lamborgini with probably the deposits or advance money of customers, posted a Private Chat between him an Bloom. It was So Freaking Shady (and abuse of any kind of gentleman's understanding). And then when people start pointing him out, he sneakily deleted the post with the chat. And his rant hasn't stopped yet. I've always found the company to be a bit of a Ponzi scheme. I saw many customers pointing that their products were Chinese re branded ones with grossly increased pricing. And this whole attitude outburst was shocking and absolutely unnecessary. https://www.newsshooter.com/2019/03/16/cinemartin-to-close-due-to-bankruptcy/#disqus_thread

I'm looking forward to testing BRAW with all my lenses now that some huge projects are over.

Oh, congratulations, that’s awesome!! Animation is still a widely unexplored frontier, have at it! tbh, I’m kinda shy. Once I kno someone it’s different, but I’ve spent years in LA not talking to ppl ? so I get it. But you’ll meet a ton of ppl at school, that’ll solve everything~! That’s great news!!! I’m super stoked for u Liam!!!!!!!! edit: that place looks rad, Hartford VT! It’s so pretty!! Damn this is gonna be great for u, I’m so excited!!!! ??☺️?????

Just got accepted to The Center for Cartoon Studies which is in a teeny tiny town in Vermont, so sort of the opposite plan for the moment but I'm not sure I'm convinced moving to a more active place would make me more plugged in.. that's obviously been a thought though /:

@Liam have u considered moving to a place with more... people? just throwing it out there, i kno its not easy, but youre young and durable

My humble rig many years ago on the beach, STILL works great! GH5, Metabones 0.64XL Speedbooster, Minolta Rokkor 58/1.2, Rapido V2 clamp, B&H for Kowa 2X, Rapido front clamp, SLR Magic variable ND.

Kisaha, I have used a wide range of lenses with the P4K and have been happy with them. Perhaps this will help you. Here are a few: NOTE: My Metabones doesn't AF with any of my lenses (that I recall). I also don't get vignetting with the 0.71 adapter (that I recall). Metabones 0.71 + Sigma 18-35 EF Metabones 0.71 + Tokina 11-16 EF Metabones 0.71 + Canon 24-105 EF Metabones 0.71 + Canon 100-400 EF Metabones 0.71 + Sigma 20mm f/1.8 Panasonic 12-35 f/2.8 Panasonic 35-100 f/2.8 Olympus 12-100 f/4 Sigma 16 f/1.4 Sigma 30 f/1.4 Panasonic 42.5 f/1.2 Rokinon Cinema DS 85mm T1.5

This might get me banned. Does it have IBIS?

Unusual to the very end.

I find it hilarious that so many people were so defensive over Philip Bloom's post. I don't understand why people were rooting for vaporware. If these people took more than one second to look at the product and marketing, they would of understood the whole thing smelled of a pyramid scheme! I'm not even sad that they don't exist anymore.

I find that using the pre and then working as if I had shot in V-log works very well when using HLG. I was somewhat forced into this workflow when I bought the Ninja V because of the whole video levels thingy making v-log impossible to use if you want a reliable preview on the monitor. I find HLG more or less as good anyway though, so doesn't really matter much to me. Some examples of using HLG with GhA:

I contemplated getting it back when I had the bmpcc, never bit the bullet tho. Can't help but think it makes a lot of sense for the pocket cam, this video kinda gives that 16mm home video feel.

It is amazing what is going on technologically. Just wish never stops until the end of time! Just bought the Insta. Going to get it now.

Yeah why not? The FS5 colour isn't up to much and I find the whole thing looks a bit sterile. You can stick the pocket 4K in a bag and go shooting wherever. Obviously that bag will also need forty-five batteries in it

It does seem really odd that focus assist is not enabled during recording on the GH5. I know it might be a hardware limitation, but that just seems really hard to believe. The omission of this feature is what leads me to rig up a monitor most of the time.

You're asking the guy who just so happens to have a gay porn actor as his profile picture I know, I know, how do I just so happen to know that... the URL of his picture is telling.

Didn't say don't do it. Again, it IS fun and you can find lenses you like for sure, I am sure some will prefer the look they get but that isn't BECAUSE they are medium format lenses but rather because they like those particular lenses. My point is that if you want a fast lens for instance, you have MUCH greater choice using FF lenses than you do using MF lenses (and even with a focal reducer). Tilt shift adapters ARE a valid reason for some people and some uses with MF and LF lenses on FF (as they are using FF lenses on APSC and M43). Still, nothing compares to a real tilt shift lens (I guess I have been spoilt by my Canon 17 TS-E and previous 24 3.5 L TS-E ii). Those Mamiya lenses of yours are not going to give something that isn't readily available with FF lenses (with or without a focal reducer) other than some tilt/shift (when using the FF lenses on a FF camera) though there are plenty of different TS lenses available now. It is simply there are far more lenses available for FF than larger formats and larger format exotic lenses have even more exotic prices than anything. For what it is worth I am now too poor to experiment much further but I have tried adapting just about anything. IE, many different lenses even on a Pentax Q (like a Canon FD 85 1.2 on a Q or 300 2.8 on a Q), or mounting Nikon lenses bare on Pentax cameras (do that at your own risk but if careful it does work for older lenses).

Did anyone watch the promo video?

These are HD frame grabs with the Mamiya 80mm and 55mm + Medium Format Speedbooster. My current favorite lens to use is the 150mm f3.5. The crop factor ends up at x0.7. Still working out the shipping details but it looks like I will test it on the MAVO soon.

How do you pull focus?

I'm not sure how much pie Cinemartin were consuming to be honest. Space cakes perhaps but not pie.

Reviving this thread, since I became an owner of one of these new single focus solutions. A brief myFM (Евгений Мыреев's single focus) review. I wasn't asked to write it, nor did I get any discount / money / ANYTHING for doing it. Just my personal, unbiased opinion. Build quality: It's pretty robust, but light at the same time. There is some really slight loosness when focusing. It's nothing dramatic, but it's there. Otherwise, it's quite smooth, but no buttery smooth - just what you could expect from a Chineese helicoid. I've owned a SLR Magic Rangefinder before and must admit that focusing with the Rangefinder was better than with myFM. MyFM features M65 threads (both rear and front) which may prove to be quite difficult to mount. I contacted Arkadiusz Kroma (who happens to live in my close vicinity, hahaha) and after providing him with some measurements, he managed to produce an amazing front clamp that fits myFM and golden Isco Ultra Star just perfectly. Just to let you know: I realize it’s quite a controversial mod, but I had my Isco lathed in order to mount a diopter as close to the front glass as possible. Arkadiusz took into account and his clamp sits just above Isco’s barrel. Optics: Now, this is where it shines. Test setup: Panasonic G80 / G85 + Helios 44-4 (58mm f/2), both with and without Viltrox EF-M2 + Isco Ultra Star 1st gen; all photos took at f/2 I attach sample photos and a link to RAW files so you can judge it yourself, but I’m pretty amazed. (They may be misaligned and I'm deeply sorry for it. Had to hold the anamorphic adapter in my hand, because I'm waiting for a proper lens collar.) Order of photos attached to the post: 1 - no speedbooster, no anamorphic adapter, 2 - no speedbooster, anamorphic adapter, no single focus, 3 - no speedbooster, anamorphic adapter, single focus 4 - speedbooster, no anamorphic adapter, 5 - speedbooster, anamorphic adapter, no single focus, 6 - speedbooster, anamorphic adapter, single focus Sharpness and contrast seem to be unaffected, even wide open. It does introduce some tiny chromatic aberration on edges of the frame, but it’s almost unnoticeable, especially when compared SLR Magic RF, which in this field is just awful. Coatings look gorgeous. They are mostly purplish, but sometimes show a bit of amber. Flares: Fortunately, there is no blue blob or any other creature, haha. I don't know why, but it seems to mute reflected flares just a little. Take a look at the video: https://www.youtube.com/watch?v=bUa6B7E6oUM It’s also worth noting, that myFM works as a delicate wide angle converter. It widens your field of view by 0.92x And the biggest drawback: vignetting. Since myFM is built with ~62 mm diameter glasses, it won’t allow you to go as wide as HCDNA or FVD-16A do. With my setup, I get a noticeable hard vignette. 58 mm * 0.695 (Viltrox EF-M2) * 0.92 (myFM wide angle abilities) * 2 (G80 crop) = 74.17mm (35mm eqv.) Just by removing Viltrox from the equation, I get a 106mm eqv. and no vignette. Right now, I don’t own any lenses between 58 and 135 mm so I can’t perform more tests. I hope I’ll be able to adapt my Schneider 75/2 soon. Questions? Regards! Link to samples: https://drive.google.com/file/d/1IwkW08EzCk6o5lf4m3bFVii0Brd2OtR1/view

If you want a bit of an insight into how relatively rare this camera still is in the wild, I doubled the amount of Pocket 4K cameras that were being used at the BVE Expo in London today when I got mine out of my bag. I plonked it down on a table that Zeiss had left brochures on but abandoned to setup my app and immediately drew a crowd who thought I was an exhibitor. Of course I did not disabuse any of them of this belief and promptly started demoing the living daylights out of my app.