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P4K Battery life w/NP-F970 batteries: By the way, I just completed a quick battery test on the P4K, for anyone that is interested. I set up 3 P4K's with NP-F970 batteries on a battery sled connected to the 12V port on the camera. The batteries were fully charged before starting the test. They all tested about 8.1V at the start. Each camera had the following equipment and settings: XLR shotgun microphone with phantom power turned on Audio levels set to 50% Screen brightness at default levels Samsung T5 1TB drives Panasonic native M4/3 lenses NO internal battery in camera I recorded a static scene until the camera turned off. Then noted the duration of the recorded video. Here is what I found: Battery 1: No name NP-F970 7.4V 48.84Wh => 2:08:51 total runtime Battery 2: Powerextra NP-F970 7.4V 8800mAh 65.12Wh => 2:24:11 total runtime Battery 3: Powerextra NP-F970 7.4V 8800mAh 65.12Wh => 2:25:10 total runtime So, as a worse case scenario, my cams get around 2 hours and 20 minutes with a big NP-F970 battery. Hopefully this information is helpful to people trying to decide how to power there little beasts ============================================================================= I see that you have "been there" before I agree with you completely. When you are getting paid for a job, you need to get it done, regardless of the obstacles. That is one of the reasons that I have backups for pretty much everything, including camera bodies. I get asked all the time why I bring so much gear to a job. Some of the gear that I bring isn't needed on every job, but at least I have the things to solve a problem when I need them. I am really big on redundancy. On a lot of our jobs, I only get one shot. I can't do a retake on many of our projects. I actually had the Voigtlander Nokton 25mm f/0.95 Type II Lens in my bag the other day, but elected not to use it, as I didn't *quite* need it. If I need a f/0.95 lens and ISO 10000+, that is a really peculiar situation. ISO 12800 with an f/1.2 lens is already much brighter on the screen than it looks to your naked eye. At least I didn't have to break out the night vision :D

The DJI Z7 thing I've seen rumoured for NAB looks entirely bonkers

I know. I am exaggerating to make my point, also I make the bulk of my income from TV stations and big production companies but still the shrinking of the "pro" market affects me greatly. To be self employed as I am, you have to have a physical space, and specific (taxable) codes of what you do. Also, in the office, everything has to be legal (software and hardware), while "amateurs" have everything hacked or from b- markets e.t.c Here, if you are SELF EMPLOYED you been taxed since the first euro. 1 euro of income is taxable. Also, you have to pay a series of extra taxes, and a new thing is that we have to pay for P.O.S, which in my case has to be wireless, so I paied 250€+24% VAT for the machine and 12-15€ per month for the service, regardless of using it or not. I am not going to use it. Also VAT is not the tax, VAT is additional to the tax. VAT is 24% for every product and service, by the way, so if I charge 1000€ for something, I have to get 240€ also. So someone that do not pay taxes and VAT, can easily charge 450-500€ for something I charge 1240€ and he will make the same money as me. The customer doesn't care about my taxes and VAT anyway, and if the other person can do 80% of what I do, for 40% of the money, then..you get the point.. Also, when I employ other people, I pay them legal money+taxes+VAT, the other person, usually takes 1-2 friends, or their wives (this is another recent trend, especially in weddings!) so they can go easily to 20% of what I should ask. So I have to earn just a silly percentage, just to be competitive with those, and that is why I can't compete for low budget jobs like: events, weddings, small corporates, social media content. Literally they do these jobs from 50euros, they are young people charging 50 euros for an event, or corporate. The state is getting 60% of what we earn, because they are unable to stop illegal activities and can not tax them. In reality they punish the people -like me - that follow the laws and try to do things right, while been self employed. Working for the state, which is the 25-30% of the workforce, has different rules and it is the best, but you have to deal with the corrupted political system to do so. Whoever is from western/advanced countries, try to watch this film https://en.m.wikipedia.org/wiki/Graduation_(2016_film) It will help you understand a very big part of the world and/or Europe (eastern/Mediterranean countries).

Good thread. Here are some from https://www.instagram.com/cinematography/ https://www.instagram.com/p/BvE46qBnJDH/ And the Cruise. ?

Shot externally with an Atomos in HLG 10bit mode (higher bitrate than internal) Looks pretty good to me, and a hint of what the internal codec upgrade will look like. I also feel for a promo film it's above average, a very simple story but effective. A bit sentimental of course, and not perfect attention to detail in some shots, but it works. I hope one day when I hear a piece of music it will remind me of the Panasonic S1, when I was young enough to shoot stuff and not too old and crippled to use a camera

Well, the Sharp 8K actually does make moving pictures ! Looks like there is a fair way to go before its ready for release but it certainly doesn't want for detail and I think there is definitely a place for this camera for more 'video' type of work. Quite a comprehensive first hands on run through from Newsshooter here https://www.newsshooter.com/2019/04/08/we-take-sharps-upcoming-8k-micro-four-thirds-camera-for-a-spin/

Nice! What about focus control with an external rotary encoder with a clamp to be used with 15mm rods/handles/gimbals? ?

I have to say I find myself anticipating more concrete information about the Sharp 8K camera far more than I thought I might. Sometimes its the companies without the long term roadmap that can offer the quickest shortcut.

Dr. Who fans will be all over that !

Seems like it might be quiet, but still holding out hope for the predictions I made in the other thread I started. Namely, a C100 Mark III or some other small form factor camera from Canon or Panasonic (think FS5 sized or smaller) in their new mounts (RF or L). a Black Magic BM Raw recorder would be great as well since I'm looking to switch to Da Vinci soon (also looking forward to that update). Some other updates that would be great: - An attachment to stick the DJI X5s on the Ronin-S would be great. - Pricing and availability of the Panasonic 10-25mm f1.7 (or a GH6 tease). - CFExpress official launch so we can update on XQD cameras and not be locked into Sony's cards.

Predictions/Hopes for Blackmagic 16: Better stabilization options. Prores support in Windows Dolby Atmos support. More options in the export menu for customization. And #1: Ability to use external monitors without their hardware cards.

I’m hoping for a customizable UI layout in 16.

i actually did do a test! uploading asap i have to reevaluate the test but it's also possible because I may have shot at T1.2 not T1.4 hence the k35 which is T1.4 or so (might be sharper) or I screwed up focus. i'm not really the best at testing stuff in a scientific way. I'm sloppy and lazy.

I think you're overestimating how many people are taking work away from you after buying a $500 kit. People that are good at their craft and keep clients happy will always have work. We all have financial obligations and desires, some larger than others. I live cheaply. I own a small home (paid off in large part thanks to my supposed "amateur" video work), I own somewhere in the neighborhood of $20,000 worth of video equipment, all paid off thanks to my "amateur" video work, and I've found a way to live comfortably on $25,000 to $30,000 a year. I've done all that by the age of 34. If someone comes to me and says they can only afford $500 for a gig that others would charge three times for, and I can fit it in to my schedule, I have no hesitation taking it. Some wish to frame that as undercutting "real professionals" whereas I look at it as paying my phone, electric, internet, and grocery bills for the month with one gig. Besides, those type of clients weren't going to pay those "real professionals" what they would ask for anyway.

They should announce the Pocket 4K Pro with the exact same specs except that it ships on time and with adequate supply.

Finally got my Pocket a month ago and am loving it! What a powerful camera... http://tomsimington.com

NAB 2019 begins this weekend and exhibits open to the public on Monday 8th. One of the big talking points this year I think will be DaVinci Resolve 16 and hopefully we will see a big swing away from Adobe Premiere for editing as a result. Adobe will also unveil updates at NAB but I am uninterested, as I really do think their reliability isn't fit for pro work any more, or any kind of work for that matter. On the camera side it looks a bit quiet so far. Canon confused us all with the EOS R external RAW recording tweet, but it's entirely possible their reps don't know the difference between external HDMI recording and RAW any way. Read the full article

Pretty amazing what some people come up with idea wise, and can actually pull it off. But the cameraman that jumped off the building getting that shot will probably Never be the same lol.

So, I've been beavering away in the background on a small Bluetooth LE hardware controller for the Pocket4K. It won't be ready for sale for a couple of months but thought I'd have a thread to share what it is and whats happening with it as we get to the release. And here it is. Ignore the electric blue colour of the case as that was the filament I had spooled up when I printed it ! As you can see, it is a small handheld device and is powered by a coin cell battery. With it you can control the following parameters Aperture ISO Shutter Angle Preset White Balance White Balance Temperature White Balance Tint Record/Stop In addition, as per the 3C app, you can store and recall presets made up of all of those parameters (M1-M4). It is opersted by four recessed buttons on the side of the case (two per side) which move to the parameter and increment/decrement the value. The LCD screen is backlit for easy visibility indoors but also for exteriors where, as you can see, it makes reading your current parameters somewhat more legible than the camera's own screen It is in this latter role that I think it will be of particular use and the case will have a mounting option to use on gimbal handles and tripod arms etc. There will be a lens control element to this product as well but stay tuned for some show and tell about that in a couple of weeks as I update the thread.

Gotcha - so just the firmware update announced 2-months ago and a camcorder from a month ago. Bummer.

I would just like to wish this thread a very happy 1st birthday.

On the Sharp camera you mean ? Surprisingly enough it uses SDXC UHS-I U3 cards and does 30mins on a 64gig card so the running costs are quite low on the capture side. Its dealing with the transcode that will be the bugbear though Sharp are apparently going to release a proxy workflow.

The GH5 is an all round better camera than the A7s but for low light the A7s was ( and is ) in a different league and that’s why it can deliver the results in difficult circumstances. Oh and pair it with an ext recorder and you still have a competitive image with all the benefits off a full frame. Sometimes wish I’d kept mine....

Bluetooth so blue case, electric blue or not, makes all sense it is blue : -D

Hopefully Resolve 16 will not be subscription based. I bet it wouldn’t be when I switched over at Resolve 12 when I had to to choose what to do about my Adobe CS4 Master Collection software getting out of date and left behind. Thank goodness for a competitive marketplace where consumers vote with their pocketbooks. So I don’t have to eat my words, Blackmagic is one of the only companies I would consider subscribing to, but 16 would have to crush resolve 15.3.1 and be reasonably priced, which Blackmagic is known for. Then there is the question of if they will charge an upgrade fee and in this case I would purchase the Pocket 4K I have on backorder rather than pay an upgrade fee. Looks like Blackmagic wins either way, which is fine by as they have been putting out great affordable products year over year. Basically Blackmagic did what Red promised to do with Scarlet 3k for $3k. Sure, Red has had a good run, but in the long run Blackmagic ate their lunch.

As long as you aren’t required to carry a license to do the professional work you do then what’s the difference? Anybody can “take” your job if they are smart and motivated enough. Wether that is photography or videography or selling shoes or they are a painter, landscaper, etc... Now if someone setup shop next door to your PT office and offered PT work and they didn’t have a license then that’s different and against the law.

Sorry for the OT @Ed_David but I’ve been thinking about the FD-K35 comparison for a couple weeks now and how it correlates with the lenses I already own... I guess it’s better than my obsession a few months ago with the triangular aperture, Rollei Zeiss lenses that were derived from the late 60s Super Speeds, Scorsese used in Taxi Driver.

Yeah I agree with Kisaha and im not even a professional, but this is also one of the reasons holding me back to become a professional video/filmmaker. (only official sidejob for me, but I often see low priced budget projects coming along, and I just deny them as Geoff stated I do ask to be properly compensated when I'm working for others. . I do value my time and experience, and don't want to undercut others or myself. )

"Adobe will also unveil updates at NAB but I am uninterested, as I really do think their reliability isn’t fit for pro work any more, or any kind of work for that matter." Yup. The most true words ever written on EOSHD that I've ever read. Like a lot about Premiere in theory. Can't abide by it in practice!

You need a license to be a photographer in some countries? That's insane. I live in a nanny state, but even here you can earn up to €1000 tax free legally as a hobby photographer, and up to €5000 before you have to start paying VAT. Above that you start paying VAT as well, but there is still not any kind of licenses. And you have to have a physical space as well? Where is this? It's perfectly legal to run a business from your home in Norway (where I'm from). Photography is not exactly bridge building or heart surgery.

Would be cool to implement this on the dji ronin s. So you can hit record without fiddling.

What's the best way to sync audio to multiple clips in Resolve? I've been manually matching sounds and waveforms clapperboard style, but wonder if there's a Premiere/Pluraleyes type 'Sync' button? I can't seem to find it anywhere and wonder if I'm missing something.

Latest EOS M ML RAW builds are from master chef Danne, here: https://www.magiclantern.fm/forum/index.php?topic=9741.msg208959#msg208959 And you can follow development on the same thread. MLV App is de facto the only application to use as starting point of your editing. It is as an extension of the EOS M ML RAW video for many reasons: - effective way to remove focusing pixels - correctly debayering 5K Anamorphic crop mode. Or pseudo anamorphic is reality but anyway And yes get the latest MLV App and EOS M RAW versions. Ilya keeps adding new features to MLV App and Danne keeps fixing bugs and improving the build.

Keep up the good work Andrew. I hadn't realised that about those groups of youtubers that review cameras being selected by the companies but your right. They all tend to be glowing reviews now that I think about it whatever the camera was. I've seen more than a few by iPhondo for example and always very positive reviews with some token comment here and there to appear unbiased. As for Trolls and Brawley dont loose sleep over that lot. The launch sample footage was total crap (not the cameras fault). I have my Pocket 4K and absolutely love it. A very capable camera that fits the spot for those of us that want DSLR size but want a pro camera. Cheers, Simon Bailey Colourberry.com

That test is not using an FD L 50 1.2 but a non L which is like many other make old fast 50s I think. Out of all the 50s and near 50s I have had I rate the top four being Sony Zeiss 55 1.8, then the FD L 50 1.2 and the Pentax K 50 1.2 a distant third and the Nikon 50 1.8 AF (non D made in Japan) after that with all the others (and that is a few) following. That said, I have never had a BAD normal lens but most of the non aspheric normal lenses from all makers are pretty similar (other than ones that have party tricks like bubble bokeh or what have you). I was also wrong about the older 55 FD 1.2 AL lens (if THAT is the one the expensive lens is based on) as that one DID have an aspheric element (which is THE main difference between the Canon L FD primes - 24/50/85 at least and "normal" normals). Those aspheric elements also account for a much greater price tag (like the Noct Nikkor 58 1.2 which is about the only other aspheric fast normal from the old days. I find my old 24 1.4 L to be quite good wide open and one of the best older lenses I have owned. Mine is rather beat up externally but the glass is good. I listed it on Ebay a couple of years ago for a low price but had no takers. Never being sold now. I would have thought they would have started coming down in price now that there are lots of other 24 1.4s around (until recently there were only around a half dozen makes ever made in 24 1.4 which and the FD version could be used on many mirrorless cameras is why they were dear). This is an old lame video I posted before using the 24 1.4 (used as a zoom on my dead A7s).

Have you considered the 50mm STM? (EF, not FD.) It's... not that bad.

I've been following Resolves progress as an industry standard editor since v12.5 and my impression is that if you're a professional editor it has some ways to go still before it would fully replace FCPX or PP. I'm not a professional editor so I don't really see the shortcomings myself, but I've gathered that impression from reading articles or comments from people who are working on films with large teams and huge budgets. I believe the sticking points were certain editing features / modes that it's either missing or hasn't fully implemented yet. As I said, I didn't understand what they were or why you might want them, but I got the impression they were for people who use a whole keyboards worth of keyboard shortcuts without even looking, and the other theme I noticed is that Resolve isn't as great for projects with huge amounts of footage like feature-length docs or high shooting-ratio features. To this end, the banner saying "The revolution in editing starts..." may indicate that they've done a gap-analysis of editing features between Resolve and PP/FCPX and just implemented everything they found. I guess the other way it might be interpreted is that instead of 'editing' meaning the edit page, they actually mean the entire post-production process (which I think is more how smaller productions and studios might use the word) in which case it could refer to them leading the charge in having a one-stop-shop that does media management, editing, VFX, sound design / mixing / mastering, and delivery. In this sense it would be more like an Apple marketing campaign where "everything is new.... yet again, again" means something that looks identical to the last one and people talking about tiny tweaks (OMG, the notch!!). Certainly an interesting space and it will be existing to see what they are bringing us for very early birthday/xmas present this year I think it's a very interesting comment from Andrew about a "pro" P4K having IBIS. This is literally the opposite of what Panasonic did when they took the GH5, made it 'pro' and took IBIS out because the pros use external stabilisers and rigs. I genuinely have no idea what BM would do, but in my head the choice between the GH5 and P4K wasn't a choice between cameras, it was a choice between fundamentally different types of cameras. Of course, BM have a very solid cinema lineup between the P4K and UMP, especially with the UMP update, and perhaps a tiny screen-less Micro-styled version would complete that range. Should they have done their market analysis and thought 'lets have a second line where we jump the hybrid/cine line boundary to compete with video-side of the GH5/A7III/XT3' then that would be fascinating. It would be the same logic of Panasonic with the GH5 and GH5s and a P4K that was oriented around the hand-held single-operator segment would truly be a thing to behold, but I suspect it's unlikely as BM have started in the cine world and although they have come down in price, they haven't come anywhere near the mass-market as a GH5 competitor.

Yes, I think so. The noise reduction in Davinci Resolve is very good. I have used ISOs 10000 & 12800 a couple of times and have gotten usable footage after processing. I am surprised at how well the footage cleans up. Every once in a while, you are forced to use crazy high ISOs. For example, yesterday, I had a presenter from a giant Silicon Valley tech company that refused to allow the theater stage lights on during her presentation. She claimed the lights would blind her and she wouldn't be able to see the audience. So, I had someone on a stage, with a projector screen behind her and no light on her, other than splash from a few lights on the audience. I had to run ISO 12,800 with f/1.2 lenses and was still about 1/2 stop underexposed. She was so dark that she was basically a shadow to your naked eye. Of course, she also didn't want to wear a lav. She insisted that she could be heard fine without one. At least I won that battle and got my lav on her during the presentation. The footage from that event is certainly worse than I would have liked, but at least it is usable. If I had only had access to normal cameras, the footage would have been completely unusable. At some point, I will do some comparisons, but my use tells me that the GH5s is a stop or so better in low light than the P4K, before correcting in Resolve.

Really good real time usage review of the PK4. The Elephant footage is pretty awesome, among others.

It might make sense to justify the price difference if it is indeed 3k plus. Its true they've not done 4k 60 yet, but they are a bit behind the times right now. Sony is often front runner tech I feel like. Wouldn't surprise me if they took a large leap to put themselves ahead of everyone.

That review was with the nFD 50mm 1.2 and not the L version. I assume you based your conclusions on the L version and not the regular nFD 50mm 1.2 as they are two totally different lenses. I probably should have added that I’m not looking to build an FD L set, I’m looking for a 50mm lens that I can intercut with my EF lenses. The 1.4 is close but still isnt a great match. I’ve come to realize that I don’t really use my 85mm 1.8 that often because it is just too long for my style of shooting but my 35mm just isn’t quite long enough sometimes. But yes, of course, we’re the only ones that will even notice the difference. If the story is good enough, we could all get by with kit lenses and some cheap LEDs until we don’t have that light, or the batteries died and we could use that extra half a stop. Even though it doesn’t seem like it, I actually agree with you... I’m trying to lessen my load and if I don’t see a definitive improvement over the 1.4, I will sell it. And then I will decide if I’d rather have the L or sell it to buy the Sigma Art 50mm 1.4, since I don’t have many “modern” lenses.

* Zcam E2. I'd agree. They should have done a BMMCC style body with EVF on top. Makes a lot more sense to me, then you can also choose the screen you want without having to lug an obsolete one around with you.

It's not that we're surprised 8K is coming, it's that Sony has not yet released a mirrorless camera that can do 4K60p, so the idea that the A7Siii will jump straight up to 8K doesn't make much sense. They'd need a massive technological breakthrough to achieve that in a tiny body. Who knows though? Maybe with a 1 minute recording limit?! ?

This is such a weird mentality. The quality of work should always be what's most important. If those that have hired me and been pleased with the results consider my work to be "professional" then that's really all that matters.

This reminds me of the Kodak "Brownie" camera that was introduced in the 1920's. All of a sudden every dolt could take their own pictures. They did and a large number of "professional" photographers went out of business. It is still a vocation but not one immune from amateurs taking a really good picture.

Anyone looking to learn new software like this, I would advise you to just make yourself a sweet ass new showreel, and if possible do it from the original camera files so you also have to re-grade everything. That way have to learn how to use the tools to match a grade, or make it even better. There's no deadlines so you can take your time and get to know every inch of the software that's relevant to you, and since the showreel's job is to promote yourself, then you'll want to put the time in to get every little detail right. It's always worked for me. As for the organisation of projects, I just let DaVinci use it's database while I"m working on it, and then when it's finished, you can go to the little Home icon in bottom left, right click on a thumbnail and go 'Export Project' This gives you a .dpr file that you can save next to all your media for archiving.

As someone who's recently moved from premiere, I agree with previous posters about premiere's strength in organization. There's a little bit of a learning curve moving to resolve's color panels but once you get some time in your belt, I think it's a far more intuitive approach using nodes vs layers. If I were Adobe, I'd be worried.

I'm a photographer by trade, so nodes seemed intimidating at first, but nothing you can't get over with an hour of mucking around and tutorials. In fact, I find Resolve much more logical and just plain wonderful when color grading, even if Premiere does seem simpler at first. There's a reason why so many Hollywood films are graded in Resolve.

Resolve 16 slogan is "the revolution in editing starts..." IMHO it started with Resolve 15.3 (now the audio editing is pretty much usable). But hey, if they took it up a notch - fantastic! At least now I can pretty much finish a project with audio and all in Resolve 15.3 - that is a revolution for my work flow. I would like see the something like what adobe has with a brainstorming clip based media organization tool that lets you output to timeline as well as the contextual erase functionality of after effects. Looks like I will be downloading 15.3.1 this weekend for hopefully more stability enhancements and bug fixes.

Let's hope they don't revolutionise editing too much. FCPX magnetic timeline anyone?