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Per Ted Sims on the 300Dii, via Facebook: "Release date in the next two months! Yes, that is an all-in-one controller box. No more noisy ballast. The new design is all built together with zero fans, all passive cooling. 20% brighter. DMX added. Powerable from a single battery. Quick release super clamp mounting point on the controller box. 360 degree reinforced yoke. Built-in Effects and Wireless Control via APP."

That update is seriously mind blowing. I was just thinking about that only feature in Adobe AE - content aware fill, which would make me use it separatly for this effect only, and I hate this program.. but noup, Resolve got me covered baby Will wait a bit for a 16.1 version to make sure it is a stable build.

When this system was announced, there was a discussion over the internal rechargeable battery not only in terms of run times but also over longevity and if it failed would that be game over for the units. At the time, I speculated that based on the power spec quoted by Sennheiser and the shape of the units then it was likely that it was going to be a standard off the shelf battery (a 3.7V/850mAh 14500) so not only should it be possible to replace a dead battery, it shouldn't be that much of a challenge to make it swappable if you needed really long run times in the field. So.....now that I actually have one, I thought I'd have a look. And, yes indeed, it is a standard 3.7V/850mAh 14500 battery. You can pick these up for less than £1 each and a charger will set you back about £5-7. The connector to the board is also just a standard connector so if you really need the longer run times and swap out capability its pretty straightforward to fashion this yourself and have all day run times for both receiver and transmitter for under £20. Now, where did I put that warranty form....

We r shooting all kind of film and video productions for decades and decades and didnt even have the ability for 1600 and/or very fast lenses! I shot a whole corporate today with a C200 and 2 L lenses, and never went above 1000iso and my aperture was 4-5.6 at all times. 90% indoors and on a very rainy day. You, youngsters, like to shoot on your basements, public catacombs or abandoned mines!

yeah extra stop with a speedbooster is always a plus with slowmotion

Having seen how effective the stablisation is on an Insta360 One X when producing flat content from overcapture, I don't have any concerns really about this camera, or any 8K camera for that matter, not having IBIS. Unless you are delivering in 8K then it gives you plenty of latitude for post capture software stabilisation. With some of the side effects I've seen from IBIS, which are then baked in to the footage of course, and the advances in software stabilisation its arguably a better approcach anyway.

This seems cheaper, smaller and more powerful tha the grip and with and you can use a normal V-mount mount on the bottom of a cage to act as a grip. https://www.newsshooter.com/2019/04/09/fxlion-nano-one-v-mount-battery/ Looks like you can power a umber of different things all at the same time. Well yeah - same with LPE6 batteries though. It's just another thing that can go wrong, and is easily avoided once you stick a grip under your camera. Aren't there issues with using dummy batteries though, and much better to go straight tot eh 12v input on the side?

Seems like RED's aren't any worse in low light than any other of the cameras usually used in Cinema productions? I tend to obsess over low light capabilities, but as long as you have decent lighting 1600 ISO and fast lenses makes the cut for most situations.

Your in your own. I just disagree : -)

This times a billion.

If I was going to have a combined professional photography and footwear vending operation then I would definitely call it Hot Shoe.

If the EOS R RAW and C200 4:2:2 were coming at NAB, Canon would have announced them by now?

6k60, 4k100 "at least" and "more than 200" in HD. Mentions dual native ISO sensor as well with 14+ stops of dynamic range. There will be MFT, EF, and PL mounts. Nice!

I have got my eye on that. There is this one which I have that does the same thing and is a bit cheaper but the latency is the issue. I see that 60 ms is quoted for the CineEye, which is a very respectable result if they can make that happen.

Don’t RED have a relationship with Foxconn? Could the Sharp (possibly rebadged?) become the new “cheap” RED small form factor camera oft rumoured or hinted at? Especially given that the Hydrogen phone modules have been abandoned in favour of something being developed by RED itself rather than the phone spin-off.

Reminds me of the attitude most displayed when JVC released the GYLS300. Just writing it off because it’s not the usual suspect in cinema cameras. Sharp may surprise us with something special, or it may be another product with undelivered promises. Either way it’s a step forward to bigger and better tools.

This was a strange interview. I lightly know the backstory here but it’s was unprofessional. I was under the impression that BRAW needed in camera hardware as it was doing something special in camera before outputting it? I also did some research and found out RED has a broad patent claim on compressed raw, WTF. That would be like issuing a patent to Budweiser for fermentation.

First vid on the forthcoming F6 from the ever-reliable Curtis Judd:

I thought the same thing! I thought Glenn won the Lotto or something.@mercer

I had no idea thats what you call the EOS200D over there so I saw the thread title and thought I must have had a pretty long nap to have missed out on Leica announcing a third SL when most of us are still waiting to see the second one !

completely portable. small. 6k vs 30k used for a phantom miro. excited about this guy. curious to see dynamic range vs miro (from demo reel chronos looks like 10-12 stops similar to miro and red one mx)

Well you can buy the SL2 with the kit lens for 600 Dollars, so I would call it low end along with the M50. I would rather have a M50 to be honest. https://www.bhphotovideo.com/c/product/1346763-REG/canon_eos_rebel_sl2_dslr.html

Who is Antony?! Is it Solaris - Polaris or Dolaris?!

Mercer sent me this video a couple of days ago. Yeah I know it is not a Red. It was shot on a OG BMPCC with a 28mm Super-Takumar and a cheap Tamron 10-200, and he says it was shot in ProRes LT.. Sure they used a Speedbooster and lighting, but we all know a Pocket sucked at low light, but they pulled this off big time to me. So it is not the so much what camera, although I still think the Pocket is one of the best Cine cameras ever made, it is about skill, using the right tools, and not having 50,000 dollars of equipment with no clue how to utilize them and expecting miracles.. This trailer makes me want to go out and buy a OG Pocket again lol. It doesn't get much better, especially for what they cost.

The C200 can already shoot at 4k 60p in 10-bit. 24p is upto 12-bit. No update needed. But 10-bit is only in RawLite. Raw is great, when you are dealing with HDR scenarios. But if shooting under controlled lighting conditions it's overkill.

Ah, yes, OIS is fine I agree about using a fisheye and reframing, and also that the 180 shutter is less of a rule than perhaps it used to be. In fact, I have been watching the latest season of Peaky Blinders (great show BTW - fantastic in pretty much every way) but there was a scene where a ceiling fan was operating and the fan blades were appearing about every 90 degrees of their rotation with no visible motion blur, so even that level of production seems like it didn't stick to the 180 shutter, for one shot at least, which I thought was interesting Dave mentioned a price range in the Kinotika video, but it didn't sound like it was confirmed yet, and I think the Sharp guy in the Cinema5d video said they hadn't decided.

I think I heard somewhere it’s going to be like $4-5k. Could be making it up though.

Nice to see the MFT mount option , it is everywhere! ?

I can understand that. Only relatively recently was Resolve a colour grading tool you would round-trip to, which is a concept that took some getting used to, let alone knowing how to actually troubleshoot the process and get it to work properly. Now Resolve has become something equally confusing - it does everything! So on a journey from being difficult to understand because it was too technical, to now being something that is difficult to understand because if you're a FCPX or PP user it sounds like it's too good to be true!

Absolutely. 1080p will be the target format for YouTube for a good while yet and with the stabilisation and re-framing possibilities, this camera has the potential to be the best camera for a sizeable number vloggers. The faux slider move function on Panasonic 4K cameras is pretty decent as is the faux multicam of the MEVO camera and both of those features will be greatly enhanced by the extra resolution of 8K. The camera also has decent audio options and of course that huge articulating screen. For someone working on their own who needs to shoot content fast with the ability to add production value in post, this camera has the potential to be an absolute powerhouse. Its interesting to see a lot of the reactions to this camera as dismissing it as a bit of novelty if not a flat out joke and I'm sure a lot of that is related to it coming from a manufacturer that is not one of the usual suspects. I think if people look beyond that, which they should because Sharp have not only been around the block a few times but are owned by Foxconn, and consider the possibilities that it offers then they might well find that this has the potential to be a far more signficant product than it is being given credit for.

Yeah, ultimately time will tell. But the small amount of issues I've seen them have so far they've dealt well (and quickly) with. Most "issues" however have been user error, not issues at all. "A whole batch of Z CAM E2 have been working 7/24 under waterflawlessly for two months. All is well!" - Kinson Loo. I guess that's some good news haha.

If you read about Utopian anarchism, then is a good thing. It talks about a society that needs no laws and restriction organs because everyone is just and fair with unlinited respect for the next person, whoever that person is (race, sex, education, all are irrelevant of that respect). Living for 4 decades on this planet and reading as many historical books as I can, I am sure this is impossible as of now! Still, to dream of anarchy is not always a bad thing, is closer to a perfect society that we have right now.

If it hasn't been said already, that flippy screen is awesome!

This question comes up a lot. Here's an answer I prepared earlier..... please excuse the first paragraph (it was directed at the post I was replying to, not your post). In terms of people actually doing it, everyone who shoots 4K and publishes 1080 is doing it.

This is a great addition, and possibly is a nod to how FCPX/PP users might operate. One thing I always thought was a bit clunky was if you had two cameras/lenses which needed to be matched, and two scenes which needed to be graded differently (eg, day scene then night scene). In a sense you can now grade the clips in the Colour page to colour match and put in Adjustment Clips for different scenes and one across the whole timeline as a final grade. Absolutely. It kind of delivers on the "editing revolution" promise, the UI improvements requests, the people wanting to work without BM hardware, etc. I am noticing a trend within Resolve now of having the 'easy/fast' way to do something and the 'slower/powerful' way. I first noticed it with the stabiliser when they created the one-touch version but kept the old one with the more features, but it's now there for editing too. I suspect BM is chasing both ends of the video production market: Making a feature with UMP, external audio, heaps of clips with slates, large editing team with collaboration and multiple simultaneous users and industry leading grading facilities, frame.io integration, etc etc etc Making a fast-turn around piece with P4K, internal audio, single person post-production on a laptop in the field in the new Cut page, grade with the auto-match feature and a LUT, put in a Fusion title and end sequence and upload straight to YT Obviously most people will be somewhere in-between, but making something that works for both ends of the spectrum is a real challenge and they seem to be doing a pretty good job at it.

$54,500 for the MONSTRO 8K VV and $5,995 for the Z CAM E2-F8. This thing is going to wind up as a B, C and crash cam for so many productions...

I'm excited about this one, I saw the original 300D's price got slashed on B&H by like $400 last week so I assumed a new one was probably on the way. Some more pics leaked to the Aputure Facebook group:

dang that looks like the same light!! THANK YOU CHINA!

Hi everyone! I am still using NX1 as well. Jitter and turning green? I have experienced both. When filming in nature I started noticing that when turning the camera towards greenery, the pic got more magenta-ish when WB was locked. Opposite happens too. This made me realize Samsung had all figured out correctly; if we lock the color on the Kelvin blue-yellow axis, it can still freely move on the tint axis. So it is not completely locked, obviously. The Kelvin is locked, tint is automatic. Very logical of Samsung ? ? . All color is locked when all axes are locked in custom color or presets. Jitter. I had always jitter when editing the H265 footage directly in Sony Vegas Pro, and the jitter even did remain on YouTube. With every camera setting and render settings I used. The jitter went away once I started to use RockyMountains Movie Converter and edited with anything but H265. I am still wondering what is the reason, but probably it has something to do with H265 and how players and NLEs handle it.

Same here, not missing Premiere or FCPX at all, v16 looks like a huge update. Chris

"Timeline level resolution, frame rate, scaling and monitoring settings within the same project" FINALLY. It's one of those things that wasn't a dealbreaker, but was annoying for a few specific projects. "Adjustment Clips to apply filters, effects and grades on top of a range of timeline clips" Nice. One of the main things I miss from Premiere. "Improved Fusion playback performance" That's been my main complaint against Fusion's integration vs. Fusion standalone--glad to see improvements in performance. "ResolveFX Object Removal in DaVinci Resolve Studio" Really looking forward to trying this out. "ResolveFX Vignette" I could have used this on one or two projects in the past, glad to see it. "Playback speed indicators in Resolve viewers" Cool! This will help with creating speed ramps. "Support for using DaVinci Resolve Studio dongles to enable Fusion Studio" WHAT? This is AWESOME! I'm so glad I never bought a Fusion dongle now haha. It doesn't look like they have added support for FLog in the color space transform. That would be a nice addition for Fuji users. Though, to be fair, I've found HLG to be better than FLog on the XT3 so I probably wouldn't use it that often.

Just backup'd my whole database and projects. Will report!

HLG is Rec2020 it has to be resolved to Rec709 at some point unless only going to be seen on a TV that can resolve HDR10. FCPX has a default custom lut plugin that can do just that in a Rec709 Library. Pop it on your footage and choose Rec2020 input and Rec709 output...to boot you can add a lut if you want to or just let the plug resolve the color space for you.

Actually... there is a shockingly ( or at least it feels like that to me as a kiwi, is just madness) large number of jobs in america which require government licensing https://reason.com/blog/2019/04/05/joe-biden-is-right-ridiculous-occupation

This might be the cleanest camera I have ever seen. I would love to see a test with some vintage lenses(and maybe some diffusion) and some film grain thrown on it.

Those are really impressive. The last time I looked into the idea of an interim solution for the P4K was for Eugenia Loli (she is the one who got me into cameras in 2008, on HV20.com; EC probably wouldn't exist without her). From what I saw, there was only a transform for the original Pocket; the P4K (cs4) wasn't yet supported. Though - you won't have to wait long for P4K support methinks. That's the exact same artifact as on the GH5. Low saturation and contrast gradient macroblocks that don't know whether they want to be more red or more green. It seems to arise from codec compression + log especially - is it mp4? Yes, no later than the summer

I was messing with some old, test shots from my film. This one was shot with the older non-ai version of the Nikkor 28mm f/2. I’m still deciding on a monitor, so this was graded with my non-calibrated MacBook Air... I’m slowly narrowing down my lens sets... finally.

It was only when it came to doing the formal portraits that the bride began to have her suspicions.

This week I should have the V4 of Pro LOG out so hold out for that, it works fantastically.