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Stop bumping it you buggers, I'm working on 50 different things as it is without being guilt tripped that I haven't finished this one I'll put up a pic of a new iteration of it next week hopefully. It will of course be in an elecrtic blue case as I still haven't changed that spool on the printer.

Or put a Sigma ART lens on the Fuji GFX cameras

Little bit of fast fun playing with GHa lut, being bored in horrible circumstances at one of the lost nights in my life... or testing if I could catch that non-understandable selphie generation (Tiny Wess Anderson's color touch is intentional.)

It started off here But I've started to look at it again recently as a standalone (its controlled be a fader here for example) The idea being that it will be in a square filter holder type system like the Cokin (rather than the cardboard and insulation tape seen in it current incarnation !) with the electronics package in the side. I have found a pretty small microcontroller and screen option that makes it viable to be in a compact standalone form factor but it still has Bluetooth LE/wifi to be remoted from one of my other 849 different controller prototypes that I'm currently also working on Being able to control it from one of my camera controllers offers up the option for interesting functionality such as automatic ND adjustment tracking so you can maintain consistent exposure when changing aperture/shutter/ISO.

Exactly, this is very exciting in my opinion, if you look past the traditional resolution thing (4K is already too much, or just right, for normal viewing, on my OLED, HDR is far more important than resolution), 8K can be a very powerful tool for many applications, having something like this in prosumer price (1999$) can significantly change the industry going on. Insta X is truly amazing, and can put on Premiere and manipulate it as you do with other footage, if you add the Kolor (GoPro) VR plug ins, then the possibilities are truly limitless, can easily mix and match footage from other sources (this is the main advantage going to your favorite NLE suite) and create something you couldn't just a year ago. I believe that this camera CAN appeal to a lot of people here, having a P4K and a Sharp can cover really anything, even multicam events .

Yep and the cooking show scenario is precisely the one shown in the Mevo video that I put up a few comments back. This is another one which was cut live on their app showing a similar scenario. You have to look past the image quality (and bear in mind this is a €350 camera that is also live streaming !) and consider this concept but at higher quality and with an interchangeable lens so you aren't tied in to a super wide base shot if you don't need it. The control app isn't just limited to cuts but can also do simulated zoom creeps, pans and even face recognition tracking to keep a subject in frame. The app brings us on to another aspect which is that I don't think people will be taking content and slapping it on the timeline of their favourite NLE but will be doing it inside a dedicated app. As with the Insta360 One X, I could if I wanted to put the source file from the camera into FCPX and create the same process to turn the 360 content into steered flat content but why bother when the exact tools I need are in the app and can do it far quicker? Sharp are already talking about proxy workflows and I think a dedicated app would be the way to go for them for this sort of application as it can be hidden away from the user who can just get on with creating the piece without having to shoehorn it into their existing NLE. I have to keep stressing that I don't think this camera is going to appeal to that many people on here but for people who have certain applications, it has the potential to be very significant indeed if Sharp come up with a task oriented app (or even a plugin for the other NLEs) that packages that functionality in as logical and easy to control way as the apps for Mevo and Insta360 One X.

Use it to activate DR 16. One can use 2 licenced copies of DR (on 2 computers, or pn 2 partitions). If one attemps to use the same licence on the 3rd instance, it will activate the 3rd, but deactivate the others. However, one can always reactivate DR (within the limit of 2 instances), as well as deactivate DR through the Help menu.

I think people associate vlogging with mobile filming (like with a gorillapod) but I would say that the vast majority of "people who upload videos of them talking to a camera" are in home studios with the camera on a tripod. In this genre jump cuts are the most common edit type, and having the extra resolution will allow them to create different zoom-levels and cut between them to hide jump-cuts. If you need to publish in 4K (which is a topic that we can debate another day) then having 8K to crop into can really help. In practice you can do mild scaling of 4K without visible artefacts, however if you're doing something where you want to crop in severely to create several virtual cameras, then 8K can be a real help. For example if you have a cooking show you can have a wide angle lens, and turn that into a wide, a medium of you, and various close-ups of what you're doing on the bench. Anyone presenting anything like this would benefit. If you had a 16mm lens you could have a 16mm wide, a 35mm mid of you, and up to a 70mm FOV for details and still be in 1080, 100mm if you're willing to rescale a bit. Yes, 8K will be a pain to edit, but if you're using one 8K camera and one lens instead of 4 cameras, 4 lenses (or more), and all the associated media management, syncing, colour matching, etc, 8k could still be ahead for a lot of people. It's a different mindset - in the new world we 'over capture' and frame in post, just like a 360 camera. @BTM_Pix has already mentioned this. In the old world we based our capture format on the publishing format, but this was a technology limitation that we have now been freed from. Yes, it has attractive and nostalgic aesthetic aspects to it, but that doesn't mean that those limitations work well for everyone or all types of film-making. Saying that no-one needs an 8K camera because no-one needs to publish in 8K is like saying the only point of buying an 8K camera is to publish 8K, which is also like saying the only point in buying a Ferrari is to drive at 300kph.

So... I've been messing around with making a new add on for my controller system and this is it in its embryonic (cardboard and electrical taped chassis) form. It has 3 dedicated keys on the controller for incrementing and decrementing in stops (it goes to about 95% total blackout) and a clear function. Though this is not a full clear as there is about a half stop of ND at the lowest position. The level of reduction is actually fully variable but for the implementation I'm after it makes more sense to control it in stops. As with the other functions, it can be recalled within one of the 8 one touch recall global presets along with exposure, white balance and picture settings. I've also incorporated an automatic aperture tracking function. This means that you set the exposure and ND level that you want at a given stop (say f8) and it will adjust the amount of ND up and down as the aperture changes to keep the exposure constant at any aperture. Right, thats the good news out of the way.... The bad news is that the surface area is going to need to be a lot bigger (these things are usually mounted at the back of the lens but I'm after a front mounting solution for flexibility) to work properly. Quite a bit bigger and unfortunately that will mean quite a lot more expensive. The question is how big and how expensive would this be before you wouldn't want it, if you even want it at all? (currently its part of my controller system but I've already ported it to a small micro controller to have it be a standalone as well). The other question is would you want it within a lens adapter solution anyway rather than it being front mounted (as per the Lens Throttle EF to MFT) so it could be an electronically controlled version of one of those ?

In or out? It's the big question facing the British today. Native lenses for mirrorless cameras offer all sorts of advantages. They can be smaller. They can be video optimised with internal autofocus. Canon themselves said recently: "With the move to mirrorless the aim is to optimise the space where the mirror box used to be - that was what we were looking at. This allows us to make the lenses smaller and also to raise the optical quality." So how's it going making the lenses smaller? If you imagine at the Canon factory they have a range of levers to prioritise. When it came to planning his lens, the man on the optical quality lever pushed fully forward. The man on the price lever wrenched it as far forward as it could go. The man on the size lever was drunk, his entire body slumped forward on the lever. The man on the video autofocus lever was absent in entirety, and the factory sign in book empty for months. In fact the Japanese police think he may have been abducted by the Yakuza. Read the full review

just the youtube web version - yea it's still really bad, but if you look at what's on youtube, I'm just trying to help them - help the little guy

Hmm... 15 elements and 950 grams on a 50mm prime. Granted, it's f1.2. One has to wonder when they're going to stop? I don't see this as progress in 2019. Wouldn't 8 elements and 300g be more of a target? Let's sacrifice the surgical sharpness for something a little smaller. Just an idea.

Yeah I got a 20,000mah one. Hoping it will last 8 hours

Hot lights are pretty cheap tho! Got a 1k for like $100. Just saw an Arri 6k HMI for $1000. Have to be able to power it though lol

Yep, sort of... The older lenses got a boost by virtue of being on the more recent bodies, but the newer lenses generally perform better regardless, especially those f2's.

I think what he wanted to say is, that older lenses got a bigger boost in performance compared to newer lenses. The new f/2.0 primes and f/2.8 zooms are still faster, but the improvement from X-T2/X-H1 to X-T3 was by far not as big as with the older lenses. And I absolutely agree with that.

I definitely will, if it has 10bit and some kind of log, 100%! With a P4K and a Sharp 8K can have a super small setup, with 1/3 of the money the C200 costs! and you can shoot raw, 8K, multi cam - like 3 4K cams, or even more for 1080p delivery, have great in camera stabilization (which I assume the 8K will), interchangeable lenses, a lot more formats and codecs to choose from, both cameras in their most minimal rigging can be a lot smaller and lighter, e.t.c If it is close to 1999...if it is more than 2999, it can break the deal!

http://avid.force.com/pkb/articles/en_US/download/Avid-QuickTime-Codecs-LE If that doesn't work it might be VLC having trouble with the codec.

4K wide 160fps mode coming in new firmware for the E2.

Zcam E2 is getting 4K wide 160fps mode in next firmware as well .

At least they're not marketing towards photographers. LOSERS!

Well..Sharp did get one thing right. Vloggers really need flippy screens. But they also really need stabilization. All I want is the perfect camera. All I want is the perfect cameraaah!

i regraded it for them to make it better. tried to get rid of macro blocking:

Was holding out hope, but after using the S1 (vs the EOS R), I'm going full Panasonic for the foreseeable future (the S1 is AWESOME). The EVA-1 is approved by all, has amazing, wide variety of codecs, and is an all around stellar camera (will need to shell out $300-400 for a monitor of course). I'm even starting to prefer Panasonic's color science to Canon's. The EVA-1 + the S1 + the GH5 is a great three-camera lineup Panasonic has going. Excited to see them move their low-end cinema line over to L-Mount and, hopefully, an MFT mount camera too. It would be great to either have an EVA Mini MFT with the GH5/6 being the B-Cam, or an EVA-2 L-Mount with the S1 as a B-Cam.

wooooooo 575 vs 300 watts . DAMN GINA! that's like a joker 800

For powering, 1) https://cvp.com/product/hawk-woods-dv-bm4-power-adaptor Hawkwoods is a well known company that I use for powering my sound equipment with NPF batteries. They are very well build, and never failed me on the field (as of, yet!). Also, I would prefer to have a Canon battery inside just in case, and for hot-swap, something the battery grip doesn't allow. 2) https://cvp.com/product/idx_sl-f50_battery I got 2 of those recently, they are small, light, incredible built, have 4 led metering, X-tap (like a D-Tap, but from IDX!) AND usb. They is a model with bigger capacity, but this specific one drives my Focus for a whole day, doesn't add too much weight - 250gr while a same size and capacity lesser (but very good, got it for 5 years and still works very good) brand, weights 280, and the SL - F70 (9.900mAh) is 350gr. If I was going full in, I would go https://cvp.com/product/hawk-woods-dv-f990-sony-np-f-battery 10.200mAh for 300gr On another note, I am wondering, why can't we have something like this? https://fotodioxpro.com/collections/lens-mount-adapters/products/eos-snye-p-fusion-ndthrtl The ND issue is the most important for me, and really puzzles me. vNDs in front of the lens are not so practical, and still to find a very good one (my next try will be https://breakthrough.photography/products/x4-neutral-density?variant=30850760209 but the customs/taxes/VAT for Europe almost doubles the price). This is a very pressing issue, and believe will be the turning point in the history of video cameras. Imagine a P4K with a build-in ND, or e-ND, that would end all conversations. Right now people in forums arguing about no NDs (and right so), and the fact that it has only 1 mini-XLR (some people just can't be pleased).

New video! Lowlight test. Uploading the raw files!

No, it is not. At least not in my world. Perhaps it is as a "game changer" for a certain market niche of people who are somewhat clueless at audio but are doing it themselves the entire workflow from start to finish. But in my line of work I'd be moving backwards from my very excellent Zoom F8n, and what would I get in return? Next to nothing. I'd "gain" a nonstandard file format which "solves" a problem I don't have. (I could easily come up with half a dozen things I'd rather see instead from Zoom first) At 32 bits, then even if you didn't have a limit with a microphone, you'd find life itself would be a limit to what you record with all 32 bits. To record from one extreme to the next at once would destroy you. It is like if you recorded a gazillion stops of dynamic range of light with your camera, it would be both so hot and so cold that you'd be DEAD.

Panasonic DC-GH5 SLR Magic Anamorphot-50 1.33x Anamorphic Adapter Zhiyun Crane v2

And then it wouldn't be so bad when you accidentally put your foot in your mouth!

Of course if you are an enterprising baker and want to stretch their "Need a license to sell food but not to sell shoes" rules then you could always make these.

One quick hack to turn ANY cinema camera into a low-light MONSTER!!!!!1

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.

The discussion was about business licenses, with specifically the example of selling shoes. And no, we don't ever need a general business license or one for selling shoes. Yes there are some specific narrow examples which has regulations around that: alcohol and food. (and even then, there are various exemptions for example: Food stalls that sell food to raise money for charitable, philanthropic or cultural purposes, for up to 20 occasions a year on private land do not need to register.) But if I wanted to import a dozen cameras from China tomorrow and start selling them? No problem! Want to order a few rolls of cloth and start making my own clothing designs to sell? No problem! Want to open a business offering website development? No problem! It is really only once you start to get to a certain scale that the red tape really bites into you (for instance once revenue is over $60K, or once you start taking on your first employee). As for what all those people at the Auckland Council keep themselves busy with? Lots of permits/regulations/consents around construction (thanks guys, one of the reasons we're one of the most expensive places in the world when it comes to housing costs!), or coming up with ways to spend our ratepayer dollars...

i've been using it with canon 28/1.8 here on a shots with dancing girl and couple of other: and it did pretty well, also totally ok for photo. Although i have a minor glitch before i updated firmware to latest version.

Absolutely nothing in that trailer screams out to me "wow, an amazing low light sensor!" Remember just because the scene *LOOKS* low light, doesn't mean it was in reality. You could have brought it down in the grade. Many of those shots look to me like they've got quite bright lights being used there, and not at all subtle. Probably due to the low base ISO of the MX sensor. Yeah M was downright awful, MX was still bad, and Dragon wasn't great either. Gemini was the first (and only from RED) to do really well in low light.

Personally I love his channel Fingers crossed!

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.

I think you might be calling me a liar? Interesting. Actually, a pretty good call because I was. Probably.

Yes.

Hmm lol. Your turn is coming. First thing is you Have to live that long. Not as easy as it seems. Eh maybe by then they will have a cure for just about everything and they will just have to start beating people to death.

What's the point of the big bad screen on the back of the Pocket then? They may as well have left it off. It sucks up power and doesn't point in the direction you need it to, and you can barely see it in sun light. Of course, nobody in Blackmagic pointed this out to the design team!

I am in the wedding business, photography & video and have mixed views on this. First of all, there is a lot more competition. a LOT more. Since I started out close to 20 years ago, there are at least as 10x as many offering a service. Also, the competition is a LOT better than it ever has been, both in quality of output and in regard to marketing it. Video is less crowded than photography however as the learning curve is steeper and the production times longer, - less appeal for many ie, less see it as a fast buck, whereas with photography, everyone with a camera thinks they can do it. Bollocks, it takes years and dozens of different scenarios to get really good at it. I came from 5 years of college and uni photography and reckon it took me nearly 8 years until I felt I really knew what i was doing without having to really think about it. Then there is this 'race to the bottom'. It's been talked about for years and to an extent, it is true...but at the same time, not completely. The trick of it is twofold. First, you need to be offering something that is on another level to 'the rest'. I am not saying you need to be the best in the world, but better than anyone else they will probably look at. Ideally, you need to have a number of 'points of difference' and deliver this message with clarity. People have increasingly shorter attention spans. Second, you need to be found by the type of people that are your clients. This may only be 1% of the entire market. Or less. If you are trying to appeal to all and catch fish with a massive net, you might actually be better off with a rod and fishing for one species only. In regard to the latter, you can try and have a broad appeal and try to snag that 1% through the sheer volume approach or target your marketing and have a much smaller volume of contact, but a much higher booking rate. I've found the latter works for me and prefer the 'larger fish in the smaller pond' approach works better. Over the years, I have seen so many 'young bucks' come into the industry. First of all they are full of enthusiasm and it drives them for a while and all that energy helps compensate for the relatively low prices most charge, fully intending to put them up once established. They then try to do that and the work begins to dry up. Most then give up and go back to their 9-5 day job with all it's securities when they realise the reality is not swanning around the world at their clients expense and editing on a laptop in coffee shops. One other thing I have found is that 'good enough' is not good enough and you need to go above and beyond simply to maintain your position. It's extremely easy to get sucked downstream and incredibly hard to swim upstream/against the current. The latter can be done, but to get that extra 10%, often requires another 100% effort. Is it worth it? Maybe... But yes, I 'lose' out sometimes to the sub 500 photographer who either promises the moon on a stick, or more often than not, don't and they (the clients) know they won't be getting much...but that exists in all kinds of services. Or the client deludes themselves that the cheaper option will work out for them only to regret it. Doesn't help us if they do however as folks rarely pay twice and in weddings, never. To conclude, another couple of attributes any small creative business needs are a thick skin and a lot of drive/determination. I would not want to be starting out in photography/video today knowing what I know and would persuade my daughter against it. The bottom line though is that there IS a market still and a very good one but it's a case of finding the right one for you and working it. Continually. Just like an athlete, there are some people who are naturally gifted, but they can and will be beaten by someone with not so far off genetics that grafts harder then the rest. Oh and one other thought, I have tried several times unsuccessfully to get into the commercial market and in the end gave up concluding I could just not make it work for whatever reason, so I plod along with weddings which I genuinely enjoy shooting. Not overly keen on the whole industry and what goes on behind the scenes, but that is another story...

A million plus one.

Very cool... My view is this... 1. Still shooters dont really use ND filters 2. Video shooters use them all the time. 3. Hybrid shooters need/want switchable NDs. I dont personally think that still shooters would like to pay 'much of a premium' for an electronic ND and as still shooters are in the majority that may well be a barrier for an in camera electronic ND. I like this sort of solution... https://dronedj.com/2017/10/12/dji-16mm-lens/ As a hybrid shooter I would be all over a set of lenses that had built in electronic nd filters...

Holy Mother of God. You're like the Einstein of the Group. If you make this cheap (with an inbuilt battery an bluetooth controller), this could sell in the million. Lemme PM you.

Well actually... got this in last week: Straight from China. The cheapest price I could find online at some handler. They offered me an even better deal if I directly purchased from them and not an intermediate site. 225 EUR below the lowest price I could find through Geizhals.eu (happened to be at Amazon.de). Fantastic experience to be honest. Even flew below customs radar. And look, it's an actual physical and brand new lens. 'Bout third party batteries... Yeah, I know the 'so you've spent all this money on an expensive camera and then take the cheapskate route on the stuff that can ruin that very camera?'-philosophy. What can I say? I like being a bit of a 'rebel' and living 'dangerously'. But seriously though, they're friggin' batteries. That's not rocket science (it's potato science). You can pick up A-brand batteries all shapes and sizes for close to nothing. But wait. Let's make each individual camera take its proprietary battery and charge the sh- out of 'em (pardon my language). Wait... what now? Where did the money go? It didn't go into making the battery, that's for sure. So in all fairness, I respectfully decline buying original batteries. Just do some research. No brand = no go. Don't buy any brandless stuff, yeah, I actually have to agree, that's pretty silly. Don't just go for the cheapest option either. But you can just look up reviews. Check if the manufacturer has a site. Does it looks serious at all? What are their claims? What is there warranty policy? Are there a lot of places selling these batteries? Does Amazon trust 'em enough to sell 'em themselves? I myself have now landed at Patona. Their batteries have been treating me nicely. Actually yesterday bought some of their NP-F970 Premium batteries with charger. Already have some other camera batteries from them, but the F970 is a nice accessory powering battery, that kinda gets rid of the problem of needing tons of AA batteries to power one thing. I don't know. Maybe I'm just good at assessing stuff, having a fair dose of good judgement and making the right calls, but so far I've been very fortunate and happy with the products, logistics and customer service I've encountered whilst buying stuff from abroad (and I do need to mention that I buy silly amounts of stuff from China btw, not just that Nikon lens, they have some terrific bang-for-buck going on, like personal audio, smartphones, tablets, all that good stuff... although you do need to know your stuff and put in the research, and that's just 'what' you're getting, not per se 'how' you are getting it). But anyways. Your problem isn't even with the product itself, you are just unfortunate enough to be stuck in the world of logistic mishaps and lousy bureaucracy. Could be partly because shipping batteries usually form a bit of trouble, dangerous goods and all that, documentation, clearance... then there's unprofessional handling of the actual logistic services and customs... and perhaps subpar customer service and if such a valuable parcel just vanishes, it better be insured properly. I had cinema lenses from the States coming my way a week before I received the Nikon lens. Had to be insured and handled properly. And kinda knowing about bureaucracy and procedures it was pretty obvious that paying for it to have that kind of treatment to be done right would also result in it being treated so professional as to tax me for the whole thing (could've bought that Nikon and then some for that). No flying below radars there. But yeah, that was kind of the calculated risk of not taking risks. So... personally, I don't mind getting things from abroad. Also don't mind cheaper items in general, so I don't share the 'cheaper is more expensive' and 'don't ever buy from overseas'. In meanwhile I kinda know the ins, the outs, the risks and have to say that I've been fortunate enough not to have made any losses along the way *knocks on wood*. But yeah, I get that sucky situations suck, so I do hope you get this sorted out somehow.