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Can't speak for Ed but I'm fine thanks mate, just been a bit busy writing some code to contribute further.

Frame grabs from a shoot yesterday, 1080p 120 fps upscale to 4K in Resolve.

Seems he couldn't mount those PL lenses on that Pocket6K then

Union Berlin are currently 3-0 down at home to RB Leipzig and Chelsea are leading 1-0 at home to Leicester City.

Without detracting from Graeme's work, it should be made clear that none of the algorithmic REDCODE specifics described in the text are non-trivial for "skilled artisans". I don't think any of this will hold in court as a significant innovation. A few notes: Re: "pre-emphasis curve" used to discard excessive whites and preserve blacks. Everyone here knows it very well, because every log curve does this. Panalog, s-log, Log-C, you name it, do that. In fact, non-linear curves are (and were) so widely used as a pre-compression step, that some camera companies manage to shoot themselves in the leg by applying them non-discriminatively even before entropy coding (where a pure log/power curve can be non-optimal). JPEG has been used since the early 90's to compress images. Practically all images compressed with JPEG were gamma encoded. Gamma encoding is a "simple power law curve". Anyone who has ever compressed a linear image knows what happens (not a pretty picture) to linear signal after a DCT or wavelet transfrom, followed by quantization. And there is nothing special, technically speaking, about raw -- it is linear signal in native camera space. But you don't need to look far for encoding alternatives: film has been around since the 19th century, it does a non-linear transform (more precisely, log with toe and shoulder) on the captured light. In an even more relevant connection, Cineform RAW was developed in 2005 and presented at NAB 2006. It uses a "pre-emphasis" non-linear curve (more precisely, a tunable log curve) to discard excessive whites and preserve blacks. You may also want to consult this blog post from David@Cineform from 2007 about REDCODE and Cineform: http://cineform.blogspot.com/2007/09/10-bit-log-vs-12-bit-linear.html Re: "green average subtraction": Using nearby pixels for prediction/entropy reduction goes at least as far back as JPEG, which specifies 7 such predictors. In a Bayer mosaic, red and blue pixels will always neighbor a green pixel, hence using the brightness correlating green channel for prediction of red and blue channels is a tiny step. Re: using a Bayer sensor, as a an "unconventional avenue": The Dalsa Origin, presented at NAB 2003, and available for renting since 2006, was producing Bayer raw (uncompressed). The Arri Arriflex D-20, introduced in November 2005, was doing Bayer raw (uncompressed). Can't recall the SI-2K release year, but it was doing Bayer compressed raw (Cineform RAW, externally) in 2006.

It does not have a crop most of the time. Has a small 1.1 crop when shooting N-Log. From a recent creative shoot, frame grab from 1080p 60 fps

Is this a hint that Nikon is finally releasing their raw video firmware ? https://nikonrumors.com/2019/08/16/new-nikon-india-video-teaser-nikon-has-something-exciting-for-videographers-and-filmmakers-a-revolution-is-coming.aspx/#more-137437

Blog post now up. https://www.eoshd.com/2019/08/vote-now-for-your-favourite-video-in-the-eoshd-200-challenge/ Good luck everyone with the last stage of voting. Poll is open till end of today UK time.

I've been using them on the Pentax Q and Samsung NX mini. Very fun. Starts around 07:25 Starts around 04:25

Fusion is the after effects replacement, it just is a completely different interface. I'm trying to wrap my head around it as well. Keeping up with software is a job in and of itself. With Blender's recent overhaul I'm committed to learning it to the point of doing 3D animatics for storyboarding and basic visual effects like tracked fire and explosions. We'll see how successful I am with that endeavor!

I found this on a site about h.264 license. Q: Is it safe to use such patented algorithms? A: Patent laws vary wildly between jurisdictions, and in many countries patents on algorithms are not recognized. Plus the use of patents to prevent the usage of a format or codec on a specific operating system or together with specific other software might violate antitrust laws. So whether you are safe or not depends on where you live and how judges interpret the law in your jurisdiction.

I bought a used dongle from ebay from before the price drop and it's fine. Think of it like buying anything electronic from ebay that costs a few hundred dollars... check sellers reputation, reason why they'd be selling such a thing, other items for sale, etc.

External video stream based recording is overrated and will die as quickly as it started. Atomos needs to diversify its products.

Anyone interested? This Lut fixes the brown tint, gamut clipping, roll-off issues, skin etc. and is made to look similar to RED IPP2 Soft Rec709 conversion - a conversion Lut to RedWideGamut/RedLog3G10 for a native IPP2 workflow is also provided. Can't wait to hold the Pocket 6K in my own hands - seems like it's more color accurate.

The Z6 is looking even more tempting! I can’t remember if it has a crop when shooting 4k Full Frame. If it does that sorta defeats the purpose of grabbing a full frame camera. Anyways this looks impressive!

Just imagining the hacker harassing a typical DPReview forum user. "You should pay me 3 bitcoins or I will delete all these...ahn...brick wall pictures".

Ive had both and compared them side by side. The Viltrox is sharper on all apertures accept for wide open, has an adjustable back focus (no tools required) and its like a third of the price. The only Metabones I would ever buy is the dedicated BMPCC version (which I currently own), used. Otherwise I would go Viltrox (I sold my Metabones XL).

Soon I'll put the link to the vote on the front page of the blog to drum up some more people to take part and vote. Then let's close the poll around Saturday-ish and do the big reveal of gear. Get some photos of the gear and post it. I'll do the same and reveal what I shot. I made two videos with two different cameras. Then the winner of the public vote gets the last place person's camera If he wants to give it him. We're not going to force it out of his hands This is supposed to be a bit of fun really. Then I'll choose a winner of the judge's prize, who will get one of my cameras.

All that can indeed happen, plenty of room in the market for everyone. But it would be foolish of RED to not enforce their legal rights where there's millions of dollars involved in potential licensing fees so I can see why they are engaging Apple in the patent dispute. In the smartphone industry as well this happens all the time, and they can all sell their similar technology but somebody needs to sort out the economic side, and that's what the US patent office is for I guess. Personally, as a filmmaker I just want everything for free Come on Nikon hurry up with that internal ProRes RAW for $1.5k

RED can still sell cameras with REDCODE. ARRI can still sell cameras with ProRes, ProRes RAW or cDNG. Any manufacturer can release a camera with compressed RAW. Sigma can release the fp with cDNG and ProRes RAW internal. Blackmagic could expand BRAW. Apple is seeking to invalidate the patent. They aren't taking control of it. Then the market will settle the rest.

I ditched Adobe over a year ago. DXO PhotoLab and Black magic Resolve are superior to Lightroom and Premiere Pro imo. There are also plenty of Photoshop alternatives.

In case you are interesed on a gear combination like that I believe that Sony will try a camera like BM's with an E mount of course. That's what I got from one of Sony ceo interviews .

Greece vs Serbia 31-23.basketball.friendly. Antetonkoumpo NBA MVP for 2018-19! That's what I listen to the car! Rolling shutter and color is almost the same. Do not think anyone would ever notice.

And Reims - Strasbourg gave us a boring 0 - 0, like pretty much all ligue 1 matches

I haven’t watched it yet either but here’s my guess... the Alexa’s 2K looks better than the BM’s 6K and whatever the Red Raven shoots at. Ok, I just watched the first couple minutes and became quickly bored when I saw that he wasn’t even using the same lens on each camera.

I really hope they add internal RAW.

Thanks, but I sort of went on a DIY adventure and never got to the point of having a complete camera. But maybe I'll post a late "entry" in the future once it's all duct taped together.

Stanly is quoting the Gizmodo article ? That phrase links to your blog. See screenshot above I posted.

Great turnout and fantastic videos!

Kisaha, I do this all the time. It really isn't that big of a deal. Virtually all of my events are at least 3 cam events. I set the time codes on each camera and syncing later is a breeze. You will invest in more storage and soon not think much about it. I have in excess of 100TB of storage, plus online storage (S3, etc.) As for which cam for a live event like that, I believe that I would personally bring the P4K - mostly without a speed booster. There are some really good zooms for M4/3, like the Panasonic 35-100 f/2.8 or the Olympus 40-150 f/2.8. That would give you good low light performance in a portable package. Although, in an event like that, I would really lean toward something like an A7iii for the really good low light performance and much superior focusing ability. But, yes. The editing will take longer with the 6K footage and the storage requirements are at least double. On my machines, I have noticed little difference in playback in Resolve between the P4K and the P6K footage. All of our machines are at least 4Ghz, quad-core processors, with SSDs, so they aren't beasts, but are decent spec'd machines.

If anyone gets one of these or already has one, just a bit of a beg that if you have an Android device then we are looking for a helpful guinea pig to try and see if it can be persuaded to take the GH5 video modes and the HLG profile.

if i could have found a gopro 3 or 4 black i would have bought it for the $200 challenge as well. Something to be aware of is the colour shift that happens with the gopros when you change lenses with the 3's and four's doesn't happen with the 5 well i thought it didn't happen with the 5 but this site says it does. basically you will get pink edges the only way to fix it is to a $50 (or used to be $50 download, its now $25, business must have slowed alot) to change the lens profile somehow. https://www.peauproductions.com/products/service-remove-gopro-lens-profile-no-pink-corners

Damn, that's sweet! Glad to hear you got your micro. Enjoy!

welcome to the club ? edit ..it would be interesting to see what the summer/winter ring and dull haze rings do. You might have found an intriguing in camera effect. since we are naming and shaming, i bought a carl zeiss for a bargain price expecting great things. In reality it was a lot less lens than i anticipated lol. that will teach me to do more research. I'm not sure what to do with it either. Thats a 63mm nikon enlarger lens beside it

Yup, there is no need for it to have an electronic chip.

i liked webrunner, i will miss him... and no doubt he had a lot of experience that he tried to or could have imparted to the forum. Having said that he was about as tactful as a sledgehammer and it was his way or the highway. Personally i don't think that cuts it in this day and age. Sometimes a line has to be drawn in the sand a point to which someone will go to but no further. A camera forum is not a battlefield, and its not life or death either. if you cant distinguish between the two your probably missing the whole point of having a camera in the first place. mercer is american i believe I dont have hate for him ? in fact of the entire forum, he seems to be living the dream. We regularly get posts or updates on his progress what can you show us ?

android for me, not a fan of apple and the way they do things. seems to me if its not in their best interests its no good for you either, stuff that

Atomos becomes happy friends with Apple. Apple gets ProResRAW to promote Final Cut. Atomos provides the recorder that gets arround the "internal" raw recording pattent. Everybody is happy. Camera's just need to give non-compressed raw output. No legal worries for any camera company as Atomos handles the rest. Everybody is still happy. Apple suddenly turns arround and attacks RED's "internal" pattent to potentially kill Atomos' only reason for raw over HDMI's existence. If Apple wins, ProResRAW or equivalent can be recorded INTERNALLY by any camera....effectively leaving poor Atomos' raw over HDMI dreams out in the cold. It literly wont be needed anymore if Apple wins. Atomos to Apple - "Thanks for nothing good buddy" Wow!

So I guess getting this camera on Monday for an upcoming job by the end of the week is probably a bad idea ? Still have my Sandisk Pro 95MB 256 and 128GB cards here, I guess they should work fine for video.

What about this one? https://www.samyanglensglobal.com/en/m/product/product-view.php?seq=230 The 14mm is an "ancient" design with some flaws. I will be getting the 16mm the next couple of weeks but I am not going to have time to test it I think. What about this Haida VariND? Is it any good? Do you have a link for the specific one?

Pocket Camera comes with the full Version of Resolve. You can buy a Resolve Dongle for about $170 on eBay.

Please don’t advertise you’re an American, it makes the rest of us look bad. Hahaha... just kidding. I’m almost convinced Skip77 (and possibly ZachGoodwin2) are alter egos of somebody on this site having a laugh.

So I keep meaning to do something more elaborate for the BMMCC but never have the time but I had an hour free this afternoon to knock this together for anyone who wants something cheap and easy to base a DIY controller on. Basically, its a 6 channel servo tester that costs £15 from Amazon ( https://www.amazon.co.uk/LewanSoul-Channel-Digital-Over-Current-Protection/dp/B073XZH264/r ) and a £5 solder less VGA breakout from Amazon ( https://www.amazon.co.uk/sourcing-map-Breakout-Connector-Solderless/dp/B07MQX1BBP ) (Yes, I've soldered the ground but thats only because mine must have been made on a Friday afternoon and they put in one side of the connector wrong ) With this, you can use the rotary pots to control four parameters on the camera so you could use it to have physical control of focus, aperture, ISO and WB etc. I've shown the solder less breakout as it makes things really easy for anyone to connect up (it has a shell to enclose it obviously) but you can just solder to a connector if you want to. Obviously you will want to use longer cables than these test ones ! The connections from the breakout to the servo board are BMCC PIN 1 > SERVO BOARD - BMCC PIN 14 > SERVO BOARD + BMCC PIN 3 > SERVO BOARD SERVO 0 S BMCC PIN 8 > SERVO BOARD SERVO 1 S BMCC PIN 12 > SERVO BOARD SERVO 2 S BMCC PIN 13> SERVO BOARD SERVO 3 S You then assign the functions that will be controlled by the pots on the servo board in the remote menu of the camera by setting the functions to be controlled by PWM1-4 respectively. (servo pot 0 is PWM1, pot 1 is PWM2 etc). So if you want to build your own DIY physical controller thats all you need to know to get it going and then its up to you how you case it etc. Because the BMMCC only has 4 ports you can control through then you have got two spare controllers which if you wanted to get fancy you could connect actual servos to for controlling manual focus lenses, zoom control etc.

So much this. WTH/F Adobe? There's no reason with their budget that they couldn't have released a cohesive "PRO" version of their editing software with strict hardware requirements and support so it's an effective reliable tool. Nope, just an endlessly buggy BS. My favorite new annoyance is this: I do a lot of slow-mo, and I like to shoot in 60p. So, I batch apply 50% speed to my clips for my 30p sequences. In bins I can scroll the thumbnails, which is helpful. However, latest version, for no discernible reason, will now "blank" all thumbnails of clips with any speed variance applied. They get turned to black. So now I'm looking at a bin full of black thumbnails. Basically, making thumbnails of clips with speed adjustment useless. https://forums.adobe.com/thread/2622768 Yes, it's not the end of the world, but it affects the workflow. One needs to fight Premiere to work effectively. That's always been the problem. It just doesn't play nice. I've been using Premiere on and off since version 1, so I know it's always been a problem child. Had a 15 year run there when I was on Final Cut and that was nice. One of my colleagues is still using FCP. I might return to it although I don't find it as appealing as the traditional version. Ugh, I dunno. Gave Resolve a spin but their version of using proxies was unreliable and everything I do is proxy editing...so still looking.

Based on comparing the actual sensor size of the Pocket 6K with the JVC LS300 then from my experience the typical VSM setting on most MFT lenses would just cover it. Though even a small windowed crop mode of 5-10% with that extra resolution would be a worthwhile trade off to be able to use those lenses. You think and have seen ? Which one is it ? Your argument or one that you have seen? Either way, can you talk me through how there can be a better argument for the EF mount camera when both cameras could take EF lenses and the MFT camera can additionally use native MFT, Leica M and PL mount lenses ? Based on the arguments you have thought of/seen would your Nikon Z6 have been better to be F mount or is it better to have the shallower Z mount that opens up a whole mass of different lens options and also be able to use F mount as well then? MFT P4K users ? As opposed to what? Users of the non-existent EF P4k? You are conflating two entirely different things. These are different cameras and hence why the reaction from people who actually own the Pocket 4K has been largely muted because either they aren't that bothered about the extra resolution or prefer the extra flexibility of the MFT mount or don't want to spend the extra money to trade up the camera and the increased IT costs of dealing with 6K or some combination of all of those. And some owners have gone "great, I'll buy the 6K one and use that as well". As much as you'd clearly likely there to be a massive outpouring of rage from Pocket 4K owners about this new camera, it just isn't there because this is not a Mark II version of the Pocket 4K thats come in at the same price with more resolution, it is clearly a different camera. For anyone with a bizarre fetish for revelling in and stoking other people's outrage, I can see that that would be a disappointment but it doesn't alter the facts. Now, if the Pocket 6K had come out with an MFT mount at or around the same price then you might well have needed a few extra boxes of Kleenex and some screen wipes but thats because that would have been a Mark II version of the Pocket 4K. But then of course, that would also be related to it using the same, more flexible, mount. You can't get any detail on the P6K if you can't get your lens on it. Are we just going to gloss over the fact that you can't mount the vast majority of PL lenses on it or does that not now matter for a cinema camera ? There are flaws in a lot of the side by side tests but if we let that slide then considering its twice the price then it should really shouldn't it? Which is why its whats known as a different camera.

You only have to use Resolve for color grading, then edit down and transcode the footage out to ProRes HQ. Then FCPX or PP. It's not the issue most make it out to be. Resolve has killer color grading set up that blow FCPX and PP away. But for editing Resolve is not fast enough for me. And I love FCPX.

*CUE INSPIRATIONAL MUSIC* We live in an imperfect world. We're all humans. Mistakes happen. Maybe Patent office was starstruck like Andrew said. It's PETER FRIGGIN JACKSON! THE LORD OF THE RINGS!!!!!!!!!!!!!! THE HOBBIT!!!! WOOOOOOOOOOOO! That's why, in my opinion, we have the law to try to fix things up. And always, always, change comes from the bottom up. It's every day people like Bruce from Jinnimag who change the world. Not politicians. Not billionares. Whistleblowers, and people who stick their necks out. The little guys. And they do this maybe out of pride, or revenge, or god knows what, but they do it. And with a silly video series on youtube with mario coin sound FX.

Voted. Well done all.

so after the reveal whats next ? what are the odds of making it a monthly or bimonthly challenge. to give the users of the forum something to aim for, or aspire too perhaps ? cause we all do a lot of talking, something to keep us learning the craft would be really constructive as well.?