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V2 of our 3C Cinema Camera Control App now includes support for the Tilta Nucleus Nano focus controller. The Nucleus Nano wheel connects wirelessly to the 3C app over Bluetooth LE and enables you to use the wheel to electronically control focus of your native MFT and adapted EF (with smart adapter) lenses on the Pocket 4K without using a motor. Electronic control of the lenses can be a big advantage when using the Pocket4K on a gimbal to keep the weight down or to keep any rig smaller and not require additional powering for the motors. In addition, it also circumvents issues that arise when using the motor with small native lenses that don't lend themselves particularly well to using focus gear straps and often have limited manual throw. It also enables you use the hardware REC button on the Nucleus Nano wheel to control the Start/Stop of the camera and the record status is returned back to the wheel to illuminate the switch when the camera is recording. As the Nucleus Nano wheel is fully integrated into 3C it also enables you use it to create the 6 focus storage positions which you can then choose to automatically switch to either in Snap mode or multi speed Transition modes. The Setup screen of 3C now includes two scanners for easy selection of the camera and the Nucleus Nano wheel once Bluetooth mode is selected in the wheel. V2 will be submitted to the Play Store for publication on the 11th October and will be available as a free automatic update for existing users.

On FS5 & FS7 I use speedboosters, so they're pretty much FF equivalent. I use Canon L zooms 80% of the time and Rokinon Primes the other 20%. Canon 17-40 f/4, 24-70 f/2.8, 24-105 f/4, 70-200 f/2.8 IS. Rokinon DS 35/50/85 No strategy other than If I feel a need or a gap in my coverage, I plug it. I mostly use the zooms as they're much easier for the doc work I do. Never use or want AF and always have IS turned off on the lenses that have it (I have my cameras rigged heavy so the inertia helps smooth things out, and the IS on the older Canon lenses is too jumpy). I'm thinking my next camera will be the UMP G2 and the lens choices will be a bit harder than that. There's just no good wide-to-mid zoom that ticks all the boxes the same way the 24-70 or 24-105 lenses do. I'll likely get a Sigma 18-35 & 50-100 but don't think they will quite give me the coverage I need for my work. It's really been a while since any company - either OEM or 3rd party - bothered to update their ~17-50 APS-C line-up, and the existing ones are all pretty terrible for video work due to their poor build quality (though some are optically good). I'm really quite surprised that no company has yet released a decent, modern, 17-50 f/2.8 EF mount cine lens, given the amount of s35 cameras that support EF mount. Something similar in price and build to the 18-35 Sigma cine, but a bit slower and a bit longer, would be the perfect run-n-gun lens for a huge number of people, but it simply does not exist at a price point that makes sense for cameras like the C100/200, UMP or EVA1.

For better context of your full setup, I think you need someone else to take a photo of you taking a photo with your 3rd camera of your other two cameras.

Yep, which is why trying to emulate or imitate what Hollywood is doing, what I was saying in my posts, is a losing battle. Focus should be #1 on story and #2 on acting. If you have those 2 nailed, it doesn't matter if you shot it with an Alexa or a DSLR. Everyone agrees on story, but without good acting, you will not evoke emotions from your story. Way too many "pretty" movies out there from young, independent filmmakers with nice images, expensive cameras, great lighting, and even decent stories. But a lot of bad acting. It's not easy to have great acting on a small budget, but it should definitely be a priority over everything else IMHO. I believe this is overlooked at the expense of other items.

New low price: Panasonic GH5 now sells for $1397 only https://www.43rumors.com/new-low-price-panasonic-gh5-now-sells-for-1397-only/ Adorama, Amazon, and B&H Photo

(https://youtu.be/AVuwmQo3YRc) --

We all talk about lenses on an individual basis, but what is your strategy for putting multiple lenses together into a kit? How many lens kits do you have? How close are the focal lengths? What aspects do you think matter when matching lenses? I've heard on reduser that people often want a modern kit for some projects and a more vintage looking kit for other projects. My personal strategy is: I have about a 2.3x ratio - so FF equivalents of 16mm, (16mm x 2.2) = 35mm, and (35mm x 2.3) = 80mm. I used to have a 116mm instead of the 80, and it was too far apart at 3.3x the 35mm They are 8mm F4, 17.5mm F0.95, and 40mm F1.8 and I'll be upgrading the 8mm to a 7.5mm F2 lens this year, so they'll all be under F2 for use in low-light if required They're all full-manual lenses, so I can have full control and also nice MF with decent focus-throw. This combined with IBIS gives me the perfect combination of stabilised manual lenses I chose a 35mm equivalent as I like how the 35 is wider than a 50mm and longer than a 28mm, both focal lengths I don't think I like that much What is your style? Why have you chosen the lenses you use?

@Snowbro Try these colour management settings for better highlight rolloff. It works quite well on the 4k

We don't have AF on the P4K or P6K anyway.... ?

Used this combo for a TVNZ job recently.. I tried cage stuff before but found it wasn't for me, I prefer minimalist setup.

For their intended professional live editorial photographer market, they've addressed a couple of big issues with the higher fps mechanical shutter (though 10fps still leaves it quite a way behind the D5/1DXii) and the connectivity options for file transmission. Not sure why its taken them over two years of extremely low (if any) penetration into that particular market to react to what were blindingly obvious shortcomings in the original and I can't see it making much difference against the Nikon/Canon duopoly. The add voice memo has been in Nikon and Canon's pro bodies for years (D3 was the first one I used it on) and its a great feature, particularly when your images are being remote edited. The speech to text aspect with the A9 is very interesting but it ties you in to their app which means another step in the workflow as you have to pass it through that to get to your real editing app. For sports though, the use of key code shortcuts to generate captions (e.g. When I type "l10p sc1 tmi l1 r0 tag" into my caption field it instantly converts it to "Liverpool striker Sadio Mane scores their first goal to make it Liverpool 1 Red Bull Salzburg 0 in the UEFA Champions League Group E match at Anfield stadium, Liverpool, UK on 2nd October 2019") is such a vital part of the workflow that it won't offer any speed benefit at all unless they can tie that facility in to it. As caption accuracy is non-negotiable then I'd also be worried about it getting a few wrong while it was learning my voice !

I think it’s important to first note that I’m a narrative hobbyist with a long term goal of producing a few short films and a feature film as time and money permits. I’m more interested in composition than resolution, but consider myself a writer/director more than a cinematographer. With that being said, I love lenses and through the years I have tested nearly every major brand of vintage lenses on most modern mounts. When I finally settled on a camera, I learned that going native, whenever possible, was the best option, and most of the time, a zoom lens allowed me the freedom to concentrate on the creative. But there aren’t many zoom lenses that offered the MUST HAVES for handheld, guerrilla shooting my style and circumstance requires... • size and weight • good image stabilization • fast aperture It was easy to get one or two of the three, but that elusive third usually ended up being the dealbreaker. And when you added the cost of a good zoom lens, it was difficult to compromise on even one of those. So, I moved onto the single prime concept of shooting, which I really enjoy from a creative stance. I’m pretty steady handheld, up to about 35mm, which happens to be the sweet spot for my point of view. And if I use native Canon glass with IS, I usually don’t need any secondary support other than a neck strap. But even the single, prime concept doesn’t feel perfect for my circumstances so I’ll most likely end up compromising my MUST HAVES and replace a few of my prime lenses with a slow zoom and end up with a couple fast modern primes, a couple fast vintage primes and a zoom. As I get older, I realize this never ending pursuit for the best lens or best camera or highest resolution is the antithesis of creativity and stagnates the art and craft of filmmaking.

If you don't need AF you can adapt almost anything to Fuji as well.

Currently yes (although we have something of our own upcoming that will be able to talk to the app as well) as it seems to be the most popular budget option. The Moza iFocus would probably be another contender if there was enough demand for it but reverse engineering the protocol takes a bit of time so it would have to be later. Our tiny PBC hardware controller also has this relay functionality built in for the Nucleus Nano.

Even a couple of years after launch, the GH5 is a heck of a video camera. Yes, it is noisy above ISO1600, but the video quality, stabilization, etc. make it a great choice for a lot of projects.

Hoping faster sensor readout speeds or global shutter will allow them to remove the physical shutter in the camera and use that space for an eVND or some kind of built in ND. Built in ND is perhaps one of the more important features a future GH6 could incorporate. Along with 14 stops of dynamic range and full Vlog to unify the entire lineups from MFT to Varicam. ISO performance comparably to to the GH5S would be great. Anymore ISO performance than what a GH5S can do or the latest full frames can do is overkill. You’ll be approaching specialized camera territory. What is more important is useable DR, color rendition, and motion cadence with a good codec, battery life and usability. Panasonic ticks all of those boxes already. GH6 should lean more into the video side I think. Leave the future G10 for the photo folks.

I unerstand what you mean, I just not going to shoot on 6K anytime soon, and the Pocket 4K can be used with 0.64/0.71/0.75/2X adapters, a lot more versatile. Thanks.

Ah, my bad. Also wanted to check in and tell you that I tested the S1H focus peaking and it works as it should. There is no change or dimming when recording. The peaking remains the same and does not have the issue that the S1 seems to have.

Wedding video... how hard can it be?

Picture? I'll go one step and share a VIDEO:

King tides in South Florida. Basically the entire region is just a few feet above sea level and the annual high tides (Sept-Oct) are becoming more and more problematic with water rising. It's called sunny day flooding...

On the fence on if a director with literally THE worst list of movies expects to be taken seriously? I knew he did the hangover and then recently found out he did old school and road trip. ? Youre not Tarantino. Do you get to make trash films for 20+ years and then expect people to forget? https://www.google.com/amp/s/www.buzzfeednews.com/amphtml/davidmack/todd-phillips-joker-woke-culture-comedy

New low price: Panasonic GH5 now sells for $1397 only https://www.43rumors.com/new-low-price-panasonic-gh5-now-sells-for-1397-only/ Adorama, Amazon, and B&H Photo

C200 and GH5 at the moment.

Can't wait to turn into a massmurder on friday

you know, i think there's the potential for the ultimate video challenge in here. One of those self produced underground guerilla indie one man band or in your case (women) thingies. We could start a movement. We could rule the world. OK ruling the world might be abit ambitious we could probably leave that off the agenda, till next month ? kaylee i seriously doubt there's a career in it, for me anyway .? this is more like an exploratory journey, tying off a whole bunch of loose ends and learning a bunch of new things in the process. Mercer's making a movie. Kevin mcCloud built an off grid house. The skies the limit, i tells you (even then maybe not, if you can make enough of your own rocket candy but i digress) ? Besides i seem to be accumulating alot of gear lately. The idea of a new shed to keep it all safe from the elements and will double as a set is extremely intoxicating, and to be honest the bedrooms getting a little cluttered i might have to start a blog, total video production for the totally inexperienced. Hmm i wonder if bucket list productions is taken ?

Yeah, this looks good. His Vimeo page says it’s the 12mm Summilux. I assume most 12mm lenses with IBIS would be pretty rock steady, though. His video with the 42.5mm looks great as well! I am half tempted to pick up a GH5 or GH5s in a few months.

@Snowfun right here pal! uhhh....... youll see lol just my first short! also, music i love...

I snapped these quick shots at 12mm, 18mm, & 25mm. I will do one of the "brick wall" tests at some point. I had no idea that the GH5 & GH5s were correcting things that much. Check out the curve in the crown moulding. Three shots are the Oly 12-100 on the P4K, the 4 are the Oly 12-100 on a GH5. Olympus-12-100-at-12mm-P4K Olympus-12-100-at-12mm-#1-GH5 Olympus-12-100-at-12mm-#2-GH5 Olympus-12-100-at-18mm-P4K Olympus-12-100-at-18mm-GH5 Olympus-12-100-at-25mm-P4K Olympus-12-100-at-25mm-GH5

Impressive results! Which 12mm did you use?

Pair of Fuji XT3’s for weddings. Left unit with Fringer Pro and choice of: Sigma 18-35 f1.8, Canon 50 f1.8 or Canon 85 f1.8 with Rode Wireless Go to transmitter with fluffy/lav/shotgun. On tripod. Ceremony, speeches and dancing only, ie, static. Right unit with Fuji 50 f2 and Zhiyun Weebill Lab on monopod with Anker battery pack. Moves with me throughout the entire day. I also have a Sony 1" camcorder on another tripod with shotgun as a ceremony & speeches back up, plus the OSMO Action for some B roll stuff plus Mavic Air.

Yes, they were made for 35mm cameras, which is the same as full frame digital. A lot of them will actually cover medium format sensors as well.

A GH6 with all that would be an instant buy. Global shutter!!! No more horrific photography flash rolling shutter mess at weddings!

Here's a quick one of my current setup. Nikon Z6, Smallrig cage, and Monfrotto arm with a SmallHD Focus monitor. Recently got the Monfrotto arm and I love it, very sturdy and easy to adjust.

At the risk of taking the thread in an unexpected direction, here's my two set-ups from earlier today, pictured in their natural habitat, on a beach towel on my lap in a tour bus, with people around me wondering WTF I was doing taking a photo of two cameras with a third camera (my phone). Sony X3000 for crazy wides, gimbal-like stabilisation when walking and handy actions shots like getting in and out of busses, trains, planes, etc for b-roll and establishing shots. GH5 with Rode VMP+ and Konica Hexanon 40mm for a bit of reach for the main shots where I have a bit more time.

Yeah, this is a good set up, but it's much better with a Metabones Speedbooster.

@User, it appears that you need a lens support -- but not a big one.

I have used my P6K (along with my P4Ks) for many hours on three or four shoots per week since I purchased it on release day. I have not had the camera randomly turn off or stop recording, not even a single time. I have a Sony NP970 battery plate on the cage and I use the 1TB T5 drives. I am not using original Canon batteries. I will sometimes also use V-mount batteries. I also generally don't fill up the entire drive, so I may be unintentionally keeping the drives below 50%. In my usage, the P6K has been just as reliable as my 3 P4Ks.

Depends on the market as someone that shoots sports I see FS7s more than any other Super 35 ILC. I think with the autofocus + vari ND, sports networks are going to buy these things up. The 16 bit raw basically kills the F5 and the F55. The F55s only trick is that electronic global shutter. I cant speak for those that work in low end features/Netflix/BBC Wildlife stuff Alexa Mini is still FAR and away the king in Hollywood atm.

https://www.newsshooter.com/2019/08/14/z-cam-adds-zraw-with-e2-firmware-update/ Not as straightforward as I was hoping it to be. Just 4K/30p for now. SSD use is not advisable. How Z cameras can fund everything at once is a mystery to me, but voila, they have their own Zraw. They can license it to Nikon probably, it has a catchy name and that cooperation could benefit both companies greatly. I am not very optimistic about Atomos though.. It seems that partial debayering (or something!) is the key to overcome Red's patents (or something!).

That could be but why does it matter how they get content? You already know what they prefer when they buy a original series to be shot and delivered. How you get that script in from of Netflix is different then Hollywood but what they look for hasn't changed. Good story wins. Great looking footage. I like how some say "great wedding video for a fake wedding". It's nice to wake up to nice negative / positive comments about the 6k camera. That fence feels nice. For the price this camera looks amazing. I will get one. The EF mount was great choice and go look at the P4K comment page / section and see how much effort they have to do to get the right adaptor with the right lens. That's insane. You get "better' with the 6k with no effort at all.