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Yep, just need to sort out the overheating issues.

How is it that a handful of volunteers can reverse engineer firmware and make raw work, but a big corporation can't? ?

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.

Not mine, but this was 90 percent shot on the original bmpcc with 1 lens

Got a 10K experiment going on with that. 10K resolution in iRacing Prefer it to VR. 3x 4K screens even quite cheap these days.

Remember what the big guys always say 'it's not a flaw... it's a feature... be glad we don't charge you extra for it... oh wait, we do!'

I've mentioned this on here before but you might want to look at Digital Film Tools DFT product. It actually incorporates the original Tiffen Dfx suite that simulated all of Tiffen's optical filters. DFT also adds a lot more on top of that in terms of corrections, film simulations and lighting. At $595 its not particularly cheap but spread that cost across what it can do for multiple lenses, time saved in making your own corrections and saved cost in not buying more and more lenses to chase looks ( ) then its actually pretty reasonable. There is a 15 day fully functional trial available too so even if you just use that to audition the Tiffen filter looks to make sure you get an approximation of the right strength/combination for the look you're after it would potentially be time well spent. https://www.digitalfilmtools.com/dft/

He posted this thread in 2016 I'll let you do the math to figure out the odds which are the answer to your own question

On the Sigma Fp it is definitely worth shooting 12bit RAW to a USB C SSD drive, if you want to make full use of the dynamic range. If you don't need to boost the shadows by 3-4 stops, or under expose by 3-4 stops to prioritise a particularly bright part of the frame, the 8bit RAW to SD card offers beautiful results too. Read the full article

Hey guys! Diving into anamorphic this next few weeks and I think I have finally settled on what i’m gunna do. Rapido’s Full Package C. I use a BMPCC4K with the .64 speedbooster with my Helios and Mir1b. (100% sure the MIR wont work, but i got it for free so hey!) Full Package C includes: Schneider Super Cinelux 2X Anamorphic Lens FVD-16A FMJ-16 V3 full clamp Step down ring/ Step up ring 1/4-20 foot support Rear Metal Jacket (RMJ) Will all of this work with the new 2.8k mode and get me a clean and sharp 2.4:1 delivery? Just trying to avoid as much vignetting as I can so i don’t have to crop. Thanks everyone!!

Hey Mercer - hopefully you can keep it and make something. I have recently come to the conclusion that buying and selling is having a negative impact on my creativity. That may seem obvious, but I am slowly starting to just keep all my cameras and various systems and use them as tools for what they are good at when the time comes. I used to be really paranoid about having more than one camera brand - but now, I don't care - obviously if finances allow.

When is the Firmware update and what can we expect. Is there some information about that? just curious.

Thanks for posting this. I’ve been following this film for a while and posted the trailer a few months back in another thread. Not only was it shot mostly with one lens, they shot it on ProResLT. The BTS is a great story as well... For anybody that isn’t following this film, these guys ended up getting a US theatrical and VOD release that opens next week. Here’s the official theatrical trailer... Their success is a testament to DIY filmmaking that proves talent, imagination, hard work and perseverance can lead to great things. Being an FCPX user, this film is actually one of the reasons I decided to buy another Micro and give it another try. Of course, I haven’t really used the camera for more than a few minutes. Every time I go out to shoot, I reach for my 5D3, but I hope to get out and give it a thorough test sometime this Fall and hopefully produce something with it this Winter. Or I may just follow their lead, and continue shooting with my 5D3 and sell the Micro. In the end, the camera is just a minor ingredient. Either way this is a great story for aspiring filmmakers and I wish these guys the best of luck with their film.

Here's Mr. Deezid's grade -- or something or other, no idea why he offered the shot here as he does -- of an S1 v. BMPCC 4K shot, kindly provided by another participant. See that brown potato quality of the BMPCC 4K and the wonderfully "organic" quality of the S1? https://www.eoshd.com/comments/topic/34763-panasonic-s1-v-log-new-image-quality-king-of-the-hill/page/25/#comments You can find my own basic adjustment (not grade!) of these two shots a few post down in that S1 thread. Still no sign of brown potatoes v. organic wonders, but maybe that's because, unlike some here, I'm not a professional colorist?

Just purchased an SLR Magic hyperprime 25mm T0.95 and 10mm T2.1! Next purchase (maybe today) will be the Z-Cam E2. I have been wanting an internal ProRes cam for a while, and the 10 bit 4K 120 h265 looks great too. With the SLR Magics I should be able to fake a full frame look. Can't wait to test it all out - I'll post results.

Nah, just make sure the colour is no good and you'll be fine... works for Sony!

Bought the minolta on Ebay last night;)

The Minolta is a lovely, lovely lens. Those Rokkor lenses are among my favorites. Wide open it's a little soft. Still useable, I think, but it really shines starting at around f2 and is tack sharp at f4. It has lower contrast than modern lenses but that's not too unusual for vintage lenses and I often find that I prefer the look. Plus you can easily "fix" that in post. My biggest complaint with these Minolta lenses is the flaring. You'll wanna get a lens hood for outside shoots for that. The build quality is great, the focus ring is smooth. Just a really, really good lens. Haven't used the 7artisans but I've heard decent things about those lenses when factoring in the price. I'd be surprised though if it matched up with the Minolta.

Dunno... like a watch collection or any collection for that matter... it can get outta hands. But you just want to be covered for any type of occassion to be able to match the mood. Of course it depends if making the right call comes naturally to you. Indecisiveness can cause anxiety and unproductiveness, sure. If you're a handyman with a toolbox full of tools and you need to put a nail in the wall, you don't have to really contemplate what tool to use for the task at hand. However. If the toolbox is only equiped with a screwdriver and no hammer... it can be the case that you just made your job a little harder to pull off. I'm not saying you should always have all your options to your disposal at any given time. But you can be selective with what you bring along based on what you're expected you'll need on site, which you can get quite clear about beforehand. Or if you want another analogy (yeah, that's kinda my thing)... imagine karaoke night... but instead of having a folder with lists and lists of songs to choose from... there's only two songs.

This is pretty cool. Original still looks the best, but still. Making of:

The ToF autofocus adapter is still in early stage development but we anticipate it being available in early 2020. But without giving too much away, it might be in a somewhat different form.............

The more I look at the look of lenses the more that i’m thinking that something like a BPM filter is a really useful and key item in developing a look.... more below. This idea that you’ve doubled your collection is very interesting and I think falls into my (still forming) grand unifying theory of lenses... I feel the same about my GH5 and also on reducing the number of lenses to just the right ones that will work for what i’m doing. Lots of cool interesting vintage lenses out there, although that brings me neatly to my first thoughts on a grand unifying theory of lenses... So far I think we’ve got these factors that add up to create a ‘look’: Lens resolution (both the amount of it as well as distribution over the frame, eg, field curvature) Lens hallation and flaring (amount and distribution) Lens colour (across DR but also in hallation) Lens vignetting CA There are other factors, but these are the main ones i’m thinking about for now, and obviously all of these change for any given lens across its aperture range. In terms of how to get that ‘look’: Lens resolution is limited by the lens, but can be (very slightly) perceptually boosted by adding sharpening, and can obviously be lowered by various blurring effects in post, and to a certain extent field curvature can be simulated in post too as long as it's effects are blurring what's in frame rather than bringing it into focus Lens hallation has a number of different categories - the first is what happens with flares and that’s pretty obvious, but the second is micro-contrast which is talked about with the smoothing of skin. This depends on the coatings of the lens (and flare characteristics also by the optical properties) but hallation can be added with things like BPM filters, as well as ‘simulated’ in post (under certain circumstances as outlined in the thread about simulating a BPM filter in post) and the Midtone Detail slider in Resolve does a great job of this too Lens colour can be influenced in post by a global WB adjustment for uniform tints, can be adjusted in shadows mids and highlights with curves or the LGG wheels, but if a lightsource hallation is also tinted (possibly by spreading the wavelengths differently or just a simple uniform) then it can be harder to emulate, however if you apply a blur in a separate layer set to an additive or lighten type blending mode then this can be simulated (the Glow OFX plugin in Resolve does this nicely) Vignetting can easily be change in post so that one is simpler CA can also be tweaked in post to some degree if the effects are localised For example, the Voitglander when wide open has low centre resolution and worse edge resolution, significant hallation, a purple tint, some vignetting, and CA in high contrast areas, however behaves very differently when stopped down. What can't be simulated (realistically) is having a shallower DoF than the lens, or more resolution. This leads me to think that an ideal setup might be to get the sharpest lenses you can find that meet your requirements for largest aperture, and either learn to process in post or to get a BPM filter in order to be able to swap easily to a genuine vintage look with flares and hallation (and also learn how to adjust things in post).

Ok, the camera and codec is nice but let's talk about the main topic here: What is this super racing/gaming rig that you show in the pictures?

hey

Well, as those of you who are existing users of 3C will know, the new update rolled out last week and you now have support for wireless focus control of your native and EF adapted lenses using the Nucleus Nano focus wheel. As we have a couple of other things to include shortly that will make up a bigger v2 update, this new update is now called v1.4. 3C is available to buy from the Google Play Store here https://tinyurl.com/3CbyCDATEK And here is a little video of it in action.

It's a winner!

For a 2K/1080 deliver, I like to shoot 4K. For a 4k delivery, 5-6k is ideal. Yes, in an ideal world all your shots are rock solid, noise-free, and perfectly framed, but in the real world, having room to crop (or safety area around your frame), stabilize, and downscale to kill noise really helps. Besides, having more options in post is good. I'm experienced, but that's not gonna stop me from covering my ass.

I’m very interested to know how this thing holds up as a stills camera. Or rather as a hybrid flipping between the two.

Yeah, this hack saved my life before because Resolve also just sets 24p as project standart which catches blue eyed, quickly aroused, emotional unstable people on the wrong foot, like me... ...

You can't make up your own mind, unless you own your own a billion dollar streaming service. Besides, if I quote a job to an agency, and they ask what camera I'm using, I'll lead with "...it's a 6K camera that's been approved for Netflix original content, but I can run it 4K if you guys can't handle that.", and I don't have to say another word. Netflix is a proxy to the uninformed for quality. The name carries a lot of influence, and everyone knows who they are. If you go and say my camera is approved for original content from Pluto TV, people are going to say "WHO THE FUCK IS THAT?" Oh, yeah, they are a free streaming service, and they're great! You would be bodily thrown out the creative director's office and banned for all future jobs! We don't make the rules, but we have to play by them.

I guess thats the direction of progress... if you enjoy stuff of old, then thats that.... content will always supercede resolution though. You know what it is.... you have a television that you are comfortable with right now, and I am assuming that it is 1080p. And, I'm sure that television will work for another 10 years (give or take), but what if it broke down today/tomorrow? Have you checked out your local electronic store for TVs lately? For every 10 4K TVs, I probably see 1 1080p TV.... funny thing is.... I've spotted 2 8K TVs at my local electronic chain so fast forward 10 years, you will see 10 8K TVs for every 1 4K TV - 1080p is obsolete - are you going to complain then "Whats wrong with HD?"

You are missing the point. S1H form factor is unique amongst the other approved Netflix cinema cameras. If an Arri is your A-cam, It could be used as a B-cam. And not rating an S1H's image highly or using an S1H yourself just because an Alexa Mini exists, is the most stupid reason ever to dismiss a tool. For a start, it is $54,000 cheaper. Do you personally have a Netflix size budget for your work? If so, your opinion is first hand. If not, you're a speculative sofa surfer, basically trolling. Throwing rocks at something which plays in the same league as an Alexa Mini for $4000, which doesn't seem very clever to me.