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Yet you still hear people complain about the Alexa green cast, the Red yellow wash and the pinkish skin from canon colours. Put a Zeiss lens you get a blue cast, put a canon or a Cooke you get yellow, but a sigma you loose some red/yellow ect... Shoot on film, you get several colour cast depending which lab is going to develop . If the image is striking , no one is complaining about the sky being the wrong shade of blue. Once you cut through the marketing BS and learn how to use a grading suite, none of that matter.

Potential solution

I’m excited - got my camera cage sorted and ready to go!

I've spent a lot of time as an AC rigging up Red's and I have to say they are truly a pain. The problem is the body is too tall, with the lens mount (ie all the weight) up quite high. It makes most shoulder-mounts impractical, as the center of gravity is too high and harder to balance. It also means you need a heavier duty tripod and very specific base plates to get the correct vertical spacing of rails so that all your lens motors will fit. The URSA cameras are ugly as hell, but they are very fast and flexible when switching between handheld, shoulder-mount, easy-rig, and tripod.

He/She is angry that the 'RUMOURS' said that BMD would be releasing a camera with AF and IBIS, and this cinema camera doesn't have those features. Despite this, he/she keeps coming back to a thread about something he/she has zero interest to keep he/she's anger boiling. Makes a lot of sense right? To add to the confusion, many users of EOSHD and the owner of the site himself says they have every right to be angry because this is a forum for users of small DSLR like cameras and Solo shooters so AF and IBIS should be mandatory .......but then the forum owner continues to post news articles of cameras that don't appeal to his user base and the circe of anger just continues to go round and round.... I love it, it's hilarious!

Well, the footage is a throwback into old 5D Mark II days, with 90% out of it being out of focus... - And the rest shot at extremely high shutter speeds without ND filter, so anyone who thinks they can judge motion from this clip should just ditch the ND filter on the camera they're currently using...

Blackmagic's IR pollution is not a color science issue and it's not a complicated issue at all. The IR filter they use over the sensor (it is the same one in all models) does not do a strong IR cutoff so that you get more "pure" color. As you add ND filter and use full spectrum IRND ones, in theory you shouldn't get IR pollution. The reason you get some is IRND are not perfect and the blackmagic IR cut filter is a touch too weak. Also in most scenarios without ND the IR pollution is fine but under strong hot lighting like tungsten, IR can show up even without ND. Blackmagic is very stubborn on this issue and it's something you have to accept. They won't change. One other issue is that the speedbooster manufacturers and others have claimed that the glass that blackmagic uses for their IR cut is too thin and creates focusing and Chromatic aberration problems as well. That's why ever blackmagic camera with a speedbooster has always had to have a custom designed one. A lot of BM users rock IR cut for every shot or even use internal IR cut replacements like the rawlite OLPF.

By the way, I didn't go for officially supporting that type of HDMI>USB dongle in the app in the end due to the prospect of people trying to use it on so many different Android devices that it would become a tech support nightmare due to UVC compatibility. The better all round solution IMO for Android is to spend the money on the CineEye so you can use it as it is here with the Tilta support in 3C for completely wireless control and monitoring of the camera. The CineEye app has all of the monitoring controls you need built in and is extremely low latency. It remains a bit of a mystery to me why it isn't more popular, particularly as it offers things like false colour which few cameras do and also breaks away from having to use the manufacturer's often flaky or restrictive apps for remote monitoring.

The first is a classic film. The second is classic Lok wideo.

I recall some discussion about this awhile back - think it was here on EOSHD forums. Anyways, looks super simple. Can't wait to try it. https://hackaday.com/2020/07/18/an-hdmi-monitor-from-your-phone/

Really sad that spammers can't put the graft in to write their own stuff these days and have to do cover versions. I blame Simon Cowell.

Yeah it seems off by a bit. Make sure you test extensively by finetuning focus on all three lenses with magnified view. If it's impossible to reach infinity try to reach John directly through Facebook. Or, if there is still time, the seller you bought it from?

That is just my post from a while ago just reworded slightly. Scam account.

Ive had good experiences with them, sent a camera in 3 times now (third in currently). The first time I called up (although this time I couldn't find a number, maybe covid related?) I explained an issue and was guided through troubleshooting it by someone who seemed to have a lot of information. The first 2 times I had a camera repaired/replaced and had it back in my hands within 48 Hours. I remember dealing with DHL a little frustrating arranging a pickup. This time I have gone through CVP and its taking a little longer as there repair guys looked at it before sending it to BM. Ill update when my current issue is resolved!

I'm having a terrible time calling any Business at the moment. I'm told by stressed out phone operators when I do get through that Covid has led to more calls and fewer staff to deal with it. Could be total BS, but trying to release any camera this year is going to be difficult given recent restrictions Worldwide.

Well to be fair the 12k ursa isn't out. Maybe they don't want to take a bunch of calls for a product that isn't even making them any money yet.

More amazing shots...

Pure dross Got to like this comment though 🙂

You're not wrong, I was just sharing my experience.

I mean, try calling and getting info on the 12K camera. There's a number, yes. It goes to a receptionist that asks where you want to forward the call to, you mention "12K URSA" and it gets shut down. To be fair, I don't have a ton of experience with them so if this is a weird situation or not representative of what it's usually like...then I'm relieved. It put a bad taste in my mouth though, I imagine other RED users that might be considering coming over would feel the same. When you purchase a RED or even want to inquire about one they send you an account rep. I have texted my account rep and gotten updates and tracking numbers. It's just...very personable. Calling Blackmagic felt like the exact opposite. More like "we don't want to talk to you...email us." 🤷‍♂️

It's RAW. You don't lose any information pulling color casts out of shadows. That's the entire point of the format. Alexa skews green out of the box. Canon has issues with blue-ish grass, inaccurate reds, and blue fringing around bright highlights (depending which matrix you use). RED has had heavily documented color issues since they've been around, including massive IR problems with all their pre-Dragon sensors. "Perfect color out of the box" is a myth perpetuated by pretentious gearheads; every camera (and many a lens) has quirks that must be managed. Try using the heaviest internal ND settings on a C200 and not seeing IR pollution! I understand that you were unable to screw an IR filter on some BM cameras in the past, which bit you in post. That's unfortunate; however, the issue is easily managed with skilled workers who do their homework.

It will but as you have EF lenses as well, you would likely be better off buying an EF>Fuji X adapter and then using an F>EF adapter between them when you want to use the Nikon lenses. The F>EF adapters are thin so you shouldn't get any play like you would from stacking other adapters. Doing it this way saves you money obviously in not having to buy two adapters but also not having to carry them. For a little bit more than the price of that Kipon adapter you should be able to pick up a smart EF>Fuji X reducer such as the Viltrox EF-FX2 which will give you the speedboost functionality for both lens types but will also mean that you will be able to benefit from Auto Focus when your Canon lenses are attached to it.

All corporate jib-jabber; combined with conflicting declarations from Olympus in various media outlets, things still not looking good.

Ask the wrestler's management to name one of the fighters "Gimbal" and make him your cameraman carrying one between fights. They could even get a sponsorship from Zhiyun or DJI. 🙂 Much less, Amazon had one for $899 other day. Could be found for $999 easily.

Great marketing from Canon - supplying heaters for the homeless in the streets and getting free advertisement . 🙂

Those are all valid arguments.. but again.. he is selling his crop sensor 4K Blackmagic.. and missing his FF FHD 5D2. Within that particular perspective and within his budget constraints, I was advising what would probably best suit him. You can push whatever camera you want, it doesn't negate my advice as you were previously insinuating by your 'canon die hard' comment..

Lol it isn't about me dude. The topic says: Selling my Blackmagic, missing my 5D. For his budget RP is the closest he's gonna get to a 5D but with MILC advantages, DPAF & RF compatibility . And for 4K, 1.6x crop isn't that big of a difference to Fuji's 1.5x crop. I highly doubt at his level, 10-bit H265 is going to be a priority.

One thing to be cautious of is if the particular Android device you are using it with has UVC drivers as not all of them do. With regard to performance, I have used a similar one for about 12 months or so to give a live view function to my 3C Blackmagic Pocket4K app and it was OK to provide a reference and the lag wasn't too bad. Within that expectation of it not being a Ninja V killer etc it is still very useful with something like the Pocket4K which can have its monitoring tools such as false colour etc applied to the HDMI output as obviously the very simple apps that have to be used for viewing on the phone do not have them. Being able to add a high brightness, tiltable screen to the Pocket4K, even if there is a lag and a resolution hit, is a real boon, especially for outdoor shooting, and particularly for so little money, footprint and power requirements. The one I have been using is much bigger, not to mention more expensive, than this so I I'll order one of these smaller one and see how it fairs against that and if there is any additional lag etc. As I say, these are not going to replace a real monitor but within the parameters they do operate they can still be very useful indeed. I'll let you know.

I have noticed this in a couple of comparisons between BM and Alexa. This is one: This is another: (The shots by the window show the window frame to be very green on the Alexa). Both tests were shot by professional DPs, so I can't imagine that they both screwed up in the same way. Of course you can fix these things in post, but it's interesting to note.

Those ones are rare for us too, but i know agencies have plenty of those jobs, and paying contractor peanuts. Those creative director/producer getting big chunks of shares. https://drive.google.com/drive/folders/1dA1Em-D2ioEJU5jInk_JT_EsQGVIprCZ

Is not a YouTuber camera Is not a documentary camera Is not a "one man" crew camera Is not an autofocus camera Is a CINEMA camera what's else?

Taking the overheating aside, (for my needs, shooting 4k 120p) I would probably need to double that investment in order to store and process video from the huge 120p 4k video files. I had one on order but cancelled it once reality set in: I'd have to fork out at least $1,000 in CF Express chips. I'd probably need to purchase a new computer and/or switch to FCP in order to edit the files: $300 to $3,000 (Davinci Resolve will work sort of, but I would have to optimize each clip in order for them to play properly. (At least on my Mac as it is.)) I'd have to upgrade my hard disk array for more storage to store the massive files from their codecs: $2,000 So now I'm looking at an investment in the neighborhood of $7,000 - $10,000 in order to process and store their 4k 120p files. Beautiful footage but at a price. Either I'll stick with what I have (Z Cam E2) or switch to the A7SIII once we find out the details on that camera.

All cameras have some colour cast and not all colours can be perfectly represented by any of them. Unlike on 8-bit DSLR footage, on higher bit-depth cameras you can easily correct this with a colour checker, with almost no effect on the final footage (coming apart). Anyone who probably is unhappy with this footage hasn't seen Alexa footage. It is quite green. Anything wider then the rec709 standard (all log) spills into wider colours, maybe for the purpose of maintaining the wider dynamic range, that effect colours before it is corrected and turned into a narrower colour bandwidth. Some log profiles have sepia some have green casts. The Blackmagic lut didn't cater specifically for the generation 5. That doesn't mean it's bad. I am not sure any lut by itself, will be able to colour correct log 100% without tweaking the colours wheels or white balancing a little further.

Actually S16 glass often resolved more line pairs then S35 glass of the era did. It had too because the S16 frame was so much smaller. Not saying all S16 lenses did this....but some did and those are the ones highly coveted. Having a well serviced S16 lens that is shimmed properly is half the battle.

I'm too disappointed to buy either one. Until Canon removes that ridiculous 30min recording limit and offers backup video recording neither of these cameras can replace my GH5. If they do add backup recording and remove the time limit from the R6 and the thermal issues prove to be not as bad as it sounds then I'll probably at a minimum get two R6's to replace the GH5 and maybe an R5 to replace the 5DIV.

Colour science is incredibly difficult. I'm the first to admit that i'm rubbish at colour grading, and this is why I am attracted to it and spend a lot of time doing experiments and trying to learn. We've previously seen that Sony has the most accurate colours when tested scientifically, but they are regarded by many as aesthetically displeasing, so the secret is in the sauce, as they say. I've been on a mission to understand what is in that sauce, and so far have attacked this in a few ways: I've reverse-engineered a couple of the film-emulation LUTs in Resolve using standard grading tools I've bought the GHAlex LUTs and reverse-engineered them using standard grading tools I've bought a BMMCC and a colour chart and done indoor and outdoor comparisons trying to match the GH5 to the Micro I've reconstructed most of the node graphs from the Juan Melara videos to understand what he is doing and why I've done numerous side-by-side tests with my GH5, Canon 700D, Canon XC10, GoPro and iPhone matching the colours in various combinations to each other I've also graded real footage that I shot and struggled through trying to repair the vast quantity and variety of cruel and unusual mistakes I made while shooting, effectively putting myself through the colour grading equivalent of a special forces training (It's still uncertain if i'll complete the course alive, i'll let you know....) The reason I say all this is as a prelude to say this - what I have found is a pandoras box of craziness. There are colour tweaks inside the cameras we talk about, inside the LUTs from manufacturers and highly skilled colourists, in the colour space transforms, and elsewhere that are tiny, numerous, complex, and often make no sense. They take place in colour spaces that have probably never been mentioned on EOSHD, they do things that are not possible in FCPX or PP, and maybe not even possible in Resolve or Baselight. I have developed a relatively solid ability to reverse-engineer a grade given side-by-side footage. Not perfect, but solid. But I am absolutely no-where when it comes to making adjustments in the service of making a shot look great. Let alone strange and parallel-universe type adjustments. But even that isn't enough. Manufacturers are in the business of making these parallel-universe mind-bending transformations in service of making every shot look nice. Even when filmed by people they've never met in locations they've never been. It's taken me everything I have done over a period of years to get to the point of realising just how much there is I don't know about colour.

We know you know. Haha.

Sony is doing worst thermally for a lot longer, and they became a hit with terrible ergonomics and batteries (until recently). Probably (I say, most certainly) these Canon's will be super hits. "Pro videographer" as it used to be, is probably something of the past, or someone that shoots C series cameras and up, definitely is a not enough demographic to influence A series - in the past - or R series - now - sales significantly. These days I see more "Spec shooters", than video ones.

The original idea to use a S16 camera was the lower cost and the flexibility to perform shoots with a small camera, the French filmmakers take these cameras to the streets in places where 35mm camera were too much difficult to operate, and that was the spirit until the rise of the digital era, now we have very small cameras which can be used exactly like S16 cameras use to be in the past. The digital bolex keep that original intention, a small and very easy to use camera which can be used in extreme situations and places, where the only limit is filmmaker imagination. The BM is clearly not a good choice for a S16 camera, it's a bigger camera, heavier, will have a lot of limitations compared to a digital bolex, there is no a good reason to get this camera to do S16, the only reason I will use a camera so big like this to do S16 is because of it is a film camera, yes, an old and beautiful original film camera, which by the way I have, and I use to do some documentary, I only have like 12 minutes to shoot for each roll, but what you get for all the effort is worth. This new BM camera is oriented to be operated by a crew, to compite in that segment with RED, not for an independent creator, sure you will see some crazy guy running with this brick in his shoulders and telling to the world is the best camera for run and gun, but we all know the best performance for this kind of cameras can only be achieved with a crew, even a smaller crew will make a huge difference. No need to try to justified this camera as the perfect tool for every scenario, it is what it is, it is too expensive for individuals, it is oriented for crew work to compite with RED cameras. It will find his place in the market for sure, if you have a small production company probably this camera is the perfect tool, I can see the point to get it for some people, but probably most companies will stay using RED and ALEXA just because of when the customer is on set he is expecting to see that kind of cameras filming his commercial. Time will tell.

Yes this is my dilemma, would be pretty frustrating spending £4200 and not being able to trust the higher quality modes, don't see the point. If you're only shooting very short sequences fair enough but not for me

I don't need to try it. The overheating figures comes from Canon. Sure, they later confirmed bixel binned 30p is okay. However, downsampled still overheats. 8K which some said originally could be used to allow for cropping in interviews overheats. Why invest so much money for a camera that could fail on you.

Can we get rid of these anonymous "experts" and bring back your @Mattias Burling's and @John Brawley's please?

Sorry about this post guys. I was a little harsh and came off as an asshole. I don't like the magenta cast on @John Brawley 12K footage. His technical break down about the sensor was awesome and @John Brawley does some incredible work.

Philip Bloom made similar observations that different lenses made a considerable difference to the AF.

I would guess Australia is a much better place to be a video maker than most of the world. The prices are kept very low, even in TV jobs they proposed us a 20% cut, from the already low wages they are offering! I declined some already, but in the end I may have to accept a lesser pay, for more working hours, again.. and I was waiting for this year to rise my salary a bit.. The other markets are race to the bottom with people watching youtube and shot most of their stuff with their mobile phones. Even some internet campaings we shot recently were not very well payed, to put it mildy, and we had to cut from everything just to justify making them. Video is everywhere at the moment, so most of the clients except to be very cheap, and it is, because there thousands offering video services for very low money, except they are not profesionals, whatever that means. Everywhere, the middle class is shrinking I guess, that is true in "middling" jobs too. There are mostly very low paid jobs, and you have to compete with hordes of 20 somethings that just bought a GH5 kit (I have many examples of people getting just an a6300kit and started working!), or try to reach the higher jobs, which are very few already, and in a lot of broken economies are not very well paid either (Balkans, Middle East, Africa, Most of Asia, Central and South America, e.t.c). Probably everyone will shoot with 360 cameras and 360 microphones, will edit with voice commands, and produce their own videos in 20 years from now!

The thing is with what will you intercut it with. 90% of movies/advert shots are done on the Alexa 2.8k sensor. Most people on forum like this don't understand that. 99% of production won't deal with 8k footage.

Make timeline and Timeline and output color space should be Rec. 709. Data levels for web delivery should be set to video. On the timeline make sure each clips data levels are set to FULL. Use sharpening instead of superscale, superscale internally raises the resolution, when you try to use x3 superscale it raises the internal resolution to 8K which is why your constantly running out of video memory. Use x2 max before sharpening.

Z-CAM with ProRes RAW is in many way more useful on that camera, because you need to add the screen anyway, and it doesn't have a standard or widely supported internal RAW codec, so you may as well use the Ninja with it if you want to shoot RAW. The 5.8K will be on the more expensive larger sensor models and I think 4K on the M43 Z-CAM E2. I'll do a blog post about it in due course. Would help if they could keep me informed so I can prepare one. I'm not a psychic

You can easily soften them up in post. I quite often decrease Midtone Details (subbed as MD in Resolve) and add a tiny bit of blur to take the digital edge of my footage. Truly works wonders. Our fellow member, @Ryley K , posted an impressive tutorial on how to emulate film. One of the steps there includes adding a faux OLPF effect. I highly recommend taking a look at it.

Inspired by kyes... GET OUT THERE and shoot something pep talk earlier today. Here's a collection of static shots taken from around the house. if you have a spare 52 seconds, bmdp4k + my new fotga fd-m43 adapter and the standard canon fd 35mm f2.8