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An example of continuous AF on a handheld Pocket4K with Panasonic/Leica 12-60mm.

Already hinted at (heavily !) in another thread but the AFX focus control functionality is now a lot more universal than just the Pocket 4K/6K cinema cameras. For Pocket 4K/6K owners who want to use manual lenses as well as electronic ones there is a Hybrid mode to control the lens with the motor whilst still being able to control ISO,WB etc over BLE as usual. Supports both Nucleus N and M motors so you can use it with small lenses and large cinema ones. Pre-orders start on 26th. October. Price €199 for existing PBC owners and €275 otherwise. Nucleus M motor requires a separate adapter, price TBA.

For anyone looking to have this functionality (and a bit more) without having to buy a specific new gimbal (or any gimbal for that matter), our AFX module launches a week on Monday. I'm absolutely not going to give the game away before then and say that it also supports manual lenses. Absolutely not going to spoil that surprise.

YES! Been waiting for this. Can’t think of a product in recent memory I’ve been more excited to buy.

No, its now modular so that people can choose to add the functionality if they need it. This version has continuous centre point AF-C as well as AF-S and manual focus. The additional module provides the extra stuff.

I totally agree.

I don't know if it's interest to anyone, but I took the information here as a starting point for exploring use of D-Mount lenses. I tried to document the process as well as I could, so it's probably pretty boring to anyone not specifically interested. I hope it's of use to those who are. By the end of the month I should be done with the building, and probably have two more posts yet to write to cover the completion. http://coldmaceration.com/camera-conversion-project/

Some nice highlights.

https://dronedj.com/2020/10/17/dji-osmo-pocket-2-appears-to-leak-with-improved-camera/ So here is the leak, no exact specs for now but announcement in 3 days. I hope they don't go for 3yo Sony IMX 586 sensor. I hope for somethings bigger.

In my opinion, Panasonic makes the best cameras with the best IQ (especially video IQ) in the business. They are reliable, packed full of features, ergonomically nearly perfect, and just fantastic to use. The S1 and S1H (and seemingly the S5) are the most useful mirrorless tools and the S1H in particular is a brilliant video camera. But Panasonic needs to go all-out with L-Mount NOW, because Canon and Sony are going gangbusters with camera releases. With the C70 RF and Sony FX6 coming out soon, Panasonic needs to release an EVA-2 ASAP and load it with features to solidify the L-Mount. The EVA-2 has to be an FS7-type release, where they give out features that no other manufacturer has at that price point. Main competition will obviously be the C300 III, FX9, FX6, and C70. Here is what I think they need to do: - Release EVA-2 with L-Mount - FULL FRAME - has to be. - 120-180fps in 4k (C300 III and C70 does this, but has a Super35 sensor) - IBIS - first ever in a cinema camera and make it LOCKABLE (I know cinema cameras "NEVER!" have IBIS, but I think the market would love it). - Dual ISO (640 and 4000) - 12-bit codec - Codecs in EVA-2 and S1H and 5.9k ProRes Raw output are great - internal raw would be excellent but maybe not possible. An internal 12-bit codec would be awesome though. - PDAF - I don't care as much about AF, but the market demands it. At least the S5 AF in the EVA-2. - Compact Body - Make it smaller, more like the FS5 sized than EVA-1 - $7499 - Same price as EVA-1 and WAY below any full-frame cinema camera with these specs. Could even go closer to the FX9 ($10k even) with these specs. If they put out a pretty standard Super35 camera with 4k 60fps and raw out (basically an EVA-1 with L-Mount), they're not going to gain much traction. They need a GH5-level release (2-3 years ahead of the competition on specs) but in full-frame. The FS7 changed the trajectory for Sony and wasn't matched on specs and price until the EVA-1, nearly 3-4 years later. They need THAT type of camera now.

Regarding the 180 degree rule... I honestly think it’s best used on 24, 25, 30 frames footage as it gives it the “illusion of movement/blur” that works in our collective memory (and at 30 the motion is already so fluid that it matters less). But on higher frame rates you are already messing with reality and time so if the blur is not there is a lot less objectionable. If you are not slowing down 50 or 60 frames, the motion is already hyper-real so it’s a different aesthetic in itself and the 180 rule can be thrown out the window.

If?

Yes, with the focus motor support it can work on any camera or lens combination. In that respect, the camera is just acting as a mounting point for the LIDAR sensor ! Obviously you only get the focus control rather than the additional full control of ISO,WB etc that you get with the BM cameras.

Because the GH5S sensor is "better" than the CH5 sensor.

Where was their MFT Mount camera to compete with the FS7/C300mk2/EVA1?? Just stick the GH5 sensor into the AF100 and get on with it. Instead we got an EF Mount Panasonic EVA1.

Well I can guarantee at least one of those 😉

Video of the DJI ToF focus in action

https://petapixel.com/2020/10/15/next-fuji-x-t3-firmware-update-will-more-than-double-autofocus-speed/ A little bit of love still for the XT3, AF improvements

Just bought a S1 and a 24-105mm lens for very VERY cheap, goodbye nikon.

I should explain my hybrid use as maybe it will be explain my ‘delay’... I have: C1 set for stills C2 set for indoor video, shutter priority 1/100, auto aperture (but of course it goes for the lowest as a result as intended), plus auto ISO which is where the exposure in this case is mostly controlled. C3 set for outdoor video, AP, auto shutter, auto ISO and because I do not use an ND or give a flying fig for the 180 degree shutter rule, don’t care if my shutter speed is in the thousandths as it usually is and a exposure here is mostly controlled by shutter speed as intended. Why no ND you crazy mofo? Hybrid use/stills as in many scenarios where it might be fine for video, but not for the stills plus I’ve never noticed anything negative by ignoring the 180 degree rule. I never go below 1/100 though for the slow mo. I only shoot 4K 50p as I never know which bit of footage I may wish to slow but I slow a lot of it. I conclude that the delay that I am experiencing is the camera switching from full frame to cropped mode and back? Probably not how most work but I do what works for me and if it doesn’t fit within the rules...well so what! I shot another job today, hybrid and was mostly testing the IBIS and had it in AF most of the time unless it was particularly tricky. I found the tracking AF option pretty sticky unless the subject went completely out of frame, otherwise, very promising. Need to review the footage though... But ditto @herein2020 loving the camera so far and so far, not missing the XT3...and I loved that camera.

Bummer the TOF system its not compatible with the smaller one, I prefer the folding design, quick vertical mode and the adjustable handle to go from upright to low slung modes. I'm sure Youtubers will call it the greatest thing ever and hype the heck out of it. For now I'm fine with the smaller/lighter/cheaper Weebill S. Chris

I've only got one question...does it return to center after a pan? I was a DJI fan after using their drones, but the Ronin S and their refusal to fix a rudimentary feature of any gimbal has made me feel the same way about them that I feel about Canon deliberately crippling the R5 and R6's video features.

I don't know what all the negativity is about, this looks pretty good to me. Worse specs than a Z Cam E2, but you gain Panasonic Brand (brands aren't my thing but brands are worth real money), SDI, timecode without an annoying adapter, and you can use that XLR module if you want. Plus it takes SD cards instead of CFast. If Z Cam didn't exist I'd get this for sure.

The AF will suck if its not phase detect.

What good news! Really excited about : ) Best Panny AF performance ever to my eyes... WOW Need to check not under direct/key light now :- ) Wondering how AF will match or not under low light...

AF seem quite bit better than S5/GH5S for sure!

Confusing, overpriced product. It’s clear L-Mount is the focus for traditional image capture at Panasonic now.

Has there been any mention of EVA-2? What is Panasonic doing? Where is their L-Mount, full-frame, highly-specced video camera to compete C300 III, FX9, FX6, C70, and Komodo? Just put the S1H sensor in an EVA-1 like body (hopefully a bit smaller), add in 120fps in 4k, ProRes Raw over HDMI/SDI, and get on with it.

10bit is more important than 4K60 And yeah, hope it doesn't have a 10 minute limit like some Fuji do! (I could "live with" 30 minute limit)

This is the initial design, sent off now for SLA printing (high-res, tough-durable) to test the form and basic dimensions. In the image, I have it unscrewed to show the components, but essentially, I’m thinking the space between the D-mount lens base (screwed atop the red ring), and the bottom of the M12 blue ring is 10mm, with another 2.3mm from the bottom of that to the sensor. If anyone already knows that this will fail, feel free to tell me why. Otherwise 🤞🤞🤞

There will be PREs if the codec is lacking for the main log format; only the Cine-D Pre would be needed, but I like that HLG on the GH5 could use the default saturation setting. The standard bar is absolute for each new camera; I'd like to do a comparison in the future, wherein the same subject is filmed with every camera. Here are the Alexa, P4K, and GH5, with the most recent conversions/EC709: It will interesting to see; I hope to explore it soon! All-I will give you a codec advantage over 8-bit 60 (and 10-bit 150mbps 24). There is less macroblocking and denser color gradients. The exception is 1080p 100 Long, which was similar to All-I in my gradient motion test. 1080p on the GH5 is very detailed (at the limit of 1080). Cine-D is better than VLog for 4K 8-bit