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Hi, Just wanted to share my latest work which I produced and directed; a music video for Kygo ft. DNCE (Joe Jonas). It’s shot on Arri Mini + Arri Mini LF with Kowa anamorphic glass. I’ve been on this forum since I bought my (now retired) GH4 8 years ago. Thought some of you might find it interesting ☺️

Anyone found any good Vari NDs that can handle 10+ stops? I use an SLR Magic on GH5. It maxes out at 6 but doesn't introduce any significant colour shifts that I've noticed. I'm also wondering about 1080p land, as that's where I'm very happy. 1. Will 1080p be as artifact free (moire, aliasing, softness) as GH5 is? 2. Will we be able to do some sweet EX Tele in 1080p? This is a godsend for run and gun or events. No need to change lens (and ND filter!). Hypothetically we should be able to get to 2x downsampled centre crop of 4k. This means I could live with one speedboosted 24-70 f2.8 lens on the camera for 95% of the time (effective equivalent range of 30 to 180mm with a 0.64x booster)

From official specs it looks like 100 is base ISO for regular profiles: [Normal] Dynamic Range Boost OFF (Base ISO 100): Auto / 50 (Extended ISO) / 100-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 800): Auto / 800-12800 [V-Log] Dynamic Range Boost OFF (Base ISO 250): Auto / 125 (Extended ISO) / 250-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800 [Hybrid Log Gamma] Dynamic Range Boost OFF (Base ISO 250): Auto / 250-12800 Dynamic Range Boost ON (Creative Video Mode) (Base ISO 2000): Auto / 2000-12800

I guess that depends... If the GH6 didn't have ProRes, I would yawn at this release. But I acknowledge that some of the updates could be useful to some people. But without a doubt, the ProRes propels the GH6 into next level territory... especially with the updated IBIS. I'm hoping the future ProRes updates will offer the 48p/60p in 1080p/4K but since I don't really shoot too much slow motion, it's not that big of a deal. The bump in dynamic range is minimal... what... about a stop and it's still under 12 stops. I'll take any extra they want to give, but that's not so great to go crazy over. Actually, I know there are limitations to what m4/3 can do, but how did BM get 13 stops on the OG Pocket, 9 years ago, but Panasonic can't seem to break 11.5 stops, even with the Go-Go-Gadget-Boost mode and full vLog?

Sorry to hear it. I stopped using Vimeo a while back and went to YouTube for exactly this reason. Felt like they were holding a gun to my head that could go off at any time.

Here are some 100% scale details from this frame.

Here is the image with just simple colour correction (colour wheels) to improve the image and then applying the LUT (ie. the filters used in that order), along with the resulting RGB parade.

Makes sense. That means that 3 extra stops of ND are required between modes, but would someone really be swapping between them? Most likely someone would already own a different camera and have the NDs setup for that, so it would be dependent on the ISO they currently shoot in, wouldn't it? You're the first other person I know that shoots 1080p and uses the 2x digital zoom to get a downsampled 1080p from the ~2.5K middle part of the sensor. The quality is so nice and the 2X is so handy that my lens collection has evolved to make full utilisation of those, by having a 17.5mm as my default lens which gives a 35mm FFE FOV and a 70mm FFE FOV from the same lens with just a button press.

Well as someone that has worked for around 63 years in my lifetime back in the day of the many different jobs I have worked at very few people other than a few at the top knew much about anything. And since the majority didn't know much, it was planned that way, how many at the top knew much either lol. So things now are lot different, you have the opportunity to basically learn anything. So is that a blessing or a curse? I think it is more of a curse. Now everyone doubts everything and everyone, and most still don't know shit lol.

Yep, GH5 ALL-I is night and day compared to IPB for workflow. Very robust. Another poster mentioned ProRes being a standard. That’s it. I can’t count how many times I’ve been asked for ProRes files for both acquisition and delivery. Sometimes if there’s been a screw up with card space - I’ll shoot to H265 and transcode to ProRes later for workflow efficiency. I know full well the image quality trade off is incredibly incremental, so it doesn’t bother me if it means getting the footage shot. These ProRes critics are not to be listened to. They likely do not have the experience of working in certain environments where efficiency is paramount. It’s also another reason why most commercial video production companies don’t shoot RAW.

Yeah but I think that was his point, they are just now great, why not 9 ,10 years ago. A little bitty company like BM seems odd. Panny Has Always been Videocentric. Why not push harder earlier. The GH5 was mostly 8bit stuff, now the GH6 is mostly 10bit.

I'm the complete opposite. I wasn't really that excited for the release and had no real intention of updating. I assumed that Panny would go for some kind of headline-grabbing big feature, but instead they seem to have really gotten to the DNA of what makes the line so appealing - great useability, powerful processing, features for real-world filmmaking. I have to say I'm impressed - and sold! A stop of dynamic range is actually a huge deal. If you're trying to bring a window into some kind of exposure range, that's half the amount of light you have to deal with. That's like pulling a couple of big fixtures onto set. There's really no point comparing the GHx to the BMPCC in my opinion because they are completely different tools. No way you can engineer what BM made with full IBIS, mechanical shutter, weather sealing, etc. They are just great at doing very different things.

WIll not go through 277 pages of the thread, but the Minolta 35-70 f/3.5, the disguised Leica, was already mentioned here? Will be the next to take a spin with my X-S10, since was already incredible in my m43 bodies.

Same here Andrew, they deleted 20 or so of my videos on the site so I bailed quick...

WoW is all I can say. I guess I will take back my original criticisms since I have seen more evidence. Well done.

Glenn you could be right about the DR being the same because they were claiming 13 stops even before Raw was even available. Look what I found, I Never knew this, might explain why the battery goes so fast. "An Update on Power Consumption; by John Brawley The morning after this review first appeared, I received an email from John Brawley, an Australian based cinematographer and some-time camera beta tester for Black Magic. He pointed out that the camera uses a Peltier cooler, the type used in Astrophotography cameras, and this is why battery life is short and the camera feels so warm. This is not something that I knew, or have seen mentioned anywhere else. John’s comments are reproduced below, with permission. “The sensor is actively cooled. Like with some supercharged processors in computers, it uses a Peltier effect or thermoelectric cooling system to maintain consistent sensor temperature. This is really important in maintaining and minimising fixed pattern noise (noise in the blacks) as well as dead pixels showing up and also to prevent what you would have experienced on dSLRs…overheating of the sensor causing the camera to have to stop to cool down. The thing with thermoelectric cooling is that it uses power to cool. The more it needs to cool, the more power it will suck. So on a hot day when the camera is struggling to dissipate heat through the chasis it will use more power to maintain the sensor temperature. This is also the case with the larger BMCC, and why some users experience the chassis getting quite warm to touch. It’s also why you see such wildly differing reports of battery duration. It just depends on how hot the camera is. So if you’ve had the camera on for a while then it’s warm. Once it’s warm, it uses more power to stay cool. The advantages of thermoelectric cooling is absolutely consistent sensor performance and no requirement for a cooling fan. The downside is that is sucks a lot of power and it’s variable. The only other cinema camera to do this cooling approach is the 60K Arri Alexa. 😉 “ John Brawley, Cinematographer" From this article. A totally legit site, https://luminous-landscape.com/black-magic-pocket-camera/

Vimeo just deleted my account over a cartoon I uploaded a decade ago as a student. Gone. Poof. Everything I ever build, hundreds of films, millions of views, an entire career, GONE. No conversation, just gone. I'm in a nightmare. https://cineclast.com/2022/03/02/vimeo-deleted-my-account-and-ruined-my-life-because-of-a-cartoon-from-1928/

There’s a way to get downsampled FHD on the S series by using the live cropping mode but set the cropping to the full sensor. It’s only FF 30fps or APS-C 60fps though. Still, much better FHD quality than the regular FHD modes.

Hey Folks! I am currently saving up for a 12K. I got offered a really good deal on a secondhand 4.6k G2 with viewfinder, cards, etc. I would get the camera for roughly the price of a 6k pro and pay the rest in on set labor. I am however doubting with the 4.6k G2 no longer being supported through firmware etc... What do you guys think, am I a fool to turn this down or am I a moron for buying an older (2019 year) unsupported camera while there might be new stuff on the horizon?

A fully rigged G2 with EVF and shoulderpad for 2000 USD? Go for it. Nuff said, besides the NDs, changeable mount, S16 crop, framerates, the Dual Gain sensor. All in a light and pretty sturdy body. I would go for it! G1 was awesome and used prices for full sets with cards, EVF, etc, are still higher than 2000 - 2500 USD, around 3500 to 4000 USD.

Thanks! Those streaks are from the star-filter that we used (for both pool, concert and club scene) We took the Ferrari for a little spin!

I can't speak to the AF area, but since a speedbooster effectively projects a larger image and fits into a smaller area, whatever the focus coverage of the sensor is would remain the same. mobdro vidmate

Well, I´d say there are a couple of things to consider: What kind of work are you planning to film with the URSA? Do you need a final resolution of 4k+x? Do you have enough storage in case you get the 12K? Do you have the editing-capabilities for 8K/12K Footage? Where are the areas you would profit from the high resolution of the 12K the most? I´d say right now, the URSA G2 is the Nr.3 Camera in BMD´s linup, maybe sharing the 3rd Place with the Pocket 4K because of the dual native ISO. Second place goes to the Pocket 6K/Pro and first Place to the 12K Ursa. What kind of firmware updates you you expect for the G2? I think there won´t be anything revolutionary, same for the Pocket 4k, except maybe another sets of BRAW Compression Options. I expect the URSA G2 to get a new version in the future, maybe an 8K FullFrame Model? Maybe BMD focuses more on the midrange cameras, keeping the 12K as their flagship.

Could be wrong, but I thought the DR was the same between Raw and ProRes... of course the 12bit raw gives the perception of more DR with the added color depth. Either way, it was impressive what they did. Even the ProResHQ looked amazing. You could set your WB to 4400 and still fix it in post without any issues. No disrespect to anyone on the forum... but I don't understand people's disregard for ProRes as an acquisition codec. But I think mjpeg looks better than h.264... so what do I know.

Patent of electronic nd filter is expired in january 2022 (patent holder- Forza silicon) Can we see more cinema cameras with electronic nd filter in the future?🤷‍♂️

Well Glenn that 13 stops was only in CinemaDNG so that was a pretty big help, but yeah, we have not made too much of a gain over all those years it seems. Not too sure what ProRes was stops wise. Probably around 11?? But yeah Canon DSLRs were about 7 or 8 at the time. The early Blackmagic stuff really lived up to its name. Magic no doubt. I just love my OG BMPCC.

Well you sort of implied that if you didn't buy a GH6 you don't need ProRes. Some people Have to use it like it or not. And I think this GH6 is going to make a GH5 pretty obsolete in a damn short time. I Never liked mine but this new one seems damn tempting. They seem to have fixed everything I hated in the GH5. Poor AF never really bothered me. If you are making a living doing video AF is about the bottom of the pile. Sure it would be nice but maybes are pretty weak way to make a living.

The older I get the more I realise that people seem to operate without much consideration (or often knowledge) of history and the broader context. Changing your mind on a subject you've already expressed a position on also requires admitting you were wrong, which seems to be an unacceptable cost in many cases too. The human condition is a strange thing!

What about the 4K120fps that everyone needs so badly lately for “cinematic“ b-roll? And the 5.7K so you can too be a real YouTuber and influencer as well as be able to be lazy with your composition? I kid, I kid! 😁

The amount of BS from people on the forum talking out of their ars is astounding, where cynical thought seems to be the norm. The first mirrorless cameras were M43 and DSLR owner thought they were a joke. Fast-forward to today, mirrorless FF owners now think M43 mirrorless is a joke and DSLR's are dead. Crazy how that happened.

In the daytime, outdoors you really don't need to change ND settings very often unless you are in a forest coming to the beach! And with high end Cine cameras and ENG cameras you have had to Always fuss with NDs. They are the best thing that ever happened. You Have to have them to maintain a constant shutter speed, ergo shutter angle. Changing aperture all over the place is not very desirable in video.

I think it was the combination of the screen and the fan. I'm super happy with it as it's not too much larger and it's not larger from the front, which is what matters from the perspective of shooting in public and not gathering too much attention. By the time you put a lens on a camera, then depth of it is huge so a few extra mm isn't a big deal. My suggestion is to start with how and where you shoot and work backwards. For events you'll probably be valuing flexibility over other performance, so you're probably talking about zooms. Then the question comes of how much you care about having a long zoom range vs having a faster aperture. At one extreme you've got the 12-35mm F2.8 which is the fastest but shortest zoom, then things like the 12-60mm F2.8-4, then all the way to 12-100mm F4 and even the 12-200mm F3.5-6.3. I don't shoot events but my understanding is that mostly there is decent light, and many here have commented that the longer zooms work best because you're always just a zoom adjustment away from the shot. Especially with the improved low-light from the GH6.

In addition to the above, one thing I saw recently (can't remember where though!) was that someone was shooting film and wanted to have much lower saturation skies instead of bright-blue skies, so they overexposed the film and then developed it darker to normalise the exposure. This gives much less saturated skies as it pushed all the highlights up into the highlight rolloff where there's much less difference between the R G and B levels, and thus less saturation. The skies were a pale blue rather than saturated and it gave a kind of look to the skies vaguely reminiscent of the bleach-bypass look. That's also the kind of thing you can do with a Film Emulation LUT - raise the levels beforehand and then lower them afterwards and see the effects.

I've had my eyes on this lens as well. Since it's closer in age to my FD 50mm 1.2 L, I thought it could be a good carry around lens to match.