Cinegain

Why would they want to compete with themselves, though? That would be the whole reason to start a new thing to begin with, tap into the lower-end market and appeal to the mirrorless shooting crowd and one-man-bands. That's where everyone is still thinking... 'where I do I go from my GH4/A7S/5DmkIII?'. This way their RED aim can still be production team companies, yet get a new stream of revenue from another place. Though, in all fairness, I doubt any of that is the case, because then it would be less 'hey, here's a fun idea' like a crowdfunding campaign and more of a structurized less feel-driven, more fact-driven set-up. Though, it could also be like one of these Hyperloop design teams where Elon Musk had an idea and invited teams to compete with eachother on their own designs/concepts. Jim (RED) could've been like: 'listen, come up with something that allows mirrorless shooters and entry into cinema cameras without it being too much of a set-up in price and still have a little gap towards high-end cinema cameras such as our own... go run with it, do as you like, let me know when it's done'. But yeah, I think it's unlikely. Good pun though, there, btw.

I feel like the guys at Aputure noticed... 'geez, what are they charging for that sorta gear? I thought cameras were starting to allow more people an entry into filmmaking... guess it's up to us to make the rest of the gear follow'. Monitors... LEDs, accessories (like DEC schtuff). Not too shabby at not too shabby prices! (oh and how many times I notice myself saying 'aputure' when I meant 'aperture', speaking of branding that sticks)!

Pretty sure he meant the 4K Production Camera (2.5" SSD), not the Pocket, you know. That one maxes out at 30p. Funny enough, even at 1080p (?!)...

Thanks for playing reporter! Concerning... have a looksie here: -- Also, maybe you can report on what the hell those ImagineVision Tech (anyone remember that 'meh' Z Cam E1?) guys are up to?

And worth to note, the VA only takes 4K over SDI. And yes, it maxes out at 1080p60.

The only Mac I'll consider buying is a big one from McDonalds.

It's not about doing nothing, it's about doing something and giving up. Like Samsung's NX-line. Except then they get told they should throw their cameras away. You know... they still accept your monies for the PC Pro version: http://www.apple.com/shop/product/D3381Z/A/quicktime-7-pro-for-windows .

The costs are in the .pdf... https://s3.amazonaws.com/craftcamera/CRAFT-Camera-Price-List.pdf

I kinda like it! Even if you'd be using the whole set-up, it's still pretty sweet. I like the modularity. Especially when you think about future upgrades... new sensor? Alright, just pop it right in front. You want to shoot a S16 project? Swap out the 4K S35 for the S16 module. The grip looks cool. It still will be a fraction of the costs of a traditional cinema camera, even when adding all the elements, which I do kinda agree with, you probably gonna add 'em all. Will they manage to pull it off? Within the time frame? Within the possibilities? With the global shutter? Not sure, but time's gonna tell. Atleast it's an interesting approach and gives the others something to think about...

Seems like a perfect thing, finally a decent sub $1k 4K recorder/monitor, it's one of the things I wanted to see... though, the Shogun, Odyssey Q7+ and PIX-E5 have a plethora of features. What they need to understand is... a monitor is also supposed to allow the operator to monitor what's going on, that includes histogram, RGB and luminance parade, waveforms, vectorscope, false color, zebras, zoom levels, peaking, crops, LUT & anamorphic support and all that good schtuff. I'm afraid that as a monitor it isn't particularly more interesting than the existing Video Assist. But hey, can't complain too much. Still sounds like a win.

Nope, but I think they're exciting. It's like they're trying to keep up with the Sigma ART line but upping the ante with optical stabilization.

Just have AA-meetings instead. But yeah, that's a pretty messed up system. But as 00:01 is 12AM and 12:01 is 12PM... there's more to say for 12PM being 12:00 noon. We should all talk in 24HR format and zulu time. EST, CST, PST (pretty sure noone gives a damn about MST, sorry) great... now I need to google...

lol @ 'patented de-click tool' Wouldn't this work? http://store.cool-lux.com/collections/luxgears

With the APS-C sensor and you saying some M43 lenses actually manage to cover the sensor as well as the fact it can zoom by scaling the readout area... couldn't they do a thing where they include an electronic digital stabilizer by moving the readout area around? I guess it would be missing hardware, like accelerometers for that.. I'm curious to see if like Samsung they go big one time... where a successor could really nail it, but give up on the segment, or if they'll actually bring out something new and exciting at some point...

The 1D C really has a lot of 'pizzazz'. Canons seem to work well with people. Not just that it works for the operator, but it's soft enough to be flattering for the talent in front as well as skintones just being lovely and warm. Canons render like a comfortable warm blanket and a Sony for example is like that wool sweater your grandma knitted for you and itches all over the place and you don't want to be seen wearing it either. Shane Hurlbut did a comparison between some cine primes very recently and noted how the Canon cine primes is really flattering on the face as well, making it look a bit slimmer and more youthful. I guess that's really where Canon shines. Not detailed landscapes, not for much really, but when it comes to people... it's just bloody second to none.

That sounds familiiar kgv5. I went with one of these generic S60 ones and it was a pain. The handle was super annoying: loose and kept creeping, the balance didn't seem right at any time. It probably was too light and even a little wind would throw it all over the place. Nah, you definitly need a legit one. But I'm going to say... if you've been flying glidecams for months... years... it's almost just an extension of your own body and it becomes second nature to use one, making the movements really organic and natural (wouldn't neccessarily say 'fluid'). However, these people are so comfortable with glidecams... give them something like a Ronin to use and they may want to fly it like a glidecam, which it isn't and which is hard to unlearn, leading perhaps to sub-optimal results. That video with a VS face-off... the Ronin doesn't looks anything like the majority of the footage I've seen shot with it... which can actually be really really impressive. But like the guy said, an electronic handheld gimbal stabilizer is still not idiotproof, you've got to like take 10 mins to assemble, balance and calibrate and stuff. I'm afraid that's not going to change anytime soon unless they invent one with motorized self-centering mountplates or something. Batterylife has improved a dang lot on the Pilotfly H2, that can't be an excuse anymore. I think it's really a thing of... do you mind spending every shoot and equipment change setting up your gimbal for a few minutes or... do you mind spending months and years to perfect your glidecam skills? I think if you stick to either of these and work with it for a couple of weeks, you develop a feel for it and you can make either work. I really like the idea however of a solid (but lightweight) 3-axis gimbal stabilizer, especially combined with a thumb controller. Those Yoshihide shots where he pans/tilts as he moves laterally, are just something else and to me it shows some new posibilities. He managed to get so much out of it in so little time with it, I think that kind of stabilizer is more in my crosshairs than a traditional one. But it seems they just need to get a little more convincing.

Yes Zach, be kind... ... rewind.

They had a silly little rendered image on the site before: ... so yeah, it seems they're really willing to go with that cinema camera formfactor: sensor in a box á la RED, ARRI Mini, Terra, Axiom indeed. Or even BMMCC. Could still be a final degree project of some students trying to see how people react to something like this... but I'm willing to consider the fact that this might just be legit. I don't neccessarily need 4K, but I do appreciate 2K and some wiggle room overscale. Say the BMCC 2.5K but then in BMMCC formfactor (why is this not a thing yet anyways?!!). I'd love it if everything is generic and non-propriatary. It being affordable and 4K... I think they must've gone with the MFT mount and 4/3" sensor. Just maybe APS-C. Sure would be nice if it did GoPro-like resolutions/framerates (4K up to 30p, 2.7K at 60p, 1440p at 80fps, 1080p at 120fps and 720p at 240fps). Global shutter would be incroyable... therefor I really don't think so. Boooh! Yeah, built-in NDs not going to happen either. LOG sounds feasible enough; even the Z Camera E1 has got Z-Log. RAW or ProRes a bit far fetched, although I guess, that's what a digital cinema cameras should really be all about... the Blackmagic Pocket and Micro got the message. Maybe in the pricey one. Storage... maybe just generic SSDs or that new M2-type storage perhaps. Good audio interface. User-programmable buttons and dials everywhere. Box/body accessoires. Basically it should almost be like a cage, able to mount stuff all over it; rails, arms, attachments, grips/handles... some provided by them as options, but the main idea: you can mount your own accessoires, be it EVF, monitor/recorder wherever the heck you like. If it turns out to be somewhat of a crossover between the Terra and the BMCC2.5K, I might just be down for something like that.

How's that funny? That was sent to each individual signing up to their newsletter all these months ago. And still stand by the fact that reservations will help with gauging interest. Like the reservations for the new Tesla Model 3, which also is refundable or to be used on a final sale. With how quickly they fill the reservation list, they can estimate if production can keep up... or maybe if there is too little interest to maybe rethink things...

Continuous AF is pretty dinky, so I'd only use it for quick S-AF. But then again... that's not mighty difficult by hand either and would be the way you'd do it with vintage glass and cine primes anyways. But yeah, for stills... maybe. But I prefer native lenses for that (also because those lenses go along with the whole compact formfactor, I don't feel the need to rig up with photography as I would for shooting video) and either Sigma 18-35mm and Tokina 11-16mm for example don't offer IS anyways, so it's really only for AF then. In turn you can save a couple of bucks by going with the somewhat cheaper Speedbooster XL for Nikon, that lacks the electronic connection. The beauty of it is you can control the aperture mechanically with a ring, unlike the Canon counterparts, which also enables you to use 'em on like 10~15 USD dummy adapters (two focal lengths for the price of one). The Canon mount itself is a little more flexible, e.g. I overlooked that Contax Zeiss is not very compatible with the Nikon mount unless you change the mount out for a Leitax conversion to make it work on a few lenses. I personally went with the Nikon-mount glass from the start. That also allows me to use a 2nd camera for example with a cheaper Lens Turbo on there.

Even then... I'm not going to use autofocus any day soon. If you're planning on boosting them on M43 or E-mount, you'd not even have the option. There's glassless electronic solutions now, but I think those haven't proven themselves worth getting yet. I'd probably would want the focus to be a creative/tactical choice, so I'd just go ahead and go all manual anyways. If you shoot a D7200 or D750 it might be a different story on some shots you'd want to get.

Man, I love the sequences where he walks and controls pan/tilt on this thing simultaneously: Back to what you're saying. Yeah, it's pretty much voodoo magic hocus pocus what those settings are, I have no idea, but I guess that's something you just got to learn when you're using these PID based devices. Something you probably get to terms with in no time. Good to hear, eventhough a little troublesome, atleast you've got your unit working now. I gotta say, I'd be pretty interested in seeing the bad side documented as well, how does that 'heavy shakes, rolling shutter and noise' really manifest itself? Of course it would be sweet to checkout some footage where's it's working at its finest, which I hope it will for you! I assume motor noise is normal. Thanks for sharing your journey with the H2 with us. I hope you'll manage to get it to work the way you need it to.

Another thing that's on the market just now: http://www.aputure.com/DEC-LensRegain . Not sure about calling a 'focal reducer' a 'lens regain', but then again 'lens turbo' is pretty ridiculous as well.

Why bring those into the discussion? Those are high-performance AF-S ED zooms...

I've already digged into BAVEyes before and turned out they lose to both Metabones and the R.J. Lens Turbo. The new ZY Optics/Zhongyi Lens Turbo is supposed to be the best sub-Metabones offering. The BAVEyes (BAV stands for Bavaria - Bayern, Germany) are made in cooperation with Kipon and I/BE Optics. They are also working together on the Handevision brand. Which is to say rather underwhelming performing with a way overpriced pricetag attached... Kipon on Tmall: https://hanshansm.world.tmall.com (btw, this adapter has been around for longer than just right now, maybe just not in Japan). You might as well pick up something like this though: https://world.tmall.com/item/44607998507.htm . That's 980 CNY/RMB ~ 150 USD for an active EF 0.71x booster (E-mount example; local CN price, add about 30% for resellers that ship to the rest of the world).