Shirozina

Nevermind what's the point of the screen - what's the point of the camera? So many people seem to complain about it for what it can't do or why it's not the camera they want it should never have been released.

I get 40 mins with 10 year old LP-E6 batteries. New LP-E6n on the latest firmware will run an hour by all accounts. Even 40 mins isn't that bad if you have a stash of batteries.

A canon LP-E6n lasts an hour - hardly crap. External battery options are cheap and easy to implement. What cameras don't you need to rig for longer and more complex shoots.

There is already a pro version of the P4k - it's called an Ursa.......

You can get a 1TB T5 for 200Euros or thereabouts.

You are forgetting 'not as good as the camera it replaced'

If he's shooting at 1250 ISO then he's loosing a stop of DR as it's the higher gain setting but using either CDNG or BRAW the ISO setting in either range shouldn't make a difference as it's just a metadata tag and is not changing the data like it is in ProRes where it's baked. So I presume you mean avoid using the higher gain setting in contrasty situations. Yes I must change my HDR 4k reference monitor for a mobile phone when grading. The BMPCC looks different to the P4k for sure and you may for various reason prefer that look but it certainly isn't 'technicaly' better in any measurable way.

As someone who owns the BMPCC and the P4k I can tell you the highlight roll-off is not terrible on the P4k nor is the DR worse than the BMPCC nor are skintones unnecessarily contrasty - but what do I know as I'm not looking at it via youtube on a cellphone? CFast is expensive for data so why not just get a 1TB T5 ? I've got a few external battery solutions but the best by far (and the cheapest)is a cheap NPF sled with a dummy battery from amazon/ebay. I shortened the power lead to tidy it up and mounted the sled to the top of a smallrig 1/2 cage. With a generic F970 battery I get 2.5 hours recording time when writing to the external T5.

It's been available in photoshop for ages so not really a surprise it's made it's way to motion images.

I've downloaded the files and have them in a UHD timeline in Resolve Studio outputting to a 27" HDR UHD monitor via decklink - I can't see anything (and I'm looking really hard with a critical eye used to identifying all kinds of artefacts) and I'm seeing nothing, absolutely nothing that I am worried about. What setup are you viewing these files on?

Is that a full frame in the vertical crop? It looks very underexposed so we are seeing the differences in the shadows where the most 'NR' seems to happen. I still can't see any 'sharpening halos.

Sorry I don't understand your comment?

Again show us this in your footage as I'm just not seeing it in mine. OK at 600% I can see a bit of color aliasing but apart from that for a 1:1 sampling sensor it's remarkably clean. Resolve can have some unpleasant image display artefacts under some of the user options for playback settings where you can trade playback speed for quality but I guess you know this?

I don't see any 'sharpening halos' on this video or my own BRAW footage - can you post some samples to show this please? What's with the cyan cast on the 2nd video?

DNG 'looks' like it has sharpening applied with it's overly emphasised edges. Anyway who looks at a film at 300% an come to think of it who look at a film at 100%??? 'sharpness' is not the reason to choose BRAW anyway. Having the post production flexibility of not having and ISO curve and WB baked in is a bigger advantage than apparent 'sharpness' gains at 300%.

I'm just about to take delivery of a GH06 head so I'll test it against my FSB4 for you.

The BM 4k pocket has a bigger sensor so it would be worse. 0.71 is the reducer you need for APS-C lenses.

Maybe I was a bit harsh on Yashica - they are good value lenses but nothing exceptional. Based on what the OP want's from a set of lenses that will work with future 6 and 8k capture needs then exceptional lenses are what are required.

I do know about Yashica and it’s (inferior) relation Ziess - hence my comment about why would anyone want to use them on a 6k sensor?

They will cover the frame but why choose such cheap lenses for such a good sensor?

You need a version of the NPF sled with a transformer built in to step up the voltage.

Can you load the lut into the monitor?

I’ve got a GH5 cage and I doubt will be enough extra weight. Try swapping your 12-35 for the sigma 18-35 as this is a very heavy lens on par with the 24-70. Glad the smoothness is an improvement and the legs work well at least! It’s a pretty good setup for the price.

Just checked the Miller site and the entry level heads only have a 2 stage counterbalance setting and not a 0 setting. Seems counterproductive when you wanted a light and compact travel unit that you have to load it up to make it work. How is the fluid motion BTW compared to what you previously had?

Most heads have a 0 counterbalance setting where the spring is disengaged and you only have friction - does the Miller head not have this?