majoraxis

C-mount can be for a number of difference sensor size 1/2", 2/3", 1" etc... so a 1" is like Super 16. 1" will (and 2/3" should?) cover the center chop 1080p 120 slow-motion window or a you could use a B4 lens with Abakus 132 adapter etc. As the magnification of the Abakus 132 adapter is 1.32x then a 2/3" B4 lens becomes .88" somewhere between 2/3" and 1" sensor coverage. So a 4.5mm 13x Fujinon B4 Zoom is like a 24mm full frame equivalent at the wide end with a calculated 2.4 f-stop (1.8f x 1.32) through the majority of the zoom range. Super 16 would be fine ergonomically. Some of the smaller c-mount lens can be difficult to turn to the focus and aperture rings in realtime due to their size. There are some c-mount TV zoom lens by Canon and Fujinon that have nice ergonomics but tend to be on the long side as they were for TV studios. Adapting B4 lens like a broadcast B4 lenses or B4 cinema lenses would have good ergonomics. The cinema B4 lenses (Zeiss DigiPrime, DigiZooms, Fujinon HAE, Fujinon HAC, Canon, and Cooke) are the best to focus with due to the longer focus throws and being designed for minimal focus breathing... but you need an optical adapter to compensate for the lack of a prism in the optical path or they are soft wide open with chromatic aberration at the wide end. That's why Black Magic offers the USRA MINI B4 mount with optical adapter (sold separately) for the USRA Mini Pro and includes the B4 4k USRA MINI mount with optical adapter (not currently sold separately - hopefully they will announce it for sale separately at IBC in September - as these B4 mounts have different optical magnifications 1.1x and 1.4x respectively, so they cover different size sensor crops) as the standard mount for the USRA Broadcast.

... and some extra lights, and an external monitor, and an external audio recording device, and a speed booster to compensate for the difference in sensor size etc.... Not to say that the pocket doesn't produce a fine image under the right conditions, but the Pocket 4k is the camera that 98% of the users here would more likely be satisfied with shooting with 2 or 3 cheap ass Nikon MF lens. Well, and a pocket full of batteries... and an inexpensive shot gun mic... and a hand full of inexpensive lights... Anyways, back to wishing the Pocket 4k had a tilt/flip screen and a second phantom powered mini-xlr mic input and bigger battery... not! I'll take it as it is as soon as it is available.

@Sage as you mentioned the Pocket 4k, any chance you are planning on creating a Pocket 4k Raw and Pro Res to Alexa Conversion work flow? Thanks! Mark

@ Anaconda_ good point about using the center part of the fish eye lens - I should have said that I would like to know of wide angle lenses that don't look fish eyed when they are use on the Pocket 4k in 1080p 120 crop mode. That image looks good. It would be interesting to see how that lens would look with a speed booster to get as much width as possible on the 1080p 120 mode.

If it is a pixel for pixel crop for 1080p then in it's 4/3 to 2/3's so the options are limited if you want to go high quality wide angle. With a 4x crop factor compared to full frame 6mm would be a 24 mm equivalent. Here are some lens options. 3.5 mm Abakus 381-S16 Super 16mm Ultra-Wide Stadium Lens PL Mount - PL to m4/3's adapter (probably a rental for most people at $17k retail) (14mm FF Equivalent) 4.8mm Schneider 2/3" C-Mount Cinegon Compact Lens ($1,500) Fixed-Focal Lens (19.2 mm FF Equivalent) 6mm Tamron C-Mount 2/3" Machine Vision Fixed-Focal Lens ($420) Fixed-Focal Lens (24 mm FF Equivalent) 6.23mm Fujinon HF6XA-5M 2/3" Machine Vision Lens ($420) Seems to have a Focus ring (25 mm FF Equivalent) 6.5mm Tamron High Resolution C-Mount Lens ($129) Fixed-Focal Lens (26mm FF Equivalent) Note: because of the size constraints of the c-mount to m4/3 adapter rear of the c-mount lens mount sometimes has to be ground and the above lens have not been tested. For zoom lenses, B4 lenses can be adapted with an optical adapter to compensate of the lack of prism in the optical path. The Fujinon 13x4.5 and 14x4.5 would be 5.94 mm at the wide end with the the Abakus 132 B4 to Super 16 PL adapter. Add at PL to m4/3 adapter. (23.8mm FF Equivalent) The Canon 11x4.7 would be 6.20 mm at the wide end with the Abakus 132 B4 to Super 16 PL adapter. Add at PL to m4/3 adapter. (24.8 mm FF Equivalent) Additional B4 options would include: The Abakus 381 B4 Ultra-Wide Stadium Lens 3.5mm would be 4.62mm at the wide end with the Abakus 132 B4 to Super 16 PL adapter. Add at PL to m4/3 adapter. (18.5mm FF Equivalent) Zeiss DigiWide 3.9mm would be 5.15 mm at the wide end with the Abakus 132 B4 to Super 16 PL adapter. Add at PL to m4/3 adapter. (20.6mm FF Equivalent) Zeiss DigiPrime 5mm would be 6.6 mm at the wide end with the Abakus 132 B4 to Super 16 PL adapter. Add at PL to m4/3 adapter. (26.4 mm FF Equivalent) not super wide but added for reference. Panasonic m4/3 zoom Panasonic Lumix G Vario 7-14mm f/4 ASPH. Lens (28mm FF Equivalent) not super wide but worth a mention. Please let me know what other wide angle (non fisheye) equivalent or combinations are available.

Here's a link to an article about Grant Petty. https://www.smartcompany.com.au/entrepreneurs/influencers-profiles/blackmagic-design-founder-grant-petty-on-how-a-burning-revelation-led-him-to-create-his-300-million-video-technology-company/ I have much respect for the way he and his company does not over charge, even though they could charge more if they wanted too. In particular, the updates to Black Magic's Resolve Studio have been free of charge over the years and now they are basically throwing it in with the Black Magic Pocket Cinema Camera 4k. Yes, I would pay $1295 for the Pocket Cinema Camera 4k without Resolve Studio.. If it takes a few days, weeks, or months past the end of September to ship the Pocket Cinema Camera 4k, I will still be extremely happy with Black Magic, once I have my Pocket Cinema Camera 4k in my hands. IMHO, it will be more than worth the wait.

I like the grade a well!

You could look into the FotodioX WonderPana filter holder system... that said it, depends on what you consider cheap...

With non-native lens you still get focus peaking on the GH5.

24 watts @ $300 is $12.50 per watt for the Cello 120 watts @ 1000 is $8.33 per watt Timpani To get the same output you need 5 Cello, which is $1500 on sale. It seems the Timpani is sweet spot price wise - especially if and when it goes on sale at BH... If you already have lights it seems that 2 Timpani's would be a good place to start... Looks like the Digital Sputnik DS 1 has some competition at defuse light source - the Timpani can't touch the size and beam angle of the DS 1 though... it all depends on your application of course. The Timpani and DS 1 would probably work great together as well.

Thanks Juan - this works great! This process has breathed new life into a project I was struggling grading. This is a godsend. Thanks again!

The hyper realness of the 120 fps footage might be good for 3D...

It looks fantastic - I can't wait for the official release! I'm looking forward to knowing the recommend shooting format(s). Is it best to record in HLG or V-Log or Natural or other? With an emphasis on getting the best 4k 60p internal recording quality for color grading in Resolve. And also for 6k anamorphic. Thanks!

That's quite a difference between the Varicam 35 Lut and New GHa Tungsten Lut. The GHa Tungsten Lut looks great!

@ Sage. I have remote phosphor based lights by BB&S and Cineo. They both license the same patented phosphor formulation, so quality of the light is the same at the same panel color temperature. I have 5600k, 4300k and 3200k panels. I am planning using them together to give me a color temperature between 4300k-4400k: 4300k (single 4300k panel), 4400k (combination of 5600k and 3200k) and 4350k (combination of 4300k/5600k/3200k). I should have said I have tri-color lights, but that would have taken some explaining... ; ) I would be happy to shoot some test charts. I have a ColorChecker Passport and I can purchase the additional color charts as you require. Thanks! Mark

This comes to mind... ; ) Excellent work Sage - I am a believer and ready to purchase... I am hoping that you will release a 4300k version... (actually 4400k as I am using a bi-color light 5600k+3200k/2) Thanks! Mark

I was only able to find a 2x fujinon c-mount extender. There are a few COMPUTAR 1.5X RANGE EXTENDER FOR C-MOUNT LENSES on ebay at the moment. Here's a link to one: https://www.ebay.com/itm/COMPUTAR-1-5X-RANGE-EXTENDER-C-MOUNT-LENS-ADAPTER-STOP-VIGNETTING-ON-YOUR-LENS/281811702249?_trkparms=aid%3D222007%26algo%3DSIM.MBE%26ao%3D2%26asc%3D44039%26meid%3D15fa69a1fdf540f1a1079ea17ef38429%26pid%3D100005%26rk%3D5%26rkt%3D6%26sd%3D281477203093%26itm%3D281811702249&_trksid=p2047675.c100005.m1851 The guy who is selling this, sells a lot of vintage c-mount lens so he may know if a 1.4x c-mount extender is available. His ebay ID is calkovsky-cinema-worldwide One thing to consider is that the extender is designed to take the center part of the image and zoom in so you may still may have vignetting due to the design of the extender and the lens you are pairing it with.

If you are using the GH5, if you engage the EXT TEL option it will crop the sensor and leave about what you need for a 1" C-Mount Lens and it will save you about a stop of light over using a 1.4x optical extender. If the EXT TEL crop is not enough, you can also engage the IBIS / sensor image stabilization and it will crop even more. I have an Olympus 1.4x MTF extender and it is designed to go inside of the lens it attaches to so it will not work with a C-Mount lens. There is an advantage to using full gate 6k recording when scanning the full sensor readout so in that case having an optical extender that allows you to cover the whole MTF sensor may have resolution benefits, but many C-Mount lens are not designed to resolve 6k, let alone 4k, so you may find using the extender hurts resolution more that if you just record 4k cropped without it.

One more just for fun as a starting point to tweak from. .Cube attached. Marina Foreground Graded 3DLC 2.cube

Here's my grade done in 3DLUT Creator. Attached is the exported LUT as .cube. Marina Foreground Graded 3DLC.cube

@cantsin, if you could post before and after images for the same frame, that would be appreciated. Thanks! Mark

I believe it is 1080p max resolution for the input source. The LED panel itself is 1600 x 768 resolution.

Imagine if it were the other way around and the GH5S had been released first and the GH5 was now being released for less money and included 6K, IBIS, 1.4x 4k crop mode, less processed looking image etc. I think there would be a lot more people cueing up to purchase the GH5 and there is to purchase the GH5S - if their release dates were reversed. Once the GH5s comes down in price to match its comparative value (both the GH5 and GH5S are worth $1500-$1700 IMHO) then they will sell a lot more. Panasonic should have come out with the GH5 II with better slow-motion, better AF and better in camera noise reduction based on the GH5S processing. Maybe it's the sensor that make things look like contrasty plastic rather than the aggressive NR.

I watched it on Jonesy Jones recommendation without knowing it was fake. I was thinking there was going to be a meaningful revelation at by the end of it, but for me there wasn't. Even though I took it a face value, I keep saying to myself, this looks like it is staged and I keep expecting some reality tv type of moments where there is the melt down, freakout, rage quit, sellout, the betrayal, revelation or all of the above. So it didn't get there for me. Also, the color grading of teal and orange got tiresome especially the teal tinted ocean. That said, just completing something of the scale was a great accomplishment, through there was not enough soul swapping/selling for my tasted in drama whether it is real or fake or something in-between.

If no IBIS, but if the GH5s has one or two more stops of dynamic range in video and 2 or 3 more stops of usable low light in video - I'm still in and still keeping my GH5 when I need to go hand held. Though it still would be a major bummer if no IBIS.