majoraxis

That was a great article... no wonder I like shooting with the aperture wide open ; ) I imagine that comes with is own set of physics and constraints and at a minimum a lens may not be (will probably not be) at its sharpest when shooting wide open.

Awesome! Thank you!

Also the object tracking the RS2 (ActiveTrack 3.0) seem to track better when compared to the Zhiyun CRANE-3S Pro, I assume the Zhiyun app uses the algorithms across their product family, that said, software can be improved all other things being equal like HDMI wireless delay, resolution and frame rate providing the data for processing. I tried both the Crane 3-S Pro and the RS2 and I liked the DJI app and physical design of the RS2 better, the Weebill may be a completely difference experience as compared to the Crane 3S...

@BenEricson does Zhiyun offer a Lidar autofocus add on module like the DJI 3D auto focus system? If so, the Weebill would be an even better value than Ronin RS2, if not maybe they have one in the works. I mentioned the RS2 Pro Combo because you can add the DJI Lidar 3D Auto Focus system, though not as good as the AFX auto focus system when it comes to the distance it can achieve auto focus at.

I meant Micro Cinema Camera not Micro Studio Camera...

The truth... For the under $700 camera price range, only the Blackmagic Cinema Camera 2.5k and the Micro Studio Camera look like the Pocket Cinema Camera. Making your Blackmagic Pocket Cinema Camera work the way you want it to... If you keep your BMPCC, add an AFX audio focus system ($415) when for sale again and Tilta Nucleus Nano motor ($150). If you are in the market for a top of the line gimbal, fly your BMPCC on a Ronin RS2 Pro Combo ($999) and add the DJI 3D auto focus system ($169). For your price range and feature requirements (mostly)... You can also look at the Panasonic G9, which goes as low as $700 used on ebay, though they are more likely to be $800. This will get you a 10 bit depth and 4:2:2 color rendering, but you will not have the highlight roll off, dynamic range or color density of the Blackmagic Fairchild sensor.

The video touches on the topic of exceeding the color space and using the a scope and a plug in Resolve to monitor it and keep it within REC709 limits. The section starts at 14:52. Use the CIE Chromaticity Scope in Resolve to view the color space and how your levels exist inside and outside of it. If and when you are exceeding it, add the Color Space Transform Resolve OFX plugin and select the Gamut Mapping option in the plugin. Set it to Saturation Mapping and adjusting the Saturation Max and Knee to your color space target max levels. The video also has some good tips on grading Zcam footage, but can be applied in general.

@KnightsFan Thanks for the information - I really appreciate it! I like the look of the ZCam plugin with the E2-M4 footage and I am thankful there is not a LUT involved. The more I play with my Zcam ecosystem: ProRes 4:2:2, Flat (saturated log color profile), Z Cam Color Correction OFX plugin for Resolve with color transform to linear, Resolve Noise Reduction, Resolve OFX plugins such as Dehaze, the more I feel like it is completely useable without having to shoot ZRAW or switch cameras and shoot BRAW. I think the E2-M4 is a worthy alternative to the Pocket 4k due to the results from the above work flow, as well as it beating the Pocket 4k in the other ways mentioned in my initial post. I would also like to add the with the 4k 120p slow motion comes lower rolling shutter, which is a benefit experienced in the low jello modes as well. With some investment in learning how to get the most out of it, the value of the E2-M4 is very high compared to the competition.

I wanted to add that I am now using the Z CAM Color Correction OFX plugin for Resolve, which allows me to adjust the exposure and transform it to look like REC709. I assume inside of the plugin, when you change the exposure, it applies the correct LUT based on the new exposure you set. This fixes what I did not like about using LUTs, which is having them not matched correctly to the exposure and look bad in the under exposed or near over exposed areas. The Z Cam Color Correction OFX plugin for Resolve as well as a version for FCPX, Z Cam LUTs and ZRAW plugin for Adobe Premiere and Scratch are available here: https://www.z-cam.com/lut/

"Production Update # 8 22/3/21 We are pleased to inform you that we have had notification from our shipping agent that the main AFX boards have now fully cleared through customs and will be with us in the next 48 hours. As per our 27/02/21 message, we will now issue a new update when we have physically received them." @BTM_Pix Will the the AFX, MMX and cables all shipping together or are just the AFX's (and cables?) shipping first? Thanks!

I believe you are correct. So either the BRAW or variants of the IMX299 sensor may explain the the magenta shift when shooting under exposed on the Pocket 4k as compared to the E2-M4. I am really enjoying the color science with the E2-M2 Flat color profile. I am able to get a good basic grade by using curves without a lut in Resolve. I prefer not to use a lut if I don't have to.

The GH5s sensor is 13mm high and 2760 pixels is the max recorded value high. The Pocket 4K is 10mm high and 2160 pixels is the max recorded value high. The E2 / E2-4M is 13mm high and 2772 pixels is the max recorded value high. The Terra 4K is probably the same a the GH5s from what I gather, but I did not find a specifications with the information. So comparing the stated heights of the sensor the odd sensor out is the Pocket 4K. I suspect that part of the reason I like the look of the E2-M4 over the Pocket 4K is the performance of the sensor. Thanks! Mark

Z-cam looks to be here to stay. There were rumors of shortages of the processor Z-cam uses, but their entire product line is in stock at BH Photo except for the original E2. Z-cam also looks to be introducing a competitor to the Red Komodo with the release of the Z CAM E2-S6G Super 35mm 6K Cinema Camera (Global Shutter) due in April. So, with what appears to be a stable company and expanding product line, it is worth taking a second look at the E2-M4 now that Z-cam has now released firmware 0.98.0 that enables Pro Res recording at all frame rates on the E2-M4. This includes 4k @ 120fps, 4K 2.4:1 @ 160fps & 1080p @ 240fps in Pro Res, so you don't have the overhead of decoding H265. A natural comparison is to the Blackmagic Pocket 4k, which has a few advantages: 1. 12bit BRAW 2. LCD Screen 3. SD Card Recording 4. $200 cheaper 5. AC to DC power supply included 6. About 1/2 lbs lighter Some of the E2-M4 advantages are: 1. 4k @ 120p and 4k 2.4:1 @ 160fps slow-motion recorded to Pro Res internally as well as un-cropped 1080p @ 240p for super-slow motion but it does line skip. 2a. Wireless video monitoring to iPhone or iPad (or both at the same time) with only 100ms delay, which better than many less expensive wireless HDMI solutions when you add the HDMI latency of the camera HDMI out. 2b. You can also plug in your iPhone into the USB C port via a cable and it will take the place of the wireless link and charge your phone at the same time as well as ensure a reliable connection. 2c. The app functions much like a real monitor with 1080p resolution, peaking, scopes etc as well as does camera control. 3. 5-pin Limo to dual balanced mic pre inputs with phantom power (adapter cable required) 4. Interchangeable lens mounts including a optional locking M4/3 mount as well as an EF or PL that can take their variable electronic ND (the M4/3 and M4/3 locking can not take the vari-ND) There is a mount with a built in speed booster. 5. Box camera so it is a better shape to balance on a gimbal. 6a. Different sensor than the Blackmagic Pocket 4k that does not have the magenta shift at when under exposing 6b. This sensor is significantly taller than the Pocket 4k sensor so it is much better for shooting anamorphic. 6c. The combination of difference sensor and Z-Cam color science and color profiles provide a different look and some will prefer it to the Blackmagic 4K. 7. Expanded ISO limits depending on your shooting mode up to 102,400 vs 25,600 of the Blackmagic Pocket 4k. 8. HDMI output can output up to 4k depending on the shooting mode. 9a. Large, more powerful, longer lasting battery options using the Sony L-Series. 9b. Power output from the camera to power a monitor. 10. Can shoot ProRes RAW via recording to the Ninja V. (not really an advantage if you use Resolve due to BRAW support) 11. Live streaming via Ethernet port. As they in Spinal Tap: these go to 11. For an extra $200, it is worth considering the Z-cam E2-M4, especially if you are a Final Cut Pro user, if you own an Ninja V, or if you own a Ronin S. Here's part 1 or a great 3 part review of the E2-M4 by Adam Wilt: https://www.provideocoalition.com/review-z-cam-e2-m4-mft-cine-camera-part-1/ Thanks! Mark

From Indiegogo: Production Update #7 March 10th, 2021 “We are pleased to inform you that despite the fabrication plant missing yet another deadline, we have now finally received despatch confirmation from them for the main AFX boards. As per our 27/02/21 message, we will now issue a new update when they have been processed through customs. Thanks once again for your patience.” Great news!

I like the look of the pocket 6k/ 6k Pro Sony sensor, I don’t like the look of the Pocket 4K GH5s Sony sensor. I compared the Pocket 4K to the original BMCC 2.5k and the difference in dynamic range and highlight roll off was obvious and significant. I would take the Pocket 6k over the OG BMCC. To me it’s not that it has a Sony sensor, but which Sony sensor it has and what file type and bit depth it is being recorded at. I also like the look of the GH5 so take my opinion with a grain of salt. Above all, the Ursa 12k looks the best to me sensor wise, so I am hoping that in the future there will be a more affordable version.

Indiegogo AFX campaign update #6 (things that caught my eye in bold.) Here’s the link if you what to see the official update with pictures and correct formatting: https://www.indiegogo.com/projects/afx-autofocus-adapter#/updates/all “Shipping Update 27/02/21 Unfortunately, we have to inform you of another short delay to our anticipated commencement of despatch date of 28th February. As per our last update, the potential challenge to that date being met was the main AFX boards not being completed in time for the commencement of Chinese New Year break and this ultimately was the case. We had built in some allowance for this happening but there has still been insufficient time since the resumption of work after the holiday for them to be completed. The fabrication plant has indicated that we should now expect completion on the 5th/6th of March. As the full production run of the housings for the units have now been received, we have been able to mitigate this extra delay slightly by completing the sub-assemblies of all AFX units and this will cut the final assembly time after the arrival of the processor boards from four days to two days before despatch begins. This also means that the full production run of the reduced size MMX is now complete and ready to despatch with the AFX. We have also added the following enhancements to the firmware of the AFX : Support for Tilta focus wheel to manually adjust focus alongside the AF capabilities of the AFX (for both electronic and motor controlled lenses) User preference option to use the REC button on the Tilta wheel to engage/disengage the AF of the AFX. Switchable option for focus motor direction in both calibration and lens loading functions. Adjustable calibration positive/negative offset setting when loading lens to enable re-location of the AFX without re-calibration. To enable more flexible mounting and directional change of the unit, and as a small token of our gratitude for your patience, we have now included a ball head mounting adapter with your AFX when it is despatched and we have also created a focus chart for you to download and print out to aid the calibration process. In what we anticipate to be the short run up to despatch, we will issue an individual update as the key points have been met. Despatch from the fabrication plant. Customs clearance. Receipt by ourselves for final assembly. Commencement of despatch to backers. Once again, we apologise for the delay and again thank you in advance for your patience whilst we complete this process.”

Specs on the Blackmagic Pocket Cinema Camera Pro EVF Display Resolution 1280 x 960 Display Type Micro OLED Frame Rates Up to 60 fps Color Precision 24 bit RGB, 16.7 million colors Focus 4 element diopter Diopter Range -4 to +4

Tilt adjustable 1500 nit LCD... that's a nice improvement. I wonder what resolution the EVF is and if it is OLED? with the brighter tilt screen it's nice that it is optional and not built in to the product and price.

I think there is room between the USRA Mini Pro 4.6k G2 and the USRA Mini Pro 12k for an USRA Mini Pro 8k for $7,500 that is basically the USRA Mini 12k that restricts the resolution to a downsampled 8k image. This could also be upgradable for $3,500 to 12k including installing the 12k enabling board at a local Blackmagic dealer. I would like to see the Pocket 6k sensor with M4/3 mount in a Micro Cinema Camera body with SDI output and dual micro XLR microphone inputs for $2495. I would like to see a 6k global shutter sensor with M4/3 mount in a Micro Cinema Camera body with SDI output and dual micro XLR microphone inputs for $2995. I wold like to see a Pocket 6k with M4/3's mount for $1995. I assume there is very little research and development that is required to create this product variation. I would purchase any of the above 6k M4/3 configurations if and when available.

Thanks - interested in seeing how the rainbow flares from special coating look.

I tried the Crane 3 S Pro to see if I could get it to work the same as the DJI Ronan RS 2 Pro Combo but handle more weight for my manual focus vintage lenses. Unfortunately, the Crane 3 S Pro was not as easy to set up a the RS 2 Pro Combo. One of the function that I assume would just work was using it as a monitor and a controller at the same time. We the RS 2 it was all in one app - video monitor and gimbal controller. With the Crane 3 S Pro it was 2 apps, one for control and one for monitoring, so I could not figure out how to monitor the video through my iPhone while using the iPhone to move the gimbal remotely at the same time. I was also not able to figure out how to get the Crane 3 S Pro track subject from the video monitoring application. I have read that it can do subject tracking so it must be user error, the wrong firmware or I need the additional video receiver and remote control option. In either case, the RS 2 worked as expected and the Crane 3 S Pro did not so I am returning it. What was nice about the Crane 3 S Pro is that it has supper strong motors an extension arm to expanded it accommodate really large/heavy camera rigs. If I was doing all of my gimbal control from the gimbal then it would have been a different story as you can operation/move the gimbal from the joystick on the gimbal while monitoring video wirelessly and there are also the focus and zoom motors that are included with the Pro packag.. So for a single operator with a heavy camera rig that does all of the control from the gimbal, it could be an excellent tool. I also liked the built-in/ integrated rails to hold the focus and zoom motors. Botton line it was not for me, but it may be preferred to the RS 2 Pro Combo by others who need maximum weight handling. My minimum requirement for a gimbal to support creating a remote AI based auto focus system (to support the AFX sensor tracking a moving subject) is the gimbal's ability to send real-time video to a smart phone to allow the smart phone to process the video and send back gimbal control information to track the subject selected on the smart phone, and have the weight and size handling capacity to handle an appropriate camera, lens and focus motor. The DJI Ronan RS 2 Pro Combo does this as it can handle up to 10 LBS so running a Pocket 4k with an Panasonic autofocus lens with the AFX on the camera shoe should be within the weight handling capacity. The RS2 Pro combination may also handle manual lenses that are not too heavy, large or long with the Tilta focus motor attached.. The less expensive Ronan RSC 2 Pro Combo may also do similar tracking as it also transmits video, but with with 6.6. weigh limit and the smaller gimbal frame size, IMHO it is not worth the price difference to lose the weight and size handling. There are probably other options out. if you can think of any, please let me know. Thanks! Mark

@Caleb Genheimer Great idea! I am going to try a Crane 3 Pro gimbal for tracking, but I still need to check the tracking accuracy and speed with a heavy lens to see if it can keep up with the subject. The other nice thing about using a gimbal is being able to do the tracking control by moving the phone to manually to move the gimbal and track the subject by hands and eyes. So instead of focus pulling, it is focus pointing.

@BTM_Pix Thanks for making your system incredible flexible! This is fantastic news for people who own or plan to own more than one AFX and MMX. It reminds me of what Steve Jobs said when he first introduced the iphone... It's an auto focus distance sensor, it's lens motor driver, it's relational database, it's a Bluetooth Low Energy Multi Client/Server... It's all of these, but together it is a revolutionary autofocus tool kit where networked autofocus sensors can distribute autofocus distance information allowing you to co-locate two cameras, one as your autofocus subject tracking camera, one as your subject/scene framing camera. Whatever is in the center of your screen on this first camera can determine what is in focus on your second camera, that can have a completely different framing. Add a gimbal with subject tracking and you can have AI track your subject around the scene, then distribute the autofocus distance to the second camera, which can frame your subject/scene however you like, while your subject stays perfectly in focus. Perfect Framing with Perfect Autofocus = Revolution.

@KnightsFan Great question! Honestly, I don’t, but I switched the color profiles back and forth and P3 looked the best to me. It looked very similar to the default iMac color profile. I think the key is to bake the color space and the gamma settings into the resultant QuickTime file and set Resolve to Use Mac Display Color Profiles for Viewers I assume if you had your own calibrated color profile it should work just as well.

@kyeThanks for the information! I’m not applying and removing the LUT with the Display P3 work flow and the results match. For people on iMac with Resolve I would try the 3 steps listed above (without the LUT), as it is a no fuss workflow. That said, if you do try the 3 steps (to color consistency), please report back your experience to confirm or deny the validity of this workflow (for iMac users). Thanks!