mercer

You're right, which is even worse, but I just picked a round number. Yeah... nobody shoots 24p...

Yeah, the 90D is only showing 25p and 30p as well... Canon is nuts if they actually think they can sell a $1000 camera and not have 24p.

I don’t know if you’re familiar with the Ribcage Mod but it’s a kit you can buy to change out the stock lens on your GoPro to accept M12/C Mount/D Mount lenses. Here’s an instruction video for the GoPro 3... They also make kits for the Yi4K+ and even a kit that adds a Micro 4/3 mount to the Sony RX0. If you’re not mechanically inclined, the company will do the mod for you on a brand new camera they have in stock. I’ve been wanting to get one of these for awhile since I have a slew of old D Mount lenses and C Mount lenses. If the RX0 kit/mod wasn’t so expensive, I’d do it in a heartbeat. Here’s a video on their website from a GoPro with D Mount lenses... I can’t believe how sharp those old, Kern-Paillard D-Mount lenses are. I have a mint set of them collecting dust in my closet... maybe I’ll pick up a modded Hero 4 or 5 to give them a little go.

Shijan makes them. Really great stuff. If the BMMCC was going to be my main camera, I’d probably invest in the entire kit. Btw, he’s also the filmmaker behind the awesome boxer film you embedded in your original post.

I haven’t watched it yet either but here’s my guess... the Alexa’s 2K looks better than the BM’s 6K and whatever the Red Raven shoots at. Ok, I just watched the first couple minutes and became quickly bored when I saw that he wasn’t even using the same lens on each camera.

Native ISO is 800 on the Pocket and Micro and it has been highly recommended to only shoot at that ISO.

Please don’t advertise you’re an American, it makes the rest of us look bad. Hahaha... just kidding. I’m almost convinced Skip77 (and possibly ZachGoodwin2) are alter egos of somebody on this site having a laugh.

Thanks, Kye! I appreciate that. I know how important the details of an image means to you so I hold your opinion with high regard. Btw, I think it may be all of the above but it looks like my 5 lens collection just turned into 6... damn.

As I’m sure everybody knows by now, at the end of the shooting days, for my film, I get my lead actor to hang out a little while so I can test out a lens. I’m trying to have a lens or two for every one of my favorite focal lengths. The other day, after we filmed a scene, I wanted to give the Samyang 50mm 1.4 another chance and I’m glad I did. As BTM said a dozen times, Samyang lenses really pull more than their weight...

Sweet, I’ll see how my MacBook Air handles the files. I’m going to hop on the computer tonight and install the plugin while I still can. Lol. Does Red have a lot of sample clips on their site?

I do not believe that is true, otherwise I would be taking my MLV files directly into FCPX. However, I think Skip might believe that all Raw is the same, which we know it is not, just like he is confused with the stutter, judder, flicker 24fps debate. So, in short, I don’t think Skip is having the same conversations we are having and rather than acknowledging that, he is doubling down and grasping onto single words in sentences to save face. In other news, how did the Redcode files from the Raven get along with your computer?

Don’t confuse my lack of caring as “riding the fence.” I come to this site to learn and to discuss filmmaking and filmmaking gear, not to argue with people that are incapable of admitting when they’re wrong. 24fps has a stutter/judder, end of discussion. It is a fact! In all honesty, the word FLICKER, is probably a better choice, but with semantics aside, 24fps is anything but smooth. https://www.filmindependent.org/blog/hacking-film-24-frames-per-second/

I don’t know about that, but I get your point. The dynamic range is pretty great in that short.

Thanks, I guess I better get that plugin before Red forbids FCPX users to access it. Dont worry, I already went a round with that guy and I really don’t have the time, or inclination, to debate basic camera operations and the history of 24p in cinema with someone who will cherry pick one word in a sentence to try and prove his argument. Thanks, but don’t go too crazy, I base a lot of my opinions on mojo. Btw, I recently used the Samyang 50mm 1.4 on a shoot and I think I may have a hard time parting with that lens. Lol.

Cool, let us know how long the charge lasts powering the camera and monitor. I have the Ikan VL35 monitor for mine because I wanted to keep the set up as small as possible but if you’re getting good run times with the Focus, it may be worth the bigger monitor. How is the Micro HDMI Port on the Focus? Is it a flimsy connection?

@crevice thanks for posting this. I recently bought my second Micro. I still prefer ML Raw but it’s great to have a camera to use all of these SD cards with again. That French short film with the boy in car blows my mind every time I see it. The DR is great and the color grading is spot on. If someone told me that was shot on an Alexa, I would have believed them. If I could get my Micro footage to look that good, I may keep the Micro. As of now, I’m not so sure...

Yeah, I’m surprised the rope, on the far left corner, has any detail considering the amount of sky in the shot. Is the plugin part of the inspector, or do you drop and drag it onto the clip? Hahaha! Yes, please do! I know Red is public enemy number one around here but as a cinema camera, I suspect the Epic will have way better silkyshuddercodeshuttermojo than the P4K. It will be interesting to see a fair comparison from someone other than a YouTube influencer.

Yes, this is interesting. It doesn’t matter to me if the Komodo is in my price range for the basic fact that it will lower the used prices on their older cameras. And basically every camera they ever made still produces a relevant image. But if the Komodo, is around $3000... my next camera could be a Red. I assume it will be closer to $6000, though.

I don’t think I saw that video, I’ll have to watch it and find me some Redcode files to mess around with. Thanks.

I was going to ask you about this... I never knew there was a Raw Tab for Redcode in FCPX... AWESOME! Can anyone use it if they have some sample footage, or do you need to own a Red camera to access it? I wish I could convert my .mlv files to Redcode instead of .cdng.

Yeah, it is definitely interesting. The fact that they’re using the RF mount makes you wonder if they are licensing DPAF along with the mount from Canon. And if so, why would Canon want a competitor, in that price bracket, to have their two greatest tech accomplishments in the past 10 years? I’ll probably be laughed off the forum for saying this but I wouldn’t be surprised at all if Canon is the first company to offer internal Raw in one of their mirrorless cameras... so maybe it was some type of swap... RF mount and DPAF for compressed Raw.

Apparently, Blackmagic has one too many patent infringements to add another one from Canon and the licensing fee would be too impractical for a camera at this price point... I would think?

Okay, I see your point, I’m just offering a different perspective. I can only speak for myself but until recently, I never owned a native lens, I’ve always used vintage lenses and after switching to mirrorless, I outfitted all of my lenses with their own mirrorless adapter. After switching systems, numerous times, looking for the right fit, I spent hundreds of dollars on adapters until I finally settled back to an EF DSLR. Since I spent so much money on those adapters, I can’t allow myself to throw them away, so I have 2 or 3 shoeboxes filled with adapters. As far as native lenses go, I’m unsure there’s an argument in favor of native m4/3 lenses over native EF lenses... Hell most people buy a M4/3 camera and use a massive Sigma 18-35mm on it. Aside the Voigtlanders, some of the best lenses I’ve ever used have been Canon L lenses. I even went so far to have an FD 50mm 1.2 L modified to the EF mount. I also have a Minolta 35mm 1.8 that was modified to the EF mount, so I understand the desire to shoot with all of the amazing glass available and yes a mirrorless mount is better in that regard. But even still, after fiddling with all of those adapters, for all those years, I’d still rather have a native EF lens or a thin EF adapter. Now I agree there aren’t many ef-s lenses, especially primes, but their FF lenses are great and cheap. The 28mm 1.8 blows my mind every time I use it. If it wasn’t for the supposedly poor battery life of the P6K, the 17-55mm zoom would be a great lens for a handheld set up. Does Kinefinity even make cameras anymore? Just kidding. Again I see your point and it’s valid, except as is, I don’t understand how BM makes any money with these cameras. I don’t know what their profit margin is, but it can’t be much, if anything at all and since they aren’t a lens manufacturer, why have a proprietary mount... it’s a waste of money when they have free access to at least 3 different mounts. And with all of that being said, if I was in the market for a BM camera right now, I’d probably choose the P4K as well. But since I am invested in EF glass, I may rent a P6K in the future. OT - How did you like your Epic and what are your thoughts on the Komodo? I must admit the Komodo is kinda intriguing me even though there are cheaper, probably better options out there.

With some manual lenses, the damn m4/3 adapter is larger than the lens. I guess... BM cameras are kind of Frankencameras anyway, so whatever works to keep a smaller footprint, via body or lens, is an acceptable approach IMO. What’s not to get? The EF and PL mount are the most widely used mounts in S35 filmmaking. Since a PL mount on a $2500 camera would be utterly useless to a large majority of the intended market, the EF mount is the next logical choice. If you cannot find a native EF lens, or one that will adapt to the EF mount, you really aren’t looking hard enough. You gotta remember that Blackmagic can only manufacture these cameras, at these price points, by using off the shelf parts. So, there may not be a 6K suitable M4/3 sensor and there isn’t a widely available mount, that is free to use, to keep the costs down. It could have been worse and they could have used the F mount. Creating their own mount isn’t cost effective since they would have to design it, create molds and adapters for a ton of different lens mounts. With EF, they already have the supply chain from their previous cameras and a pipeline of 3rd party adapters. The EF mount was the only sensible option for this camera.

I think rather than pitching the idea to Netflix, you may be better off making some sort of pilot episode that you can shop around, enter in festivals, etc. Another possibility would be to find a list of the production companies that have deals with Netflix and contact them directly, or see if they’re signed up with Virtual Pitch Fest. As far as emailing Mr. Netflix and pitching him your idea, you may have as good of a chance selling it by going to the Hollywood Sign to ask Hollywood to greenlight your project. Dont get me wrong, I appreciate your enthusiasm and confidence but I think your approach may be a little naive. But if you figure it out, pass it along because I’d love to find another way to break through the door. Btw, don’t you live outside of LA? Do you know anybody who knows anybody that has an agent or knows an agent? Try networking?