Matthew Hartman

Great tip! I'm definitely going to try this. It makes me wonder why the gimbal manufacturers don't offer this as part of the product build. Most gimbals I've seen the rubber is so thin it's virtually metal on metal.

Nokia was a top brand, especially in Europe. It didn't quite have the same mass following here in the states, that went to Apple and Samsung, but those of us that knew about phones and the cameras on them knew the Nokias blew everything out of the water in spades in that regard. The megapixel count on these devices were insane. As much as MS played their part in the destruction of the brand, the truth is Nokia was in trouble as a company and MS was willing to purchase them to save them. Not that different from Google buying HTC's phone division, whom I also worked for as well. Apple and Samsung have dominated this market. But bless Panasonic for trying... This in a phone, not a point and shoot. You may also like this article: https://www.forbes.com/sites/ewanspence/2018/01/27/hmdglobal-nokia10-pentalens-camera-new-leak-rumor/

Interesting point there. That would certainly bring down the price too.

You can't sell a smartphone these days without 4k, let alone a product with the word cinema in it costing many dollars more. As soon as smartphones starting gaining 4k capabilities 1080 became old news as far as consumer perception. The new buzzword will be 8k soon. This is not a good trend, as most cinemas are still running 2k projectors and 4k televisions are still not widespread yet. We don't need more resolution, we need more dynamic range, cleaner sensors, and smaller acquisition and distribution footprints. Resolution is already at the tip between quality and diminishing return, there are other factors to innovate upon. As smartphones narrow the gap between portability, capability and quality, the markert is going to get real murky, and I question what affect this will have within the film industry. No one in their right mind is going to spend 40k when they can get what they need in a $2,000 or less package.

So in my consideration and anticipation of getting the Ursa Mini Pro 4.6k I'm pitching to this community on glass reccomendations. My budget is $1,000 max, so please keep that in mind when making reccomendations. I don't mind used/refurbished as long as in good/working condition. Some other criteria: 1.) Fast Zoom, with AF and decent range, obviously on the EF mount system. Max constant acceptable apeture would be f2.8. (Knowing the low light limitations of the camera) 2.) Not looking for Cine glass, as this would get rented specifically for budgeted shoots. Most likely Cooke Mini or Ziess primes on PL. Even though I prefer primes, I want to go zoom (constant aperture) because for personal projects and practice I just want to use one or two lens'. I have a Edelkrone follow focus with a gear ring, so photography glass is fine. Right now I've got my eye on the Sigma Art 1.8 16-35mm. Good?

If it's not 4k it will not compete well in a 4k buzzword market. LOL. I believe at the time BMD was looking closely at this product:

Completely. It's part of why I left and went with a smaller agency. It's really unfortunate. You have employees who genuinely want to innovate and please their users and then you have business objectives which of course is to maximize profits. There's probably a happy medium but of course it always skews left. I could'nt tell you how many projects I've worked hard on only to be redirected in a matter of days by top management. It is really daunting and causes you to question your own career choice. The worst re-org I saw in my time was MS' aquisition of Nokia. They brought a lot of Nokia's employees over to the Redmond campus here in the U.S., including their families, only to let most of them go about 2 months later. I thought this an extremely immoral dick move on MS' part. Don't believe this is a MS problem. I've seen it everywhere. Apple, Samsung, HTC, Google, Amazon, they're all the same. It's a very reactive industry.

I think it terms of stabilization it's important to have a realistic expectation when it comes to real world use. Nothing is a silver bullet solution. Using stedicams and motorized gimbals are not an end solution, considerable practice and correct posture (knees bent) are still very much part of getting smooth shots, even coupled with OIS and IBIS. Even using optical and digital stabilization the camera can still pick up micro vibrations, which becomes more pronounced on longer lens'. That's why most ppl prefer to use wide as it produces less preceived parallax on the X and Y in your image. Also, infinity focus is prefered on systems that don't have good AF. The truth is if you're after that "Hollywood level smooth" you need to be on dolly/slider cranes/jibs, and drone systems. I couple my Zhiyun crane mounted on a shock absorbed boom connecting to a vest. I also use the native Samsung 16-50mm S lens with OIS (quite good) and use good posture techniques. Even with all this, I will still get occasional vibrations that naturally come with walking. Don't assume Warp Stabilizer in post will solve all issues, in fact it can often make your footage look worse. Serious jello. It's to be used lightly. Practice and multiple takes are key. I think if you set yourself up with the expectation that stabilizers and OIS/IBIS are going to be all you need to deliver buttery smooth shots you're in for some disapointment.

What is your proccesor and how many cores does it have? Also, I would advise you to upgrade your RAM to 32GB, if possible. These two factors are where you're going to see the bigger gains in performance. Your Nvidia 1060 GPU should be able to handle the processes that use GPU in Premiere, but most of the app is driven by the CPU RAM. Premeire's code isn't as optimized as other NLEs, so it takes some decent specs to run it smoothly in the 4k space. I recently updated to a new monster PC and what a joy it's been being able to edit with smooth playback in full preview settings. It has decreased my workflow time almost by 3/4. Also, do you render "previews" in your current workflow?

It's possible. Although I do have my doubts. We haven't seen a new one for almost 2 years now. BTW, I just read a rumor that the S9/S9+ will be able to do 480fps in 1080. Wild on two fronts, one, a smartphone can acheive this, and two, why in just a smartphone and not a new prosumer camera? The GH5 maxes out at 180fps in 1080 albiet lowered quality. And the there's this from RED:

It exists because ppl have conversations on a website created specifically for it.

1.) Thank you for the patronizing. It's a cool look. 2.) There have already been a number of hacks so it's likely we could get the authors of those hacks to revisit it, possibly with some financial backing this time. No need to scour the deep web or get snarky. Whether that works or not is inconsequential to using the camera as it is in it's current state. My copy works as well as the day I received it in 2015. If someone shot a feature on it (which ppl have) that got some notable traction in mass, you best believe Samsung is going perk up and use that as part of their company portfolio. Whether that translates as jumping back into the mirrorless camera business or not remains to be seen. Personally, I'd love to see what they could do in the cinema realm. No one can confirm (I have friend's that work at Samsung USA in WA) whether the camera business is a dead horse or a dormant one. Most of the ppl working in that division were transfered to other products, and seem as clueless as the public. Samsung, as far as top management left that door cracked open as they commonly tend to do, so unlike you I'm reluctant to be quite as prescriptive. The set to be announced Galaxy S9/S9+ is rumored to have a 3-layered/stacked image sensor with improved dual pixel AF (which is already quite good) better ISO, variable mechanical aperture, optical zoom (S9+) and capable of shooting 120fps in full UHD 4k. If true, what that shows is Samsung is still very much invested in it's imaging technology, perhaps just not in the form you or I would want it.

The coder would have to be versed in the Tizen language, which most coders are not. The SDK has been available for download for quite some time. The hackers of the recent hacks have seemed to vanish post 2017. I believe a skilled coder could do something with the HDMI out channel so that the internal processor (Samsung - DRIMe -based on Samsung Exynos) isn't encoding at all, thus keeping the camera nice and cool. BTW, the full 4k readout on the DRIMe is set to an optimum rate, which means there's room for overclocking, at the cost of more heat and possible damage of course.

So obviously I've decided what direction I'm going. (Ursa Mini Pro 4.6k) Why this over the 4.6k model? Two things: Built in ND Changeable mounts The other features dont really mean that much to me at the end of the day, or maybe I'll find use for them. Can't really say until the camera is in hand. In fact depending on my bonus, I may even pick up a second hand Production Cam 4k as well to fly on my Zhiyun Crane, as purchasing a Ronin or Came TV gimbal that can float the Ursa will likely cost more. I'm thinking the two systems should theoretically cut well together. I hardly ever distribute in 4k, mostly 1080 and occasionally 2k, as most projectors in theaters are mostly 2k anyway, so I should get a pretty solid workflow when I need 60fps with the production cam. I can't wait to work with that image. I've been wanting to own an image like this since I was a kid. Yes, of course one can rent this. But these cameras are not outside my budget, so why not own them and be done with this damn acquisition and unhealthy obsession already. If I get the Productuon Cam there's going to be a NX1 with a boatload of glass and a lot of awesome accesory hitting the market at a deal you won't readily find. If there's no interest, I'll probably just keep it for my photography, or see if I can float it on a drone, which would be 10x better than a Gopro or DJI cam. As far as resolution, decent DR, AF, and color science, the NX1 is still very much a viable system in my mind. I think it would be stunning on a drone. Also, I definitely want to go the SSD route with the Ursa, any reccomendations?

LOL, why the hell is WalMart selling the Ursa Mini Pro 4.6k? https://www.walmart.com/ip/Blackmagic-Design-URSA-Mini-Pro-4-6K-Camera-with-EF-Mount-External-Camera-Controls/794029088?wmlspartner=wlpa&selectedSellerId=2000&adid=22222222228083947559&wmlspartner=wmtlabs&wl0=&wl1=g&wl2=m&wl3=196815744366&wl4=aud-310687321802:pla-320144163492&wl5=9033288&wl6=&wl7=&wl8=&wl9=pla&wl10=113834007&wl11=online&wl12=794029088&wl13=&veh=sem I'd have to agree with you on this. At least from what I've seen online. It's nowhere near what I get on my NX1 or see with other mirrorless systems. I don't do a lot of handheld or whip pans, but even mico movements are jello with my NX1 and it will be nice not to have to see it to that degree when I get my ursa mini pro 4.6k. Im so looking forward to it. Yet, honestly, not looking forward to the size. Well, Ive been meaning to work out more, so...

Curious, which image to you prefer?

Excellent points. Trust me, I know very well what good glass and good lighting gives you both artistically and production wise, and I'm definitely not looking or miscalculating that this is replaceable with any camera. The goal here for me is to enhance those processes. A camera can't setup up depth and contrast ratios in your scene, only record what you set up in front of it. I have seen smartphone footage that would blow your mind and no one would ever guess a smartphone produced it. So this is the mentality I'm coming from. I do not think any camera is a silver bullet. No mature audience is going to enjoy watching a sterile bowl of fruit regardless what it's being filmed with. The camera is one tool in a batch of others that all create the look and feel of the frame. That being said, BMD products give you a good jump on that for a relatively affordable price.

Yeah, I saw this the other day. I was not impressed with that magenta cast on one hand, but impressed with the specular rolloff 15 stops of DR on the other. My understanding is that BMD has addressed the magenta cast in firmware?

I'll have to check those out sometime. Soft focus can be used as a narrative as much as anything else. I really like when talent moves into the plane of focus especially when it's shallow. It has it's purposes and can even make accidents look intentional. ?

I wouldnt say "over" is accurate. It's being considered with the ursa 4.k definitely leading the pack. Again, I can't stress this enough, my main criteria is image look. Image and image quality are seperate to me. One means the look and feel of the footage, and the other means resolution. Obviously, the 4.6k offers both, with two more stops of effective DR, and that would be ideal. The BDM Production Camera 4k still offers that look I'm after at marginally lower resolution as the ursa, and no 4k 60fps. The advantages here (as with Kinefinity) are smaller footprint, global shutter, and it will work with a lot of my current kit. All the rest of it, as in battery, storage, low ISO, etc. is noise to me. I'm not ENG, and have no plans to be. I'm a resourceful and inventive person, I grew up filfthy poor, and know how to turn a little into a lot to get the best bang out of my buck. If that means going with technology introduced in 2014, so be it. Just because something is newer doesn't automatically make it better.

A lot of tech companies make extraneous claims about their own products. Sometimes the self awarding is warranted but that's the rare exception. And are you sure that's not the perception you've prescribed to them? No camera manufacturer can meet every demand of every person. What one camera lacks, the other presents, but lacks 2 features of the next one and so on. At all price points. The Alexa is often considered the litmus for other systems to measure up to as far as image. But is the Alexa a perfect camera? Not even close if the perfect camera to you is something you can hold in the palm of your hand and place anywhere. If you're happy with the image of the GH5/s, learn to manual focus like a seasoned Hollywood focus puller. Hollywood goes to considerable lengths to acheive the image they want around tons of limitations and obstacles, but they still manage to get things done and give us stories we want to pay $20 to go see. They don't pay much attention to the marketing campaigns of camera manufactures because most of it is b.s.

Well, I've already narrowed my search to the following: BMD Usra Mini 4.6k (Pro version too) BMD Production Camera 4k (Mainly for the size, SSD, global shutter, RAW) Kinefinity Terra 4k/5k/6k (mainly 5k version) The other systems mentioned are great systems for various reasons, but I'm not personally attracted to their image characteristics. For me its not about brand prestige rather than getting the look I've always strived for and obsessed about since forever. BMD offers this at a price point I can actually afford, so it seems pretty clear to me. My issue is amoung the BDM product offerings in the 4k space, which one? I have to make my investments count.

I do desire 4k, especially if I'm investing in systems that need to hold me for 4-6 years. I also enjoy the advatanges 4k gives you when your distribution is 2.5/2/1080. The ability is reframe, pan, "dolly" in/out gives me 2-cam like abilities. Also, sometimes noise gets crunched as well. Do I NEED 4k? No. Hardly anyone does at this current time. Will 4k become the new distribution standard soon? I believe so. Regardless, thanks for your suggestions. And BTW, I dont judge a camera on who has shot what with them. "Tangerine", an acclaimed film was shot on an iPhone 6. Beides, DP/ACs are not shooting my content for me. At the end of the day I have to be in love with the image, and if Im not I will 100% obsess about it. I know this much about me.

Sounds very logical. When I worked at Microsoft, you'd be suprised how often tech companies sabotage their competitors and even themselves. Very, very politicial. Teams of various products competing constantly for budgets/headcount, and a lot of ppl being thrown under bus. The net value is the consumer receives the crap shoot of this, and marketing teams have to scramble to make somethiing out of nothing. Most of my job there was fighting to keep my job.

I'm going to take a wild guess (and this is clearly speculation) but my guess is that there's components that Panasonic can't get its hands on that would help it to produce better AF. It could totally be political rather than econmical. Companies and their suppliers/producers do partake in competitor sabotage/contracts. It's not like the AF tech of Canon, Nikon, Sony and Samsung (the AF on my NX1 and S8 is top notch) is new tech or hard to wrap your brain around. My view is if Panasonic wanted it or could get it they would, and the GH5/s would have been a perfect release to showcase it. It's current form should not even be held as AF in terms of 2018. It would seem unlikely to me Panasonic would willfully take on that embarrassment. Again, speculation.