BTM_Pix

The 4K When I had a quick demo of it they were saying it was "around 1.75" and the KineEnhancer mount would take it to "around 1.4". Seems that info was a bit rough as I've just seen it specced as 1.85 and 1.3 respectively. What confuses me then is why the UK distributor sells what they refer to as a "Full Frame Package". https://www.proav.co.uk/kinefinity-terra-4k-ef-full-frame-package#specification

Its just doing the stuff from the original thread in a nicer skin with more refinement and some extra features so there are some videos in there. I could probably do with updating the most recent thread with a small video update so I'll get round to that in a few weeks. I haven't measured it but its never been something I've needed to as whatever latency there is certainly doesn't present itself obviously enough to be a concern when you are operating it.

Thought to myself "I'll just pop in to the BMPCC4K thread and ask about the crop factor versus the Kinefinity..."

That is exactly the sort of customer we like

Ah, I see what you were getting at now. Its the same deal in essence with a thunderbolt controller and graphics card but, yes, they are getting the smaller footprint from using the MXM module. You could argue that conceptually they've just chopped a smaller desktop case in half that has an external power supply The smaller footprint is useful if you are going to be moving about but without access to AC power it becomes a bit moot I suppose if you are looking at truly mobile editing.

Its a newer version of one that has been available for a while for Ursa. Blackmagic are always very open about protocols for controlling their products. Still needs an example of the new camera to test it with though so it will be a little while yet. My controller has Bluetooth 4.0 to enable it to support BMPC4K as well as the wifi for Panasonic/Sony. Those supposedly smart folks should have no problem making one as even the decidedly not that smart folks like me should probably be able to accomplish it

The ND filter is just an additional add on to the main controller though. The controller does remote focus with 8 stored points with dedicated keys for recall at 4 different transition speeds or manually controlled with a joystick. All wireless to the camera so it will work on any gimbal with the GH5 or any other Panasonic camera. The only reason it isn't ready to buy today is that I'm waiting for the Pocket 4K to port it to that so people can use it on multiple different cameras. I've got a way of adapting a traditional wheel and its eminently doable at a reasonable-ish price but I suppose the question is how much would you actually pay for something like that?

Here you are https://mega.nz/#!9yI3WI6Q!7vsyePwLM4ZNjLAvPgE5kF0tJzllNgPxRdGPDPJ3Xmc

It's the whole keyboard and trackpad so it's likely going to be a dodgy trackpad cable as a fault with that causes both not to be recognised. Well I hope it is because that's a £10 part and a 1 hour labour charge at an independent service place! That's what the Aorus box is in my link, although technically you could change the card later if you wanted to. You could edit on the plane/train/bus using proxies and then plug in the eGPU for rendering though.

The good thing about Resolve is the network rendering though so we can still put these older machines and eGPUs to work rendering in the background while we are working on our fancy new MacBook 2021 Titanium Wafer laptops

Not as yet, there is a very informative thread here from @Don Kotlos that I'm going to re-visit. I'm hoping he can chime in and give us a steer on what the current best bang for the buck is. I probably should have got into this earlier as the price of graphics cards has gone ridiculous due to people hoovering them up for Bitcoin mining. I'm wondering whether something like this Gigabyte AORUS all in one solution might be the path of least resistance to get going for me. Seems a bit cheaper than a separate solution as well but I'm sure there are some caveats that @Don Kotlos can fill us in on. https://www.scan.co.uk/products/gigabyte-aorus-gtx-1070-gaming-box-thunderbolt-3-rgb-graphics-box

Mine is a late 2015 and had an intermittent keyboard fault a few weeks ago. Credit to it though, it recognised that intermittent problems are really frustrating so it has now made itself permanent. I'm not sure if its dust thats caused it as it has not exactly led an easy life and routinely has overnight stays in boxes of rice after getting rained on on jobs. I'm pretty sure its a detached ribbon and will be an easy fix but the reports of £700 for a repair means that the repair won't be happening at an official Apple outlet.

I think this might become even more of a discussion point in the next couple of months as the Pocket 4K starts to be delivered and people are looking to edit RAW in Resolve. My MacBook Pro is probably due an upgrade but I actually think I might go the route of getting an external GPU as it looks like its going to be cheaper and more effective for Resolve than upgrading the computer. After seeing some of the performance increases on offer in Resolve with external GPU and them now being officially supported in macOS 10.13.4, I think it might be time to take the plunge.

It will use Bluetooth LE to communicate with my controller so a smartphone app could equally be used. My personal view of that though is that its a bit of an overkill way to do it, especially considering the size and cost of the smartphone even though you might already have it. Using something like a small Bluetooth LE controller (a keyfob sized remote control similar to smartphone shutter release for example) is, to me at least, a better way to control it as the beauty of doing it that way is you don't have to fire up an app on the smartphone so its a bit more instant, not to mention tactile ? There'll be options for both though.

I quite like this folding one. It folds down to about 6 inches wide for travel and is both USB and bluetooth so you can use it wired with the F8n or wireless with your iOS devices when you're using the app so its a very flexible device. I used to have a similar one in my bag permanently as my old MacBook had a tendency to throw its hand in keyboard wise when it got damp (which it would frequently do pitch side in English winters. And English springs, summers and autumns ) and it was a god send. http://amzn.eu/grqeFFy

The Sony 400mm f2.8 is a shot across the bows rather than a direct hit below the waterline for Nikon and Canon. It takes away the single non-negotiable denial of entry point for Sony into professional sports but the A9 itself will still hold them up for now. The fps thing is a bit of a red herring by the way because it can only hit that using the electronic shutter (which has known issues with LED ad boards at stadiums) and can actually only do 5fps with the mechanical shutter. There are a number of other factors like infrastructure and other mundane stuff that all add to the difference between it being something with a fantastic spec and something which is actually then used and adopted in real professional environments. The next version of the A9 though might well be the one if Nikon and Canon don't pull their fingers out.

This will get you far closer to that as it will track the aperture (and shutter speed if you wanted it to I suppose) and you then set a conservative limit on the auto ISO so it will constantly be doing the offset without large changes in the ISO. You would deliberately set the base exposure to be a stop or two away ISO wise from the limit you'd set for the auto ISO so it had some range above and below to work in. For example, if your base exposure is 1/50th, f4 and ISO640 then you'd set up the ND to add enough to make that exposure at ISO320 instead and set the auto ISO limit to be ISO800. That will take care of a reasonable change in light as the auto ISO can range above and below that point and the ND will track the changes from the aperture point of view to keep that initial base exposure constant as far as the auto ISO can see. It depends on how much swing you expect to have within a single shooting scenario but configuring it like that would take away a lot of manual intervention. It can be done exactly like that now with any ND either fixed or variable but the difference is in the tracking of changing aperture which would otherwise require a manual change in ND level. Otherwise you'd be looking at a Sony FS5 which will work in full auto mode as it has a built in variable electronic ND. No, what I've done here isn't groundbreaking or original so manufacturers are able to do this themselves if they want and, as above, cameras like the FS5 already do. This is more about being able to add that style of functionality to any camera, especially when integrated with my controller, and at a reasonable price. As I say, it depends on how changeable conditions are going to be within the same shooting period but I think its possible to get pretty close with an ND filter that can track aperture changes. Or take the full creative control option and buy an FS5

Nicely done.

What I was referring to regarding the stops was measured stepping between values. If you want it to be user variable (there are 256 steps of adjustment) then it can be like that but from a control point of view it makes it easier to use if those steps are divided between stops as tied to the exposure you are setting on the camera using the controller. So if you set your base setting of f4 at 1/50th then when you changed to f2.8 or f5.6 it would automatically turn the ND up and down to maintain the same exposure. I'll give some thought to the interface for a standalone on regarding variable control. Probably a small joystick (like the controllers on a PSVITA) would work best I think. No, the box its in is purely to hold it while I was developing the code to control it. Its actually a cut up cardboard box from a USB power bank with a Cokin flat filter adapter grafted on to get it on to a lens as they were what was within my eye line when I was doing it! The filter itself is as thin as a regular filter. As a standalone unit it will obviously need some electronics to drive it so it will all be contained within a frame but it will be nowhere near as big as what you can see on the, erm, carefully constructed and lovingly sculpted housing its currently in.

Nice shot. It isn't necessary if you want to do it in post, no. It is more usual to get ND for free as it were by using low ISO (though I have used NDs for twilight traffic shots with wider apertures to get the exposure down to get effective streaks) but NDs can still often be necessary if you want to avoid diffraction if you have to step the lens down too far to make the exposure. The standard method now might be to use Photoshop but I'm an old git The ghosting is dependent on just how long you are prepared to make the exposure and I've seen some that are measured in minutes rather than seconds where its imperceptible. It throws up a load of other problems with trees and clouds of course which they then have to fix in Photoshop anyway so..... Agreed that it is becoming less of an issue with more recent cameras but I still have quite a few cameras in my collection that don't go beyond 1/4000th though and even those that do can't always make the exposure without some ND. Case in point even from yesterday is the SD Quattro for the DNG that @mercer wanted where I was also using a 1.4 lens but couldn't open it beyond 2.8 because of the light here in Spain and the camera maxing out at 1/4000th. This would've been your second 1/8000th at f2 shot and I think I only posses one camera that could've made a 1.4 exposure in that light (albeit with electronic shutter) which would be the X-T2 so while we've gained recently on the one hand with faster shutters we've lost on the other with faster lenses and a thirst for shallow depth of field. Of course I didn't follow my own advice and happily wandered out of the house without an ND filter (or sunscreen) Having said all that.... I wouldn't buy my own device for stills either as it is sledgehammer to crack a nut when there are enough existing cheaper and more appropriate solutions.

Yeah, I tried that a bit later and it just does the media offline thing. It didn't crash though so there is that 12.5 was suffering from my 'upgrade' to High Sierra. I swear I was only walking for about 90 seconds from my house so I'm pretty sure I was still in Spain but you know how time becomes elastic with advancing years No problem, it'll have to be tomorrow though as I'm out, erm, 'refuelling' at the moment.

Well that was a rabbit hole... I went out and took a few frames (of flowers obviously as I don't have a cat) and importing them crashed Resolve. I thought it was because I had an older version so I downloaded and installed the latest one. Still crashes it. So that would be a no ! Lightroom, Afinity Photo, Aperture etc opened it without issue.

The protruding wires are an essential part of my design brand DNA though

I haven't but let me go outside and take a picture of something and let you know Hang on....

The difference is in the remote control of it - especially if the camera is on a gimbal or jib - as part of the overall camera remote control system rather than just saving the manual turning of a variable ND (though I am lazy enough to think that an advantage as well ). So this means saving and recalling instantly with the rest of the settings but more importantly the auto tracking feature that maintains your exposure precisely when changing apertures rather than you having to adjust it manually (with the usual overshoots and re-adjustment as vari NDs don't have fixed points between individual settings). With regard to putting it inside a mount, I referenced the Aputure device and I think its a great solution but limits the mount options as it terminates in MFT and E mount only and isn't particularly cheap. The choice of terminating mounts is by and large fine because MFT and E mount cameras are ones that a lot of people use but it rules out other mounts that people use such as EOS-M, Nikon and even EF itself. Its also an either/or situation with a speed booster as you can't have both and if you have an MFT and an E mount camera you need to buy one for each. By putting the ND on the lens we can avoid all of that and you can use say a Canon lens on an MFT mount speed boosted, a full frame E mount without booster or on an EF system all with the same variable ND functionality. As for swapping it between lenses, the final form is unknown but if its a square format then it will drop into a matte box or Cokin style holder or via a magnetic filter hold system so it shouldn't be too painful. The halfway house solution though is to put it in lens adapters that terminate in different mounts other than MFT and E mount to provide a more flexible halfway house between something like the Lens Throttle and the Aputure. It will likely be cheaper than $200 as a front mounted system and certainly less than that within a mount.