BTM_Pix

I've got no interest in the camera to be honest but I'd just like to say that its always good to see the democracy manifest fella making an appearance in any video.

Based on NOT having access to the service manual for the FP or the EVF11....... The USB-C port is more than likely a simple pass through rather than being used for power/control of the EVF11. You can test this by putting a USB-C cable from the FP to the EVF11 and then another one from that into an external SSD. If the EVF11 doesn't power on and the camera can still see and use the SSD then that will confirm it. Based on it not being powered from the USB-C port then the presumption is it is being powered from the two pogo pins, with one of them being power and the other one obviously being ground. From tracing the connection from the pins of the HU11 flash interface to its hotshoe just now, the ground pin (unless there is some internal re-mapping) is the middle pin on the bottom row of the FP which would mean the one adjacent to it (as the pogo pins are horizontal on the EVF11) should be the power. However, I can't tell from the images of the EVF11 (as I don't have one unfortunately) whether this is on the one to the left or right but you should be able to determine that when you offer it up to the FP for connection. Once that is established, you should be able to measure the voltage coming from the FP to determine what external power you will need to provide. If there is no control information between the FP and the EVF11 through the USB port then it will be being provided through the HDMI port's data control channel. If I was going to look at hacking the EVF (heaven forbid, obviously) then I would start with extending out the connections from the FP to it in the same way as with the USB-C port before looking at the power as that offers the least chance of blowing up the FP and/or the EVF11. So, put some clips between the pogo pins of the FP and the EVF11 and an HDMI cable in between too. You can then remove the HDMI cable and see what happens both with it going to fresh air but then also what happens if you plug it into another HDMI device, what happens when you plug it back into the FP etc. This should tell you if there is any specific data communication over HDMI from the FP to the EVF11 that prevents it working with any source as if it does that then there isn't much point going on to the power aspect. If it does work with another HDMI source whilst being powered from the FP then you might still not be out of the woods as there could be an initial handshake that is happening prior to you changing source so the next test would be to power it on with the other source already connected and see if it still works. If it does then you are only looking at the power situation but obviously proceed absolutely at your own risk with that both from the initial measuring side on the FP to then building something custom based on that to power the EVF11.

It might sound counter intuitive but, even though you've got F mount lenses, I'd look at getting the EF version instead and using an F to EF adapter on it. The reason being is that you get no electronic control of Nikon lenses with the Nikon version anyway so you aren't losing anything there but what you will gain is more flexibility by being able to put EF lenses on it as well, where you will get electronic control from the P4K. So, if you do get any EF or EF-S lenses, you will be able to use aperture control and one shot AF but also take advantage of the IS on the lens if it has it, which can be a boon with the P4K. With the EF mount being shallower than the F mount, there is no lens you can adapt to F that you can't also adapt to EF so you don't lose anything there either. On the contrary, you actually gain several mount options, including C/Y and M42, that can be adapted to EF with simple adapters whereas you would need adapters with optical elements to use them with Nikon F and maintain infinity focus.

Some Voigtlander 40mm f1.4 M mount stuff on the Sigma fp from a recent trip to the frozen-ish north to see the in laws. The vignette and slight softness when shooting wide open makes it quite suitable for festive stuff ! Didn't shoot RAW so these are grabs from 4K all-i mov files.

I'm not sure what the issue is here ? There are support materials covering all aspects of calibration and operation which have been updated over the past nine months. All of the following support materials have been publicly published on the project page. All AFX owners have the updates of these support materials emailed to them automatically at the address they used when they ordered the AFX. User Guide - The full User Guide for the AFX is available at www.cdatek.com Please note that the User Guide is subject to addition as new features are added so please check that you have the most current version. Focus Calibration Chart - The focus calibration chart is available for download at www.cdatek.com and should be printed out for use with calibrating your lenses. Firmware Upgrades - All firmware upgrades are available at www.cdatek.com/afx-upgrade . On this page you will also find the firmware installation guide. The availability of new firmware is announced through the Indiegogo Project Update section and you should receive automatic notifications as they become available. Video Walkthrough Of Calibration Procedure For Electronic Lenses - A live walkthrough of the calibration procedure for electronic lenses for Pocket4K/Pocket6K is available here Video Walkthrough Of Lens Profiling Step For Pocket 6K - The Pocket6K lenses require an additional profiling step prior to the main calibration process and this is covered in a live video walkthrough here Video Walkthrough Of Calibration Procedure For Manual Focus Lenses - A live walkthrough of the calibration procedure for motor controlled manual focus lenses is available here Video Walkthrough Of Motor Calibration Procedure For Non Hard Stop Lenses - A live walkthrough of the motor calibration procedure for manual focus lenses that do not have hard stops is available here Video Walkthrough Of Zoom Lens Operations - A live walkthrough of the calibration procedure for zoom lenses and their operational considerations is available here Video Walkthrough Of Quad Lock - A live walkthrough of the functionality and operation of the QuadLock system is available here Example Of Using Adapted EF Lens On Pocket4K - Example of AFX AF-C performance on the Pocket4K using a Metabones Speedbooster and Sigma 18-35mm EF lens is available here Comparison Of AF-X AF Performance With Pocket 6K Internal AF - A comparison of the performance of the AFX in AF-C mode on a Pocket 6K with a Sigma 18-35mm EF lens versus the camera's own internal AF system is available here Video walkthrough of new Focus Recorder function in AFX v1.7 is available here Video walkthrough of the Firmware Update Process is available here

@Sammysammy I have respnded to your PM . As an FYI mate, I prefer all tech support requests to be directed to cdatek.com directly to get a formal response rather than PM on here as its not the correct way for us to track it etc Thanks

I did a quick thing about it when I first picked one up. Nothing special in terms of testing, just putting it on top of the camera while recording some fixed position wallpaper stuff. The audio in the video in the thread is from its down mixed live binaural line output straight into the camera (it can produce this output simultaneously whilst its recording the individual tracks of each capsule to the recorder). The original files are downloadable so you can try it with their software to experiment with the re-positioning aspect. It is an interesting device to supplement other microphones rather than replace them but I'm hoping at some point that Zoom produce a higher end one with better capsules.

For a reactionary pessimist such as myself though, the other way of looking at that is as a 100% failure rate 🙂

By the way, I don't have any with it from the GX85 but I do have these from the OG Pocket. The extra reach and, particularly, the IS won't do you any harm with it on your BM cameras as a single lens solution for travelling. Although the extra crop of the BM cameras means that the wide end can make it a bit more challenging at times.

Confirming @bjohn experience with the Kingston Canvas Select SD card, further testing showed dropped frames at 60fps 3:1 RAW after a few minutes on the Micro. 50fps didn't suffer from the same problems though so if that is the limit of your requirements frame rate wise with the Micro (it is for me) or, obviously, if you only want to use it with the Pocket then it is still an option. Although, again deferring to @bjohn longer term experience regarding reliability, then its still cautionary. I've edited the original post accordingly.

If you want to drill down into the different permutations of the elements within the profiles then I'd humbly suggest that you have a look at my profile stepper application which will automate the process for you. Here are examples of it being used on an FZ2500 (but obviously works on the GX85 and all other Panasonic cameras) to run through the contrast and saturation permutations of the profiles. CINE LIKE D SCENERY VIVID You can choose as many or as few parameters to change as you wish and the range of them so in these examples I'm only looking at Contrast from -5 to +2 and Saturation from -5 to +3 but you can go the whole hog if you wish to and do +5/-5 on every parameter if you are looking for a total in-camera look for example. I'd be tempted to include the NR one as it will have an impact on colour. The interval for the parameter changes in those videos are set to 3 seconds but you can adjust it obviously in the app. Its easy to generate the subtitle file to embed into the video like I've done here if you wish but it has a display mode whilst running so you can just use the screen of the phone/tablet to show the changes like below. Unfortunately, the shadows and highlight controls are not accessible externally so can't be included in the automation so especially if you are looking for a total in-camera look (or just for completeness) then once you are in the ball park of the profile that you want then I would be inclined to re-run the stepper with smaller permutation changes of contrast and colour only with manually set shadows and highlights permutations.

In which case I would certainly defer to that longer term usage report and say buyer beware then.

For anyone buying a Pocket or Micro for the first time - as well as those who already own them - there has been a challenge for a while now around buying new memory cards that actually work with them. I've been using a specific Sony one that is reliable but very pricey and not always readily available but I had some Kingston ones recommended to me that apparently fit the bill so I ordered one to try it out. EDIT >> Happy to report that it worked in ProRes and RAW without any dropped frames on both cameras, including the 3:1 RAW at 60fps on the Micro. Happy to report that it worked in ProRes and RAW without any dropped frames on both cameras in standard frame rates, but begins dropping frames at the 3:1 RAW at 60fps on the Micro but is OK at 50fps. << EDIT They are reasonably priced (sub €40 for the 256GB) and readily available from Amazon in different sizes up to 512GB. https://www.amazon.es/Kingston-Canvas-Select-Plus-SD/dp/B07YGYCR3V IMPORTANT > Please see @bjohn post following this one regarding long term reliability.

There will be another production run when the lengthy lead times for components and, more importantly, the resulting price hikes for them have been resolved. If you have contacted CDA-TEK with an enquiry about the AFX then you should be receiving an email update about it shortly.

Its not a lens that many people (including myself) have regretted buying. Best to consider it as a constant f4 though, partially for convenience of exposure, but also because it doesn't stay f2.8 for long in the zoom range. Very convenient all rounder but would I have bought it if I had the 12-35mm f2.8 ? Maybe not for me personally as the 24-70mm equivalent range is ideal for me and if I want to go beyond 70mm then I would prefer to go a bit beyond the 120mm equivalent and have a faster option too. So I would be looking at something like the Olympus 75mm f1.8 to supplement the 12-35mm and also benefit from the constant and faster apertue versus the 12-60mm. If you're shooting in a situation where you can't spare the time to change lenses though then, as I say, the 12-60mm is not something you'll regret having in that role.

The two native ISOs of the camera are 400 and 3200 so you could argue that if you are shooting BRAW in the camera's "cinema mode" then the only two gain values that you need to memorise are 0dB and +18dB. I don't think this completely negates the argument for displaying ISO values though (when using an external meter for incident readings being an obvious example) so it would be a useful and simple switchable option to include. The Ursa 4.6K and 12K (as well as the P4K/P6K of course) use ISO so it looks like a bit of a continuity error in that respect to market it as having a cinema camera element and then have it be different to those. Obviously, it won't stop you exposing the image correctly as there are more than enough exposure tools built in anyway but it would be simple enough to remedy in a firmware update. Irrespective of the nomenclature, though, it looks like a great all round camera.

Its a really great little lens, particularly for non-IBIS MFT cameras like the Pocket (particularly the original version for keeping everything small). The lesser spotted 35-100mm companion that they produce is also worth picking up for the same reasons.

Let me get the calipers out and find out for you... They are close enough to look like you might get away with it but I couldn't be sure. Thats a nice looking system though. MapCamera have a used one currently at almost exactly $1000 which, sadly, is as attractive as it is inaccessible as they don't do mail order and Japan is still closed to visitors. Hopefully a sign of the direction of travel price wise though.

It uses a 3M type of peel off strong sticker. The beauty of the magnetic one is that it (intentionally obviously !) breaks away from the camera if it takes a knock so whatever is attached to the filter part will suffer rather than the camera. In hindsight though, I think the alternative one that just provides the screw thread might have been a better idea (I have a similar one on the RX100) as the ND will more or less be a permanent fixture. This video gives a good overview comparison of fitting and using both I've noticed that a lot of the non-photo/video channel stuff I watch on YouTube are using these now and in the main their output looks a lot better. Of course when you finally relent and get your Sigma FP, the Fotodiox EF-L AF adapter with internal variable ND will be waiting for you to roll your own full frame RAW shooting version of the FZ2500 😉 With it supporting IS lenses, it also mitigates the lack of IBIS in the camera and the EF mount is obviously a gateway to putting your F mount or CY mount or R mount etc lenses on it and still having the benefit of the variable ND for all of them.

Yes, we were indeed. I shamelessly lifted our conversation as the basis for that post 🙂 Its OK. Its a bit noisy, of course, so I definitely need to experiment with the exposure to get the most out of it, especially in piercingly bright sunlight like this, but even in this rough test (grabs from 1080/24p recording) it was easy to get it in to ballpark of the sort of style that we were discussing. Yes, it does work on the LX10/LX15 but I haven't done the stepper test. As far as I know, its the same sensor so should be the same but the FZ has a few more controls like master pedestal that could influence it. These are from my hacked LX15 using Cinelike D and an old Sony camcorder Teleconverter attached with a magnetic filter adapter. The top row shows the wide end of the lens, the middle row shows the long end of the lens and the bottom row shows the long end of the lens with the TC attached. For anyone looking for a pocketable travel camera (at a cheaper cost and with a faster lens than the RX100) then the LX10/15 is a good option anyway but is far more versatile with the hack and the TC You are talking to a man who bought the Philips CD-I at launch and declared it to be the future of home entertainment, so lets not be too hasty on the logic front. Yep, the purpose was to come up with something akin to the WYSIWYG nature of reversal film and have the same rigid guideline of it having a fixed ISO (100 in this case) with a simulated push ability of a couple of stops so you can expose at ISO200 or ISO400 if needed. So if you can't make the exposure at ISO400 then you need to light it, accept it as is or stop shooting ! The FZ is suited to this restriction for daylight use, as are similarly equipped cameras, because the internal ND makes the low ISO restriction easier to deal with The other similar approach was to make something akin to negative film with the same restriction ISO wise but with an implicit 'developing' stage LUT/Preset. The approach that I've kind of settled on is a hybrid by using the optional VLOG-L profile and single shot preset of three corrections and a LUT and taking the dogmatic approach of applying it equally and rigidly to every shot, even if an individual shot could be improved by a bit more tweaking. I'm looking to re-instigate the discipline of shooting on Kodachrome back on myself albeit in a suspiciously sado masochistic manner ! I can't think of another camera that does everything it does in one unit but of course I can think of numerous ones that rinse it in terms of image quality. So its always a question of whether the balance of all round functionality and ease of use outweighs the lack of comparative flat out image quality. Obviously that is a question of personal preference and/or the application you're using it for. With regard to the lens by the way, the stabilisation at the long end is borderline witchcraft but the autofocus is not all that. Or even half all that. It gets an handshake back from the camera for every command so it should let you know with a pop-up if something is amiss. To double check, though, set your camera to one of the colour profiles and then use the stepper to go through the Black&White profile as the change from one to the other will be much more noticeable 😉 The simple solution is to knock it down to 1 second intervals so she only has to sit motionless for 4 hours ! What I would do for the first pass is not alter the sharpness and noise reduction so just leave their range to be 0 and 0 and then just use the colour and contrast permutations. Once you are happy with a specific colour and contrast permutation then do another pass with those set as the range (so if colour was 2 then just set the range to be 2 and 2 etc) and then do permutations of the sharpness and NR. Again you can also reduce the permutations of the second pass considerably by clamping the upper limit of sharpness and NR to way below 5 as there is a lot of nastiness at those levels. Having said that, you never know whether some bizarre combination of +4 sharpness and +5 NR might not open up a secret portal into an incredible look !

Funnily enough, I actually used the stepper app in anger last year to go through all the profiles in an FZ2500 stepping through -5 to to +2 in contrast with saturation going from -5 to +3, so there were 72 permutations in all per profile. I didn't bother with stepping through the sharpness and NR parameters as it wasn't relevant at the time as I was just looking at colour and contrast. The idea was to see if there is any unconventional wisdom to be had such as using untapped settings such as Portrait with -4 contrast and +2 saturation etc as the end goal was to make a profile that could be used as an out of camera look that would play well on its own or to create one that played well with a particular emulation LUT. I've always had this nagging thing about giving away too much colour and contrast in the capture because thats what everybody does to get a flat image and then has to add it back post capture with all the artefacts that can bring. What I found interesting is that with everything except the two Cine profiles, there were some terrible artefacts happening (particularly in the sky) in some interactions between lower contrast and lower saturation and in fact the only way they cleared was when the saturation was actually boosted to +1 or +2. That made me think that my suspicion about giving up the goods saturation wise potentially being a folly was quite accurate. The two Cinelike profiles don't seem to share these issues but, of the two though, going by trying to retain saturation in the capture, I actually favoured what I saw from the usually less fashionable Cinelike V profile. The net result was that with the stepper app, I ended up with a single video file where it was easy to see all this laid out and whilst the Cinelike V being preferable to my eye than the Cinelike D was a bit of an eyebrow raise, the process quickly let me eliminate the possibility of there being any particularly revolutionary permutations with the other profiles. It saved an absolute shit load of time and as time is money then I used the saving to buy the V-LOG upgrade for the camera 😉

If you don't mind a paid option ($49.99) then have a look at EditReady for transcoding them into ProRes which FCP will be happy with. Free trial available too so you can make sure it works with your fancy new machine 🙂 https://www.divergentmedia.com/editready

For all of the cameras that have been produced before this new revolution that would benefit from it. Having the external ProRes RAW option on my Sigma FP, for example, is great but I don't want to have a Ninja V attached to it as it defeats the camera's biggest strength. Being able to add non RAW versions of ProRes to things like my Leica SL which does 10 bit external would also be a boon, again without having to add the big screen.

I suspect that what the Nikon Z9 is offering in terms of what can be recorded internally is very concerning for Atomos. Not in terms of the Z9 itself, as its still quite a niche camera, but as an indicator of the direction of travel. Now that the genie is out of the bottle in terms of a manufacturer incorporating ProRes and ProRes RAW internally, it will be difficult for the others not to follow suit and that places Atomos on a bit of a sticky wicket at least in the Ninja V+ territory. Obviously, there is a lot more to the product in terms of the monitoring options it provides but there are other solutions for that who's price isn't inflated by requiring the recording capability and these are also a lot less demanding in terms of power. Hopefully it will nudge them to produce the 4K ProRes/ProResRAW version of the Ninja Star that they have inexplicably resisted producing !

Its more or less Dogme 95 without the tapes. Maybe time to update the manifesto and create Dogme 21