BTM_Pix

Obviously, its funny that you should say that....

The Mini Pro generates timecode to the Pocket Cameras the same way as the ISO version so I can't see why it wouldn't be possible. I don't think it would impinge on sales of the Mini Pro ISO version if they did it either as the people who want ISO recording want ISO recording so buying the Mini Pro wouldn't be an option for them anyway.

Its a funny period for this really as, depending on your location, any investment will likely be a short term one as 5G begins to roll out as the problem will then in all likelihood go away. But if you need something in the here and now then both the Terradek Vidiu Go and the LiveU Solo products provide good bonding capabilities. I have the older Vidiu Pro, which I used to use for streaming press conferences, and it is a bit weird in that it bonds together iPhones (I used to use cheap secondhand 5c ones) as well as regular cellular modems to give you coverage but it worked well. Because it is an older product, the Vidiu Pro can often be picked up used for €500-600 or even lower. The important thing with the Terradek and LiveU products is that they offer dedicated cloud services to aggregate the data from each cellular modem and then route it to the service that you are streaming to. Neither of these options are free so expect to pay around $450 a year in subscription fees to use them, although Terradek do have a low cost pay as you go option if you only need it for the odd event. What you get in return is easy setup and reliability versus having to configure your own cloud server, for which you would also likely have to pay a fee, albeit smaller. There a lot of much cheaper options than the Vidiu Go and LiveU Solo such as this one but I've no idea how they would compare and how the backend setup is done. At least with the Terradek and LiveU products you can hop onto YouTube and have a look at what people are doing with them. https://www.aliexpress.com/item/4000147478548.html

Its the linking of different sites aspect of it thats the most interesting. So a central control room can be pulling in multi camera feeds into their ATEM from different places in the same building or from different sites all over the world. In a YouTube live broadcast situation for example, EOSHD might be the central host and is pulling in guest feeds from different contributors, each of which can be switching their own content locally. It makes for a more dynamic programme obviously than having the remote guests just being a single angle feed. All of that can be done anyway with existing outboard gear but the Streaming Bridge takes the network feed from each ATEM natively so doesn't require additional encoding equipment and setup process. If you rewind the YouTube stream to the start there is a more in depth presentation of it prior to the ATEM part.

Its nowhere near as comprehensive or flexible as NDI but the Streaming Bridge product that they also announced today is a pretty neat way to repurpose the network output of ATEM Minis and link them across local networks and the internet. Much cheaper than NDI and might be enough for a lot of people's needs in the applications that ATEM Mini is being used. https://www.provideocoalition.com/atem-streaming-bridge-announced-by-blackmagic-design/

I feel your pain over this as it is has come with almost indecent haste after the Mini Pro. It certainly does feel like there has been a "hang on, maybe we could add...." moment post launch of the Mini Pro that they could have had prior to it. I think both products are valid as not everyone needs the ISO facility and the multi-view and master recording of the Mini Pro was an upgrade worth having over the original Mini. But it just doesn't sit right that the two pro variants couldn't have been announced at the same. This morning I was doing my usual (fruitless) check stock scouring for the Mini Pro so I've really dodged a bullet in one respect but if they don't get this new one in stock until they've cleared deliveries of the Mini Pro then my new product for ATEMs is just getting pushed further back again as I have to have this one now to test it on. And it will cost me more money. So, swings and roundabouts for me too, I suppose.

Yeah, I'm interested to see where they could go with it in terms of being able to replay the multitrack ISO recordings on the control surface itself like it is a music portastudio so you can re-do the cuts before putting the project file into the computer to do a final tweak and online it as its a lot more tactile and responsive that way. I think this thing has the potential to be a lot more than just a live tool.

Quite bold of BM to be releasing a new version of the ATEM Mini Pro when they have barely delivered any of the current one but here we are. As the name suggests, this new one lets you do ISO recordings of each individual camera, audio track as well as the master tracks to a single USB drive. It then saves your live cuts and all of those recordings (and other media such as overlays and titles etc) to a project that you import straight into DaVinci Resolve onto a timeline for further tweaking. If you are using BM Pocket cameras then they can be recording BRAW internally at the same time and Resolve has a new function to swap these as the source tracks in that edit with a single click. With the addition of the ISO tracks this is now some serious capability not just for straight live to air/net productions but also for anyone doing any multi-camera production that you would want to have post edit control of like a live performance recording, sports game, YouTube tutorial etc or even a low budget soap opera ! The developments that BM have been up to with the ATEM Mini series is probably not, on the surface, of that much interest to a lot of people on here but it is very innovative and is a real showcase of their end to end pipeline. Using an ATEM Mini, the Pocket 4K/6K cameras are turned into fully fledged studio cameras with remote control of on board colour correction and automatic tally functions but without losing their ability to simultaneously still be recording BRAW cine formats internally. So you can simultaneously do a live production in HD, use its built in encoder to stream live to the internet, hand off a USB stick with a video of the ready cut version to a client, record each individual track for easy post refinement of the mix and still retain the option to use 4K or 6K RAW master versions of those tracks to create a higher resolution finessed version with a single click. A four camera system that can do all of that for a total of under £6K or £9K depending on whether you go with 4K or 6K is arguably as revolutionary as any of their camera releases. I can also see it having a lot more applications in the "new normal" and offering some potential new opportunities to anyone who is already invested in Pocket4K/6K cameras. The bonus is it is a new product launch that can be discussed without reference to thermometers and stop watches 😉

Defending a manufacturer's fuck up via the medium of advocating a 3rd party add on cooling device with rotating blades is quite literally putting the fan into fan boy.

I wasn't judging 😉 So the objective thus far has really been more a test of your colour matching skills in Resolve than how the cameras themselves "naturally" perform ? I'm not being snippy there by the way, as its obviously a legitimate exercise particularly if you are going to use both cameras on the same project or even just create a "house" style for yourself so you could use either camera depending on circumstances. But, yeah, purely for me personally, the random shots thing is better as embracing/acknowledging the differences in cameras rather than trying to equalise them is more interesting.

Out of interest @kye, what is your gut reaction when you A/B footage between your BMMCC and GH5? Trying to match them exactly is like trying to herd cats so if you just limited yourself to making a clip of the same scene from both of them to each individually look pleasing to your eye without reference to the other, which one do you find the more appealing ?

The reason for the lack of footage is that, as with the ProRes RAW output for the Sigma fP, the firmware for the camera has been publicly released but the update for the Ninja V hasn't as of yet. For the GFX100, it is slated to be released "in July" so there is a couple of days left yet before its officially late !

Can you just clarify whether you actually want to develop your own application or you need an existing application that does what you need ? Also, is there a specific reason why it needs to Android and why it needs to be cabled ? If you want to develop it yourself using the Canon SDK but retain a small footprint of an Android device and be wired then there are a number of small SBCs that can run Windows 10 that you would be able use to do that if you didn't mind putting the parts together. I would repeat though that if you don't need it to be wired then using the CCAPI protocol will be far easier to get a custom application working quickly. If you want something off the shelf, then have you looked at qDslrDashboard ? https://play.google.com/store/apps/details?id=info.qdd The list of supported cameras linked to on Play doesn't show the RP but the list is outdated and looking at discussions in their forum people are using it with the RP so it might be worth downloading it to see if it does everything you need (or at least close enough) to save you having to do something from scratch.

Unfortunately not. The camera can only have one role for the USB port at a time. If you just want simple stop/start control then you can use the Sigma CR-41 wired remote which plugs into the mic port. It has a mic input too so you don't lose the mic input on the camera when using it. JJC do a compatible version of it which is £14.99 which is less than half the price of the Sigma version. https://www.amazon.co.uk/JJC-Shutter-Release-Remote-Mirrorless/dp/B087RFY89R

I don't really understand why there hasn't been more structured testing of this issue by the people who have them because, like it or not, the heat management is too big to ignore. What is needed is a pocket sized battery powered HDMI recorder that can be connected to the output of the camera and automatically continuously overlay both time and ambient air temperature on the video recording and that will carry on recording regardless of whether the camera is switched on and outputting or not. That way, people can then use the camera however they want for the day in whatever usage patterns they usually use and in the environment they use it and they can then present the whole picture of what happens in their real world usage. No notes or measurements to take, just use it as they would normally and then analyse its behaviour later. And more to the point, prove it. Such a device would put an end to all of the noise that is being generated by the scattergun testing. Fortunately, I've actually developed such a device today 🙂 and here is a (low res) grab of the output video from it being used just now with my Sigma fP. Needless to say, as soon as - or if - @Andrew Reid gets his hands on a production R5 for testing then he is more than welcome to use it to run some real world tests.

Yeah, the Sigma Fp can now do it with the 12G BM Video Assist models. The Fp also has ProResRAW enabled now too but, well, Atomos have still not released the firmware update for the Ninja V so who knows when it will actually work.

If they could 8K RAW out of it over HDMI to the BM Video Assist and if that could then record it in BRAW then thats your £650 heatsink solution for the R5 right there 😉 They do have a relationship with BM because the C300MKii can already do BRAW with the 12G Video Assist but, yeah, I certainly think its a reach to think it will follow suit onto the R5.

Its another step in terms of having to process the footage but it looks like the processing times are far less onerous than with normal stabilisation plugins or apps and the results certainly look worth the effort. Yeah, that was always the rub with the SteadXP in that you had to use a faster shutter speed.

Its what they use in the FX9. Like having a built in SteadXp https://pro.sony/en_GB/insight/filmmaking-tips/pxw-fx9-tutorial-videos-video-stabilisation

A bit of an update. This is the one I bought for the princely sum of €17.99 https://www.amazon.es/dp/B08BKNJP7N And it works OK to be honest. Its certainly no worse or laggier than the far bigger and far more expensive one that I've been using so as long as you manage your expectations as I've discussed earlier in the thread then it is a useful tool. Another common drawback is the lack of an app that will give you monitoring tools but if your camera can route its own ones to the HDMI port then its not a big deal. Tried it with the Pocket4K (which can be quirky with some capture cards) and the Sigma Fp and they are both fine and of course benefit immensely from being able to have a slim, low cost, non-battery eating, very bright tilting screen when you are out and about. However, a big niggle with this particular one (though they all like clones of each other so it could be common) is that too much of the USB connector shaft is exposed so it can wobble in the USB OTG adapter which will cause it to lose signal as it isn't fitted flush enough to the end of the unit to support it. Considering the low cost of the unit, the low cost of OTG cables and that I won't be wanting to plug it into a USB port on a computer, my solution to this is going to involve moulding a bit of Sugru to bridge the gap and bind them together. Who am I kidding ? We all know its going to be Araldite all the way.

Thankfully, I'm no longer in the game of having to drop big money on 400mm f2.8 primes but if I was then £12K on a new Nikon that is on an ,if not exactly dead mount but one that is in its twilight hours, and that also would tie me into DSLRs for the duration if I wanted native performance would definitely give pause for thought. Without having a pro body, Canon and Nikon currently offer no transition path to mirrorless and the longer that goes on, the more chance that transition path will lead users to Sony. Particularly as, not withstanding whatever additional deal they gave to AP, the equivalent Sony system for a couple of bodies, 24-70 f2.8,70-200 f2.8 and 400 f2.8 is about 15-20% cheaper than the other two. That 15-20% is a big chunk of cash when you are looking at just under £30K for a system, especially at a time when the arse had already fallen out of publication fees even before COVID-19. Spread that saving across the many hundreds of systems AP were buying and it would have been a compelling deal for them even without any additional bung from Sony.

Two posts, both resurrecting years old threads to push whatever that Joyoshare software is. Go and spam somewhere else "Jerry".

Looks like it didn't last long outdoors in 8K for Toneh before it got Smokeh.

I've no doubt that this is a financially advantageous deal for AP but no amount of inducement would be worth jeopardising their core business of being able to push images to news desks around the world from anywhere in the world with the same speed and quality as their rivals. The fact that they have determined that they can now do this with Sony equipment to the extent that they will change over their entire inventory is a huge statement. Its also a big statement from Sony that they are confident enough to put themselves in that position of responsibility because them getting kicked out of AP will be a far bigger story than them getting in there. It might not be of particular, or indeed any, interest in the here and now to most people on this forum but the ripples of this particular pebble being dropped in the pond might well become very relevant in the next few years. Canon and Nikon have primarily only been concerned with what each other does for a long time which has only led to incremental developments to keep up with each other but they will have to react to this and take Sony far more seriously in what has been their own private battleground. Not least because this will have put every other agency on alert about whether they can get a similar deal out of Sony.... Lenses were one of the reasons that Sony were never really able to take a seat at their table because they didn't have the full arsenal particularly when it came to the long primes but that is very different now. Ironically, when you look at the lineup of RF and Z mount lenses, it is now Canon and Nikon that actually have the gaps in their lineup and have to play catchup with Sony when it comes to offering a complete system for anyone going mirrorless.