Anaconda_

I do get why you'd want to shoot 1080 in camera, but making 4k footage 1080 in Resolve isn't an extra step at all. If you're sequence is HD, it auto scales to fit, so from a user experience it's exactly the same as working with 1080 material. The difference is in the storage used and possibly the speed of your playback and export.

Here's an ungraded version of PB's video:

In general, I'm not a big fan of Bloom's grading. Sometimes he pulls it off, but I feel he pushes things a little too far a little too often.

I think this is amazing that you're working so hard to bring new features to the camera, and I'm sure many people will love the option. That said, for me personally, I only used the remote live-view on my GX80 for the first time yesterday - had it for like 3 years. However, if you're a 1 man crew setting up for an interview, this could be amazing. You sit int he chair and check focus and framing before the talent are anywhere near. Then you can have this setup in your lap to keep an eye on what the camera's seeing, without making it too obvious that you're checking the camera. - - you can almost pretend that you're just checking to make sure you've covered the topics you need or something haha.

I'm sure it's been asked many times, and I'm sure there's a brilliant reason why - but is there any chance of developing a remote shutter for the stills function within your app? If so, could it fire 24 times a second, we'd have cDNG (without audio) and Braw simultaneously ?

That's worrying, hopefully they'll come with a fix for that, and the mode switching very soon. What's Sigma's track record with updates? It depends what NLE you're using, but you could import them all as still frames, sort by time created and then bring them into your timeline... the odd frame that is in the wrong place can't have been created 10 frames before it was captured... if that makes sense... so maybe that can help you avoid having to rename them all?

The Ursa Mini 4.6k, Ursa Mini Pro and Ursa Mini Pro G2 are all on the list. With the Pro G2, Netflix will accept Braw Q5 or above for compressed and 5:1 for uncompressed - I assume this also applies to Pro G1, but it doesn't look like the camera guideline has been updated and so still refers to DNG. UM 4.6k : https://drive.google.com/file/d/13kLJo96znF6cHVATAqNS17C-Uq37dNSz/view UMP 4.6k G1 : https://drive.google.com/file/d/1by7WMRjNB17SG3A8RSgRibfUz0oEMzgx/view UMP 4.6k G2 : https://drive.google.com/file/d/104u9JPYICXrJcaHaQBZ0FnKk4CqWGdVp/view

@stephen Viltrox EF-M2 v1 on 2.3 working just fine for me after the update.

@Andrew Reid has his.

On the update info it says ; 4K 2.4:1 4096 x 1712 recording in Blackmagic RAW up to 75 fps.

Right and uncropped 1080p Braw too - but then there's the argument that it's no longer raw video... same as uncropped 4k Braw on the 6k camera... fixing the lens distortion in camera will no longer be a raw image. I can't say it enough, I do agree with you, however I don't see BMD implementing lens profiles into this camera.

Copy - paste the effect to all you clips at any given focal length. I agree, it's less than ideal, but doesn't stop it being a run-and-gun lens. You can shoot fast with it, and then fix it up later... isn't post work what this camera's all about anyway? If you need a corrected lens and have no time for editing/grading, perhaps there's a different camera out there that's more suitable to your needs.

Well, if you're shooting stuff that can't be reshot and you need flexibility on location, but you have more time in post. Or what about then you need very wide and tele shots within 10 seconds of each other? What other option is there for MFT users? Sure it's not ideal, but I'm fairly sure 12-100 is the only option, and the downside is 45 seconds of extra time in post.

In theory they could, but in practice I don't see them doing it, especially for Braw recordings. It is something you can very easily fix in post, and is one of the default panels in Resolve, so it's not a huge issue.

To be fair, it doesn’t look any bigger than the Sigma 18-35 on a booster. And since you don’t need f1.8 for low light on this camera, it’s potentially more versatile.

This looks like the best option available. Should be shipping later this month, but the preorder button adds a different product to the cart for me... strange. It also doesn't seem to show the price. Should run for 5hrs with the BMPCC4k https://www.soonwell.com/pre-oeder-ph70

My interest is back up - but how are they dealing with the colourful lawsuit surrounding cDNG?

This is a huge part of the movie...

@mkabi I get your point, but for me the movie is trying to stop those people who’re fooled all the time from being fooled. Its grabbing them by the shirt and shaking them. I just wrote a long paragraph that might help explain my point, but in retrospect it might spoil the movie as a lot of it is about what you, the audience member, brings to the screen. When you have seen it, please come back and let me know your thoughts.

I just saw this movie 20 minutes ago. Amazing. I think anyone who’s truly offended by it simply doesn’t live in the real world. As with many films and art in general it’s an exaggerated reflection of reality. He’s the bad guy, it’s ubdeniable, but you really see how and why he feels like what he’s doing is right. His judgements on the world around him are fully justified, his reaction, of course, is not. Throughout the film, I kept thinking of the saying ‘you can fool all the people sometimes, some of the people all the time, but you can’t fool all the people all the time’. For me, that is essentially the point in this film. There are many more themes and criticisms in the story too and I would highly recommend everyone to watch it. It’s not just entertainment. As for performances and the technical stuff. A+ on all accounts.

Wow 12mm is approaching on fisheye. Thanks for the tests, very helpful!

Could you share frames at various points of the lens so we can see the distortion? I’d like to see : 12mm 30mm 50mm 100mm

@Alt Shoo - congratulations on the film! It sounds very interesting. Did you shoot in 4K? And what about the final distribution / screening format. If course it doesn’t really matter, and I still enjoy using my LS300, I’m just interested in other workflows haha.

You can do full manual exposure on the touch screen, but it is a little fiddly.

Do you guys use FD glass with a glassless adapter, or a speedbooster?