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Internal 32-bit float stereo paired with lossless 120mm reach from a 20mm lens — all inside a genuinely pocket-sized 10-bit 1-inch sensor gimbal camera? 1 2 3 4
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By John Matthews · Posted
Here's what Mathieu Stern had to say about his experience: -
By John Matthews · Posted
Well, for rigging it, maybe. The camera is just so small and the mount isn't supposed to have more than a 250g lens on it. Those Meike lenses are 540g at a minimum. And just to clarify, I really don't see the ILS as a photo-first camera, unless you're taking 8k screen grabs. The interface sucks for the most part too with only 2 physical buttons and a tiny LCD (albeit decent). You don't even get a histogram out of the box- they need to fix that. -
Latest RedCinex Pro beta has the R3D NE trim and it works! Just open the clip in RedCinex Pro, set IN and OUT points in viewer, select export, export Clip in viewer, Format R3D Trim, check output location and export. Not like Resolve but not hard either. Already trimmed one almost full 4TB 990 Pro to few hundred GBs of important data🙂 -
If this camera lacks a mechanical shutter, the Metabones BMPCC 0.64X speed booster is an obvious choice (as long as it doesn't hit the sensor filter). Also, the excellent Meike M4/3 cinema line that bottoms-out at 8mm is worth consideration. Meike has still versions of these lenses, but they seem to be the same price as the cinema versions. I only wish this camera had a way to sync strobes. -
Apologies accepted : ) And yes, on the three cases you describe, I think intent and actual use are really the dividing line. Sneaking equipment into a venue against its rules in order to reproduce and commercially exploit a show is obviously a very different thing from taking photographs or footage for personal, documentary or artistic purposes. My objection was simply to collapsing all of that into “piracy”, or assuming that professional-looking equipment, or even a professional background, somehow tells you what someone's intent is. Yet, on accreditation, as you seem to concede... ; ) (hope this time my emoji happens to display properly at your end ; )) LOL : ) Once we accept that 100,000 smartphones, or a smaller number of proper cameras, may be inside an event and that within reason there may not be much anyone can or should do about it, accreditation itself clearly isn't the magic dividing line. Prior arrangement may certainly matter with particular equipment or particular uses, your 600mm example being a useful one to discuss, but that's rather different from assuming that someone who isn't accredited is therefore doing something improper. Again, context, the rules of the particular event, intent and actual use matter much more. There's another point where I think we may be looking at this from opposite ends. I wasn't really suggesting that these new devices replace professional cameras. If anything, part of my point was exactly the reverse. There are situations where a professional camera, however superior it may be technically, simply cannot replace one of these devices. A 600mm lens, the example you mention, may give me a much more powerful image for a certain purpose. It is a telephoto lens. Why should that automatically be considered "professional use" rather than normal or casual use?! How else are you supposed to get a close-up in those circumstances? Only for professionals?? Really? : ) But if I can't take it through the door, can't move freely with it, or its very presence changes the access I'm given, then for that particular job it isn't a substitute at all. Size, discretion, mobility and access are part of the imaging equation too. That's precisely why I find these new devices interesting. Not because they make professional cameras obsolete, but because there are circumstances in which even the most professional camera cannot do what they can. BTW, the (ab)use of close-upssss by professionals on soap operas is a piece of crap... but that's definitely another discussion ; ) not for here now : ) And since this thread has drifted into legal issues, rights and concert coverage, take a look at this. It was published yesterday, so this is very fresh: https://paginaum.pt/2026/10/04/neta-de-cavaco-silva-comete-crime-de-desobediencia-ao-recusar-cumprir-deliberacao-da-erc It's in Portuguese, but it should translate easily enough in a browser. Música no Coração is actually the very same company, then owned and run by its co-founders Luís Montez and Álvaro Covões, that brought The Stranglers over for a concert whose live video recording I produced 32 years ago. Today Música no Coração is led by Mariana Montez, granddaughter of former Portuguese President Cavaco Silva. She was born in 1996, so she wasn't even born when we made that recording in 1994. She has since taken over as Executive Director of the company. There is a slightly ironic accreditation footnote to all this too. Covões later founded Everything Is New, the promoter behind the four Coldplay shows in 2023, coincidentally in the very same town. They wouldn't give me access because I had missed the accreditation deadline, which is actually a pretty good example of how someone may end up unaccredited without there being anything remotely improper about it ; ) By contrast, I remember Ritmos & Blues, who promoted the Rolling Stones at Alvalade (Lisbon, Portugal) in 2007, sorting out my accreditation at the very last minute, with the concert effectively already under way. Different promoter, very different outcome, different circumstances. And you have to be ready with the right gear for any of them!! That's exactly what this is all about ; ) And, for some further context, before film school I was already in law school. I was still a law student at the time and graduated three years later, so legal issues have never exactly been secondary to me. What pisses me off is not disagreement. It's when assumptions start distorting who is who, what somebody has actually done, does, or is prone to do, and the background they're speaking from.
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