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Well, my initial review is very short and succinct. "Doesn't fucking work. At all." Judging by their FAQ, I received a defective unit, as on my R5, it just shows F00 and won't switch out of MF mode. On the C80, it displays a communication error and won't autofocus. After updating the adapter firmware, no change. Their utility to program it also does not find it after I follow their instructions to connect it... at least on my Mac. I'll try it on a Windows computer later tonight, maybe. Also, even if it did work, it won't be usable on an RF mount Red. On my OG Komodo, the chin/motor of the adapter hits the chin of the camera. I didn't try it on the Komodo-X, but the horizontal/vertical dimensions are identical or nearly identical so I don't expect a different result there. Asked Amazon to replace it. I think they ship the replacement before I send back the original... though it ships from China. So I guess we'll see in 7-14 days whether the replacement works.

Well, it wasn't in May, but mine just arrived! Let's see how/if it works...

That’s so awesome. Amazing to see how far ML has pushed the life of these cameras.

Hey everyone, This week's brand new music tracks are: "FUNKY SIDEWALK ANTICS" https://soundimage.org/chiptunes-5/ "COSMIC CANDY CATCHERS " https://soundimage.org/sci-fi-15/ They're free to use in your projects, as always, with attribution, just like my thousands of other music tracks and sounds. ANOTHER 5-STAR RATING! My Game Music Mega Pack just received another 5-star rating...woo hoo! I'm so glad my fellow creatives are finding it useful! You can check it out here: https://soundimage.org/ogg-game-music-mega-pack/ One question people ask me sometimes is: "Why does the mega pack have around 1460 music tracks in it when your website has nearly 3000?" Answer: The mega pack has tracks intended for video games. My website has those as well, but it also has lots of tracks intended for video content creators, podcasters, etc. Genres like: Aerial/Drone, Events/Travel, Nature/Science, etc. That's why my website has more tracks in total than the music pack. Anyhow, I hope everyone is having a good week. As always, please stay safe and keep creating!

I am actually finding that I use open gate a lot, not for content creation or vertical video but just for a taller aspect ratio. And something in a rugged doc-ready form factor would be a huge asset - I'm getting sick of shooting video on a stills body. This puts the FX5 at the top of the list currently for me. Price of the body itself doesn't strike me as particularly unreasonable given that it will hold its value, but its the accessories (the cards, new adapters, etc) that make the whole switch to E-mount dreadful right now. It's also hard to pull the trigger when the S1HII is overdue.

The dev who is working on it said that it would be easy to port to the 5D3, but he doesn't have one to work with. From my limited experimentation, it seems to be on par with Crop Mood, which was never as solid as the 5D3 (I still have mine). You can still overload the buffer and have the camera stop recording by pointing it at a very bright light in the higher resolution modes. Turning off global draw seems to help avoid this. The other thing I've noticed is that sometimes the preview goes dark after finishing a recording or powering on. The histogram is still in motion, but there's no image on the screen. Power cycling brings it back. It's probably still much easier to use than a real 16mm camera -- that's how I'm looking at it.

That's really cool! Wish someone would update the 5D3 with that UI! I see on the GitHub, it says stable build. How stable is it? The only time I ever had an issue with my 5D3 was when I ran the experimental 4K builds or the compressed MLVs. The last nightly build I used worked just as well as any camera I ever purchased.

I’m actually seriously considering going over to Sony for stills at least, purely due to the lenses and the FX2 is a contender, but the A7RV more likely. It’s lenses. L Mount still does not have viable contender for: 28-70 f2 50-150 f2 70-180 f2.8 OK, there is the Sigma 28-45 f1.8 and the 28-105 f2.8 but the pairing of Sony’s 28-70 for mainly indoor work and their 50-150 for outdoor, would be a dream single body set up for me. Most likely Megadapted on a Z8 body… But then again, all L Mount need to do to retain me is produce at least a longer focal range sibling to the 28-45 f1.8 and I’ll be a happy boy.

I agree. I had an EOS-M when it was first hacked, sold it, and then broke my own rule and bought it again when Crop Mood hit. Now I have two of them: one built up, and one bare bones. And the developers are improving it all the time -- especially lately. Have you checked out Amit's new builds? They are based on Bilal/Danne's last release so they are seemingly just as stable, if not a little more-so. But the new UI is great, and he seems to be unlocking a new feature every day!

I have one URSA Cine 12K just waiting for... ;- )

One of my fave ones ever! : ) I have 4x units of them (the perfect steal for 100 bucks each ; ) and am usually recommending it as a primary cine camera for every newbie willing to pursue a career in this industry ;- ) - EAG

Canon EOS-M with Magic Lantern in 1:1 mode. These are the resolutions currently available: 3072 × 1308 2880 × 1226 2560 × 1440 2520 × 1080 2160 × 1620 (doesn't work with a monitor plugged in) 1920 × 1280 Yes, there's a major crop. And yes, it is possible to overload the buffer with the 3K and 2.8K modes when shooting 12-bit. And rolling shutter is pretty terrible. But it's a digital 16mm camera with 1:1 readout that shoots raw. Practically no moire or aliasing. And a beautiful image (one of my favorites right now, bar none). Plus, one developer has been making major updates to the UI and simplifying the menus in the past 2-3 weeks. It's like a whole new camera.

Pentax Q and Nikon J1 are worth a look for 1080p and absolute smol size with fast aperture primes

I like it. These little primes are much easier to focus than some other lenses I have, including the expensive focus-by-wire lenses -- but I do manual focus by default so ymmv.

I ordered one, should be here by tonight.

At this point, I am pretty sure that I'll still be asking for it next January - and the January after that. 😉 It makes some sense that BMD would bring all of those upgrades to two of their most popular cameras first - now let's just hope that they don't leave the higher-end stuff out. Judging by their last set of announcements, there is some hope for new features coming to the Ursa LF, given that they're focused so heavily on pushing it into the broadcast market, but I could also see them pulling most of the people working on camera firmware and shoving them over into the firmware that runs on their boxes that are designed to fit in a server rack (the main focus of their recent announcements).

Yeah : D Get a good excuse and go for it! : ) And let us know what you think about it afterwards! ; ) We are all ears... Quite a temptation indeed, to say the least :- X

Sure : ) That's actually how this thread started back in January, and I updated it again in March with the 9.9.2 firmware update : ) So yes, PDAF itself isn't the new part here. What I meant by "quite an update" was 10.2.2 as a whole (and AF finally graduating from beta), especially "10-minute pre-record" and all on the "Same hardware" (which is why those were the two bits I put in bold), that's the news! No need for a new camera ; ) alongside 4-channel audio, Cloud Streaming and the rest. And yes, you were already asking for the URSA Cine 12K LF back in January... let's see if that one comes next ; - )

Mission 1 and Mission 1 Pro are now $100 off everywhere. It's still on the pricey side for an action camera, but my Insta360 One R/RS's are getting older/a little beat up and the batteries seem to be showing signs of age too. I'm not sure how this person did such a deep dive on the imaging pipeline, but it was an interesting read. https://gethypoxic.com/blogs/technical/gopro-mission-1-gp3-image-pipeline Info on the sensor: https://www.sony-semicon.com/files/62/flyer_industry/IMX06A-AJ1R-J_Flyer.pdf (Also saw that Sony now has a 247 megapixel MF sensor while digging that up, that's a lot of dots)

FWIW, PDAF has been in beta on the CC 6K for like a year or more now and reviewers were saying that it was working great. This release just formalizes it as released. My hope now is that BMD will finally follow through on their statements that PDAF coming to other omdern cameras, including the Ursa LF. That and 4-channel recording would be a nice update for it.

I'd be interested in testing it. I currently have a Nubia Z60U which is capable of capturing 4k 60P RAW without any dropped frames using Motioncam. So, yes, this phone is a power horse!

Now this is quite an update... Blackmagic Camera 10.2.2 brings PDAF, continuous autofocus, face and object detection to the Cinema Camera 6K, including adjustable AF transition speed and the ability to pause continuous AF by holding the focus button. But 10-minute pre-record is probably just as interesting (and maybe even more useful in the real world). Up to 10 minutes before you actually press REC... : -) Also added: • 4-channel audio recording • Blackmagic Cloud Streaming • AF mode shortcut assignment • selectable pre-record duration from 5 seconds up to 10 minutes What I find particularly interesting is what this does to the value proposition of the original BMCC 6K. Same hardware, but it is becoming a considerably more capable production camera than the one people originally reviewed. Blackmagic seem to be doing something quite clever here: features developed for PYXIS and their broader production ecosystem are progressively finding their way back into the Cinema Camera 6K. Firmware extending the useful life of hardware rather than giving us another body every year... I can live with that! ; ) EAG :- ) article BMD support page PS: And I even paid about half thanks to that promotional price mentioned on these same pages... remember? : P

Yeah the FX2 is a great camera. We've come to rely on the A7IV a lot because they are cheap, and just produce a darn good image in almost any situation. Now queue the FX2, basically just a better version of that. I'm probably going to buy a bunch of them here pretty soon for a new studio setup.

In the longer term, I am also watching small LOFIC sensors, because for this kind of digital Normal 8mm camera the real limitation may be highlight latitude rather than resolution. A compact 1/2.8" or 1/3" RAW sensor with better single-exposure highlight handling could be very interesting. Another related experiment would be using spectral filters, possibly with a monochrome sensor, to approximate the response of color negative film layers — so the “film look” would start partly at the capture stage, not only later as a LUT in post.

Thanks Clark, this is extremely useful. La Faux Bolex is exactly the kind of reference I was hoping to find. I had not looked seriously enough at the machine-vision / GigE route before. The idea of using an existing industrial camera with a proper C-mount is very appealing, especially if it avoids the nightmare of designing the sensor mount, power rails and MIPI/libcamera side from scratch. Your warning about lens-to-sensor distance is probably the most important part. I was tempted by the “bare phone sensor” experiment because damaged phones are now very cheap here in Poland — for example a Motorola Edge 50 Pro with a broken corner can be found for around 100$ — and the phone already gives you screen, battery, storage and potentially RAW video recording. But I agree that mechanically it could become a nightmare: flange distance, dust, IR filter, sensor cover glass, alignment and destroying the camera module. So maybe the phone route is only worth trying as a cheap destructive proof-of-concept to see whether the Pan-Cinor / Normal 8mm look is interesting enough digitally, not as the final camera architecture. The C-mount machine-vision route sounds more “correct” for a real build: industrial camera with known sensor position factory C-mount alignment DNG / raw frame recording Raspberry Pi / Compute Module control then adapt D-mount lenses mechanically My only concern is the D-mount to C-mount adapter. Since D-mount has a shorter flange distance than C-mount, the adapter needs to recess the D-mount lens enough to reach infinity. Have you tested whether the Fotodiox D-to-C adapter actually gives infinity focus with D-mount lenses, or is it more of a macro-only solution? For my project the ideal sensor size would be close to the Normal 8mm gate, around 4.5 × 3.3 mm or slightly larger. That is why I was looking at sensors like AR0234 or IMX900. But your point makes sense: a slightly larger industrial C-mount camera that already works may be much more practical than a theoretically perfect bare MIPI module with no adapter board and no driver. The pistol-grip form factor is also very close to what I have in mind — more like a digital Regular 8mm camera than a normal modern video camera. Thanks again. I’ll study La Faux Bolex more carefully.