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Thought to myself "I'll just pop in to the BMPCC4K thread and ask about the crop factor versus the Kinefinity..."

That is exactly the sort of customer we like

I don't blame you at all!! We are not sick of hearing from you. Me, and I bet a lot of people are sick of hearing from 2 people that we all know have shitted up this thread! All these Kinefinity fanatic's on here must have a case of the dumb shits. I am sick and tired of hearing it also. It Holds a F ing Sony E Mount lens, can you use the god damn thing, F No. It is just like the useless BMCC with the E mount. What they hell you do with a lens you can't control shit with it. You sell it on ebay that is what you do. Fly by wire lenses are as useless as Tits on a Boar Hog on a dumb adapter. Get over it. Now if you own a E mount Cine set of 50 grand lenses well hell you are set. Unless you live in China the Kinefinity is also as useless as those Tits on that Boar Hog. If you can't buy one or get it repaired close to where you live you are as crazy as your posts have been on here. And you are not even going to buy one anyhow. There are 12 dealers, other than in China, in the whole F ing world. Yeah I want one of those. I am sure with a few bugs worked out of it it will be a damn good contender. But it is not the second coming of Christ, and it can have 70 mounts, but if you can only pretty much hang a Native lens on it, and look at it, well so what. Take your Kinefinity bullshit on a Kinefinity thread. That way I don't have to read a God Damn thing about it as I will never open that thread! Quit doing it in a 4K BMPCC thread! Go the F away! Your just running off one of the smartest people on here that actually does this stuff for a living, You are just like Jon was doing. You cheap ass bastards are never going to buy one anyways. What makes a shit what it does.

I'm 100% certain it'll be within the next couple of months.

The ND filter is just an additional add on to the main controller though. The controller does remote focus with 8 stored points with dedicated keys for recall at 4 different transition speeds or manually controlled with a joystick. All wireless to the camera so it will work on any gimbal with the GH5 or any other Panasonic camera. The only reason it isn't ready to buy today is that I'm waiting for the Pocket 4K to port it to that so people can use it on multiple different cameras. I've got a way of adapting a traditional wheel and its eminently doable at a reasonable-ish price but I suppose the question is how much would you actually pay for something like that?

A laptop is never going to be the ideal choice for video editing. You pay a premium for portability but lose out on screen size, CPU & graphics power. It's much better value to buy a desktop with a decent large monitor plus you get a more powerful upgradeable system.

It's still a card in a box - this is what I was referring to: https://www.amazon.com/Sonnet-Breakaway-Radeon-Windows-Compatible/dp/B076MHMF3V/ref=sr_1_10?s=pc&ie=UTF8&qid=1531061276&sr=1-10&keywords=egpu Not as powerful, but it's one step further evolved than chopping a desktop case in half, putting a power supply in it, and then putting in a desktop graphics card. People are using huge numbers of graphics cards for bitcoin mining and AI, I'm waiting for them to invent a layer between the computer and the tech so that the software doesn't have to know how many GPUs are connected, and you can just connect as many devices like this as you want.

The standard XP’s 9570 is a better spec - do you really need the 2 in1 feature. Laptops are pretty poor choices for 4K video editing as they just don’t have the cooling capacity so for real-time playback and rendering and they will shudder to a stuttering mess very quickly. Good for reviewing footage but for editing I’d stick to a good desktop machine.

Here you are https://mega.nz/#!9yI3WI6Q!7vsyePwLM4ZNjLAvPgE5kF0tJzllNgPxRdGPDPJ3Xmc

Focus peaking is calculated from the image, nothing whatsoever to do with the lens connection, that is why even external monitors can have the focus -peaking functionality built into the monitor.

Hi JB, Thanks for your input here on this forum. While you say that BM have asked most of the questions asked here already in the devolopment stages, I'm a little more interested in the product testing stages pre release. While the Ursa Mini line have had a lot less image quality issues than 1st Gen BMD cameras like the Production and Production 4k, image quality issues like sunspots in highlights, high levels of flicker and FPN (in the UrsaMini 4k) seem like obvious issues that should be picked up on pre release of the camera. Why do issues like this get through if product testing occurs prior to release? Surely a test of the original Production camera would have included shooting a frame with a light source on it and the sun spot show up? While I trust that BM have learned from their past mistakes, and I know that a working version of the Pocket 4K has been doing the rounds with viewings in retailers here in Australia to hopefully get feedback pre release, do cameras go through more thorough testing now compared to a few years ago or can we expect the Pocket 4K, with a new sensor (to BMD) to have image quality issues on release and then BMD address them afterwards? Cheers.

Thanks. Yeah no such thing as a free lunch. But I think that is one weakness I still see with the C200, is other than shooting in Raw, you really Can't get a sharp output when you do need it in like Documentary and Corporate interviews as an example. I can always soften it, but sure can't sharpen it. I think you made a good choice, especially since Canon wimped out with a good middle Codec on it, and that Panny added Firmware 2.0 to the EVA1, Wow that is some nice Codecs... https://***URL not allowed***/panasonic-au-eva1-firmware-2-0-enables-codecs-raw-output/

Sony are the OEM. They built it FOR Hasselblad. It's not licensed to Hasselblad so that Hasselblad can then go and make the camera under licence in their own factory. Sony made the camera with a Hasselblad badge on it. OEM. Not Licence. They are very different business arrangements. You have not made that case. It's not an E mount if you can't use an actual E mount lens. Isn't that obvious ? Isn't that relevant to the topic ? You're claiming E mount, you're claiming it's easy to get around and yet, you actually can't use an E mount lens on the Kinifinity despite the fact it has an E Mount option (unless it's some aftermarket E mount lens that doens't have comms) E mount lenses require electronic comms for iris and power for IS. If you don't supply that then no native E mount lens with work on Kinifinity's E-mount. The ONLY reason Kinifinity have been able to get away with saying it's an E mount is because it's not an E mount. It's only mechanically an E mount Give me some examples with costs please. By the way you know Clairmount went bust ? I guarentee you the cost of a squishy lens was many thousands to manufacture. (Clairmount were like Panavision, mostly rental only) You should edit this and say... "I think that one can attach an E-mount lens to a Kinefinity body -- you just can't change exposure or use the IS or record any metadata when using Native E mount lenses." As long as you're OK with not being able to change exposure, use IS or use metadata with E Mount lenses. How ? By making a "plate" that magically doesn't cost extra ? You're being foolish. Right. It's required. You agree. It costs 700 bucks. You want to add 700 bucks to the cost of a 1200 dollar camera for a feature few will use. I am not sure you understand the implications of native lens control or market economics mean to a camera design. Of course it does. Yes. Tokina made a lens that some copies couldn't hit infinity at the standard Canon FFD. Until they change over time or aren't right.Which is what happens when you make something user-changeable. Show me some detail about how you shim your EF mount ? You're saying you accept a mechanically induced optical problem. Not everyone's going to agree with you. And that's the point. You're saying you're happy to accept a lower level of precision with a lesser well built plate or adaptor. I think you're alone in thinking that everyone will be fine with the compromise that goes with that. Yep. At substantial cost. It can be done. I agree. You just don't want to pay for what it would take to do this. Can you elaborate ? Have you made lens mounts ? Lens adaptors ? Are you a manufacturer ? can you share some examples of your work ? But it's a 700 dollar item. Round and round we go. You keep saying it won't cost anything extra. It's 700 bucks ! If you buy a theoretical camera with two plates, that's 700 bucks a pop. Or at least and extra 700 bucks for the EF version and you can make some homebrew e mount adaptor for 100 bucks, but it's still added 700 bucks to everyone else's camera for a feature they'll never use. JB

Indeed. I guess I was trying to say, it’s not really what I agree with or want, but I can seperate my personal views about what is pragmatic and practical and understand why a company makes these kinds of choices. Because they also need to be viable as a business as well. What I want from a camera is not what most of the users of this forum want and is likely to result in a camera that would fail commercially. So who cares what I want ! I’m not against choice, but I’ve also had the SAME conversations with the people that can make this stuff happen. I’m just paraphrasing the answers to the questions I’ve already asked long ago from those that do the making. I have to say it’s really disheartening to see people shooting off about trying to work around and defeat IP. Even if you’re philosophically OK with trying to do that, you know that if Sony’s lawyers come knocking I’m pretty sure you’d feel different. Not to mention the fact that they are an important vendor for someone making a camera. The make a lot of components from the sensor down.... Would you REALLY want to jeapordise a new product that you’ve invested millions on R&D into only to have the company that potentially make your sensor yank it because you’re trying to circumvent their IP on a lens mount ? And then seeing engineering challenges claimed that are easy and cheap without any true understanding of what they’re claiming is possible. I’ve been a part of these conversations already. I’ve already asked most of the same questions that then get asked here. The same things get kicked around by R&D and product managers. They already have done the numbers on most of these things and I think BMD have shown more than anyone, if they can make something, they will, they have zero fear of market segmentation or protectionism of product class. But it does have to be profitable and enough people that will want it. JB

you're from new zealand? that's awesome. I've been here two months with three weeks to go. I wish i had more time to explore. we have a trip to queenstown scheduled before we go. but i've been cutting and shooting out of park road post in wellington and have been working through nearly every weekend to make deadlines. doesn't leave much time for anything else. still, i love it here. that music is a track I got off Artlist.io. I have a subscription. As for the color rendition, I think Canon's emphasis on great skin tone brings an amazing "living photograph" quality to their imaging. It's fantastic. For me, it was between an EVA1 and C200. Made a list of what I thought "won" in over a dozen categories and it was close. but ultimately I chose the EVA1 for its color fidelity, more detailed image, actual 2K rather than HD, and its finer noise character.

It will use Bluetooth LE to communicate with my controller so a smartphone app could equally be used. My personal view of that though is that its a bit of an overkill way to do it, especially considering the size and cost of the smartphone even though you might already have it. Using something like a small Bluetooth LE controller (a keyfob sized remote control similar to smartphone shutter release for example) is, to me at least, a better way to control it as the beauty of doing it that way is you don't have to fire up an app on the smartphone so its a bit more instant, not to mention tactile ? There'll be options for both though.

Shot this mini doc while on vacation in Mauritius. It's about those who work behind the scenes to uphold the illusion of paradise. Shot on GH5s, it was intended as a camera test as I wanted to see how 60p and V log play. So it's shot on either 4k 8bit or FHD 10bi at 60pt. In both cases, V log bands quite horribly even in 10 bit FHD. Unfortunately, being on vacation I didn't use an external monitor so I couldn't see the banding until I got it on my computer. I hope this is something Panasonic can fix, at least in 10bit (no excuse). I love Vlog in 10bit 4k non 60p. But I'll probably have to experiment with HGL settings which is a drag because I prefer Vlog overall and I'd hate to have to mix the two settings for a sequence. Also, I shot it with Olympus 12-40 2.8 and 40-150 2.8. Love both of these lenses as the manual focus is excellent. I used a monopod for the 40-150 and handheld for the 12-40. Coming from a film background, I don't miss the IS. A little camera shake doesn't kill me, especially for a doc. It was my first time using the 40-150. This lens is superb and worth every penny. But it's not a handheld lens. It has the reach of a 70-200 in FF and that extra 40 over the Panasonic 35-100 makes a huge difference. Also being able to switch to true manual (no fly by wire) is worth it. Here's the link. Enjoy. https://www.youtube.com/watch?time_continue=3&v=9O0cuTdsl8A