matthere

Would you prefer cash or PayPal 😉
Thank you though, thats very kind
The Nano motor as is just driven with 5v, from a standard USB power pack for example, is surprisingly decent dependent on the lens that you are using.
With the cine primes from Meike like we have here is absolutely perfect.

In this multi motor setup we've got it running with a RED cine zoom but we can only use it on the iris and focus as the zoom ring is too tough for it it drive so we have to use the Nucleus-M motor for that.

Tilta do a P-Tap to USB cable for it that gives it about a 50% increase in torque so with that it would probably not have an issue.
The downside to that though is it becomes a bit more bulky in terms of the power source so if you can drive your lenses with the standard 5v then it is a much neater setup.
The problem with using older manual focus lenses is when they have stiffer zones in them and for that you do need more torque.
You can just buy the Nano motor on its own but its a good deal when bundled with the Wheel as the wheel does come in useful with the AFX too as we use it to control not just manual focus but give you the option to switch in and out of AF-C mode using its REC key which is quite convenient.
With regard to focus gears, there are a lot of resources about how to 3D print your own and Tilta do a range themselves but this company makes custom ones for specific lenses.
This is their Voigtlander page 
https://followfocusgears.com/collections/voigtlander
I have never used them so take it as info rather than endorsement !
 

AFX Update #14 can be read here:
https://www.indiegogo.com/projects/afx-autofocus-adapter#/updates/all
My understanding is that all shippable shipments will be collected by the designated shipper by April 21, 2021, except for the few orders that need to have clarification on their shipping information.
If you are an AFX campaign contributor and  have not received a sipping notification, you may wish to check the link above for instructions.
 
@BTM_Pix Thank you for all of your hard work in making this happen!
It is obvious that you are not only an extremely talented designer, prodigy developer and engineering genius, but also a person of integrity, commitment and follow through.
I am glad I invested in AFX and look forward to supporting future CDA-TEK product releases.
Thank you for making my filmmaking technology dreams a reality!
Mark

These two pieces of software can do similar things but they really are quite different. Studio Artist is really just focussed on 2D effects like those seen in the video above, and these effects are some of the most interesting "natural looking" motion effects I have come across using affordable and quite flexible software.  
AE (aftereffects) has a lot more to offer alongside producing these type of effects, which makes the two difficult to compare. You are correct the range of things AE can do makes it quite complex, but that also means it can be deep and get you to places that other people can't recreate very easily if you are wanting to produce work that communicates using your own "voice".
The original video you posted seems to have been made using a range of analogue and digital techniques, and the techniques used in the video are used alongside the imagery to help to communicate the artist's / filmmaker's message. I don't know your intentions with the films you want to produce. But would recommend you test out different ways of communicating the things you want to say, this will show you the direction of the tools you will need.
The main reason for recommending Studio Artist was that it has a free demo which allows you to explore and see if it's useful before investing, you want to find tools that provide the flexibility to help you to tell your message. AE should also have a demo period although I think Adobe don't give you much time to see if it fits the needs of an experimental animator.
I would also recommend doing some searches for "experimental" work on Vimeo / Ubuweb to find a range of work and artists you like, as these will help you find your own voice by giving you lots of techniques to try out 🙂
 
 

I mean... that is a boat. I shoot handheld with my Pocket 4k all the time. Mostly with unstabilised lenses like the Sigma 18-35. It just depends on the look you want.
With the announcement, the thing that got me most excited is the firmware for the other pockets. The new histogram is alright I suppose, but Gen5 colour inside the camera will be great.
I also noticed the new camera shoots more versions of Braw, with Q1 and Q3 being added, so for now I'm assuming that will also come to the other cameras. Making my 2 main hopes a reality.
 

After Effects can be fun to explore once you understand the workflow, and the workflow is covered in a lot of Youtube videos so don't be too worried about a steep learning curve.
 
Also take a look at Synthetik Studio Artist they have a demo that would allow some exploration, it's an endless demo that uses a watermark so at least you could check out if it's useful for you, good luck. 

Literally, the first thing underneath the name of the camera is:

HANDHELD.....
I carefully read the page looking for IBIS, but no mention of it.  So, it's handheld for the same reason that any other camera under 3Kg is handheld.  Excuse me while I sip my handheld coffee, contemplate all my handheld lenses and handheld memory cards and type this on my handheld laptop.
I'd like to see them create the GH5 successor.  It's an entirely different market, but within reach.
People loved the GH5 for video because:
IBIS reliability, no overheating, and battery life good codecs anamorphic and slow-motion modes flippy screen MFT lens mount can adapt most other lens mounts compact and light for hand-held and gimbal use low price for the features (at the time) The BM cameras meet quite a lot of these, but for many including myself, the P4K is a mixture of things I don't want/need and the absence of things I use all the time.  I own a Micro, their cheapest current camera, and it's nothing like the GH5 in terms of usability - apart from being cheap it has almost nothing in common with the GH5 or how I shoot for that matter.  I'm aware that the GH5 is a hybrid, but I suspect many users don't care about stills, and besides, BM don't seem to understand that the P6KPro isn't a hybrid.
I think there's room in their lineup for a more video-centric camera that fits into the above spec, and it wouldn't be cannibalising much of their existing customer base, as not many GH5 fans could use a P4K, and not many P4K fans could use a GH5.  
There seems to be an entire market segment of wedding videographers, music video creators, social media influencers, who are faced with the choice of a camera that can shoot how they want (reliable in the field and fast to work with) and what they want (RAW and high-bitrate/bit-depth codecs) but there aren't many cheap offerings that span this gap.  These people are doing comparisons like A7S3 vs Komodo vs C70 and the like.  
These comparisons always have the tone of Lamborghini vs Hummer vs Mercedes S-Class - all great performers but for vastly different tasks and if these things are being directly compared then there is something wrong.  Oh, and nothing is remotely affordable.  This seems like a gap in the market to me.

I purchased both the AFX and MMX and cables.  The idea of having auto focus on my manual lenses is irresistible.
and it is more than that... BTM_Pix is making real products to meet film makers needs and that is worth supporting!
 

Thanks Seb, I always used a FF sensor also on baby hypergonar and agfa moller 19/1.5X , the stills attached are from the  baby hypergonar with helios on 5D3.
 
it's an internal clamp system made for me by a smart french guy Guillaume!

Thanks.
It will work in portrait orientation (albeit with a narrower angle) so if you are putting the camera into portrait mode then there is no need to change it but we also recommend it to be in landscape mode because that is the way the info screen on the back is oriented.
With regard to positioning, there is no limitation so you can put it in a hotshoe on the camera, or on top of a cage or a matte box or underneath the lens etc or even behind the camera if you want but obviously the only proviso is that you have it in the same position you had it when doing the initial calibration for the particular lens you are using.
If it wasn't, then its not really a big deal as you can delete the calibration from the internal database and re-do it with the sensor in the new position. Calibration is a simple process and only takes minutes.
As the AFX is battery powered and wireless (save for the small 3.5mm cable if you are using motors) then it is perfectly fine to use it handheld if you want, providing of course you respect the calibration issue.
Handheld is an interesting use case actually as with the QuadLock function you can store up to four focus positions derived from either the sensor or manually (or any combination) and then either move to them automatically with differing dissolve times or have them as targets that you focus to manually without being able to overshoot.
So using it handheld is a useful way to quickly capture the focus targets that you may use in a scene and you could even attach a small laser pointer to the top to give a visual reference while you are doing it.
This is also possible when the AFX is mounted to the camera/rig of course, and would be the more common use case for solo shooters, but there are certain situations where it could be useful, most obviously with a separate person pulling focus.
The other use case of course is for YouTube hosts to solve the "am I in focus?" conundrum because you can sit in front of the camera with it and fire it back at the camera to set the correct focus distance.
Like an incident light meter but for focus 😉
 

This looks great, appreciate the work that has gone into the development, does the module have to be positioned in a particular orientation? could it be positioned in portrait, upside down or under the lens or even hand held? 

This looks great, appreciate the work that has gone into the development, does the module have to be positioned in a particular orientation? could it be positioned in portrait, upside down or under the lens or even hand held? 

No, its now modular so that people can choose to add the functionality if they need it.
This version has continuous centre point AF-C as well as AF-S and manual focus.
The additional module provides the extra stuff.

Nice lens but I must say that shots have been fired 😉 I own the Baby Hypergonar and did own the Kowa 8 2x before I sold it. I would slow down with the Baby Hypergonar bashing. First of all, my copy and another friend who has the same lens both confirm that we could not reach infinity with the Kowa 8 2x. It is a lovely lens and you have produced some really nice images but nobody puts my Baby Hypergonar in the corner 😉

Hey y'all! After a long time playing and testing, I made a flowchart that guides you through the process of buying scopes. This is mainly aimed at beginners, but I'm hoping it can at least be fun for experienced shooters too. I'd love to hear your thoughts!
http://www.tferradans.com/blog/?p=15998
Thanks!

Panasonic...please.
Arguably some of the best video orientated features in the business: menu, on screen info, custom mode buttons, IBIS, full v-log, with updated colors, robust anamorphic support and modes, decent wireless phone app, one of the best images in the game, balanced and non-compromised codec options, great handling and ergonomics with lots of custom buttons and very practical dedicated ones (WB, EC, ISO), robustly built, practical camera bodies.
It’s all let down by the AF. All the hard work in all those other areas...completely destroyed by the AF. Unsold cameras because of the AF.
The reason I’m hesitant to give you anymore money, and I’m sure I’m not along, is the pulsing AF. The tracking is much improved, great! Awesome step forward. DfD can work in some situations in a pinch and a few reshoots. But, I’m not going to drop $4000, $5000, $6000 on a system with shitty AF in 2020 and beyond. Not with so many other good choices. It just doesn’t make sense anymore. AF is now very, very useful and reliable (On Sony and Canon anyway) for 90% of what people want and MF is only a tiny switch flick away for that other 10%. The market has shifted. Your competitors now have 10-bit log with good color. AF in all modes including 4K120p slow motion and above.
It’s time.
I’m a huge Panasonic and MFT fanboy but you gotta do something different or your cameras will go unsold and your L-mount will fail. And that will, with all honesty and sincerity, be a sad day.

Sooner or later EVERYONE is in trouble I think.
I just got an old Australian photography magazine from Feb 1988
I opened it to a random page and it was
"Video news" The three stories listed....
Sanyo Vision-8, 8mm camcorder
VHS-C- The future of video cameras
Polaroid aims to be Number one.
 
 
 

There's an excellent guide to these lenses from cinematographer Uli Plank here: https://www.reduser.net/forum/showthread.php?92246-Minolta-Rokkor-Survival-Guide
The 85mm Rokkor Varisoft is kind a precursor to some of the Lensbaby lenses in fact!
Also some useful reviews from Philip Reeve (from a stills-photographer perspective) here: https://phillipreeve.net/blog/lenses/minolta-mcmd/

Don't forget they will recycle this processor and sensor until at least 2030. So over the course of 10 years they will slightly uncripple it 🤣

Yes,...if the S1H did have phase detect AF, it WOULD be flawless. Too dangerous and that us why it won't ever have PDAF.
The camera industry has a "pizza pie" of customers. They work together to divide the customer revenue so that each company has a "group" to live off of. Panasonic has its crowd, Sony has its people, Cannot and Fuji and Oly each have their own customers...for carefully calculated reasons.
The Japaneese camera industry is an important one for the country of Japan. Its almost a "national pride" issue. They cherish it and the Japanese companies want each company to succeed or at least survive as a matter of pride and respect for each other. Each company will spar with each other, yes!...but always see that each refuses to deliver a true "knockout" blow to the other. Ot just won't ever happen.
This is why every camera will be crippled in some way to save the Japaneese "brotherhood" from being destroyed.
Everybody is given a bowling lane to operate and survive in. The camera crippling we have all seen in the past 20+ years is no accident. Its mostly designed to preserve the health of the Japaneese camera industry as a whole.
Believe it or not....but Sony doesn't want Cannot to die. Cannot doesnt want Lumix to die...etc. They are each valuable to the country they all love.

I was only fabricating a post to shoehorn a callback to the chips really but you never know, the GH6 might be L mount with an electronic MFT adapter so you could adapt M mounts, or use the new Sigma APS-C L mounts or your existing MFT lenses.
Is there an unbreakable GH rule that says it can't be APS-C and L mount ?
It could use different portions of the sensor for each option so you could have thrice cropped clips.
I'll get my coat.
 

Blaxkmagic have uploaded an update to Resolve that adds Gen 5 support for Windows users.  I've been having a little play with it using footage I shot over the last week and I'm liking the results.  The flatter curve starting point does help.

Gen5 colour is already usable with all braw footage ever filmed. I guess soon it'll be available in cam too.

I hope this succeeds because I would like to see the new sensor technology trickle down to the pocket in the future.  It will be really interesting to see some camera tests to see if new sensor-BRAW pipeline delivers significantly better color especial when sub sampled.

I came across this video from Richard Gale some time ago, who removed the coatings and tinkered with the Voigtlander 40mm, I am interested in experimenting with coating removal too,
 

I'm following along quite nicely, thank you for your screaming condescension, it is really helping this conversation along!  (Although it's not doing much to make me think that you're a serious working professional who can be trusted to make balanced judgments about an entire industry, but you know, you do you.)
I agree that when no-one makes MFT cameras any more then the format will be dead.  The issue here is that people still are making MFT cameras.
The P4K is an MFT camera that pushed what was possible at a given price point when it was released.  The Z CAM E2-M4 was only announced a few months ago (?) and is a MFT cine camera.  The GH5 is still a current model and although it is overdue for a refresh, it's not that much overdue, and there hasn't been any confirmation from Panasonic (that I know of anyway) that their FF line replaces the GH line.
Ok, so assuming you're telling the truth, your experience might be in the part of the industry that is too high-end.  Anyone who has worked on a Marvel production or on the Netflix approved sets that you reference probably hasn't worked in a low budget indy or web production since before the GH5 was released (or the GH4 for that matter!).
Everyone has blind spots in their experience.  One of my blind spots is the entire non-english-speaking world for example.  I'm a knowledgable guy, but not about much of what's going on in Turkmenistan.  Blind spots are inevitable, I fear that you're confusing your (probably large amount of) knowledge with the idea that you have a good overview of the entire camera-buying market.
Thanks - I was beginning to think I knew everything and was becoming omnipotent, but your timely reminder has staved off a bout of madness.
I am familiar with the RED forums, I'm registered there. I'm also familiar with CML, and have registered there too.  I haven't sought out EVA owners, but there's a few on here.
I have sought out GH5 users though, and I didn't find any significant concentrations of them, except here.  Which might be why so many people are disagreeing with you and down voting your posts.
But back to you telling me I don't know anything....
They're both done with cameras right?
It's great that we've finally gotten to the point in the conversation where you ask about my background.
I'm a guy who makes home videos.  I shoot, edit, colour grade, and then publish my own work.  You might then conclude that I wouldn't have the faintest idea about anything, but this would be untrue, because you see, I have been teaching myself to do everything, including colour grade, which leads me to why I might think I know something about this.
You see, I hang out on the colour grading forums with professional colourists.  So while you might be off making things and only being exposed to one tier of the industry, colourists (who aren't in the upper echelons of feature films) are seeing a wide spectrum of professional work done.  and when I got my GH5 and started speaking to them about how to colour grade it, I learned they regularly see footage from cameras like the GH5 on the low-budget productions that can only just afford a colourist.
You reference American Pickers, but that's precisely the kind of production that might use a GH5.  That and documentaries where owning the camera would be an advantage instead of having to rent an Alexa or C300 on and off over months, maybe with short notice if events unfold and they need to get to location ASAP.
I guess this is where we start to question what your definition of a professional DP is, and if it includes professional indy film-makers or you tubers or vloggers, but it actually doesn't matter.
We're not talking about if the GH5 is currently a major force in blockbuster Hollywood productions.  We're not even talking about if MFT has ever put an image on Netflix.  We're talking about if MFT is dead, and to talk about that we only have to talk about who is buying it.
This means that we're talking about customers.
Which means that it does include all the professional indy film-makers and you tubers and vloggers and even little old me shooting little Suzy blowing out the candles on her 3rd birthday cake.
MFT was never sold as a high-end cine system.  Even when it came out it was for the size of production that couldn't afford to rent equipment or didn't suit the type of shooting schedule involved.
This is where you've gotten me wrong.  I do see the signs.  MFT is a terrible investment.  So is EF.  If someone was asking on here if they should buy into the MFT system I would tell them to carefully evaluate their options.
My take on the industry is that:
Photography always had a FF superiority complex and smaller sensors are basically being eaten by smartphones, and now a Medium Format fetish is starting to emerge Cinematography had standardised on S35 but has recently started shifting to larger sensors The industry is in decline due to smartphones and less players means there will be attrition (which this thread is about) and considering the above going S35 or FF might be the 'safer' option MFT might be a good recommendation if the person asking had a specific requirement, such as a size/weight limitation, a cost limitation, or some combination of things (the way I do) I would also suggest that cameras and lenses are an investment, but you pay for them in $$$ and you get a return in images, not resale value.
This seems to me like a relatively balanced and nuanced view.  Indicative of pros and cons, strengths and weaknesses, and context playing an important part in any decision.
On the other hand, there's you saying things like "MFT is dead because companies will stop making the bodies and sensors."  Not particularly nuanced.