matthere

Maybe she is using one of those fiendish pocket size remote controls for it that give her full control of all the camera's functions?
I understand that they begin shipping next Friday.

Not anymore. Latest firmware added PDAF to the aging EM1.2
Who are you quoting here?
Sony has momentum. Anything they put out besides a complete turd will be sold and hyped like no tomorrow. I wouldn’t be surprised that every single YouTuber that has touched a Sony will be hyping the A7S4 and reading those taking points.
I know a couple of people that bought the A73 and it was their first camera...ever. Why? They saw all those YouTube videos “saying this the the camera to get Full Frame 4K $2000!!!!” , when it came out. I bought one too. I didn’t keep it in the end.
I hope all of these companies are successful. I really hope Canon wakes up and releases an R camera everybody wanted to begin with.
Im a Panasonic fanboy but I’m getting tired of their very stubborn approach to their AF. Either get it to work or just move on and pay to have PDAF. Everybody, I mean everybody that has touched a Panny, wants it. They could have starting eating everybody’s lunch if it wasn’t for their shitty AF performance.

I registered on this forum in 2014. At the time, there was very limited option for indie filmmaker beside the new GH4. But in the past 5 years here is what we got:
Generalization of quality video on DSLR/Mirrorless : 4K is becoming mainstream on entry-level camera. 4k60 is common while 10bits is the new 8bits. Raw is a the corner or already here (Pocket 4k/6K, Sigma FP). All brands implement good video specs on camera nowadays. Consumer drone revolution: cheap, effective and portable drones. Gimbal for all: just as the drone, what used to be an expensive and complex high end equipment is now available for a few hundreds dollars on amazon. And the system works out the box with minimal effort. New editing tools: Adobe brought Lumetri, Da Vinci is a serious option (for free), there are plenty of useful plugin available. Editing tools are so good now. My videographer life in 2014:
Camera: I had a Canon camera (shitty for video) and just bought a GH4. There was not good gimbal at the time and IBIS was a niche feature.
Drone: DJI was a small unknown company, only making camera-less drones. I used to film aerial video a with a custom built FPV drone and the whole thing was a mess. Soldering, calibrating a lot of parts (ESCs, FC, radio), messing with flight controller and gimbal PIDs, frame and props resonance with gopro scan that created jello on the footage. Dealing with a mix of analog and digital parts. Radio link required external ground station with special high gain antennas. Finally, the whole system took and entire bag (drone, ground station, LiPo charger, FPV system). People don't realize how amazing drones are today. The fact that we can now purchase perfectly working drone, with stable camera, no rolling shutter issue, incredible radio range and portability is a blessing.
My videographer life in 2019:
Camera: plenty of choice from all the manufacturers, 4K everywhere, in 60p and 10bits. Sigma FP, Fuji XT3, GH5, Pocket 4k and 6K. Panasonic launching FF camera. Most mirrorless have IBIS. Sonny revolutionized low light video with the A7S line.
Gimbal: I can't even keep up with the release. A good gimbal costs $400 now. DJI proposes all-in-one tiny gimbal camera for $300.
Drones: Mavic Air, Mavic 2 Pro with 4k10bits, etc. Autel just announced an 8K drones (EVO II)

I'm amazed by the profusion of good gears available today. I fit all my stuff in a large carry on backpack: 4k10 bits drone (Mavic 2), cropless 4k60 cam (GH5), cheap gimbal (Crane), excellent still camera (Canon 6D), and a slider with accessories.

So I must admit that I don't really understand all the gear whining on this forum. The Nikon Z6 is "pixel binned" and external recording is late. Canon cripples its next camera? The a7s3 might be a revolution? Who cares? There are like 10 good alternatives on the market. Just get the next XT-3 or use existing cam already (S1H, S1, A73, GH5, Pocket 4k, etc.).
I'm not targeting anyone in particular but I found EOSHD to be a valuable resource in 2014 when we got to deal with limited equipment. Now, I just don't see the point. Most of the posts are just an endless suite of gear whining and fight on pointless details. We acclaim every progress by hyperbolic statement ("10bits or 4k is a revolution") just to forget it the next day and dictate new requirements to manufacturers. Then, we get outraged because raw upgrade is not already available on a consumer grade camera. That's endless and not productive.
Unlike 2014, gears are not a problem anymore, this is not a limiting factor. If you can't deliver a good video with the actual stuff today, that's on you. I wish that we could focus on actual film-making.
All the best.
 
 

Really like my Contax Zeiss 35-70 3.4, bought it to be a flexible addition to some other Contax primes. http://youtu.be/JhpT3UfJub8

Was odd how the step from GH2 to GH3 wasn't THAT massive (I guess some people might have thought it was?). 
Likewise the GH1 to GH2 step up I don't think was huge either.

 I used to have a theory that Panasonic was going on a cycle with the GH series of alternative "BIG improve" vs "small improvement". (thus after the big splash of the GH5, I'd expect the GH6 to be a smaller improvement, before the GH7 which would then be massive)
Then the GH5 came out and made a big splash, ruining my theory by breaking the pattern! As it followed up so strongly after the GH4, which had itself made a big impact. 

Funnily enough, I was looking for bigger pieces again yesterday to resurrect it.
There is scope to do some interesting stuff with it linking the aperture to it as well so you can automatically maintain the same exposure. It can then link into the ISO as well for when you run out of road in terms of the amount of ND that can be applied.
The whole "PBC as a central hub" thing is designed for these sort of expansions to be incorporated so its already in there from a control point of view but is back burnered until I can find a supplier for a suitably sized piece of glass.

anyone still use the contax 35-70mm?

https://www.rokkorfiles.com/24mm VFC.htm

Ignition on.
If you'd like one, you can order it here
https://www.indiegogo.com/projects/pbc-blackmagic-pocket-cinema-camera-controller/x/22750367#/
 

Well, its been a while and its changed quite a bit....
But this is your official 7 day countdown for pre-orders opening on 12/12/19.
As the festive season is approaching then in true advent calendar style, open this thread every day for more stuff.

PBC Tease 1.mp4  
 

I'm actually a bit conflicted about the GH6.  I want it to be great so that it lifts the standard of the industry, but I want it to be mediocre so that I'm not tempted to upgrade!  
Ironically, no new camera has actually tempted me in any serious way, so it would have to be something truly special.

A 2 min documentary profile I did over the summer. GH5,HLG,Sigma 18-35 and graded in resolve with filmconvert.
 

Matthere thank you so much, the focus button trick worked very well for me! Now my dear pocket 4k is fully working with the newfirmware! Love this forum, love my pocket 4k. Big thanks again matthere!

Thought about doing it?
Nope, me neither.
Except.....I've been thinking quite a lot about the Meike cine primes over the past couple of weeks and the slight sticking point of them being tied into the MFT lens mount cameras.
Its not a massive deal breaker particularly as there are no shortage of great options to mount them on but as someone who also owns a couple of E mount cameras, it would be nice to have the versatility of being able to use them on those too, albeit it in APS-C mode.
The Veydras, which the Meike lenses are "closely associated" with, did have an E mount option IIRC but the new ones don't.
Which got me thinking about whether, as there is some flange distance to play with, there was an MFT to E mount adapter available and it turns out that there is one made by Pixco so £18 later, I now have it and here it is.

As there isn't a massive amount of flange distance to play with (1.25mm) then the adapter is understandably quite thin yet doesn't particularly feel flimsy but I did find that when changing lenses its better to dismount the lens with the adapter attached and then re-attach it to the next lens as its a bit fiddly to lift the locking pin release on the adapter.
Now the first thing to say is, other than to just try that it works, there is absolutely no point in mounting an electronic MFT lens such as this.

You will have absolutely no control of the aperture, focus and in most cases the lens will not fill the sensor.
So, absolutely pointless and probably explains why there is no particularly buoyant market in making these adapters
Of course, for our purposes, of mounting manual only MFT lenses to it then it works perfectly.
That doesn't just go for the Meike lenses but of course for any manual lens such as Voigtlander, Samyang, 7Artisans etc.
Its worth checking but most of these lenses are usually originally made for APS-C so even in MFT mount they will have enough coverage.
Where things get really interesting for me though, and I suspect for people with both MFT and E mount systems is being able to re-utilise existing MFT adapters.
For me, these range from an obvious one such as PL...

To being able to use my Nikon F/G to MFT speed booster which with its integral aperture lever control is so much more usable than having to use a Canon version with a thin F adapter on it and the fiddly aperture lever.

Next up is being able to mount the Vizelex Lens Throttle Variable ND adapter to make a compact fast swappable full frame system with vintage primes.

Last but not least is being able to use Aputure DEC Lens Regain on the A6500 to speedboost Canon lenses and have electronic follow focus control.

OK, so most of these things can be done with dedicated E mount versions of these adapters but the biggest issue is the additional cost of buying them all again if you run both systems.
That £18 adapter (which I had no idea existed ) has saved well over £1000 in additional adapters for the E mount cameras.
Using my warped justification logic, that means I am now legally entitled to buy two of the Meike primes as I will still be £250 up on the deal  
Seriously though, for anyone who is moving from an MFT to E mount system or who has E mount cameras and never had MFT but wants to take advantage of the usually less expensive and more widely available MFT versions of adapters available used then its definitely worth splashing out the £18 for one of these.
Ditto for anyone who has a Z mount system as Pixco also make an MFT to Z mount adapter with which you can do the same tricks.

I simply love your enthusiasm Emanuel -
and actually I feel pretty much the same. It is almost like Xmas each time a camera update gets released or resolve getting an update.
lovely tools ? 
Any plans for a 240fps 1080p ? 

Let the hype begin.  ....meanwhile I'll be over here with my GH5, which even with a full set of Voigtlander f0.95 primes would still be cheaper ???

Aha, I think I understand now. So the audio is going from the band out to the speakers without time manipulation? In that case, you would just monitor it normally.
As for syncing up, that requires you to know what the band is going to do, and choreograph beforehand. Example: Say you want to reframe when the key changes. Since your video is being slowed down, anything you film will be seen on screen at some point x seconds in the future. Therefore, you would have to reframe x seconds before the band shifts key.
I'm not sure what the purpose of chopping up the audio and playing back 1/4 of is anymore?

@IronFilm raises an important and fundamental issue - that if you're stretching time in any way you will get out of sync.  My method stayed in sync because it skipped past lots of content.
There is an element of time-stretching effect to what you're talking about, and there are algorithms that do such things, however fundamentally it means that the time it takes to listen to the output is different to the time it took to capture the input.
Have a think about how you're going to solve that and then we can talk about the details of implementing it  

It very much depends on what you're developing it on but I'm guessing in the context of what this will be used for that some artefacts would be acceptable to achieve the real time aspect of it?
 

Its doable with something custom written.
You record the incoming audio to files in increasing time chunks depending on the slow down percentage that you want, to take into account the time it will take to play them back.
So for example, lets take a half speed playback scenario.
The incoming audio (FILE 1) would be written to a file after the first 0.5 seconds and the playback of that file would begin immediately when its finished writing but at half speed.
Simultaneously, the still incoming audio would immediately start writing to a new file (FILE 2) which would need to be of sufficient length to cover the length of time the playback will take to complete the first file before it is ready to play this new file.
As our first file is 0.5 seconds, it will take 1 second to playback at half speed so our new file (FILE 2) will need to be 1 second long and this will immediately begin playing upon completion whereupon we begin recording another new file.
This file (FILE 2) will take 2 seconds to play back at half speed so our next file (FILE 3) will need to be 2 seconds long.
As this will take 4 seconds to complete playback at half speed our next file (FILE 4) will need to be 8 seconds long.
And so on and so on.
I've done you a spreadsheet illustration  

Depending on what you are going to run it on and how long the piece is you could do this in memory of course with buffers instead of writing to files.
The audio of course will be playing back at half pitch as well as half speed but there are enough affordable hardware solutions out there nowadays to take care of that.

Here's a thought - every second you take the first 1/5th of a second and slow it down to 20% speed and watch that for the full second, then at the start of the next second you skip forward the other 80% of the second to get to the start of the next second and the cycle starts again.
It would be semi-realtime, being that people would see and hear themselves in slow-motion with only a second delay.  
Considering you haven't specified what you're trying to accomplish, I'm not sure how this suits, but if you're looking at an art installation or something then that would work  

Yeah.
noreply@canoncustomers.com

Talking of the Canon FD's I have just pulled the trigger on the Canon 20-35mm F3.5 which seems to match the other FD's well.
I have a set of Canon FD's which look great on the P4K.