Emanuel

Good morning, everyone!
A short and super-relaxed video
from the final days of summer on the island of Thassos.
Featuring music from a bygone era—
a time many of us wish we could live in!
Enjoy a video that made with a7iv + Tamron 28-75 f2.8 and GoPro12 !
 

I wonder if it will ever get the 'Red-lite' raw codec 'everyone' wants...
If that ever happens, what a fucking camera it would be.

Interesting update on the FP front. A user has apparently developed a way to use the FP's internal gyro data to get post-production stabilization via the cam's SD card (vs needing to attach an additional piece of external hardware).
You can get more details here: https://discord.com/channels/1542149935523299378/1542153963837853807
And this is an FB group where the developer made the annoucement earlier this week, and is discussing it with other owners: https://www.facebook.com/share/v/1EPzkeRZny/?mibextid=wwXIfr
There is also a user (Vitaly Li) who literally just posted about a new mod they're developing that could give the FP 3000x2000 open gate:
https://www.facebook.com/share/v/1F1sixsTzz/?mibextid=wwXIfr
Personaly I've moved on from my dreams of owning an FP, but this is seems like pretty promising news for FP users. 

So I rented the Pyxis 6K this week to run some tests. We're building a new studio and I wanted to see if these would work for us in our workflow. 
My criterion for these studio cameras is the following:

- Somewhere in the $2000-3500 range
- SDI output
- Solid 4k image
- Clean image for fast workflow (no denoising in post)
- Good autofocus
- Simple workflow
 
Honestly after spending a few days with the Pyxis, I enjoyed it more than I thought I would. It's a really simple camera body, and everything is laid out really well. It's smaller than I thought it would be, but built from a heavy duty metal, and kind of heavy overall, which I didn't mind. The 5" monitor is amazing. It's also built out of some kind of metal, but still thin and light. It powers and does video from a single locking USB-C cable. It's touch enabled, so the menus and autofocus can be controlled from there, and the image is really bright and easy to see in the sun. 
 
It's honestly just really nice to be able to put the camera on a tripod, plug in the locking and included AC adapter, plug in the monitor, and you're good to go. No janky adapters, dummy batteries etc. The image is really really good. It's very sharp, clean, and as much dynamic range as you could want. I was able to underexpose shots by a solid two stops to hold highlights out a window and the image looked really good after recovery in post. 
 
The autofocus kind of surprised me as well. It's DPAF, added somewhat recently in a firmware update from BM, so I wasn't expecting a lot. But it was really solid. Not a lot of control options, but when a head comes into frame it locks on and tracks really well. I feel like I can totally use this for talking heads with no worry about it losing focus. 
 
Overall the biggest downsides were the lack of internal ND filters, which is a real killer. For our studio workflow, this is totally fine. But it would be amazing if ND was included for if we want to use them for other projects. Also rolling shutter was pretty noticeable in 6K. Not a problem again for studio work, but could be an issue if used for other things. The other two downsides for me would be the lack of codecs and resolution options. There is no downsampling in camera. If you want to record in 4k or 1080P, the camera crops the sensor. Also you are limited to b-raw, there is no h.265 or h.264. Again, this isn't really an issue for us since the camera can still output a full sensor downsampled 4k signal from the SDI output, while being set to 6k internal. But for other workflows, I could picture this being an issue. 
 
I think there is a love hate relationship with this camera's simplicity. All the basic, core functions are there, and really easy to access, like resolution, frame rate, audio, LUT control, proxy recording, etc. But when it comes to anything more complex, this camera is kind of lacking. On one hand I really like this because it keeps things simple and uncluttered. It's really nice to pop in the menu for something and not have 10 million options to sort through. On the other hand if you're missing something important, this can be devastating. 
 
Overall This camera nailed what we're looking for in a studio camera, but I'd be hesitant to buy it for run and gun use. I think for run and gun the one and only reason I would buy a heavier cinema camera is for the internal NDs, so with the Pyxis lacking them, it wouldn't really make sense over something like an A7IV or an FX2 which would both be in the same price range. 

Someone named Vitaly hacking a camera?  Oh boy. 😅

Funny that sony raises prices and blackmagic cuts prices. Allthough for me with the storage space costs at the moment. Braw isnt cutting it. It is better then h265, sure. But I just cant justify the storage costs. I wished they included compressed prores again. 
Love blackmagic though, it has an amazing look. I think I owned lost of their cameras until the pyxis. But its shitty on gimbals, and storage adds up, not as much as the nikon zr though. I hope nikon announces good news on IBC in a couple of weeks. My c500ii will do for now.

Last time you did it, I bought one! : D 

You beat me to posting it.  If you want IMX410 and usable autofocus, it'd be hard to find a better choice.
Let's see how used prices react as well.  Judging by B&H, they're reacting very nicely for the CC6K - there's an L-mount one for $1,435 right in condition 9 right now.  That's...  even slightly lower than the new price was for a minute a few years ago.  😅
But for $1,435 - that's a hell of a camera.  If I didn't already have the problem of "more cameras than I actually use, I should sell some of these," I'd be furiously clicking buy right now.  Pyxis 12K used prices seem to only be about 10% off new on B&H and on Adorama and MPB, they didn't catch up at all yet so used are now much more expensive than used.
Now... if they would drop the price of the Pyxis 12K to $3,500, I'd already be in the middle of figuring out which camera I'd be making myself sell to justify getting it.

Yeah - sounds almost as good as Fuji already.  😅

https://www.eisa-awards.org/awards/nikon-zr/
Interesting to see the Nikon ZR taking EISA’s Photo/Video Camera 2026–2027 award.
On paper, I can understand it. The overall package is unusually strong, particularly for the money, and Nikon has clearly managed to turn the RED acquisition into something rather more tangible than a logo on the box.
Still, awards like this always make me wonder what is actually being judged.
A camera can be outstanding as a specification sheet, and even as an overall product, while still having one or two behaviours that matter disproportionately once you start using it seriously (codec implementation, processing, noise reduction, workflow, etc.).
That does not necessarily make the award wrong. It just shows how different “best camera” can look depending on whether you are judging features, image quality, value, or the less glamorous realities of actually shooting and finishing a project with it.
The ZR may well deserve the trophy.
I'm rather more interested in whether Nikon keeps refining the bits that do not fit quite so neatly on the award plaque ; )
That said, kudos to ZR!
EAG :- )
 

Quick review after the shoot this morning. I used the Pyxis as a roaming camera for a lecture hall presentation, so it was basically a 4th angle... which is a good thing. Face detect is a no-go for this situation; too many faces. I normally use the wide area AFC window on my Panasonics with great success panning across people in their rows, shots of hands writing and typing, group discussions, etc. I tried to replicate shooting this way with the 12K... no good. Pretty unpredictable. Sometimes it would perform exactly as I'd expect, other times it would refuse to change focus, other times it would hesitate, other times it would stutter back and forth between points. 

I used the Sigma 28-105mm f/2.8 today. I tested across a range of focal lengths and focus sensitivity settings. I stuck with a reasonable aperture of f/4.5 as well. It actually did better when zoomed in >85mm. Maybe the compression or blur helps it. I don't know. Overall, I'm not discouraged by this, though. This is a great first effort and I fully believe it will only get better. 

Well it’s happened! Blackmagic released a beta firmware adding PDAF to the Pyxis 12K. I’ve been playing around with it a bit tonight. It’s really impressive for a first effort. The face detection mode is superb for a standard solo interview. AFC is pretty great but takes a bit to get used to, because it operates a bit differently than my Panasonics. The object tracking mode is its weakest at the moment. That needs some real work.

The other nice feature with this update enabling linear focus throws and the ability to set rotation degrees on focus by wire lenses. If this firmware will work with Tilta’s upcoming PL to L adapter, I’ll be veryyyyyyy happy. 

Going to try it out on an actual shoot tomorrow.

It took a minute to find a link to what you're talking about.  Doesn't seem to have made it to many of the usual suspect forums yet.  Hopefully AF on Pyxis 12K means that the same is coming to Ursa LF sooner rather than later!
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=239482

I have experimented with the Beastgrip 1.33x and 1.55x adapters using full frame cameras and wide/normal to short telephoto lenses (35/40/50/75). I have tried with my slow Leica M lenses, which are usually pretty forgiving on coverage. These Anamorphics will cover full frame and are easy enough to attach to the M mount lenses with a 39 to 37 step down ring. the 1.33x is definitely a better fit for the 35 & 40mm lenses, as the 1.55x has a pretty wide FOV. Results are similar to the above samples, with soft edges and major distortion. But definitely plenty of character. Next time I take a stab at it, I'll post some samples. 

I also found this video below, which combines a cheap adapter from Aliexpress with 17mm rear-filter and the Viltrox 28mm F4.5 lens.  He just sticks the mounting plate from the smartphone clamp for the anamorphic directly onto the Viltrox lens with tape, so hardly and ideal situation, but it is more proof of concept, and it covers FF too!

Test image:

Video:
 

Yes, the Beastgrip might well be a better candidate - not only due to having a filter thread I can convert to but also potentially with a larger rear aperture for better coverage!
I found this comparison between the Moment M-series (left) and Beastgrip (right) which shows the rear openings:

Some rough measurements of the Beastgrip suggest that the rectangular opening is almost exactly 17mm across, which would make the image circle significantly larger than my Neewer, which uses a 17mm threaded mount.  
The rectangular opening looks to be on a separate plate - I wonder if that could be removed somehow to really open up the rear element?
Wow - full frame coverage!   I really didn't expect that, and it's very encouraging to hear!
I also realised the 1.55x makes everything pretty wide, and have been contemplating what FOVs I'd want to get and what focal length taking lenses I'd need to use to get them.
You reminded me of my ultra-cheap Risepray 35mm F1.6 C-mount lens, which has a 37mm filter thread.  Assuming it doesn't vignette (and therefore doesn't need any cropping) that would give me a 45mm F2.1 equivalent lens, which would be pretty good for shooting street and run-n-gun like I do.

Raw Log Camera Demo – looking for closed testers (Android)
The first signed demo bundle is ready for closed testing on Google Play. I am looking for Android users who can test the app and report bugs or usability issues.
Current focus:
• RAW and RAWC recording
• IT8 calibration and color profiles
• Astro mode
• Motorola Edge 50 Pro and other Android devices
Google requires at least 12 testers to remain opted in for 14 days before Open testing becomes available for this new developer account. If you would like to help, please join the tester group:
https://groups.google.com/g/rawlogcam-closed-testers
After joining, please reply with the Google account email used for Play Store testing. I will share the Play opt-in link and test instructions with the group.
Demo recording is limited to 20 seconds. Feedback about drops, exported H.265 playback, GPU preview, RAWC stability and IT8 behavior is especially welcome.

I'd be happy to help you test it, I'll join the group later today. Have about 25 android phones!!! I can imagine how difficult it is on Android to test on so many OS and hardware combos, the number is just insane.
I am actually working on a stills camera app for Android and iPhone at the moment. So have been learning the ropes for just over a year now

I think that word “affinity” is actually more important than people sometimes admit : )
On paper we can reduce everything to specs, codecs, lenses and prices, but after a certain point a system also has to make you want to pick it up and use it. Sony can tick practically every box and still somehow not be the answer (I know exactly what you mean there : )
Since you are very much a hybrid shooter, and stills seem to matter at least as much as video, I would probably look at this slightly differently.
 
On the L-mount side, before changing anything, I would certainly try the Lumix S 24-105mm f/4 Macro O.I.S. It is not an exotic lens, but for somebody moving constantly between stills and video it is exactly the sort of lens that can make a system considerably more useful: sensible range, stabilisation, very useful close focusing and one lens that can stay on the camera for most of the day.
 
Sony is tempting for a different reason. Beyond the enormous stills AF lens catalogue, E-mount also gives you an unusually broad selection of genuinely affordable full-frame AF glass (the AF-AFF route, AutoFocus to Affordable Full Frame ; )
And then there is the increasingly interesting cine side.
The compact Samyang V-AF primes are a good example. They are relatively affordable, matched as a family, and the 24mm in particular is interesting because it makes perfectly good sense on full frame while also becoming a very useful lens on something like an FX30 (a cam I am particularly used to : )
Add Samyang's 1.7x anamorphic MF adapter and AF becomes MF. But put something like DJI Focus Pro LiDAR [ 1 | 2] into the equation and you can effectively bring automated focusing back again (the AF-MF-AF route ; )
And you no longer even need to go through that slightly mad route if you simply want AF anamorphic.
Blazar now has the Apex 1.33x S35 AF lenses and the Talon 1.5x full-frame AF line, while Sirui has its 20mm/40mm T1.8 1.33x S35 AF anamorphics plus the new Astra full-frame AF series. So E-mount is beginning to look less like a one-off anamorphic experiment and more like an actual affordable AF-anamorphic ecosystem.
 
The interesting part is that some of this does not necessarily lock you into Sony either.
The Samyang V-AF 24mm has already been shown working with AF on the ZR through the Megadap ETZ21 Pro+, so at least part of that E-mount investment could potentially follow you across.
And Sirui already offers native Z versions of its S35 AF anamorphics. Blazar had actually announced Z-mount for the Apex originally too, although the production lenses have so far remained E/L.
So for me the real attraction of Sony in your case would not simply be "better video AF". It is the combination of the huge hybrid/stills lens ecosystem, lots of affordable AF glass, the possibility of adding something like an FX30 without changing lenses, the Samyang V-AF route, and now a growing choice of genuine AF anamorphics as well.
At the same time, the ZR increasingly looks capable of borrowing some of those advantages without necessarily committing yourself completely to Sony.
Which, unfortunately, probably makes your decision harder rather than easier... ; )

In purely lens terms, ie, not considering any camera body or brand, 28-50 is perfect for me indoors so either Sigma’s 28-45 f1.8 or Sony/Canon’s 28-70 f2’s are ‘perfect’ other than size, weight & cost.
There is the compromise but for the way I work, it is a case of:
A. 2 bodies + 2 primes vs 
B. 1 body + 1 fast zoom
Now of we redo the size, weight and financials, we are in the parity ballpark, so it becomes a case of which option do we prefer, - the single larger heavier unit, or bouncing between two smaller & lighter set ups?
I am currently in scenario A but in other seasons have worked with scenario B.
Pros & cons to each!
Outdoors, my ‘perfect’ focal range is 50-100 with a smaller (but essential need) to go as wide as 28 and as long as 150.
A 70-200 doesn’t work for me, even if an f1.0 landed, it would still be a hard nope.
Too long, not wide enough.
The 28-105 is the closest in L Mount right now if I remove the Samyang 35-150 from the equation.
First of all, it’s bit really an f2 other than at the widest end where really it is just an f2 35mm, but a massive and heavy one.
I’d rather have the Sigma 28-105 for outdoor work and crop a bit and for indoor, as things stand, the Sigma 28-45 f1.8.
This is my most likely scenario continuing with L Mount next year which is also my most likely scenario as things stand for reasons already mentioned, namely, I am already invested in the system and happy with it other than some lens niggles.
I am pretty sure if Nikon had got the ZR right for me in just 2 further areas; a fully articulated rear LCD (or even just a tilt) and had a 1/4 size Red codec, it would have been a done deal.
I began my career with Nikon and was was with them for 9-10 years and still have a certain, perhaps nostalgic affinity with the brand.
Fuji was almost another decade and I could easily jump that way for stills, but not video and I have niggles with their lenses for my stills needs as it would be GFX in that regard and there are no rangy fast zooms so it’s a no go for me.
I have zero affinity with Canon though always loved the idea of an R3…but nah, that really would be an entirely new system for me.
I’ve been in and out of Sony various times and could go that direction but there is something slightly lacking I cannot quite put my finger on and the best I can come up with is that word ‘affinity’ again. They have ALL of the lenses and I really like the FX style bodies but still…
And so L Mount…
Leica, for all its criticism and arguably elitism, probably does have a difficult to quantify ultimate quality edge in stills over Lumix, but worth the money? Probably not real world, but does have other merits…
SL3-P over S1Rii purely for stills? Hell yes.
Entire S1/S5/S9 range over anything else in the same price bracket for video? Hell yes.
Leica, Lumix & Sigma for lenses generally, yup they have it.
This is just an early morning coffee ramble really.
Another 8 months will determine following 5 years for me…

32x higher full well capacity or 30db more dynamic range (as cited by the video) should equate (if my math is right) with almost exactly five stops more highlight retention. There might be other trade offs so it's closer to 3 stops in practice, though.
In theory, five stops extra would put an FX5 well past an Alexa35 for highlight retention and an iPhone 15 at base ISO (in Apple Log) in close competition. 

I’ve come close to pushing the ZR button a few times now and there are really only 3 things that have prevented me doing so…
1. The file sizes of that Red Raw codec. Apparently N raw is the next best option and there are of course some ‘workarounds’, but until there is a compressed version that maxes out at no more than 1000 mbps, it’s just too much and one of the principal draws of this camera is the Red codec.
2. I’m not unhappy with L Mount. In fact the opposite except for one factor and that is the absence IMO of equivalent lenses to Sony’s: 28-70 f2, 50-150 f2 and Tamron’s 35-100 f2.8. It’s ‘almost’ worth switching just for these lenses alone, but that last word, ‘alone’, but alone is not enough and lenses aside, everything else that L Mount, specifically Lumix offers, beats that of Nikon & Sony.
3. I still have hope that from within the L Mount Alliance, over the coming Winter and next Spring, either (or even both) a rangefinderesque camera will appear from either Lumix or Sigma and at least one rival for one of the lenses above, will appear. Unlikely to be a Leica, but next gen FP a possibility and even more likely, an S9ii?
4. Bonus reason, - switching not only costs money, but there is always a settling in period with any new system that frustrates.
So my set up now just works, I have it and I like it and as above, my only real crit is with regard to certain lenses, but the ZR body style just appeals to me and I would like that rear LCD, but ideally as a fully articulated unit which is a bit of a missed opportunity IMO.

Amazing spec really.
Looks like it could be my forever camera….
 
 
 
 
 
 
 
 
 

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... ;- )