Marcio Kabke Pinheiro

2 hours ago, kye said:

How do they assess if it's a MILC or fixed lens?  I wonder if a small enough camera with a "fixed" looking lens would work?

Kind of a lottery.

Went to a festival some days ago, they stated clearly "no professional or ILD cameras allowed", which blurries the boundaries even more, hehehe. Did not wanted to risk it, brought an old Sony HX9, some usable stills shots.

In the entrance, saw a hipster trying to bring in a Leica M with a 50mm Summicron - not the best combo for a 20000+ people festival, I must say. 😄 The security just asked "it changes lenses" and the idiot said "yes". The guard was in a good mood and just said "ok...go in".

In general, they just hate "DSLR style" cameras (hence my preference for "rangefinder" bodies - not for nostalgia, is just everybody thinks it is a film camera). With my m4/3 bodies, the only concert that my cameras were banned was when I brought a GH2 with kit lens (because it looks "DSLR") some years ago...all the GXs, even with tele lens, no problem at all.

Probably my X-S10 with the 55-200 would be green lit, but since would be a time consuming trip to my home, did not wanted to risk. But the FZ1000 is getting on just in case, for big festivals could be indeed a good choice - usually the stage is well it and the smaller sensor would be less of an issue.

20 hours ago, BTM_Pix said:

Yes, its universal for all Panasonic cameras.

FZ1000 already has Cinelike D though so its of less use.

Funnily enough, the HDMI port on my FZ1000 is also fucked. 

iFixit have a VERY good disassembly guide, probably will take a look.

Same for the lens dust - if it is in the front elements, is very easy to solve; the seller told me that the dust is not visible, hence it could be in the sensor. But in the same guide they show how to get to the sensor, and it is much more easier than most current cameras.

50 minutes ago, Django said:

For me personally Fuji screwed up by putting the XH2 40mp sensor inside XT5's reduced body size.

This creates overheating, extra crop factors and line skipping issues. ProRes was also removed, for cripple hammer segmenting reasons with XH series.

Would have much preferred XH2S stacked sensor with lower MP and no 6K/8K options but faster read-out speed. Maybe an XT5S option would have been ideal but again maybe the smaller body size might be the real bottleneck when it comes to heat management.

I'm sad because XT5 used to be Fuji's all-rounder (well since XT2) but it is now a high MP stills oriented camera with newfound video limitations. 

You simply have to step up to XH series for proper hybrid Fuji when I much prefer the top dials, form factor and tilt screen of the XT series.

Still hope that lower models keeps the 26mp current sensor with the new processor - which for me, would be ideal.

On 6/5/2017 at 9:56 AM, BTM_Pix said:

OK, a bit of an update....

As I'm still in the UK, I was able to go and visit the camera shop where I've bought a bit of kit over the past few years.

Because they know what my day job is they were virtually rushing to get a Sony A9 out of the cabinet as soon as I walked in so were a bit dismayed that all I wanted was to have 10 minutes with an FZ2000!

Anyway, here is the news.

I did a couple of test recordings of the 200mbps HD format so I could have a look at the files and compare them with what is coming out of a G7 when its making the corrupt files. 

I then captured a remote session to look into these MP4(LPCM) modes to see how they were selected from the app.

And then something caught my eye in Cinelike settings which I'll come back to in a bit.

So I ended up walking out with an example high bitrate file and a surreptitious capture of a remote session to look at the commands when selecting it.

And the camera shop ended up with no sale or even a whiff of an interest in the A9. Though they know I'll be back for something at some point!

Now I had the correct command I could be sure that we are sending the right one to the G7 (in this case) but we are still in exactly the same boat regarding the corrupted file. Copying the chunk of the real FZ2000 to it will persuade it QuickTime to play a black file of the correct length and VLC is identifying the codec (so I think I've got the right sector) but won't play it. 

The command is definitely in the "make me a cheeseburger" category as selecting the 200mbps format file will automatically change the camera into the MP4(LPCM) mode so there is no command from within the app to do this as it just happens as a package at the camera end. As the other cameras don't have that option then we are definitely in the territory of just prodding it with a stick to see if there is a fluke combination of formats to switch between that will make it do this combination internally.

The bottom line with that is that I'm going to have to throw it back out there for everyone else to pick up their own sticks and prod their cameras for this one as I need to be getting on with the other thing. And being a bit selfish about this, its a bit of a diminishing return for me effort wise as I'd sooner plug it into a second hand ninja star to get edit ready prores if I was looking to up the HD quality for me. Or actually even chop in my FZ1000 against an FZ2000 if they come down in price a bit as it is a seductive camera with features like that, the NDs and the VLOG option.

///EDIT 

The FZ2000 files are NOT playable in the G7 so I think this might be a big clue as to this hunt ultimately not bearing any fruit

//////

OK, sad part over, what about what caught my eye?

Well, the FZ2000 has an additional control in Cinelike D for shifting the colour tone of the whole image. 

It has a plus and minus control which shifts to violet/magenta and yellow/green respectively. And this is independent of the white balance.

Now, I think that is a very interesting little function that people could be able to manipulate to create some profiles that are more akin to other manufacturers favoured tones?

And when I say that the FZ2000 has got that Hue function, what I of course mean is that now we've all got it

Big caveat here is that I have only tried this on the G7 as thats all that I've got to hand at the moment but it should work on the others too but please test it and let everyone know if it does or not for your camera.

Updated html file attached to enable it and I've used values that will get it going for you but please make your own experiments by just editing the last number in the command to shift it in the direction you want. I have no idea what the range is so I've set it at 5 either way so you can see the effect but tweak away until you find the end points! 

Enjoy and please report back if it works for your camera so everyone can share the results.

 

DEPLOY CINELIKE D AND V WITH HUE.html 1.67 kB · 339 downloads

Unearthing an old topic, because I have a very cheap (US$ 280,00, with a defective HDMI port - looks like only a broken soldering - and a little lens dust) FZ1000 on the way.

Music festival / venues are becoming more strict here and started to ban all ILC cameras, hence I needed a fixed lens one.

@BTM_Pix, do you remember how your FZ1000 worked with your html commands?

On 11/4/2022 at 2:41 AM, kye said:

I never thought about that, but yes, that makes sense.  

When I was doing stills I would shoot exclusively RAW images as the JPG versions always clipped the highlights (which is madness, but there we are), so if the file sizes of those doubled/tripled/quadrupled then that would potentially be a big deal and most people wouldn't really want 48MP over 12MP / 16MP / 24MP.  I mean, 12MP sounds pretty low res, but it's the same detail as 4K RAW video, which is plenty good enough for most purposes.

Of course, the storage requirements of shooting RAW stills is laughable compared to that of video, but for stills-only shooters it might be a thing.

You always note the difference - I tought than moving from the 20mp m4/3 to 26mp X-mount will not bring too much of a difference, but I was wrong. Both in quality and storage requirements...

For some instances, 40mp would be very useful. For concert shooting, the ability to crop from 40mp to 20mp would be very welcome. But for "no crop" work, not so much.

One thing that was never explained (or tested): if you drop the resolution from 40mp to 20mp in stills, it is oversampled or line-skipped? If you don't need the 40mp for some work, a oversampled 20mp image could both bring less storage requirements AND (maybe) more color accuracy. This would be a very interesting alternative to me - albeit, if oversampled, probably would not diminish rolling shutter (could even increase it).

And for video, the 40mp sensor needing to crop to be oversampled in 4k was a HUGE bummer.
 

On 11/6/2022 at 5:35 AM, MrSMW said:

Reminds me of my early Fuji X days...

...or current days, if you don't use a X-T4 or X-H2.

Filmed my daughter's birthday with my X-S10. Ok, I always use Boost Mode ON, but the 1st battery died with only 40 mins of non-continuous shooting...

X-S10, with IBIS, just chews smaller batteires.

4 hours ago, MrSMW said:

Don't know, haven't got one.

I did buy an XH2...then sent it back, unused.

I may still go the Fuji route but after what has been 12 years now of Fuji and then Panasonic and actually having a need for reliable AF, it is one factor putting me off both brands right now.

Panny is fine for stills...in fact they both are and OK at static subjects.

Fuji is better still (IMO) but it's in the video tracking where there are still question marks for me...

 

I thought that you were with Fuji again, I'm not entering here as often and is hard to keep tracking of tour camera changes. 😁

Now I saw that with the X-T5 only have 4k oversampled with a crop. Dunno how is the quality of the not-oversampled 4k, but it is a step back from X-T4.

Ok, X-T5 is clearly a stills focused camera, but it is bringing me VERY big concerns about the rest of the Fuji line. I'm a mid-range camera user (have a X-S10 now), and if this 40mp trickle down the line with even worse video specs, it will be a problem for me in the future - I want the (maybe) better IBIS and the better AF, but not downgrading the video quality.

My hope: the X-T50 and / or the X-S20 keeps the 26mp sensor (more than enough for me) with the new processor.

About video AF with Fuji, for me they have two serious problems (at least in my X-S10:

- Face / Eye detect goes haywire with more than one person on scene - the worst problem for me. If there is a single person, it works very well - not Sony / Canon level, but for me good enough. But when there is more than one person, the focus point jumps around the various people on the scene. Tried to change the focus area hoping to force it to just look for faces in that area, no luck. Yes, you can use the joystick to move through the various faces detected, but right after it will jump to other face. Saw in some review of the X-H2s that now it gave some priority to a face in the determined focus area, but still have the problem. Don't know how it works with other brands. @MrSMWdo you have this problem too?

- Beacause of the issue above, the best solution would be using tracking - choose single focal point, put it in the head of the desired person, and track it. But...still no tracking in video from Fujifilm.

 

On 9/28/2022 at 2:02 PM, MrSMW said:

It's when you put say the 16-55mm f2.8 on the Fuji compared with the 12-40mm f2.8 on the Oly the gap begins to widen...

With the same aperture - yes, bigger and heavier.

But if you put the 16-80 f/4 on the X-H2 (I know, it's not a stellar lens, but playing with equivalency and rage), almost the same size, a little bit heavier but far more range...

https://camerasize.com/compact/#887.1042,891.853,ha,t

Launched today.

One curious thing: it is a 26mp sensor, instead of the 24mp sensor of the A6xxx line. Probably the same of the Fujifilm XT-4, but with Bayer.
 

The XH2s are VERY compact - smaller than the GH6 and pratically the same size of the OM-1. And if you use the Olympus PRO lenses or most of the more professional m43 lenses, the m43 size advantage becomes negligible (and, in some cases, the weight also).

But they are not for me. My perfect Fuji camera would be a X-E5 with IBIS, with the back dial and some buttons back, and a little better EVF. But will not happen. In fact, it will be kind of a problem in the future because I don't need 40mp...

Very sad here with the news, Andrew. Even more because now I have a daughter, that will make 4 on Saturday - I can relate with this kind of pain.

There is no words that can help with this. All we can do is send some good whishes for better times ahead. Be there with Arabella, Liam and your mom - all of you will need each other.

Things are kind of hard here too, but I made a little contribution - more to show our love than for the value.

Hang on and take all the time needed. We will be here.

I've started seriously with photography and video with m4/3. As the opposite of the majority here, I'm no professional photographer or filmmaker. Probably could be classified as "enthusiast".

I like to make movies and stills on my trips, love to film or photograph live concerts, even made some videos for some friend's bands. m4/3 was perfect for me - VERY small lenses, does not attract any attention from people when using them on trips, always been dismissed by security at concert's doors (only happened one time, with the GH2, that looked like a DSLR...), and could carry all the lenses that I needed in a messenger bag.

In my last trip, before covid, had a GX85 with the 12-32 pancake zoom, the Panasonic 42,5 f/1.7, the Panasonic 45-175 and a Rokinon 12mm f/2. Never got in a situation during the trip that I needed other lenses.

To be kind of invisible on trips and concert, I had a primary rule: never use a body that looked like a "professional" DSLR. For this reason, "rangefinder" bodies are my preferred, most people even mistake them as film cameras. Had the GX7, GX85 and GX9; and midrange Olympus silver bodies for the same reason: E-M10 MK I and III, E-M5 MKII. No more GHs after the GH2, or E-M1s.

Then I sensed the tide - m43 probably would become a niche format. Full video for Panasonic, wildlife and adventure for OM Digital. The horrendous G100, the E-M10 MK IV and E-P7(which was already developed before the spinoff) were the last discreet m4/3 cameras - and I see no signs of them returning. And yes, I think that the future of the format is in danger - OM Digital must sell to keep afloat, and Panasonic could pull a Samsung in any moment.

Lenses, same thing. With the exception of the (amazing, in my opinion) Panasonic 9mm f/1.7, almost only Olympus PROs and the Panasonic f/1.7 duo. Big lenses, APS-C size or bigger when you brings equivalency on the equation (and I, contrary to most people, looks on equivalency most about low light that depth of field).

Coupled with the fact that here in Brazil Panasonic and Olympus never sold their cameras officially, and the prices are very high, I started looking to APS-C. Easy choice: APS-C was already left to dust by Sony (albeit the newer primes are good, the bodies still sucks), Nikon and Canon did not have options at the time (EOS-M was out of question, and the Nikon and Canon APS-Cs mirrorless came after and still have very few lenses), and I gone to Fuji. 

Fuji is much better then m4/3? Compared to my previous kits, kind of. But not always.

First: weight. The retro cult of Fuji lovers despises anything that is plastic, hence the lenses are kind of heavy compared to my previous ones, but not using equivalency. The 18-55 f/2.8-4 is AMAZING compared to the smaller m4/3 zooms; never thought that the m43 zooms that I had were bad, but this one is another league; ok, I could have the Oly 12-40 f/2.8, but it is larger, heavier and pricier. The 55-200 is VERY good too.

The "Nocticrons" are lovely. Tiny, sharp, have the 35 and the 50, probably will get the full set. Are the "Olympus 45mm f/1.8" of the system.

But to make the same equivalent travel set of my last trip will be heavier. Would like to see some "Nocticron zooms", f/4 or even f/4-5.6 - the Sigma 18-50 f/2.8 is an example, will get one as soon Sigma releases a X version.

Another problem on Fuji is IBIS. I have the only "discreet" body that have it, the X-S10. If the X-E4 had IBIS, would had bought it on pre-order, but...purists won. And would have 2 interfaces, PSAM and retro-dials, have a little bit of preference for PSAM (works better with custom positions), but no problem with retro ones, just wants consistency.

Fuji is better for me now, in comparison, because of two factors:

- PDAF all across the line - for single AF...m4/3 is better, a tiny fraction but a noticiable one. Could be the larger DOF, but in S-AF it was a little faster and confident. But for moving subjects (almost never used C-AF before, but now I have a little daughter...), MUCH better. Good rate for stills, and for movies, more than good enough. Ok, I never had a PDAF m4/3 camera, because only the E-M1s and the E-M5 MK III had it, but this week I filmed my daughter going back and forth on a swing, with very good AF, a thing that was impossible from my previous cameras.

- Possibility to pull in focus DURING recording, withour recording the enlarged image - is a thing that I've always wanted when filming concerts, and in the m43, only was implemented now, on the GH6...now that I have it, could not go back.

Worst problems?
- The IBIS is kind of bad for vídeo. Looks like the same algorythm is used for stills and video, very jumpy on vídeo. Not a deal breaker, but even my GX85 was better. And from the samples that I saw, were not fixed in the both the X-H2 models.
- No tracking on video. And the face detection have a serious problem - works VERY well when you have only one person on the frame, but put two or more people and the system goes crazy, jumping from face to face. You should have an option to lock on a specific face, or have tracking.

Sold a lot of my m4/3 stuff already, kept the GH2 and the E-P1 (for sentimental reasons and low value nowadays), will keep the 12-32 pancake and the 45mm f/1.8. And I have to confess that the OM-5 look like an almost perfect camera for me - good PDAF (juding by the OM-1 performance), small and not "DSLRish" body, good enough video, and that amazing IBIS.

But will not have focus pull assistance during video, no smaller and lighter revised zooms on sight, and the future of the format still a danger.

Saw an article somewhere talkin about this new "joint venture" between Panasonic and Leica, and mentioning that "PDAF is a possibility". I guess that it is a good "way" to move to PDAF without having to admit their "defeat" on DFD, saying "with the joint collaboration with Leica we could bring a new AF method", something along these lines.

Panasonic was stubborn for ages to not implement IBIS in their cameras, saying that OIS was a much better solution - until they caved in because of the Olympus's IBIS success, and now they have one of the best stabilizations on market.

Japanese pride make camera manufacturers VERY stubborn.

 

Most interesting of this camera is the media part -only one CFexpress Type B, and a massive 1Tb internal PCie SSD.

Connect the camera in the computer using it's USB-C 3.1 Gen 2 port, and file transfer is fast as hell, or use it as an external SSD and edit the files without transfer.

About the new resources (PDAF, IBIS), let's see the tests. One thing is implement PDAF and IBIS, other is implement it well.

22 hours ago, FHDcrew said:

I honestly wish camera hacking could return to what it once was.  Just imagine, if people could crack into the firmware of modern cameras with their fast SD/CFExpress interfaces, we could have beautiful uncompressed RAW video on all sorts of cameras, instead of either having to deal with external recording crap, or paying a premium for a Canon R5 or Nikon Z9 to get internal RAW, or settling for something like a Sigma FP but then lose autofocus, image stabilization, etc.

Manufaturers will not allow it now, afraid of a massive lawsuit from RED.

Gone to do some research in gsmarena, that usually do some very technical reviews.

The Fold 4 uses the GN3 sensor, 8160x6144 resolution, and yes, the stabilization is electronic. Since 8k is 7680x4320, probably Samsung is using gyro data to do the stabilization on the fly, using the extra area of the sensor as a "fluctuation" zone to avoid cropping.  Probably with more shaky movements, this extra area could not be enough and could be more jumpy, @markr041 could test this.

But why Sony and now Blackmagic don't perform this on-the-fly gyro stabilization in their cameras, since both have internal gyro data? Simple - camera chipsets use much older technology and could not touch the grunt power of a modern smartphone chipset.

Last note: looks like the Galaxy S22 have an even better sensor (GN5) and uses the same kind of stabilization (it have OIS too, but looks like that there is no option to choose between OIS or OIS+EIS, only both or nothing).

Now imagine a NX2 with this kind of stabilization...

12 hours ago, kye said:

The challenge is that I want to keep the rig as small as possible - the beauty of the camera is that it's so small.  I also own the BMMCC but with a monitor and cables you get strange looks which I'd like to avoid.  A gimbal would make the vertical size of the camera 10x larger, hardly a compact solution!

Realistically, the smallest addition would be a side-handle, but even then it's doubling the width of the camera and making it look far more odd to the public.  

 

That's why I only mentioned the smallest gimbals out there - I only use small cameras / lenses as possible (that's why I will never go full frame unless there is no option), and the smallest possible gimbal, to attract minimum attention on the streets when travelling.

My last setup travelling pre-Covid was a GX85 with the 12-32 and the OG Crane M. Not a single glance from anyone. My current camera is a bit larger (X-S10) but the G6 Max is much smaller than the OG Crane M (it indeed almost look like a bottom handle), probably will not get attention too.

But you are right, with a monitor and cable, probably will not be so discreet. 

And @webrunner5 have a point too, gimbals have a visual very different from handheld. 

On 8/2/2022 at 12:42 AM, kye said:

I shot a bunch of clips hand-held in terrible weather with my OG BMPCC and 12-35/2.8 and now looking at the footage I realise the OIS did a great job with pan/tilt but zero reduction in roll / rotation (which OIS can't stabilise).  I've had a few goes at stabilising it in post but much of it is blurry due to 180 shutter.  

I don't mind a hand-held look, but the mismatch between the pan and tilt being almost perfectly stable and the roll being jittery as hell is really not a good look.  I realise that my options are some combination of stabilising the roll in post and de-stabilising the pan and tilt (adding shake) so the aesthetic works.  

I've been using IBIS on GH5 and GX85 for years now, and I have OIS in my X3000 action camera, but haven't used OIS-only in a "cinema" setup before and hadn't really realised that this would be a major issue.  The OIS in the 12-35/2.8 is far too good to match with the lack of roll stabilisation.

How do the OIS-only hand-held shooters out there deal with this?  

Build a huge rig so you don't get roll jitter? (In which case, OIS isn't really needed that much - right?)
Stabilise in post and deal with the shutter-speed blur?

Seems to be an incredible advantage of IBIS over OIS.

Probably a small gimbal is the solution.

The newer Crane Ms and the Feiyu G6 Max (I have one) and the newer Scorp Mini could easlily handle a OG BMPCC and a 12-35 2.8. Even the original Crane M, that could be bought very cheap probably could handle it.

GX80 works wonderfully with the @BTM_Pix hack to get Cinelike-D. When I had one, used it with Leeming Lut for Cinelike-D and the colors were amazing.

34 minutes ago, newfoundmass said:

 I don't have the time to watch this morning, but the title mentions something about gyro data? I'm guessing to help with stabilization in post? That'd be pretty cool. 

I go back and forth on picking one of these cameras up, but ultimately the cheap feel of the body and ergonomics just don't do it for me. I don't understand how a company that has such an elegant UI can also have such poorly designed camera bodies. 

Yep, they revealed today that all the BMPCC cameras (4K, 6K, 6KG2 and 6K Pro - not the OG BMPCC, of course) already had an internal gyro that is now enabled, and the data could be used to stabilize in post using Resolve.

Probably one of the most "one more thing" surprises of the last years - even the BMPCC 4K had the hidden gyro sensor. 🙂

Only problem with gyro stabilization is that a crop is needed - more movement, more crop. In the Grant's demo you can see it clearly, the boat shot have a bigger crop than the person shot. A great thing (in theory could be done in firmware, but probably would spend a good deal of processing power) is that the camera uses the gyro data to estimate the crop and provide a crop box on the fly. Probably kind of complex to implement.

But in the 6k, if you already plan to deliver in 4k, you could leave some room for crop already. And the stabilization looks solid, a very welcome feature for the cameras.

On 12/9/2019 at 7:55 PM, Emanuel said:

 

 

 

 

Pixies, the band that changes my life. Almost did not believe when I first saw them 18 years ago ("indie" bands almost never comes to Brazil at that time), thought that would be once in a lifetime.

Yesterday bought a ticket for me and my wife, to see them for the 5th time, in October, here in São Paulo. Will be my 1st music show in 4+ years...

Filmed them in Amsterdam with a Kodak Zi-8 in 2009. Amazing as usual.

https://www.youtube.com/watch?v=AwHixRVQ3pw

On 6/14/2022 at 3:01 PM, Emanuel said:

@Marcio Kabke Pinheiro Nada bate a MPB... chamem-lhe brega ou o que quiserem, venha quem for ao Planalto, os cães ladram e a caravana passa... Viva o Brasil!

EAG :- )

 

Moça

Me espere amanhã

Levo meu coração

Pronto pra te entregar

Moça

Moça eu te prometo

Eu me viro do avesso

Só pra te abraçar

Moça Sei que já não és pura

Teu passado é tão forte

Pode até machucar

Moça Dobre as mangas do tempo

Jogue teu sentimento

Todo em minhas mãos

Eu quero me embolar nos teus cabelos

Abraçar teu corpo inteiro

Morrer de amor de amor me perder

Eu quero, eu quero

Eu quero me embolar nos teu cabelos

Abraçar teu corpo inteiro

Morrer de amor, de amor me perder

Just saw it now. Wando was awesoming hilarious, the crowd shoot panties (yes) on stage when he was performing, he had a home collection of thousands.

Brazil is almost ended. This week, with Bruno Pereira and Dom Philips horrendous murder, ended a little bit more. And will become worse (a lot) until the end of the year.