kuban

On 3/17/2017 at 7:04 PM, shijan said:

Got test 3D prints today. Box will be made from coPET (same material as used for water bottles manufacture).  It is low shrinkage, resistant to impact loads (about 85 Shore Type D) and guaranteed usable in temps from -40 to +70°С.

Done some quick sanding and install dummy connectors. Overall it is usable but after sanding surface became slightly grey. Probably the simplest way to get a uniform surface is to paint it with acrylic spray.

Hi there, I'm interested in trying this on the BMMCC, do you have any units in London/UK?

There are great design cues and inspirations for the new pocket or micro body.

I see some of this and wonder why the new pocket looks they way it does!

1 hour ago, IronFilm said:

Like this?

 

No pocket carrying with this one!

But if it means great functionality/horsepower, then it is worth it

I know it's what is in the camera that matters, but this looks hideous, and it shouldn't be

Just seen what is purported to be a leaked image of the new pocket camera, if true, looks wise is horrid.

Reminds me of a fujifilm instax camera body, it ain't pretty.

Really how could they get it so wrong!

Comrades.

We might just get something gooood

https://www.newsshooter.com/2018/04/07/blackmagic-tease-new-4k-pocket-cinema-camera/

2 hours ago, Yurolov said:

There is a blue tonality and coolness that you often see in certain 16mm film present in your work which I really like. The images from the pocket are really hit and miss for me. This is one of the better examples. At it's best it really rivals the digital bolex. But at its worst the blue channel can be a bit funky. Do you find it is easier to get good color with prores straight from sensor or manipulating the raw? What kind of results do you get from each?     

The ungraded shots had a neutral washed out feel to them, once in After Effects the ProRes responded really well to the layered grades, I experimented a lot of Magic bullet and suddenly the colours really came out, the blues in particular and the Orange just punched put on the radio, looking back on the grade I think I may have overdone some shots and a green hue appears, but impressed with how ProRes deals with it, when I dabble with RAW,  I tend to play on it's strengths lifting shadows and exposure levels, I do get a bit of noise though. need to be careful with Clarity settings too given the moire and aliasing issues.

14 minutes ago, graphicnatured said:

I'm assuming lots of EQ and NR, but can you describe your Audition process for these files? I would never even think to use the audio from that cam. Would be interested to learn what you did in case I'm ever in a pinch.

I just hacked at it till I got ut to what you hear now, never used the software before then and just tried and experimented, nothing scientific about it, it just came together, if anything it seems a little loud now

All shot ProRes, I used micro four third lenses throughout, chiefly the Lumix 24mm 1.4 and a couple of shots with the  Olympus pro 12-40mm lens.

No filters, no lights, all natural lighting, and no handheld stuff either as it's impossible to get usable stuff like that with the pocket, so everything is tripod mounted with very slow pans.

The rig has heft as I use the VF Contineo cage, which is sweet, as if it's an alexa, sadly the company no longer exists, I then rig it up with the Atomos Ninja 2 used as a monitor and everything is balanced with two Sony batteries on an adapter mounted onto a battery plate.

In post, I'm more an AFX person, but I did edit it in Premiere and then open it all up in After Effects for grading and titles. where I use a few adjustment layers adding curves and colour correction as I go along.

Surprisingly the Audio was recorded off the camera, I hocked up a rode mic, obviously the audio was really unusable and in came Adobe CC Audition, I can't praise it enough, it saved my skin and what you hear is the audio recorded in camera but saved with this incredible software.

thanks

This was shot entirely on the pocket.

A frame shot run and gun in natural light with the pocket, it says a lot to me, you guys are impressing me with the Micro, I just sorely need a 4K cam

Hi Andrew and folk on the forum, I thought some comprehensive hands on review on the camera was due a while back, there seems very little in terms of real production work done with the camera out there, I've been mulling the micro studio for it's 4K, and use it as I use the pocket camera. Any leads or ideas out there?

Thanks

Hey Andrew, personally I'm a big fan since the EM5 back from 2010. I hope you don't mind me asking, but when you say you bought the EM1 and 25mm Lens was that under a rebate sponsor program?

I agree with the article, but it's also back to where we where with the OMD EM5 video wise.

I love the camera, carry it every where and despite the terrible codec see a lot of beauty in the resulting video.

I need to thank John Brawley, it's his post on the camera that gor me interested, and since having it I've lobbied Oly and anyone envolved blog wise to ask them if they would address the video issues, making the same rational reasoning that it's good for business.

If I read correctly between the lines, it's a business to business issue, and Oly see video being a Panasonic patch and we look after photography.

I'd love it, if they take on the articles concerns and address them, but it seems there are much bigger forces at play,

Hello Andrew

Sorry for being off topic, but I wanted to ask about the Mitakon Lens Turbo Reducer, it's the cheaper clone of the metabones, and wanted to know if it's a reasonable product or really inferior to the metabones option.

thanks

I'd love it if someone could foucs on a hack for the EM5, personalviews had a thread on that, but sadly has somewhat stalled.

I'm hoping that in the near future a firmware update is issued for the EM1 and could be engineered for the EM5, at least we could up the bitrate and codec on video.

As to why Oly are so stumborn on the issue of video, this from someone on the inside of the company "we left the video side to pana'.

For over a year I've emailed filmakers and bloggers who wrote about this cam and are of the opinion, it is what it is and Oly knows what the filmaking community out there wants, but they simply don't care of that side of the cam.