tupp

I see it. Yes, batteries' voltage is higher when fully charged. So, likewise, if you start with a fully charged 9V battery (as opposed to a 7.2V battery), you will probably see voltages higher than 9V -- significantly higher than the 8.4V peak of the fully charged internal battery. Again, it's a good idea to start with an external battery that has the same voltage as the unregulated internal battery. Thus, you know that you have enough voltage for the camera to properly function, while you will not be unduly increasing the camera's internal temperature (possibly causing extra noise).

Thanks for trying!

Are you sure that DC power supply is made by Fuji? Or maybe the camera just runs hot and noisy when powered by 9V. The voltage of the X-h1's internal battery is definitely 7.2V. I would avoid running any camera at a voltage higher than that of its internal battery.

Crop factor works on fixed lens systems just like it does with interchangeable lenses -- the difference is that you merely have one possible lens with a fixed system. Panasonic (and Leica) list the 10.9mm-34mm zoom as a 24mm-75mm FF equivalent. So, the crop factor is built-in to (an can be determined from) those two given ranges.

Interesting... so does that mean that the lens on the Leica D-Lux (typ 109) is actually designed and made by Panasonic? I don't think that flange focal distance applies to cameras with fixed lenses -- there's no flange. At any rate, the only physical limits in converting that glass to an outboard M4/3 lens is for the rear optical elements (and their barrel) to clear the M4/3 throat and for those elements to not make contact with a camera's shutter. That makes sense, but the crop factor on the LX100 is 2.2 -- just slightly more than M4/3. The difference between 16MP and 12.7MP seems to be more significant than the slight difference in crop factor between the LX100 and M4/3.

Not sure why Leica couldn't make an outboard version of their fixed zoom on the Panasonic LX100. It is fast, sharp, and it has a nice zoom range -- and it covers a 4/3 sensor.

It was full HD. I think that the sharpness of the lens, combined with the subject distance and the fineness of the wood texture made for a "perfect storm." However, I have made some more tests, which I will try to post soon, and there was also moire problems with some coarse fabric. This is an amazing capability for such an inexpensive camera! Thanks for sharing! I've got to get some S16 lenses, or try the BMPCC speed booster (if/when the Photodiox M4/3 to EF-M adapter appears). By the way, I tested it, and one can't shoot video with a manual lens while the "Release shutter without lens" is disabled -- so one might have to be careful not to press the shutter button when using the BMPCC speed booster on the EOSM. Oh, that's a bummer. Hope someone finds a way around that. The thing is, I would be happy with just 1920x1080 and less overclocking.

The batteries for the X-h1 are probably 7.2 volts, so it's best to supply your camera with that voltage. So, it might be good to consider using readily available and inexpensive, 7.2 volt Sony NP batteries (which come in various sizes/capacities). You can connect them to your CP-W126 cable with an NP battery plate. Here is a tutorial on powering a camera with these items.

Here are a few seconds (30MB MOV file) shot on the EOSM with the more recent ALL-I hack enabled and with bitrate boosted 1.5x: MVI_5681-short.mov The frames are definitely all I-frames. However, as you can see, moire was problematic with the back wall and with the lens that I was using -- the Pixco Mini 25mm F1.8 APS-C lens ($25 when I bought it last year). Sorry for the shaking, but the Pixco has no stabilization. I am going to start trying to boost the bitrate, but I also want to try recent, stock ML builds and just boosting bitrate to 2.5 to see if that makes any difference. I especially want to try 60 fps.

I don't think OP was objecting to phones because he/she is worried about busted takes -- he/she seems to expect crew to "look busy."

Very informative and helpful! Thanks! Very nice! Thank you for posting their videos! Yes. It is an amazing little bargain camera, and it is so versatile with the EF-M mount and ML. Thanks for posting the Ryan Moorman 4:3 video. @dfort on the ML forums has directed me on how to get a build with ALL-I working, and I have already installed it and enabled ALL-I and set the bitrate to 1.5x. Testing soon, and if I don't get any glitches, I will try to gradually boost the bitrate until the video breaks. Will posts the test results as soon as I am able.

I don't think so. In addition, it is often helpful for crew to be connected to the world outside the set, as, for instance, they might be expecting delivery of gear/expendables or waiting on the arrival of other crew, or if they are consulting a technical expert on a new piece of gear outside the set, etc. Are you certain that they have not consolidated gear nor prepped for the next shot? With pro crews, a lot of that work is built-in to the process and is muscle memory. Would you rather have pros who do their job without thinking and who, consequently, have free time to deal with any unexpected eventualities, or would you rather have inexperienced crew who must constantly focus on every detail and might miss something important or strike out when thrown a curve? If you are genuinely concerned about whether or not they are prepped for the next shot, you can merely have your AD remind the department heads what's coming next. If you do so, you will probably find out that the crew is several steps ahead of you. By the way, consolidation of gear is usually automatic and built-in, because it it makes the work much easier for the crew and makes it easy to deal with unexpected problems, and, most importantly, wrap goes much faster! If you see a pro crew sitting around on their phones or twiddling their thumbs, it's probably because everything is done, dressed, staged and prepped, and they are waiting for the department head to give them their next order -- it's usually a good sign. Also, if there are any sudden, unexpected changes, there is a free pro crew on hand to roll with the punches.

Love your work. Both videos are inspiring. I am definitely leaning towards just shooting my EOSM with a boosted bitrate, because I have a rapidly approaching shoot with no time to try to make cropped raw/SD-overclock work. I also lack S16 or 1" lenses (although, if I had a couple I would consider cropped raw). I will probably need to shoot 60fps with the EOSM, and it appears that 60fps works with boosted bitrate at 720p (with increased moire). I wonder if 60fps is possible with raw. Don't know if 60fps is possible with ALL-I frames. Do I need to reset the camera before installing ML? I run Linux, so clearing the installed picture styles becomes problematic, as the EOS software only works with Windows/Mac. Thanks!

@salim Thank you for the post on the Largesense camera. We have discussed it before in this forum in a few threads, but it is always helpful to revisit the camera, especially now that Largesense seems to be taking orders. Thank you for the link. I had never heard of this project. Basically, he has made a large format DOF adapter, except this adapter uses front projection, rather than the typical rear projection. That makes it unique, but it sort of necessitates dual tilt or dual shift (simultaneous tilt or shift with the each lens). I would guess that a rear projection DOF adapter with condensing optics would be more efficient than this front projection system, but a lot depends on the projection screen material. Speaking of large format DOF adapters, our own @Gonzalo_Ezcurra created the ECyclops (20"x20") and the "Mini" Cyclops (14"x14") several years ago. Here is one of his videos showing the rack focusing on the MiniCyclops: In addition, our own @richg101 created the splendid Forbes 70 medium format DOF adapter.

I think that a few ways have been developed to remove the pink dots without compromising the IQ. I think that the most recent method is to employ a "map mask" to cancel the dots, but perhaps one of the more ML knowledgeable users could chime in about this. A big advantage of this method is that one gets to use the entire area of the sensor. So, the look becomes more about lens character than about bit depth and extreme grade-ability. One other possibility is All-I. It was originally introduced about 5 years ago (article date incorrect) with Tragic Lantern for the 600D/T3i and EOSM. There was controversy with TL, and, eventually, it's mere mention was forbidden on the ML forum. Consequently, TL died. However, there was a more recent effort to get the All-I Tragic Lantern feature into the main build, but I am not sure if it made it. By the way, here are some compiled TL EOSM builds that I uploaded to EOSHD awhile back: tl31337eosm6-9-14.zip tl2.3eosm202_2-14-14.zip tragiclantern-v31337.TRAGIC.2014Jul28.EOSM202.zip tragiclantern-v31337.TRAGIC.2014Sep30.EOSM202.zip tragiclantern-v31337.TRAGIC.2014Dec19.EOSM202.zip

That risk might be minimized by disabling the "Release shutter without lens" function in Custom Function menu (C.Fn-7?).

Wow! This is great! I talked to Photodiox at NAB and they are considering making a M4/3-to-EOSM adapter, so it might be possible to use a Metabones BMPCC speedbooster with this scenario! Thanks for the update!

I asked the guy in the Atlas booth if the optics were original, and he said that everything was made from scratch. @DBounce NIce video!

I think that an analog-to-digital converter is draining juice somewhere in the middle of that scenario. Hitting the show floor in a couple of hours. Probably won't make it to the South Hall (BMD) until tomorrow. Will there be an EOSHD cocktail party?

Nice demo. It is always a good idea to show foreground and background surfaces/objects when doing any kind of focus test. Your use of the foreground wall superbly shows the rate of the programmed focus pull as well as the precise focus "fall-off."

Thanks for the explanation. However, I am not sure how the "un-stretched" situation can occur. Is the programmer taking a 14bit file and converting it to 16bit?

Not sure about that raw2cdng chart. What is going on with the "un-maximized" 16bit cdng? Almost every digital system (video, audio, whatever) "maximizes" the bit increments within the given amplitude range. In other words, the maximum bit increment occurs at (or near) the maximum amplitude and the minimum bit increment occurs at (or near) zero amplitude. So, the proportional range of bit increments in noise should be the same across all bit depths mapped to the same dynamic range (and to the same mapping curve). Sure, mapping 16bit to the same dynamic range will put a greater number of shades into the noise, but that number of noise shades will be proportionally the same as the number of 8bit shades in noise with the same given dynamic range.

I don't know. Here is footage from a cinema lens (shot on a Panasonic GH5) that costs only US$750 brand new. It looks great, but that might be due to the shooter's excellent chops. In regards to programmed focus pulling, it works when the talent can consistently hit their marks, but if the actor lands off the mark, it's nice to have an AC's hand on the focus ring/knob for a quick adjustment.

Thanks for this!

Speedbooster money...