Jonesy Jones

I've actually tried to build a few of these myself. I don't know that you'll really see a difference between 6000 and 5500. If you do you can buy a filter to shift it slightly, but you probably won't need that. I eventually built some lights that were 5000K and they match with 5500K perfectly, at least I can't tell. I'm sure you've heard of Aputure, but for the amount of the quality light they produce for the price, I feel it would have saved me a ton of time and even money to just go with them. Aputure makes amazing lights. They just weren't making lights when I started my projects. Here's a link a thread I started about my homemade lights.

Read the B&H reviews. More than one reviewer mentions it. One of the reviews is voted as the most helpful critical review. If I had to guess it would be this. Most video guys aren't audio guys. They set it and forget it. And then deal with what they have in post. This individual won't run into the problem, and it wouldn't be a deal breaker. And that's why this issue probably doesn't come up much. I started off as an audio guy. I am constantly tinkering with the audio, including during recording. And I always instruct my audio guy to trim the levels as needed. And in this case you would run into the problem.... every time. For me, a complete deal breaker. End of story.

Just a note on the F8 (and I am going to assume the F4 has the same issue), you cannot adjust the gain while recording since it adds a clicking or zipper noise. Meaning that while you're recording, if the talent begins to talk louder or quieter, you cannot really make adjustments or it will add noise to the recording. The alone kills it for me, since adjusting the trim is something I do all the time. Other than that the F8/4 seems awesome, but I couldn't do it.

Something that hasn't been mentioned is that many productions use 2 or more mics. Usually at least 1 boom (and sometimes 2 to phase out unwanted audio) and then a hidden lav for each actor. Using this method gives them options for getting close proximity audio.

I started a thread about this a while back. There's some stuff there, but I'm sure if any of it is with the Atamos. Atamos seems to be able to do everything the 7Q+ can, but with a higher res HDR monitor. I'm not at all a fan of Convergent's confusing firmware modules, so I'd go with Atamos. It's possible that I read somewhere that the 7Q can do 120 bursts, but I'm not sure on that so take it with a huge grain of salt. I had considered getting a long cable between the FS5 and Atamos for times when I still wanted the small footprint of the FS5, but that obviously won't work all the time. I wish Atamos made a box, no screen, that could do the raw/prores thing. Then you could just attach it to the fs5.

One more to add to the list..... Keynote. Obviously you need a Mac, but I prefer this to most of the others just because of speed. Super easy to move things around, resize, image adjustments, text, etc. and you can export as a pdf at whatever page size you want.

Yep. Btw, is there a wider relative of this lens?

I agree. Been drooling over these. It doesn't have quite the same range as the Zeiss, but the 15-40 ez 2 could be the last lens I ever buy.

We're talking about Aputure here, not Kino Flo. No soul selling necessary.

I asked this question recently, and here's what I've learned. I have never had or used a light meter previously. But with DP's and whatnot always talking about this being a stop lower than that, and that being 2 greater than this other part over there, I wanted hands on experience with this myself. I ended up getting the Kenko KFM-1100. I think it's about $250. It is simple and straightforward and based on the exact same design as an age old light meter that bazillions of photogs and DP's have been using for decades. It did exactly what I had hoped and I was immediately able to test and compare the exposure here vs there, and the light output of one light vs another. I love it. That said, I still use false color or a histogram or whatever 98% of the time because it's so much faster. Not saying there isn't value in the light meter, and it's way more accurate and specific, but the monitoring tools are super fast, and a lot of DP's like Shane Hurlbut don't use light meters any longer and use false color instead. But I am still very happy I have a light meter and will continue to use, measure, and experiment with it. But the monitoring tools are just faster. So will all that said, I would definitely not spring for an expensive $800 light meter or anything. The Kenko will do everything you need, last forever, and save you money over a pricey light meter.

Word on the street is that the 18-35 cine won't cover the BM 4.6k sensor, even though the stills version does, which kind of doesn't make sense. Obviously we won't know until someone tries, but would be a bummer if true.

These Ebrahim jokes are going to get old..... so far not yet though.

My understanding was that removing the headphone jack was essential for water resistance. And they'll be including EarPods with lightning plug, and additionally a lightning to headphone jack.

This will be a great doc lens. I may have a huge feature doc coming up and this could be ideal. Do we have a price yet? The new Sigma cine's look great too.

Can you tell me how significant a difference 180 degree throw is from 300 degree? I'm not familiar enough with cinema lenses to know if this is a big omission or not. The rehoused Sigmas are 180, I guess the stills version is roughly 90? I love the hard stops. I love that with an in service you can get your lens remounted. They look cool. But yes, it is going to come down to price. I didn't see anything about it being parfocal.

This is looking really great. One day I am going to have to replace my MOTU interface and this might be it. One minor complaint about Zoom for me is their use of mic and line inputs. XLR is always mic, TRS is always line. I could easily see why I'd need one for the other, but I guess I could also see how it could be convenient too. At least they have line. Their first units didn't. Zoom is cool beans.

Looks a tad videoy but still awesome. A bit like a GH4. Was this originally in RAW? Really beautiful though. I expected to see moire but found none. Maybe some aliasing?

Kino, you can't have expertise and anonymity at the same time.

Are the cameras that you have that exhibit magenta corners BM UM46 cameras?

You'll also get a nicer 1080p downscale from the BMCC in prores. I love the pocket but the BMCC is an amazing image, raw or prores.

I spoke with them like 5 times at NAB, cool guys but there were some key issues. No sign of 5k Terra. Prores license not obtained. No idea when global shutter switch would be implemented. Little to no distribution. In the 5 months since NAB, which of those have been corrected? If the 5k Terra were to come out tomorrow, where would you buy it from? Who would you contact if there was a problem? Would you be confident that the issues would be fixed in a timely manner?

It's moving along nicely.

So put a small cage around it. I bet a very simple light weight cage adds a ton of useful connection points and will protect your investment. Also, don't drop your cameras. It's not good. I've been shooting for over a decade and have never dropped one. Ever. When it's in my hands, I'm careful. But it's bound to happen at some point so you take precautions with rigs and cages and... insurance. What are the risks and caveats exactly? Cameras can break when you drop them. So don't do it. If I dropped a camera I would blame myself, not the camera. Sometimes sensors or parts are faulty. So test right away and return or RMA if there's something wrong. And for other quirks, BM has a long history of solving issues and delivering things they never promised. They're cool like that. No problem with waiting until wrinkles are ironed, but they've given you a camera that has never failed you. That's pretty awesome. So give them a little more benefit of the doubt and some positive shout outs. They could use it. I learned today from another site that this month is roughly the 4 year anniversary of BM's first camera delivery. Yep. Just 4 years. In only 4 years they've given us the BMCC, then added the MFT mount. Then the BMPCC and BMPC 4K with global shutter. Then the URSA. Then URSA mini with 2 flavors, one of them being a whopping 4.6K sensor with 15 friggin stops of DR. Also the BMMCC with 60P, and don't forget 2 VA's, an EVF, and free versions of Resolve and Fusion. I've probably missed some things too. At a crazy low price point, BM has given us RAW and prores in all flavors and sizes, in cameras that, may have some quirks, but somehow deliver without fail. (I just had a paid shoot this week with my BMPCC that had rolled around in storage for 4 months and then pulled through like a champ ALL DAY LONG WITH ZERO ISSUES.) These guys are flippin amazing. If the URSA mini is the last camera BM makes, Mr David, it could very well be the single most disappointing event in cinema camera history. In place of any negativity, our words should contain constructive optimism at the worst. Words that educate and inform and provide perspective, yet laced with support and hope for a tremendous camera company. BM has earned it. Man have they earned it.

Yah. That's exactly what I was thinking. You don't really gain fov on the wide end, but you do gain more light and shallow dof.

Got it. So, I wonder at which focal length it'll stop vignetting? Since its 35mm equivalent is roughly 32-150, I wonder if the vignetting would go away around the low 30's, giving you the same wide fov, but with more light and shallower dof. Someone please buy this lens and test it for me. ?