Turboguard

3 minutes ago, MurtlandPhoto said:

From LM Mullen in GH5/s Facebook group. I spy a little shutter release button for stills and two record buttons. What is that flash-looking thing on the right??

 

Correction: photo originally from Videotex Systems on Twitter.

For someone who actually used the BMPCC for photography, THAT LITTLE PHOTO BUTTON THERE< OMG! 

I really hope BMD has been making money off of they’re cameras. I use my BMPCC over the office’s Canon C300 everytime we shot pitches and stuff. I just HATE the canon image, and hate working with it. But I’m also tired of explaining I can shoot 60p for slo-mo and other petty things they ask for. 

Edit - I do hope for some smaller format than the UMP.

Been trying to keep up with rumors and such but work and life is getting in the way. Over the course of 2017 I kept reading online how the LX200 was in the works based on tons of “leaks”. But it’s mid Feb 2018 now and Panasonic just announced DC-GX9 and LZ200 as point and shoot but no LX200. Should I just give up waiting and just start looking into something else?

Looking at a calibrated monitor, I would personally just say raise your blacks a little. They’re a little too harsh giving this not an adventure look but a terrifying experience with that hard contrast. Other wise I think colors look good, not too saturated, which I prefer. 

https://www.engadget.com/2018/01/08/panasonic-gh5s-mirrorless-4k-video/

13 minutes ago, jonpais said:

no IBIS

I don't really care about this, I shoot with my bmpcc and not even my lenses are stabilized and my footage still looks great. Question is, if I want to upgrade my photos from BMPCC DNG's to a little better, could this be a good addition to my BMPCC? 

1 hour ago, Mattias Burling said:

10mp is more than enough for a stills camera even with large prints.
The question is, how good does the internal 10bit look. DR is what the GH5 lacks. Can it be a non issue?
If so its a winner. Ibis, schmibis...

I've used my BMPCC (DNG) in the office for WORK, "photographing" clients and then printing them. 

God I wish BMD comes out with something new this year at NAB within price range... otherwise I think I might jump on the wagon of GH5 users with this release (if it’s up to par with what everyone is wishing for that is).

1 hour ago, Snowfun said:

and carry a good quantity of canon batteries.

I have about 10 Watson Nikon batteries for my BMPCC and can work pretty well with them, but I am def hopping for an improvement switching to the bmmcc and Canon LP6

5 hours ago, JordanWright said:

It could be powered by the SmallHD Focus, Fixing the battery and monitor solution at the same time

Yeah That’s what I was thinking too. Juggling Focus vs Vide Assist.

I wonder if it will fit in my tilta bmpcc cage to add some weight.

I’m only doing this for the 60fps so formfactor doesn’t matter.

I think I'm going to go ahead and update my BMPCC to a BMMCC finally. Mostly because EVERY SINGLE CLIENT is asking for slow motion, ha!

Anyway, I want to check in with you guys who own it, what should I get for it? My current "run and gun" set up with BMPCC is just a cage and a monopod for weight, and going similar with the BMMCC I assume I basically just need a monitor? Was looking at the SmallHD Focus? Both camera and display can run on Canon LP6. Should I sell my metabones (nikon BMPCC) and my Nikon lenses and do EF, or is that just too much trouble for nothing (I don't personally see a reason as I always focus manually)? Uhm, yeah hit me with everything you got about this! 

THANKS

Another weird question, getting alot of these weird requests from my office. They want me to re-encode a 1:41min h264 file that's 125Mb into a "less than 10Mb" file for use on wall street journal's website. I have no clue why it needs to be so small, and sadly can't ask why. 

Here's my problem, only way I see to get it below 10Mb is to us a bit rate so small that it goes below, e.g. 0.5Mbit. Doing this obviously makes the video look like crap.

Do I have any other options?

I wrote this as I was texting with my producer who insisted this workflow is “normal” but I told her it’s not. Obviously if the coloring studio is conforming finals I’d send my whole project folder with the drive. Anyhow, just feel like this isn’t normal and you can’t just send all applied effects unless you send complete project. 

So at my office I usually make my edit and then send off EDL/XML to coloring studio for color and then when footage return I reapply final footage to my timeline where all my effects are.

With this current project they conform final AT the coloring studio because we're working with RAW 4K RED footage and our computers at the office can't handle final output. 

So, my question is, how do I deliver all the added effects from premiere to them? This instance is simple cause the only added simple gfx. All I've done is added drop shadow on a couple of pngs' so lower thirds has better legibility. So, it's the drop shadow effect from Premiere, how do I get that to them if this work flow is supposed to continue?

Used the Cine DS 10mm for wide shots in this old silly video. 

Also this still is grabbed from a frame using it. Both shot on the BMPCC

So, again, does this mean I can buy a gimbal finally for my bmpcc+speedbooster+sigma18-35 if I mount it on the speedbooster for balanced weight? I want one of these small gimbals and not a massive dji one  

Just as I thought, and don’t be sorry! Thanks for your answer!

So the new V2 of Zhiyun Crane is out and it has a max load of 3.9lb. Ive asked the question before but I’ve been looking for my first gimbal for a long time now and with this update I wonder, can it handle my Bmpcc-speedbooster-sigma art 18-35mm?

The total weight of the three is 2.9lb so I have 1lb to spare, but am afraid it’s gonna be, like before, too front heavy with the lens. I do wonder if attaching it by the speedbooster might help? Please advice.

thanks!

I'm trying to figure this out, but does anyone know a quick way to calculate this? I'm working with 1080p footage so assume the 50 should stay 1920? I feel stupid, but so grateful for any kind of help! Thanks!

EDIT: So, 50 by 15 is 10:3 ratio right, so I found this calculator that told me to do 1920x576. Does that sound correct to you guys? THANKS AGAIN!

9 hours ago, Zak Forsman said:

you'll need to get it down to 1.4mbps to get a 3 hour file under 2gb.

Thanks! I miss the convenience of premiere telling me how big the file will be while changing the bitrate. So thanks for doing the math for me!

7 hours ago, AKH said:

I'd put the Davinci export through Handbrake.  The x264 encoder should achieve the best quality for the low bitrate needed.

Will check it out! Thanks!

Quick question, I'm exporting a really low quality video for a show next week where I'm projecting images of space during a party. I created a loop that's 3h long and it's my first time delivering with DaVinci (my adobe cloud subscription ended a couple of months ago). I chose H264 MP4 and 70Mbit and got a 15GB file. But when I did 20Mbit I got the exact same size. Premiere gives you sooooo many options while DaVinci is like "Be happy with this super high bit size." I need this to be like 2Gb total. How do?

On 6/18/2017 at 8:33 PM, andrgl said:

Checked your post and video description, I must be daft because I couldn't see what lens you shot with... can you help me out?

It's the Rokinon 10mm T3.1 Cine DS.

Also, obviously added post cinescope bars which cover up more of the image!

Interested to see your results.

How much wider can you really go? 8mm is insane, I use a 10mm on Bmpcc with speedbooster and I can basically see my own shoulders, lol

Not exactly maybe, but if I stretch out my arm I can see half of my upper arm so maybe 6" from my shoulder. Here's an test video I did when I got the lens.

So in what way will this ever be better than my blackmagic pocket or UM? 

Thanks for replies. I think I'm updating my 3y/o cards finally! It's been working fine since yesterday but still scared of Friday's hiccup!

Any fun stuff for the LX100?