majoraxis

I like the motion of the the Sony IMX253's Global shutter... I hope others will use this sensor in the future as well. Here's examples of the mono version. I imagine this is what 16mm film would look like if it was low noise without film grain. I like the look and think it would be prefect to shoot an indy horror film on.... this sensor series has a lot of potential and film grain can of course be adding in post, low noise and global shutter can not. Good job Sony - nice sensor!

I've asked myself the same question - it seems that there are just more DigiPrimes made in the first place, but that is anecdotal, I do not have numbers to prove it, just experience. I thinking is the rental houses bought the DigiPrimes and DigiZooms and maybe Zeiss was first to market, but who knows... At the moment, a DigiZoom 6-24 for $1,565.99 and $1,650.00 on ebay are hard to beat. For about half the money the Canon HJ11x4.7B KLL-SC $749 and CANON HJ21x7.5B-III KLL-SC $775 on ebay are also good deals if they are in good condition. They are kind of like the a DigiZoom set but by Canon and are not constant aperture, they are slightly slower to begin with and are (alittle?) softer than the DigiZooms. The Canons are each comparatively longer, however. The Canon 11x4.7 is a nice size, not too big, not too heavy. The 21x7.5B is large and heavy in comparison, but a very long range zoom: 21x. There is also the Fujinon HAc15x7.3 $2500, which is currently not cheap on ebay right now but they come up from time to time for less. This is a 15x constant aperture fast zoom lens with great resolution, little breathing, good illumination from edge to edge and a contrast level that is just right IMHO. It's great for live events and with nice bokeh at the long end. It is not for everything, as it is not wide enough to cover all situations, and it is too heavy to run and gun. The Canon 21x7.5 and DigiZoom 17-112 will also throw the background out of focus at the long end. There is also the Fujinon HAc13x4.5 4.5-59mm $899 on ebay. It's faster, longer, wider, has more contrast and is more resolved than the Canon 11x4.7, but the comparatively lower amount of geometric distortion and the lower amount breathing of the Canon makes you have to choose based on your priorities. So there you have it, the 3 wide and long lenses sets (Fujinon also makes an 18x but it is not constant aperture so I prefer the 15x) from Zeiss, Canon, and Fujinon. The clear winner is many of these lenses for under a grand or less if you have a compatible optical adapter and/or camera. I don't do a lot of stopping down, but when I have, I preferred the DigiPrimes wide open or almost wide open, as I like slightly less contrast and I think it is slightly softer as well, wide open, which hasn't bothered me. So I can't confirm or deny the color shift based on aperture changes with the DigiPrimes. I can confirm an increase in contrast when stopping down with the DigiPrimes.

Unlike other HD B4 prime lenses (Fujinon and Canon) the Zeiss DigiPrimes are readily availability depending on the focal length and at discounted prices compared to a few years ago. That said the DigiZooms are great as well and the 6-24 is cheaper than previous in ebay, when they come up. The 17-112 DigiZoom is still at a premium and a fantastic lenes none the less. What’s nice about the Zeiss DigiPrimes and DigiZooms are they are designed to be shot wide open, so they are sharp enough wide open without the added contrast you get when stopping then down. These are true cinema lenses with a long focus throw, cinema gears and Zeiss cinema glass and design.

Thanks! I heard the same thing, but could not find it in the manual. If so, this would be a great production environment, using it for time code synchronization, to simultaneously start recording and multiview monitoring. That said the multiview output is only 1080p so my hopes to use it to focus remotely are probably not realistic.

Well done Blackmagic! I would like to know if the ATEM Mini Pro with generate an EDL file against timecode, so that you can replicate your live cuts in Resolve on your RAW in camera recordings after the fact.

I would like to see a Pocket 6k active m4/3 mount.

Looking forward to seeing if BLackmagic will use either of the new Sony sensors. Seems to me that 8k maybe a great resolution for BRAW to record in, to deliver full 4K resolution after all of the file size reduction used to compress the images for BRAW storage and allow people to stabilize, reframe and zoom in post and then still deliver 4K. That said, I am fine with watching 1080pm video so delivering 1080p from 8k BRAW could be a great creative workflow as well, if it does not crush your computer in the editing process. I’m not so much worried about storage size with BRAW, so give us the 8k cameras and we’ll figure out how to use it or not.

I wear mask when in public and at work. I know it’s not supposed to stop me from catching the Coronavirus, but it stops me from touching my face, so in a way it helps me not catch it. I tell people when I can tell they are wondering about the mask and wondering if I am sick, that as far as I know I’m not sick and that I think if everyone wore a mask for a month it would help stop the spread if you do all the other things like washing and sanitizing your hand and don’t touch your mouth noise or eyes. I bet at some point The majority of people will be wearing masks, unless you are already a Coronavirus survivor or they offer in mass some type of vaccination.

@thebrothersthre3 Thanks for this thread! Please post if it works well or not and if so, a link to purchase it. Thanks! Mark

Seems like Kinefinity would like to encourage purchasing of their products before NAB, which is the exact opposite of what people should be doing, unless their is an immediate business case to justify their purchase. That said, at the right price it makes sense to purchase just about anytime.

I remember that was what they said in Los Vegas at NAB in one of the interviews. I liked the images I saw from NAB. Seems like they are on to something good here. The price is over optimistic and has to come down or they won't sell many IMHO...

In the "Blackmagic Pocket Cinema Camera 4K" thread it is mentioned that the sensor stack thickness of black magic sensors (being that they have a thinner sensor stack) may cause issues with the image with lens not designed for a specific sensor stack thickness. There is a mention of the Sigma 18-35 f1.8 being basically immune to this issue due to the fact that its is a very telecentric lens. Kisaha wrote in that tread : "3. How telecentric the lens is. (More specifically, how far forward the exit pupil of the lens is.) A lens with the exit pupil far away from the sensor is not affected by the thickness of the sensor stack very much. A lens with the exit pupil very close to the sensor is affected a lot." and drm wrote: "3. The Sigma 18-50 f/1.8 lens is pretty much immune from the problem because it has an exit pupil distance of 150mm." As sigma does not make an 18-50 f1.8, I assume he is talking about the 18-35 f/1.8. So the physics of the Sigma 18-35 f1.8 with its exit pupil distance of 150mm makes it very telecentric, which may explain in part why it is hard to beat as it finds itself on so many different sensor stacks thickness and still maintains its image quality. The telecentric quality of the Sigma 18-35 may also allow the image to stand up better when running through additional glass like a speed booster.

I was under the assumption that G2 was supposed to have a marginally improved image quality over the G1, but that does not appear to be the case, if anything it is worse. As slow motion is headline feature, it seems that the last thing you would want when shooting slow motion, due to the high shutter speeds and less light getting through to the sensor, is to have issues with your potentially under exposed image. Is this issue related to the specific sensor used for each camera? Doesn’t the Pocket 4K basically share the same sensor as GH5s? I have not heard of the GH5s having the green-under issue, so this is a mystery to me why this happening with these specific cameras. If it can be fixed in firmware, then the Pocket 4K would be on my buying list, if and when the green-under issues gets fixed.

I think Resolve is the future. The fact is that Resolve 16 is finally stable enough for pro users. I know people have been using it professionally for years, but having used all the versions starting with 12, it is finally ready for prime time, both feature wise and stability wise. It will become the industry standard in the next to 2 years, so learning it now will put you ahead of the game.

DaVinci Resolve - I am still using the dongle from my Black Magic Cinema Camera - never had to pay for an upgrade. They keep making it better and better at no cost. It's not just for color correction and video editing, but now includes audio mixing and effects, and visual effects compositing. You could make a career out of mastering this one piece of software. No subscriptions or excuses - the gift that keeps on giving.

I liked the shadow details a lot and it has nice dynamic range. Definitely a fantastic image. I would like to have seen it after processing with Sage’s Alexa LUT (when available). So close. Close enough? I have a feeling there is slightly more that can be had out of the Pocket 6K sensor. Hopefully, we shall see its limits in the coming months...

I own the Panasonic 12-35 MK II which I would use it with , but I am more interested in using it with some vintage lenses and Tilta Nucleus M. Sounds like we will get support for both when released, which is great! This can’t come soon enough and if there is a kickstarter, let us know here first , so we can give you our money to help speed development.

In my last post I narrowed it down to Resolve NR and Acon DeNoise 2. I decided to see if I could fix what I did not like about the Resolve NR for my noisy M/S stereo microphone dialog track. Hear for yourself how setting up your own M/S encode decode channel configuration can enhance Resolves NR capabilities for stereo audio. As it would be simple to do inside the plug-in, I would encourage Blackmagic to added and M/S option just like Acon has it as M/S option. Ideally there would be separate controls for both the mid and side channels - at least for the threshold setting as that is the one that you have to have access to optimize the NR on the side channel. The learn function would have to have separate noise file for the Mid and Side channels as well, captured at the same time. Here is the second audio NR test: Order of Appearance 0. Noise 1. Acon DeNoise 2 Adaptive Combined M/S mode 2. Resolve Studio 6.1 Audio Noise Reduction 3. Acon DeNoise 2 Noise Profile M/S mode 4. Resolve Studio 6.1 Audio Noise Reduction M/S though Sub busses and DMG Track Control for M/S encode, M/S decode and balance to isolate the mid and side. At this point, I am recommending that you stick with the Resolve NR and (don't spend a dime on any other Audio NR plugins for Resolve) as it can be configured to sound better than Acon IMHO, if you set up M/S bussing and processing in Resolve. If you don't use Resolve I would recommend trying the Acon demo in your DAW other than Resolve. Thanks! Mark

I was able to test 7 audio noise reduction plug-ins. I only did only one amount of NR and did not include the before except for the noise, which you can hear at the beginning of the file looped a few times to give enough lead time before he NR kicked in for the first example: In Order of Apperance 0. Noise 1. Acon DeNoise 2 Adaptive Combined Mode 2. Resolve Studio 6.1 Audio Noise Reduction 3. Acon DeNoise 2 Noise Profile Mode 4. Izotope RX7 Advance Dialog Isolate 5. Audionomix ADX-SVC 6. Accusonus ERA-D 7. Klevgrand brusfri Observations Acon DeNoise 2 using Adaptive Noise Reduction with the Combined setting and a 5 second window sounded best to me. This would work well if you have enough lead time with noise and automated the volume of the track to mute it for 5 second before the NR kicks in. Acon needs to figure out out to make it start working immediately to avoid this work around. Resolve's audio noise reduction is good and is similar to Acon using a noise profile setting. Acon handles the ambience and stereo better with the M/S setting engaged IMHO. Izotope Dialog Isolation and Audionomix ADX-SVC do not work in Resolve. Izotope is the better of the 2 and sound pretty good, but has some high frequency artifacts I don't like. ERA-D is both noise reduction and reverb reduction and is pretty good, but it does not play well with Resolve in Dual Mode, which is the setting used in this example. When you reopen a session the plugin does not pass audio and has to be re-instantiated. brusfri seems like it is more for guitars or synths rather than dialog and I could not get it to sound open without sounding distorted. It also took the the most make up gain about 7 db more that the other tracks. Out of the choices at hand for Resolve, Acon DeNoise 2 in Adaptive Combined mode sounds better IMHO than Resolves audio NR for stereo sources (in my case and M/S shoot gun mic), but you have to work around the wait time for its NR to engage. That said, Resolve Audio NR is good and I would not spend any money on the other NR options except for Acon DeNoise 2, which I think is better in either mode as compared to Resolve's NR. BTW - I only have Resolve Studio so I don't know if it comes with the free version. I looked on line but I could not find a Resolve/Resolve Studio 16 feature comparison chart.

@Sage My question is if one plans to do further tweaking like color correction, film emulation, reduction for contract and saturation, would it be better to have variations of the EC LUT to accomplish these tweaks because doing it in a single conversion (using just one EC LUT instance) would turn out better than using the EC LUT and following it with more nodes to tweak the look. Thanks!

@Sage Thanks the great example! Seems like EC is the way to get the most out of the Pocket 4K sensor In a single conversion/transformation (I’m not considering white balance and black point adjustments as a conversation/transformation for RAW or BRAW footage.) So would having a set of EC LUTS for emulation film stock or an ideal sensor response LUT would benefit from having an EC LUT for each target output to do it in a single conversion? Also, is there the concept of having different EC LUT versions that are tuned for high and low dynamic range scenes as well as the standard EC LUT? Or maybe this does not apply and only one EU daylight LUT is need for any amount of dynamic range in an daylight light scene?

Beautiful footage - great skin tones. Thanks for the tutorial! On the tutorial was the Blackmagic LUT applied after the skin tone magenta shift compensation node and the black level compensation node? Basically are all things equal except for the LUTs? Either way the Emotive Color LUT is outstanding! Thanks!

@IronFilm Will do. I need to find time to do a listening test. I am thinking RX7 Dialog Isolate, ERA-D, Acon DeNoise 2, brusfri and Resolves 16 Noise Reduction. If I can get permission I am hoping to post the unprocessed, pre-processed with eq (Magpha) and dynamics and stereo management (DynOne3), and post processed with NR (15 db and 30db) and post the clips to SoundCloud to share them publicly.

I have brusfri as well. I am going to do some listening to each of the 4 candidates so I can give a fair description of each at best settings for extreme noise reduction.

Hi, Audio noise drives me crazy and so dose the sound of almost all audio noise reduction plugins when they are pushed to more than about 16 bd of noise reduction. Enter: Acon Digital Restoration Suite 2.x IMHO it is the best sounding least offensive extreme audio noise reduction available. I own Izotope RX7 Advanced and ERA-D - both are great for moderate audio noise reduction, but when pushed to their limits they introduce artifacts that are more offensive than DeNoise2 by Acon Digital. DeNoise 2 also sounds at least as good for moderate noise reduction levels as Izotope RX7 Advanced and ERA-D. So if you don’t already have great audio noise reduction plugin for $69.93 this is a great deal. It’s a new release for them with improved algorithms and is highly recommended and on sale through Monday December 2nd. if you are on the fense, download the demo and try it, I think you’ll be really impressed if you have extreme audio noise reduction needs. Usage tips: 1. Find a section of noise and hit the learn button. 2. Tweak the knobs to get a good sounding noise reduction. 3. Click the emphasis curve button and raise the level of any part of the sound spectrum that you want to reduce more noise. I typically pull up the high end to reduce more hiss and eliminate high frequency artifacts that typically follow heavy noise reduction. https://acondigital.com/products/restoration-suite/