majoraxis

Well the new firmware with new temp control for video seems like make R5 really hard to overheat now, people getting really good 8K, 4KHQ and 4K120 recording time to CFExpress.
R6 sadly still overheat the same? R3 getting 240fps in FHD which is nice.

Hi there, fellow EOSHD forum members. I wanted to talk a bit about Virtual Production (hope there are a few interested people). Setting up a VP studio can be quite overwhelming, especially when choosing a tracking system. There are several options to choose from, and we've made this quick demo to show how to use Antilatency with Unity. You can track cameras, objects and even body parts.
In this case, we have used a tracking area attached to the truss system, one tracker for the camera, and two trackers for each leg. All tracking data was transmitted to Unity via proprietary radio protocol, and was used for real-time rendering. We didn't use any post-processing or cleanup — only real-time data.

I would love to hear what you and Andrew think of it - this demo and Virtual Production in general. We’re also open to suggestions on what demos we should do next!

@ohheylilly Welcome!
We have a number of members who are interested in Virtual Production. Here's a topic for your review:
 
As some people on this forum have professional cameras, lenses, focus and zoom controllers, lighting and green screens, if you would provide an example our how your system works for a non stationary camera (dolly or hand held) in relation to a non stationary subject (distance relative to the camera and focal distance is changing as well as the operator changing the the zoom setting) and a green screen background that gets replaced by a virtual background that changes its perspective and depth of field based on the relationship of the subject to the camera, the realtime reporting of the zoom and focus positions of manual zoom lens using the AFX system by our very own BTM_Pix, and in Unreal Engine 5.  That would be greatly appreciated.
What makes up a camera tracking system for virtual production from antilatency and how does it compare feature and cost wise to other professional camera tracking systems?
Thanks for your interest in our forum and our virtual production needs!
 

Thank you for your reply, we'll see what we can do to share more demos that might be of interest for the community. And we haven't worked with AFX before, but we're excited to reach out to BTM_Pix to see if we can maybe set something up together

@ohheylilly Welcome!
We have a number of members who are interested in Virtual Production. Here's a topic for your review:
 
As some people on this forum have professional cameras, lenses, focus and zoom controllers, lighting and green screens, if you would provide an example our how your system works for a non stationary camera (dolly or hand held) in relation to a non stationary subject (distance relative to the camera and focal distance is changing as well as the operator changing the the zoom setting) and a green screen background that gets replaced by a virtual background that changes its perspective and depth of field based on the relationship of the subject to the camera, the realtime reporting of the zoom and focus positions of manual zoom lens using the AFX system by our very own BTM_Pix, and in Unreal Engine 5.  That would be greatly appreciated.
What makes up a camera tracking system for virtual production from antilatency and how does it compare feature and cost wise to other professional camera tracking systems?
Thanks for your interest in our forum and our virtual production needs!
 

AFX v1.82 Firmware Now Available
(only to those using Blackmagic Cinema Camera Update v7.9)
 
Thanks @BTM_Pix
 

@ohheylilly Welcome!
We have a number of members who are interested in Virtual Production. Here's a topic for your review:
 
As some people on this forum have professional cameras, lenses, focus and zoom controllers, lighting and green screens, if you would provide an example our how your system works for a non stationary camera (dolly or hand held) in relation to a non stationary subject (distance relative to the camera and focal distance is changing as well as the operator changing the the zoom setting) and a green screen background that gets replaced by a virtual background that changes its perspective and depth of field based on the relationship of the subject to the camera, the realtime reporting of the zoom and focus positions of manual zoom lens using the AFX system by our very own BTM_Pix, and in Unreal Engine 5.  That would be greatly appreciated.
What makes up a camera tracking system for virtual production from antilatency and how does it compare feature and cost wise to other professional camera tracking systems?
Thanks for your interest in our forum and our virtual production needs!
 

Ucoming AFX v1.8 firmware upgrade on July 11 for compatibility with Blackmagic v7.9 camera firmware for the P4K and P6K/PRO series.
From manufacturer's message: Don't upgrade your camera firmware to use with AFX until then.
Thanks @BTM_Pix
EAG :- )

Will the URSA Min Pro 12k get this?  I hope so. I also hope that the reset of the USRA Mini Pros and Broadcast get this as well.  
From what I have seen test wise (thanks for the tests! @FHDcrew and @Davide Roveri), I like the look and feel of the Gyro stabilization, it reminds me of a professional hand held shot rather than a gimbal shot which I am pretty sure I prefer the look of the Gyro.
I would also like to see what a gimbal shot without a stabilized lens followed by Gyro stabilization looks like. Should probably look similar, but maybe Gyro stabilization will make it look more like hand held footage and hopefully it will be the best of both worlds.
This a game changer feature for me as I like experience of shooing hand held, but it alway looks worse than I think it will  when I review the footage.  Now I can live in my movie making fantasy world and not have to appologise for following my creative impulses at the end of the day. Thank you Blackmagic!
 

I didn’t do any tests lol, other than some not so great gyroflow tests with a Nikon Z6, Tamron 45mm 1.8, and iPhone as gyro logger. Didn’t turn out great for me; first time I got success, needed such a severe crop it was unusable. Then I tried recently and the info just didn’t sync up well. I don’t know if it’s a problem with the app i am using?

I gave it a go but, as i feared, the results are awful, even worse than perspective stabilisation alone 😅 I think it's just too complex to process some movements and geometries for warping stabilisation algorithms. I haven't tried with the other options to be fair but i don't expect great results either..
 
 

This! Could save us hours of pain.
I use currently sony software to stabilise my footage export etc then hit davinci , but im delighted Davinci is stepping up its game.

Will the URSA Min Pro 12k get this?  I hope so. I also hope that the reset of the USRA Mini Pros and Broadcast get this as well.  
From what I have seen test wise (thanks for the tests! @FHDcrew and @Davide Roveri), I like the look and feel of the Gyro stabilization, it reminds me of a professional hand held shot rather than a gimbal shot which I am pretty sure I prefer the look of the Gyro.
I would also like to see what a gimbal shot without a stabilized lens followed by Gyro stabilization looks like. Should probably look similar, but maybe Gyro stabilization will make it look more like hand held footage and hopefully it will be the best of both worlds.
This a game changer feature for me as I like experience of shooing hand held, but it alway looks worse than I think it will  when I review the footage.  Now I can live in my movie making fantasy world and not have to appologise for following my creative impulses at the end of the day. Thank you Blackmagic!
 

Film doesn't underexpose well so you get crushed blacks rather quickly hence the contrasty look but it obliterates digital in highlight DR latitude. Kodak Vision has been championing their motion film stock and I remember reading it gives DR readings anywhere from 12 to 20 stops depending on scan techniques and recovery methods. You can check some of the charts yourself:
https://www.kodak.com/content/products-brochures/Film/VISION-200T-Sellsheet_US_4PG-EN.pdf
The wider exposure latitude in KODAK VISION3 Films differentiate film capture from the limited dynamic range of digital capture. Digital "dodging and burning," a very powerful tool in the colorists' toolkit, is now even more powerful—up to two stops more image information can be extracted from scene highlights in VISION3 Films.
If traditional 10-bit scanner data encoding schemes are used to digitize films having this extended density range, highlight information captured on these film could be lost. Kodak has recommendations for extracting the full density range stored on high dynamic range films in a technical document titled Scanning Recommendations for Extended Dynamic Range Camera Films
Also recommend some of the great accompanying videos :
 
notice at 1:40 how the DP states he overexposed the highlights by 6-7 stops and again at 2:00 the field is 4 stops over and the sky 7 stops over before recovering the highlights. have fun achieving that kind of highlight latitude in digital!
..again at 7:37 overexposing the grassy area by 3-4 stops and perfect recovery.
Just some extra food for thought when comparing film to digital.

Ok, i did more testing today with a wider lens (10mm so 15ish mm equivalent) and i tried some more complex moves as well..
Few more notes:
-45º shutter angle is pretty much a necessity so all the clips have been recorded with that setting (i tried to introduce some motion blur back in in a couple of clips as well and it might even work, i just need to understand how much of it to use)
- The camera doesn't seem to record any Gyro data if the lens stabilisation is ON (i'm not entirely sure about this but certainly the option to select the Gyro stabilisation doesn't appear inside Resolve on the clips shot with OIS) so you have to remember switching off the lens stabilisation if you plan to use the gyro. I reckon it kind of make sense though because without knowing the data from the lens gyro the result would probably be a bit messy 😅
- I have noticed some strange sharpening artifacts in high details area when a clip has been stabilised using gyro but thankfully it seems to only affect the GUI and not the monitor output nor the final render (I'm on Windows 10)
- The results are overall very good, in shots with simple moves there isn't a great deal of difference between the gyro and the algorithm based stabilisation (the building tilt shot and the cushions shot for istance) but in other shots where there are more complex movements and lots of geometric elements that can (and did) wreak havoc on the traditional stabilisation methods the difference is day and night. I would not suggest this is a gimbal replacement by any means because is not but it's definitely a feature that will enable camera movents that are most probably not possible in any other way when you don't have or want to use a gimbal so it's quite exciting!
ps. on the clips where there is severe warping from the perspective stabilisation i tried to use the clips without OIS as well to see if it would fare any better but it made very little difference, it was unusable anyway.
 
 
 

Hidden among the news of an unneeded camera update (BMPCC6k G2) was the fact that the Pocket cameras now record the gyro data for stabilisation in an upcoming REsolve update. This is very exciting! Grant mentions it around 1 minute into this video.
 

Made a quick and dirty test today with my BMPCC6K and the new 7.9 software.
First clip is shot on a Canon EF 50mm 1.8 (so no OIS and 75mm equivalent)
Second clip is shot on a Canon EF 24-105 f4 @ 24mm (36mm equivalent)
 
Overall the new stabilisation works very well especially in situations where the traditional point based stabilisation can create visible warping (i included samples of that as well for comparison)
Things to note:
- The workflow is fantastic and probably the real advantage of this over any other gyro stabilisation solution.. it's just a new option in the stabilisation panel in Resolve, no extra software and rendering needed!
- Like any other gyro stabilisation system nothing can be done to reduce motion blur so, unless you have a miniscule quantity of motion in your shot, you need to shoot with faster shutter speed. I found 45º to work the best (apart from the weird look due to the lack of motion blur, i'm experimenting in dialling that back in afterwards and see how it looks)
- Another potential issue with gyro stabilisation is rolling shutter but, according to blackmagic, it's automatically compensated in the algorithm and it doesn't seem to be a big issue (even if the 6K is not the fastest camera around rolling shutter wise). 
Much more experiments needed but i wanted to share with you my first findings, this is a very exciting development!
 
 

Tilt screen and higher capacity NP-F battery.
I had been pondering taking the financial hit and trading my 6K in for the Pro so this will make the hit bigger!
I thought the next one they would bring out would be the 4K Pro (or even the 6K with an MFT mount) so this seems a bit meh to me and I’m not sure why anyone looking at the 6K wouldn’t just stretch to the 6K Pro.
More details here
https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera
 

You can do it in Adobe Bridge very easily. Sort by date created, select all, then batch rename.

Picture of my motorhome taken with my Nokia 808
 

Let's shoot some quick a dirty dynamic range tests
Here's mine, on the balcony
First is Sigma Fp-L in 8bit Cinema DNG RAW

Second is OM System OM-1 in 10bit LOG 4K:

A clear win for the Sigma Fp-L
You will need a bigger effort to get the best out of the OM-LOG
The Fp-L RAW seems to have that creamy RED EPIC / ALEXA look to me straight out of the can
And it doesn't sacrifice a boat load of colour to achieve such a wide DR.
This was in full frame mode to SD card.
I am sure the external 10bit and 12bit is even better in the highlights.

FULL specs, brochure images and 17 stops dynamic range sample shot
https://www.eoshd.com/news/arri-alexa-35-full-specs-brochure-images-and-17-stops-dynamic-range-sample-shot/

..you can find Alexa's for as cheap as $4K. obviously very used (+6000 hours) and the older models but there are deals out there. and with this new generation, hopefully means more lower priced Alexas to be found on second hand market for us common mortals that dream of owning one some day.

I came across a free leveler that is worth checking out (if you are on Windows.)
https://luveler.blogspot.com/
It really has a great natural sound that reinterprets the dynamics to make it more natural sounding even if you only changing a the volume slightly. I am following a multiband compressor on the master bus and the make he compressor sound more natural. I have a feeling this is going to be a secret weapon of short as it can really reframe the dynamic response of a track or mix for the better.
Thomas also makes Loudmax, which is a free limiter that runs on both Windows and Mac.
https://loudmax.blogspot.com/
Both are worth checking out.