docmoore

You are right. They may have done better with a 0 - 6 stop or 7.5 stop ND ... not sure if that would be possible as I assume that the elements cannot be removed from the image path. I have ext Vari NDs for 12 lenses ... 7 different sizes ... and non Vari NDs for matte box and 82 mm sizes. Two large filter packets and another two pouches for the matte box 4.5 x 6 glass Schneider filters. Have to say that one adapter with ND sounds like a bit easier than all the others. Two of the Schneiders or two of the Firecrest Ultras would pay for the adapter. If you have a couple of lenses you may not want this .... I keep looking at larger cine cams with internal NDs ... much more convenient.

Great advice. A classmate of mine received his MBA with an emphasis in video and marketing in 1979 ... jumped to a management position producing all of MCI/Sprint videos and advertising for over 20 years. He could have easily moved to cinema ... producing and directing had he desired. The short answer is sacrifice now for a potential long career ... MBA allows you to go anywhere ... Cine or VFX are quite limiting ... and God willing you will have 50 years to figure out that your passions change with age but a higher degree allows you more control of your present and future.

I may not make a lot of points with the following: Man up and accept that a Variable ND is not a series of internal ND filters on a Cinema Camera. Canon has given you an alternative ... and a clear hole filler at a bargain price ... $500 USD for both ... to purchasing a C200/300 II/500 II No vignetting color good to 8 stops works with all the EOS adapted lenses ... We are not going to find the perfect camera or system ... but what is available to us today kills all the older stuff. Days of 'Mosquito noise' with the EX1R are gone ... Log 4K with a crop Stills Old EOS lens compatibility .... Most pathetic are the guys on YT who complain that there is not a Hermes case for the adapter when you are not using it ... Get real ... if it does not meet your perceived needs ... buy something else. As close to internal NDs as you will find south of $5K

I may be the exception but Samsung t5 2 Tb drive ... Braw Q 0 5.7K at 23.976. Open in 5744x3024 timeline render to 4K or 2K DCI as Prores 422 unless it is stellar footage then Prores HQ as an archival master in 4K. Files are just too good not to use the 6K potential.

No I use the USBPre 2 for the audio interface. I have a PIX-LR attached to my PIX-E5 but have used a separate recorder for redundancy and would like to maintain that approach. I considered moving up from the P6K and getting something with a bit more robust XLR connection and preamps (FX9) but the picture in my situation would be hard to improve upon so just want a easy to manage interface with great sound ... as I run all the camera lights and sound solo.

One week and no report? Seriously ... how is the new 833? And is it that significant of a step up in audio quality from the Maxx ... or just better routing. I understand it has dual bus Duggan(?) mixing? My Mixpre 6 II went back this week .... frustration mainly with TC in Resolve 16.1 ... just unable to sync files that I could manually read as same TC. And even though video is 32 bit in Resolve ... audio cannot handle 32 bit float so had to record in 24 bit ... which is fine with me but obviates the draw of the II series. Biggest issue with it was when you turned it off ... it reset to base record settings every time so that you had to go into menus to set something other than 44.1Khz. So I am considering the Maxx ... 633 ... or up to the 833. Dont need complex routing but do want best audio possible.

Of course but the difference in build quality is significant ... as is the difference in preamps.

I am a bit disappointed in the build of my Mixpre 6 II ... wished I had my 633 back but now ......

I think that you have 4K 10 bit 400 mbps but 5.9k and higher frame rate is limited to H265 420

I guess I should explain that the blue clip is the least of my concerns ... H2665 10 bit 420 would not be pleasant on my 2009 MacPro 5.1 and it looks like the codec is a bit limited with regards to major grading ... I rarely get by with less than 7 nodes in Davinci Resolve .... May be a bit more noise than I would prefer and Matt Allard suggests that the camera is a bit challenged in mixed lighting. One wonders why Panasonic did not hire someone who could light their scenes a bit better. But Matt shoots RED and Arri for his professional work so his threshold for excellence may differ from many.

VLog with the blue channel is probably an easy fix for Panasonic ... but limiting the camera to 10 420 h265 may be a bigger problem. Matt Allard suggested that even moderate grades were problematic ... wish they gave us Raw 12bit across the board ... CF Express or USB C to SSD. But for most may be a non-issue!

I think Matt Allard is one of the best reviewers out there ... and his impressions do not sound that great for the camera. I may cancel my preorder ... the IQ out of my P6K is so good that I hate to accept a lesser file for all the convenience in the S1H.

Since the C200 DPAF has covered a bit more of the sensor ... in the C500II it is supposed to cover 80% of the sensor and touch focus via the LCD is available.

I could not find how to link one part of a thread so I copied this .... kacofilms Posts: 4 Joined: Fri May 31, 2019 12:45 pm Real Name: Martin Kacvinsky Re: Official "Look what I shot!" Thread Fri May 31, 2019 1:03 pm Hey guys, as a long time Canon 5D raw (magiclantern) shooter I have decided to switch to Pocket 4K this year. Couple of my observations: 1. It would be amazing if the developers could add a function that will red-cross the display when not recording (or any more visible information). The shutter button is quite soft and having a finger ready to shoot all the moments you cannot recreate (wedding is full of unexpected moments) I have ended up shooting my shoes couple of times (the camera has been shooting and when I hit record to start recording, it actually stopped). 2. When the SD/Cfast or SSD starts to fill, the camera boot up time slows significantly. No matter if I use interal cards or external SSD. The file system (mac vs exfat) also doesn't seem to make any difference. Any chance to have improvement here? Since the camera is power hungry you have to turn it off a lot. And couple of opinions: 1. Internal mics are really good. 2. Battery time can be expected (wasn't much better when shooting raw with 5D). Altough boot up time is really bad with cards half full. 3. I find cdng to be easier to playback/color grade then braw (with a really fast hard drives). When playing back cDNG, there is almost no CPU/GPU activity. However if I playback braw Q5, it can be really choppy (my drive array is fast enough). In the end I am really happy with the results. Thank you Blackmagic

Cfast or SSD may be best. I have had the camera since release and it has been very solid ... as was the P4K. However I shoot mainly to T5 and use an Anton Bauer external battery. I found that the Sony NPF batteries would not charge the internal battery whereas the AB does. I also tend to shoot at 24P ... 5.9K and have a number of 20 minute shoots that have been perfect. The 2Tb T5 gives me 200+ minutes of recording and my fastest SD ... 4 minutes. So it just fills the slot. My Angelbird CFast handles the 5.9K without issue. Dave I would try the external power adapter and see if the issue persists and then look at card options. If the power adapter is good ... may need to try an external ... NPF or dTap to see if that is successful. With these data rates the camera really shines with SSD ... 2Tb Samsung T5 is down to $350 ... It may just be a dodgy camera body ... BM is known for very quick support ... so you may start looking at that while you work through the issue. Blackmagic did say that boot time is lengthened by the number of files on a card. I tend to dump everything daily and make a backup then reformat the card every time I start the camera. I realize that is not possible for many who are out without a way to offload files. Here is a thread on the BM Forum that discusses slow boot with a T5 .... https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=96951

Codec .... Card or SSD ... Frame Rate ... Battery .... Lose data or just stopped ... Thanks Bob

Pretty much have relegated my P6K to tripod .... just too much to handhold but the image is stellar. The S1H will be a run around camera ... ND filter but not much else.

My mistake ... the reviews of the S1H made it sound like the backup recording was not available prior to the two SDII slots .... makes sense that the XQD can keep up with anything the SDII writes in the S1. Thanks Bob

No time limit and the ability to write a backup to the dual SD cards seems to be an advantage that might save you at least some embarrassment if you have a fail at a wedding. I hear that retakes are not that common for those events. And it is so easy on the P6K ... both for recording and then uploading to my computer. 2 hours of 5.7K 24p to a 2Tb T5 SSD ... which costs $370 these days ...

If you listened closely to the Panasonic presentation ... Atomos was lauded and the upgrade ... Raw mentioned specifically ... was discussed as a coming announcement ... no date given. Refer to the stream 8:32 - 9:07 ... definitely stated that Panasonic was working closely with Atomos for HDMI related Raw output. Atomos ProRes Raw will help as the 6K / 5.9K 10 bit is 420

I always leave the audio meters on display so I can check prior to recording ....

Almost all of his equipment is based on EOS cameras and EF(-S) lenses ... so his interest is probably a bit more P6K centric than many others.

I assume that reverting the process will still leave indication of tampering ... so probably worth waiting till the camera is 9 months old or so ... warranty almost gone anyway.

Note of caution: https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=89556

It is being replaced by Music TV and store apps ... not going anywhere. I use Roon ... but it is expensive.