docmoore

Get a Masters in business.  It's applicable to all fields.  It also shows that you're serious about the bottom line, and will help you running your own business.

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.

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.

Left Sound Devices for the last few years (had my own 552 straight out of film school for a while, but then later on went F4/F8n/Maxx), although I'd still use a MM1 now and then on a semi regular basis whenever I was lucky enough to use a boom op.
But now I've returned, just today got the 1st 833 in the country!
 
 
 

Guys, I see you got lost, the Nursing Home is down the street to the left.

Wish IPS would allow you to embed videos.... anyway, they interviewed Sound Devices  

There are many people who are not fans of the 633 pre amps, or its (lack of) limiters 
 
One of the many things the 833 fixes about the 633, as Scorpio has the best pre amps Sound Devices has ever made 

First of all, I apologize for the delay with which I reply but I am very busy and I will be so for a long time.
The new Magicobooster for Pocket 6K is similar to that of Ursa Mini Pro, the internal support is replaced with a threaded one, the IR filter, unlike the Production Camera, Ursa 4K and Ursa 4.6K is installed inside in a support of black round aluminum and construction to be replaced, this means that Blackmagic has planned to replace the IR filter.
The very positive thing is that the Magicbooster will be installed inside with a threaded body and it can be easily removed whenever you want.
For the warranty, it will depend on the user's technical capacity.
If you follow the instructions correctly and leave no signs of tampering, the warranty will not be invalidated, otherwise even without using the Magicbooster there may be cases of damage not covered by the warranty.
In any case, the Magicbooster will not damage your camera.
Thank you.

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

I found this video quite interesting. Not a proper review, more of a user feedback :
 
 

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

I don't agree.
No more speculation.
This thread is going to be closed now.
I think we need to get back to talking about cameras and codecs rather than legal battles. This isn't what I got into filmmaking for.

Mine does.

Here is the best description of the advantage of 5.7 to 4K DCI Raw to Prores on the BMPCC6K ... matches the aspect ratio of the P4K better and
is sharper.
https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=96689
 
 

Thank you!
No specific look ... grading was to test DR and color fidelity. 
Canon 50 F 1.2 for one and Zeiss 100 F2 Makro for the other ... listed in the opening credits.
Really looking at highlights and how natural the overall feel could be ... 
My bias is from the perspective of a landscape and portrait photography background ... so I tend to pick times for the appropriate 
light and convey what it imparts to a scene.
 

Both are very good ... disruptive for the above $10K camera manufacturers if over time they function without major issue,
and only time will tell on that front. My experience has satisfied my concerns ... and at these prices replacing a camera is not
a dealbreaker.
I prefer not adding elements behind a lens ... which was designed to perform at a specific flange depth in a specific way. So 
the ability to use better EF mount lenses on a native mount is my preference. Spatial rolloff is characteristic of sensor size and
I just prefer larger sensors ... MF and FF for stills ... so many other elements affect video one has to look at everything. Arri has
used a small sensor to great ends as they engineered the imaging pipeline so well. Most others are playing catchup.
The loss of BM Raw at certain resolutions on the P6K is not an issue for me as I am not bound by production time constraints ...
hence the 5.7K capture to a 4K or 2K DCI Prores render. I did not use Prores on the P4K ... again BM Raw to Prores in Davinci Resolve 
Studio.
Realistically, almost any new camera can produce compelling footage if one stays within the limits of its design envelope and respects 
its limitations.
Just need to decide what tradeoffs are worth it to you.

Ok I'm calling troll now. No way you are this bad at reading even you own posts..
Just be careful, seems to be a very sensitive subject and one must choose the words very carefully. Even when saying that the camera is good

Thought I would share a couple of explorations I have done with the P6K ... 
After considerable time with the P4K I began looking for something a bit bigger ... yet most of the cameras out there have an element that
represents a compromise ... and it can be a struggle to decide what you really need in a camera. All about the image quality and sound that
you can capture ... and lens mount sensor preamps and ergonomics play a big part in how we can capture what we see.
I was pleased to see the announcement of the P6K as the P4K has worked well for my needs.
So this week ... heat index outside was 108F ... I captured a bunch of things inside to look at light and color. Also played with the XLR inputs to insure that 
this camera works as well as the P4K.
Here are a couple of short-lived videos ... cannot leave them up for long due to music I added for myself ... hate looking at video without a background of sound.
Not cinema ... no drama ... just moving pictures ... video if it suites you. Capture at 5.7K BM Raw Quality 0 to the CFast card in 24p without and difficulty and
rendered on a 4K DCI timeline with a 2K DCI output. Output as ProRes 422 ...
https://youtu.be/b758C4khvMs
 
https://www.youtube.com/watch?v=VOTQWfI0YPY&feature=youtu.be
 
I love the extra resolution and great color science that was in the P4K (v4). 
 
 

I finally recieved the mc-21 adapter today so I did some totally unscientific moire tests after seeing that dpreview chart which I thought initially looked very sketchy. To my suprise it did conform to reality.
The S1 does seem to suffer from alot of moire in APS-C mode. I find the levels of moire in aps-c is near unacceptable, I believe panasonic has messed up here in their quality control. Also the 4k image is a bit softer than expected. However in 24/30p the moire levels are very low and the image is much cleaner so there it delivers stellar results. I think S1's strong points is its dynamic range and low light performance but it does come with some drawbacks unfortunately (atleast for us that mainly got it for its 4k60 and high frame rate modes..).
Setup:
S1 firmware 1.2
GH5 vanilla firmware + dummy adapter
Lens: Samyang 85/1,5 AS IF UMC II VDSLR at f4
S1 settings:
All default. Standard picture profile and 8-bit video.
Might try to play around later and see if the moire can be lowered with some settings adjustments.

It is referred to as sensor stack ...
https://petapixel.com/2014/06/10/sensor-stack-thickness-matter/
It is why many Leica M wide angle lenses perform so poorly on Sony A7 cameras ... 
Here is a link to a video by Filippo Chiesa ... BMPCC4K and Speedbooster
... read his comments on AC and glow .... may be related to the stack thickness.
I assume that if you use a SB it should be designed for the camera in question ... otherwise you lose the benefits of the great glass you
have mounted ... the Metabones smart adapter without glass avoids the problem but you lose speed and boost in angle of view.

I use the BM mini to XLR cable with phantom powered boom mic ...
Signal is very strong ... if you adjust levels without hiss and no appreciable noise.
Adequate for the weekly blog that I record ... I no longer use an external recorder.
The camera continues to address a wide variety of needs ... it is very well designed and implemented.

It is referred to as sensor stack ...
https://petapixel.com/2014/06/10/sensor-stack-thickness-matter/
It is why many Leica M wide angle lenses perform so poorly on Sony A7 cameras ... 
Here is a link to a video by Filippo Chiesa ... BMPCC4K and Speedbooster
... read his comments on AC and glow .... may be related to the stack thickness.
I assume that if you use a SB it should be designed for the camera in question ... otherwise you lose the benefits of the great glass you
have mounted ... the Metabones smart adapter without glass avoids the problem but you lose speed and boost in angle of view.

Apparently xt3 has amazing 120p. If you can live with micro for thirds gh5 has fabulous 1080p. It is oversampled up to 60p and still very nice at 120p. Also at a very nice 10 bit codec and the best ibis you’ve ever used. Again, only Micro 4/3 and lowlight sucks
C100 II is so nice if you don’t need 4K. Basically perfect with everything you want. Beautiful, detailed, organic image, c-log that a two year old can grade and get good results, canon color, built in ND filter, dual xlr inputs with very high quality preamps, no overprocessing or over sharpening. If you don’t need 4K it is about as no compromising as it gets. 

Thank you very much for the info. This seems like a pretty significant issue.
In short, for everyone using old film lenses, Samyang/Rokinons, and a lot of different primes (you have to know the exit pupil location of that particuliar lens, which you can't, except you have an optical bench or the manufacturer states it), you are gaining a lot with this specialized speedbooster.
If you shoot mostly zooms and teles, not so much..
Depending the sensor stack and the lenses exit pupil location, the difference can be (with 1 as max, and 0.85 as an hypothetical perfect lens) 80% worst! Now, in real life both are very difficult to happen, but I see a lot of combos that can take this number to 30% loss, or something (I am not sure if I can read the table right, maybe this number is too pessimistic).
I can tell from the data that APS-C and FF are near 2-2.5mm sensor stacking. For some reason, most m43 are 4-4.5mm, so Metabones doesn't lie, BM cameras with m43 mount need different Speedboosters. 
That's all in theory of course, but there is not only smoke..
I wonder what those extra layers do on the other m43 cameras and if the BM P4K sensor can still be considered the same as the GH5S..
As I see it, one more specialized item to rise the total P4K cost.