mercer

10 hours ago, John Matthews said:

I have a question about this. If you use it on a GH6 and later upgrade to a GH7, does it still work or do you have to purchase it again? I guess the value of the GH6 would be slightly more in this case, but it would be better to be able to uninstall and reinstall on a different body if you upgrade, rather than paying 200 euros every time you upgrade.

I wondered the same thing. I noticed when I activated the code, I could also deactivate. And it states to keep the activation code handy in case I need to reinstall after a firmware update, so I think you may be able to use it for one device, but I'm not certain. The code may forever be tethered to that serial number. 

2 hours ago, John Matthews said:

I also had the GH6 for about a year, but I'm really considering getting one again. I'll probably do like @kye and use that 14-140 most of the time. I'm still debating in my head though. The problem is simple- there are just so many old smaller "good enough" cameras, but nothing small and modern that can do 4k120 in the system. The G9ii is the smallest.

On another note, I'm not exactly how MPB decides to offload cameras sometimes. One day, there're 20 GH6 bodies and the next day none. 

I went with the GH6 again for for a few reasons...

1. Official Arri LogC profile - it's even embedded in the metadata, so FCPX reads it as Arri footage. For someone who will probably never shoot with an Alexa, I must admit it's a stupidly cool thing...

2. ProRes

3. IBIS

4. Flip up screen

Honorable Mention - I didn't realize how good the preamps in it were going to be. With good mic placement,  some of the audio is perfectly usable. 

Just now, John Matthews said:

I thought the GH6 colors looked so good and a big step up from the previous generation. I've been eye-balling one (965 euros, brand new with the 25mm f/1.7). That's a crazy deal.

I've read that they are good. I had no problem with them the first time I owned one, I had a problem with the chroma noise that the DR Boost produced in the shadows. I bought it this time because it was so cheap and I wanted to be able use Arri LogC. It really is a phenomenal camera though. Now I just need to figure out my lens situation with it. I've been shooting full frame for so long, and I have a small(ish) collection of vintage lenses that the price of any good m4/3 lens annoys the hell out of me. I've been using a 7artisans 24mm that is pretty good for what I paid for it. But I need something else.

I love the colors on my cheap GH6... oh wait... I'm using the Arri LogC profile...

On 5/1/2025 at 8:33 AM, BTM_Pix said:

Well you can but I'd only spend it on cameras and lenses as well.

I've got all four of the MFT PZ lenses (2 Panasonic and 2 Olympus) and they are lurking somewhere around where I am at the moment.

If I can dig them out and get some time next week, I can put them on a P4K and do some quick shots for you if you are keen.

Won't be anything fancy, it will just be a couple of locked off shots of a Northern seaside town well past its mid-20th century pomp but it'll all be at f5.6 😉 

That would be amazing, thanks. And if anyone has seen any of my shots, they know I love a seaside town!

10 minutes ago, BTM_Pix said:

I did a post about it a while back on the OG Pocket where it’s kind of accidentally par focal at f5.6 but maybe on a native Panasonic body it might be properly corrected ?

I did a video of it on the P4K to illustrate the functionality of the BM controller app that I wrote and it was so so with that as you can see when it shows the servo zoom function .

If you’re looking for a cheap 12-32 then the Panasonic f3.5-5.6 kit lens one is limited functionality wise (no manual focus or aperture) but has OS and is absolutely tiny.

I did some stuff (again with the OG Pocket) here. And it also has a companion lens in the same vein in the 35-100mm f4-5.6 to make a tiny two lens kit with a great range.

 

Man, my 50 years are starting to show. I now remember all of this. At least I didn't technically quote you to you.

And I also remember how fantastic your focus module works. I need to stop buying cameras and lenses and send my money to you. 

Picked up a used GH6 and got the LogC firmware and I am loving it. I have a Lens Turbo in FD mount and the underrated 35-105mm Canon lens, but am looking to keep this set up as native as possible. I picked up a 7artisans 24mm 1.4 on the cheap and am pleasantly surprised by the lens, especially since every review I could find of it, trashes it. Since almost every review was with the lens on an aps-c camera, I assume some of the goop is cropped out with m4/3.

Anyway, I'm looking for a cheap zoom, probably a Panasonic kit, that is better than it should be. I intend on making it my Spielberg f/5.6 lens, but then I got to wondering if any of the kit lenses are accidentally parfocal? I'd love for the little 14-42 PZ to be that lens, but for some reason I doubt it. I assume I'll eventually give in and get the 12-35mm for the added IBIS, but the point of the camera is to keep it on the cheap.

Here are a few frames from the 7artisans in case anyone is interested. These were my first few shots with the lens and the LogC profile. Other than the Arri LUT and an s-curve, no construction equipment was harmed with this set up...

For the m4/3 shooters, Pan/Leica 15mm 1.7 or Sigma 16mm 1.4?

On 4/4/2025 at 6:43 PM, KnightsFan said:

Same as I said about the UC12k, it's big and heavy, and eats batteries. Used Alexa classics are so cheap, I'd rephrase and say that I'd get a Pyxis over an Alexa because cost isn't an issue.

Think you mentioned the C500 II... on B&H Deal Zone today for $4999.

https://www.bhphotovideo.com/c/product/1633519-REG/canon_3794c002_eos_c500_mark_ii.html

2 hours ago, BTM_Pix said:

Depending on what you’re doing with a camera on any given day, the form factor of the OG can make all of the rest of the Pocket goodies irrelevant.

Exactly, the worst part of the P4K is the body, one of the best parts of the OG is the body. With a different comparison, I saw a video today of the BMMCC6K held up next to the Pyxis and I couldn't believe how big the FF 6K is... it looks bigger than a 1DX and other than form factor, not much smaller than the Pyxis. The Pyxis seems like the obvious choice between the two.

2 hours ago, BTM_Pix said:

The Komodo gave pause for thought over the PYXIS and the new PYXIS has given pause over the Komodo.

You know how that goes.

I sure do, that's one thing I do know.

2 hours ago, BTM_Pix said:

The bank balance has given pause over all of them though 😂

Ha, I know that even more.

2 hours ago, BTM_Pix said:

remains to be seen what Nikon do as well with a new Cine line too.

The Z mount is a great leveller for me because I can put anything on it.

L mount is OK but the Z mount smokes it really when you’ve hoarded as many lenses in different mounts as I have.

I feel like there are so many good cameras out now that you almost can't go wrong, but like always, the best camera is right around the corner and we're just in a betweener stage.

Maybe you just need the Z mount Komodo X... problem solved.

Canon should just buy BM, and then I can hate them both together. 

1 hour ago, KnightsFan said:

I'm sure that is true. Personally, cost isn't an issue between the Pyxis and UC12k. If they were equal price, I'd still pick the smaller Pyxis with smaller batteries, sacrificing ND. Conversely, I'd be stoked to pay a little more for a Pyxis with NDs that isn't as massive as the UC12k. Nothing is perfect, but the Pyxis 12k looks really close and, if I can manage to get my projects off the ground, is very likely to be the one we use anyway.

Which is honestly surprising to me, considering they own Fairlight and own the braw format. They could do some pretty cool things with metadata, like keeping a raw 32 bit audio stream but applying EQ and other settings as metadata. Hopefully it's on their roadmap! I mentioned the H5studio in my last post, and the wireless receiver module. I'd love to see a similar 1st party solution on a camera. Cut out an audio recorder entirely, go straight from wireless transmitters to the camera.

If cost isn't an issue and your intent is narrative filmmaking, then why not get an Alexa Classic?

38 minutes ago, BTM_Pix said:

Yes, it’s full control.

I mean it’s not uber cheap but it’s a very convenient non flappy HDMI connected monitor.

For anything outside the studio the Micro 4K is a bit of a bust to be honest but now it’s not.

For people mad enough to also buy that PYXIS 12K it does double duty.

Not that I’m mad enough to buy the new PYXIS 12K of course….

It has the same sensor as the P4K, right?

How do you like it compared to the original?

Did you order a Komodo yet?

34 minutes ago, BTM_Pix said:

Being a diva, I’m still annoyed about the Bluetooth not being switched on !

I’m going to get that monitor ASAP.

I assume you'll be able to navigate the menus through the monitor?

In that case, why don't these companies just do that? A 2.5k or 3k raw image from a 6K sensor would look amazing, need less storage, have better rolling shutter? Higher frame rates, and be closer to the OG Alexa resolution. Why do they have to force crappy versions just to keep the resolution higher?

Was excited to hear about the internal raw recording in the Z5ii and then a little less excited when I watched the Gerald Undone video... and then when he started showing real world footage, he was literally wearing a Sony Alpha jacket while recording a Nikon review... why are these competing companies sending him these cameras?

That said, the review was fine, raw implementation in an IBIS body, with decent AF, at this price has been a dream of mine, but it seems like there are so many gotchas that I am left bewildered why these companies even use raw? If your'e going to add NR, then what's the point of a smoothed over raw file? I shoot raw because I prefer the gritty textures that feel like you could reach into the frame and touch it.

I said in the Komodo price drop thread that I wouldn't be a customer, but at the current price, maybe I'd be better off saving up for a Komodo. Theoretically, that camera could provide a viable image for the next 5-10 years for me.

And with all that said, it is still exciting to see raw video to an internal SD, with these features, at this price point. When I read this post, I had already thought about posting my FP up for sale and preorder the Nikon, now I'll wait to see how it does with more serious shooters in the coming weeks/months.

The FP lives to see another day.

1 hour ago, eatstoomuchjam said:

I have multiple types of raw available to me here (Canon, BM Raw, PRR, and Red).  They're all very nice and if you spend time working with them, you can get very good results.

A lot of times, the perceived secret sauce seems to be in how nice the images look immediately after import and before adjustments are made - and that's how I perceive it.  The Komodo-X has it, the Komodo has it (but a little less).  The Ronin 4D has it.  The C70 has it (maybe I'll miss mine now that I traded it in).  The Ursa Cine 12K...  might have it?  The one time I took it out was inconclusive since the weather here has been a bit shit for the last couple of weeks.  The sunset I shot looked nice, though. 

The GFX 100 II has it, but less than some of the others.

The EOS R5 does not have it.  The raw that comes from it is totally fine.  You can work with it and get nice results.  Skin tones are generally very nice SOOC.  I don't think I ever once, though, have imported files from mine and thought "Wow, that's amazing."

Now I am in no way comparing the 5Diii with ML Raw to your more expensive cinema cameras, but I do agree. The first time I looked at the screen after installing Magic Lantern onto my 5Diii, I saw something a little nicer than anything I had seen on an LCD before. With a few very minor tweaks in post and I was able to get images I had no business getting with my skill set.

When I tried the same thing with the FP, I didn't see it and I wasn't able to get the same level as easy in post as it was with my 5Diii. Weirdly, I noticed it more with the 4K 8bit cDNGs than I did with the 12bit... although I admit that the 12bit is a superior image... if only Sigma would turn off the damn NR in their raw files. Anyway, it was definitely easier to see than any run of the mill mirrorless I have used since, though. Although the R7 amazes me in some ways. From what I have heard from various people online, @Mattias Burling included, that quality is there with Redraw, Redcode... whatever it's called.

That doesn't mean that modern mirrorless cameras aren't capable of creating amazing images. They obviously are. With the advent of raw codecs and post workflows, I agree that the gap is getting smaller, but...

That said, I have no business owning a Komodo, so it doesn't mean much to me and more than likely, depending on what the R6iii looks like, I'll probably buy a Z6iii next... of course I have been tempted by the FX30, so I may give that a shot in the meantime. 

Except not all raw video is the same. Most people I have heard that used Redraw have specifically stated how nice it is to work with. I think Andrew has confirmed that? To compare it with another raw would require someone who has both.

Idk, cinema cameras cost a lot for a reason. As far as mirrorless cameras have come, they're still not proper cinema cameras. In a lot of instances, the benefits of mirrorless may outweigh the benefits of cinema cameras, but at this price point, it's hard to argue against the Komodo if you intend to shoot certain types of projects. If not, then it's a simple pass. I will say it makes it a bit harder to justify a few other cameras at a similar price point. But this price will go away once they run out of the bins of RF mounts they have in stock. The questions is, what will Nikon do next? Will they replace it with a similar camera at a similar price?

And Arri may have mapped it. 

What's interesting about the LogC license is that it was probably mapped for that specific sensor. The vLog could have just been tossed in. Maybe. Either way, cool camera and shots. 

16 hours ago, Andrew Reid said:

The EOS R50 V is a loss leader out to encourage lens sales with a huge army of social media influencers and Youtubers.

Agreed. I think Canon themselves have often referred to themselves as a lens company first. That said, any loss leader benefits us. As much as I hate the price of Canon RF lenses, like you said, now Sigma has some fairly inexpensive offerings and the Canon full frame f/1.8 lenses are pretty decent with a solid build. I really enjoy the 24mm 1.8 on the R7. With any aps-c camera I would purchase going forward, I would mostly buy FF lenses. The Sigma RF would be the exception. And maybe Sigma 18-50 on the Sony FX30 if I was ever inclined to go that route. 

Pretty wicked for a $650 camera. Is there any other new camera that offers 10bit 4K, top of the line AF, log profile and false color at this price point?

I'm really digging the body style too.

If only it had ibis, I'd pay $1000 for it. Other than that, it's fixes everything I dislike about the R7... of course like the R7 (with zebras) I'm sure you can't use both focus peaking and false color at the same time.

Fun camera in theory let's see how it works in practice.

Right now I'm watching Cam Mackey's latest YT that's shot with a t5i (well he's "showcasing" the t5i and shooting with the s1rii... I kinda like the t5i footage better...

21 minutes ago, BTM_Pix said:

Maybe if we just called the Fp a box camera that happens to be rectangular then it might get some love

It doesn't have a full HDMI, SDI or proper timecode.

FAIL.

For me, it doesn't look as good as my 5Diii, no internal storage and it doesn't have IBIS.

WTF...

Why didn't anybody tell me this?

21 minutes ago, BTM_Pix said:

“I would love an updated original Pocket that is 4K, full frame with better battery life and shoots to modern available media, has an optional EVF and better autofocus”

”OK, here is exactly what you want then”

”No, not that one”

Haha, but I'd still argue that BM neutered everything that was cool about the OG Pocket's image for those other things, without adding the better battery life... but I guess that's debatable because there are so many different low end, +K BM Pocket models that it's hard to differentiate which one does what or all of those things.

"If you want better battery... well then you have to upgrade to the 6K... better screen and internal NDs... you my friend will need the 6K Pro. If you just need 4K and a better screen, then the 4K will work for you... but just a warning it is in no way pocketable, but by pocket we always meant it had a built in hand grip and was shaped kinda like a regular camera not that it could actually fit into a pocket. Also the image just isn't as cool as the original pocket... but with the included software you can just do it in post."

"Ok... cool. But I shoot events and YouTube content"

"Then you will want one of our various switchers. We sell them too"

Blackmagic Design, your all stop shop for things you don't need that end up being a lot more complicated than Premiere and FCPX.

I think the elephant in the room is that Nikon is clearing space in their lineup. I assume they want to get a little bit more out of the Komodo before it's discontinued for their lower end cinema camera. A bunch of good news here. If somebody is in the market for a low end cinema camera, can you do much better? Pyxis vs Komodo? Other than FF fanatics, the choice is pretty clear. other good news... it's possible this pricing is a sign that Nikon may be replacing it with a similar priced camera in the future.

As far as cinema camera popularity, it's hard to judge from this site or even from YouTube. How many times have we seen/heard people want a cinema camera... the P4K was a great example, but after the, BM Overlords are demigods for giving us soooo much, talk subsides then you see a lot of BM cameras for sale on eBay. How many times do you hear (myself included) if the FP was just everything that it wasn't designed to be, then I'd love it.  Or the C200 shoots internal 4K raw... that's fucking amazing... what a fail though because they didn't offer an internal 10bit codec...

Cinema cameras are a pain in the ass to use and aren't for most shooters, especially the people who frequent this site. Some offer better IQ than most mirrorless cameras, but mirrorless cameras are easier and a lot of times, more fun to operate...

But that Redcode...

Does anyone know the value of FD L series lenses? They ballooned years ago, and I was lucky enough to pick up a 50mm 1.2 L for a pretty decent price before they were compared to the K lenses. At the time I was only shooting video on the 5D3 and had it modded by Simmod to the EF mount and declicked. I didn't add a follow focus gear or a larger front ring since I pull focus from ring. I've checked eBay but the pricing seems to be all over the place.