mercer

Cool, let us know how long the charge lasts powering the camera and monitor. I have the Ikan VL35 monitor for mine because I wanted to keep the set up as small as possible but if you’re getting good run times with the Focus, it may be worth the bigger monitor. How is the Micro HDMI Port on the Focus? Is it a flimsy connection?

@crevice thanks for posting this. I recently bought my second Micro. I still prefer ML Raw but it’s great to have a camera to use all of these SD cards with again. That French short film with the boy in car blows my mind every time I see it. The DR is great and the color grading is spot on. If someone told me that was shot on an Alexa, I would have believed them. If I could get my Micro footage to look that good, I may keep the Micro. As of now, I’m not so sure...

Yeah, I’m surprised the rope, on the far left corner, has any detail considering the amount of sky in the shot. Is the plugin part of the inspector, or do you drop and drag it onto the clip? Hahaha! Yes, please do! I know Red is public enemy number one around here but as a cinema camera, I suspect the Epic will have way better silkyshuddercodeshuttermojo than the P4K. It will be interesting to see a fair comparison from someone other than a YouTube influencer.

Yes, this is interesting. It doesn’t matter to me if the Komodo is in my price range for the basic fact that it will lower the used prices on their older cameras. And basically every camera they ever made still produces a relevant image. But if the Komodo, is around $3000... my next camera could be a Red. I assume it will be closer to $6000, though.

I don’t think I saw that video, I’ll have to watch it and find me some Redcode files to mess around with. Thanks.

I was going to ask you about this... I never knew there was a Raw Tab for Redcode in FCPX... AWESOME! Can anyone use it if they have some sample footage, or do you need to own a Red camera to access it? I wish I could convert my .mlv files to Redcode instead of .cdng.

Yeah, it is definitely interesting. The fact that they’re using the RF mount makes you wonder if they are licensing DPAF along with the mount from Canon. And if so, why would Canon want a competitor, in that price bracket, to have their two greatest tech accomplishments in the past 10 years? I’ll probably be laughed off the forum for saying this but I wouldn’t be surprised at all if Canon is the first company to offer internal Raw in one of their mirrorless cameras... so maybe it was some type of swap... RF mount and DPAF for compressed Raw.

Apparently, Blackmagic has one too many patent infringements to add another one from Canon and the licensing fee would be too impractical for a camera at this price point... I would think?

Okay, I see your point, I’m just offering a different perspective. I can only speak for myself but until recently, I never owned a native lens, I’ve always used vintage lenses and after switching to mirrorless, I outfitted all of my lenses with their own mirrorless adapter. After switching systems, numerous times, looking for the right fit, I spent hundreds of dollars on adapters until I finally settled back to an EF DSLR. Since I spent so much money on those adapters, I can’t allow myself to throw them away, so I have 2 or 3 shoeboxes filled with adapters. As far as native lenses go, I’m unsure there’s an argument in favor of native m4/3 lenses over native EF lenses... Hell most people buy a M4/3 camera and use a massive Sigma 18-35mm on it. Aside the Voigtlanders, some of the best lenses I’ve ever used have been Canon L lenses. I even went so far to have an FD 50mm 1.2 L modified to the EF mount. I also have a Minolta 35mm 1.8 that was modified to the EF mount, so I understand the desire to shoot with all of the amazing glass available and yes a mirrorless mount is better in that regard. But even still, after fiddling with all of those adapters, for all those years, I’d still rather have a native EF lens or a thin EF adapter. Now I agree there aren’t many ef-s lenses, especially primes, but their FF lenses are great and cheap. The 28mm 1.8 blows my mind every time I use it. If it wasn’t for the supposedly poor battery life of the P6K, the 17-55mm zoom would be a great lens for a handheld set up. Does Kinefinity even make cameras anymore? Just kidding. Again I see your point and it’s valid, except as is, I don’t understand how BM makes any money with these cameras. I don’t know what their profit margin is, but it can’t be much, if anything at all and since they aren’t a lens manufacturer, why have a proprietary mount... it’s a waste of money when they have free access to at least 3 different mounts. And with all of that being said, if I was in the market for a BM camera right now, I’d probably choose the P4K as well. But since I am invested in EF glass, I may rent a P6K in the future. OT - How did you like your Epic and what are your thoughts on the Komodo? I must admit the Komodo is kinda intriguing me even though there are cheaper, probably better options out there.

With some manual lenses, the damn m4/3 adapter is larger than the lens. I guess... BM cameras are kind of Frankencameras anyway, so whatever works to keep a smaller footprint, via body or lens, is an acceptable approach IMO. What’s not to get? The EF and PL mount are the most widely used mounts in S35 filmmaking. Since a PL mount on a $2500 camera would be utterly useless to a large majority of the intended market, the EF mount is the next logical choice. If you cannot find a native EF lens, or one that will adapt to the EF mount, you really aren’t looking hard enough. You gotta remember that Blackmagic can only manufacture these cameras, at these price points, by using off the shelf parts. So, there may not be a 6K suitable M4/3 sensor and there isn’t a widely available mount, that is free to use, to keep the costs down. It could have been worse and they could have used the F mount. Creating their own mount isn’t cost effective since they would have to design it, create molds and adapters for a ton of different lens mounts. With EF, they already have the supply chain from their previous cameras and a pipeline of 3rd party adapters. The EF mount was the only sensible option for this camera.

I think rather than pitching the idea to Netflix, you may be better off making some sort of pilot episode that you can shop around, enter in festivals, etc. Another possibility would be to find a list of the production companies that have deals with Netflix and contact them directly, or see if they’re signed up with Virtual Pitch Fest. As far as emailing Mr. Netflix and pitching him your idea, you may have as good of a chance selling it by going to the Hollywood Sign to ask Hollywood to greenlight your project. Dont get me wrong, I appreciate your enthusiasm and confidence but I think your approach may be a little naive. But if you figure it out, pass it along because I’d love to find another way to break through the door. Btw, don’t you live outside of LA? Do you know anybody who knows anybody that has an agent or knows an agent? Try networking?

Yup, you know how many Ursa Pro owners are so happy right now that they have a B-Cam for their EF glass without having to putz around with huge clunky adapters? I get the appeal of a mirrorless mount and a speedbooster and the argument in favor of it is very valid but to say that the EF Mount was a huge mistake doesn’t really align with the majority of shooters the camera is marketed to.

Good deal. I had one a while ago to compliment my AT-X 24-40mm and they mixed perfectly together. I was using the 17mm for traditional wide angle establishing shots, so I stopped the lens down a bit but even wide open, it was pretty good.

Most studios do not accept unsolicited material. So you would need an agent/manager to get you a meeting. Check our NYTVF.

Hopefully he wasn’t drunk enough and it will be even cheaper. With the screen, it could be the FF version of the BMMCC but even better. I can only imagine the plans you have for it... other than your affinity for Sigma products in general. I think I mentioned that I’ve been wanting to get into still photography, so if I do end up with an FP, I may use the unique still/cine mode as a parlay into using it as a hybrid camera. Btw, I was reading more about it on their web page and was surprised to learn that it looks like it will have a solid all-i h.264 codec and a “cine” picture profile, so that could be interesting as well. I was also over at Red User and the conspiracy theorist in me thinks the P6K could be a big middle finger to Red over that lawsuit. Obviously, that is unlikely but the Komodo doesn’t seem as appealing to even some of the diehard Red fans over there.

Well, the mount and lens can only do so much when the sensor isn’t set up for proper video AF. The AF won’t be any better with the P4K. If you want reliable AF in a cinema camera, Canon is your only option.

Well, that price is doable if the whisper was correct. I’m pretty deep into two projects right now, so any purchase today wouldn’t really be used for another 6 months to a year. I bought a P4K back in May but quickly cancelled my order before it shipped and after the 6K release and the FP announcement, I can’t tell you how glad I am that I didn’t buy it. When I am ready, probably around this time next year, the FP may be even cheaper, or something better, for me, will be available.

The GH5s has better lowlight because it is a lower MP sensor than the GH5 and it has dual iso. But to be fair, if all things were equal, including lens speed, the larger sensor would probably be better in lowlight.

It’s highly unlikely, otherwise they would already exist. Metabones may be forced to make one, but since I assume you have to remove the mount to physically make it work, your camera warranty may be voided if there’s an issue. I also assume that a bunch of lenses won’t work with the speedbooster. Don’t get me wrong, it’s a cool option but I don’t know if it will be as simple as a M4/3 speedbooster is?

Yeah, sure if that’s important to you. Yup and the straight adapters are thin and tiny for EF. Or if you want FF Raw, you can wait for the Sigma FP and if Kipon makes a MF speedbooster for the L Mount you can use MF lenses on the FP... of course you’ll have to settle for shitty 4K instead of 6K...

• A 24mm lens on the P6K... with adapted/native lens = 37mm with the speedbooster = 27mm • A 24mm lens on the P4K... with adapted/native lens = 45mm with .71x speedbooster = 32mm with .64x speedbooster = 29mm But the beauty of the P6K is that you don’t need a speedbooster because it is already S35. I would just spend the money on a fast native prime or an f/2.8 zoom and be happy.

Plus you don’t have to use the new P4K Metabones speedbooster... there’s the original Metabones, the Lens Turbo, the Viltrox or you can always use native M4/3 lenses. And with the new S16 mode on the P4K, a whole new slew of fast, wide angle, c-mount lenses become an option.

RMC Tokina 17mm f/3.5?

As already mentioned, you cannot do a straight adapter without a cheap optical element to make up the difference in flange distance but there are mount modifications that aren’t too expensive depending on the lens and its’ condition.

Don’t be too hard on yourself, sometimes a new lens can make all the difference or sometimes an Ursa, a GH5, a BMPCC 4K or maybe the P6K will “do the work?”