BTM_Pix

I think there is a lot of merit in that. Whats interesting with this new Q is that Leica are actually mirroring (or mirroringless) what Sigma did with the DP1m and DP2m cameras and have actually chosen the same focal lengths. It might suggest that they will go the whole way pretty soon and bring out a third one, this time with a 75mm lens like the Sigma DP3m. A real bargain at $21K for the Leica set, of course. For anyone looking to have that choice of no choice on a smaller budget then the DPm cameras are worth looking at. They take the shooting experience back in time by having basically a choice of ISO100, ISO400 at a real push and ISO1600 in Black&White. In camera writing time and battery life is so bad that its the equivalent of only having two rolls of 36 exposure film. To add that final touch of retro, the files are so slow to process in Sigma's software that it more or less mimics sending your slide film back to Kodak for processing. If you can past those limitations- and of course we should never forget how many incredible images were taken in the past under those restrictions - then the image quality is your reward. Having said all that.... Never, under any circumstances, go and try a Leica Q3 in a shop as all logic goes out of the window when you pick one up.

The Atomos stuff can be a bit fussy sometimes over its HDMI input source but this would do the trick to get it into a Ninja for example if you were using composite or s-video sources. Alternatively, if you are using component output gear then this one would do the job.

The batteries I got for the Canon MV20 duly arrived, were charged, put onto the camera and.... Fuck all. Well, slightly more than fuck all as the powered tape eject mechanism works which shows they were doing something but there was not a sign of life otherwise. Pondering that my "search by cheapest" method of selection might have been flawed I decided to power it off the mains. So, as the original is lost somewhere inside the storage room of shame, I ordered a variable voltage PSU using the search term "cheap but not likely to kill me" and it duly arrived this morning and I plugged it in and ... Fuck all. Well, it too also does the powered tape eject mechanism and, to taunt me, also appears to be charging the battery when attached. My carefully considered technical analysis of the situation leads me to the conclusion that it is, indeed, fucked.

What stood out for me is that it can do both regular timecode as well as wireless with the Atomos UltraSync Blue system. If it can convert the incoming timecode from the UltraSync Blue into regular timecode to output to the camera (and vice versa which is more unlikely) then that would be very useful. To do this otherwise would need an UltraSync One which is roughly 75% of the total price of the FR-AV2. The bluetooth headphone monitoring can easily be replicated with cheap add ons for other recorders but its good to see it integrated. The additional $100 over the F3 isn't onerous and if I didn't have an F3 then this would be my choice.

It’s the resolution bump for live view with the animation firmware of the Canon cameras that gives them the edge for the software. https://www.dragonframe.com/camera-support/

I agree with this. If the primary purpose is to use with the animation software then I’d be led by that and Dragonframe do seem to recommend the Canon models above the rest for use with their software. Canon do charge an additional fee for the animation firmware upgrade but if it makes it more functional for your primary purpose then I guess that is a price worth paying ? Not sure what impact it has on the rest of the regular functionality in terms of this replacing it or just being additional functionality. https://www.canon.co.uk/support/consumer/products/cameras/eos-r/eos-r.html?type=important&detailId=tcm:14-1955953&productTcmUri=tcm:14-1723696

From the perspective of using it with an ATEM, this camera is stupendously good. With the ATEM MINI ISO, you do your live stream with the cameras (and have full remote control over everything in it), and it saves your switching as a project file for Resolve. Afterwards you load the file into Resolve, get your full switcher performance back (which you can then tweak) and automatically replace all the video elements with the 4K BRAW files from the cameras. It is fantastic. Imagine then not adding a Bluetooth capability to let the camera be operated remotely without the ATEM. It’s not like you are then offering a free lunch as if you want all the extra capability that the ATEM offers then you need to buy an ATEM anyway.

Wrong presumption by me. Dont get why you can’t control it over the SDI port let alone the HDMI port. Its just weird choices they’ve made here. This is the only viable solution for external control. I’m getting this camera next month for use with ATEM but there is development scope there for me to make an interface for external control by that method. I’ll let you know.

Here is a user thread of experiences with the camera. It should be renamed “Dude, where’s my Bluetooth?” https://forum.blackmagicdesign.com/viewtopic.php?f=4&t=190223 It’s just a nonsense why they didn’t include it. I’m suspicious about why the gyro is in there and not the Bluetooth. Currently, this is a sledgehammer to crack a nut solution to the AF activation issue. Is it that the monitor BM want people to use with this is their own Video Assist as I’m guessing you can control the camera fully over that. Again, another sledgehammer to crack a nut approach but it would also solve the issue of the camera not being able to play back it’s own clips…

Well, I have retrieved it and it is sans Cinevate but more importantly a battery or charger so it will be an eBay job to source them. I’m also found a “few” other forgotten about camcorders and cameras including this which was released fourteen years ago today apparently. I used to use it a lot for doing GV shots around stadiums pre-match, hence it’s battered appearance! Again, a charger is required to confirm if it is still functional. As I say, there was quite a few different things in the case that was in. So if anyone wants a Sigma DP3M (and you should because it’s so good that I have inadvertently bought two) then I’m your man!

Which, on current form, you will immediately spend on this !

The a7IV comes off pretty well in this video. Mind you, so does everything he shoots with !

Excellent report. Thanks for taking the time.

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Yes, it’s analogous to the BMMCC. Frustratingly, Panasonic has not released the full specs but on the presumption that it is the BS1H with PDAF (which it looks like it is) then it’s far more interesting that many are giving it credit for. Based on that presumption… The ideal monitor for it would be either the Ninja V or the BM Video Assist as it’s capable of outputting to ProRes RAW and BRAW so you get double duty. A lot of people are, quite righty, excited by the PIXSYS but when you put them side by side I think the Panasonic is arguably a better proposition . They both need a monitor anyway so using a Video Assist, for example, evens it up on the BRAW front. That would also give you the option to record in regular ProRes, which the PIXSYS can’t do. The PIXSYS doesn’t record any compressed formats internally (aside from h.264 proxies) whereas the Panasonic does 4:2:2 10 bit and can do it simultaneously to the RAW output. The Panasonic AF will also smoke that of the PIXSYS. For what it’s worth, it’s also Netflix approved. Price wise, based off the BS1H pricing, they’re not too far apart either. Food for thought really for anyone considering getting in line for the PIXSYS. Ah the old G9ii / S5ii chestnut.

Its slightly more than double the price of the Meike with he drop in filter but the big differentiator with this one is having the clear option instantly available to be switched to without having to swap in the clear filter like you have to on the Meike. Its not only far more convenient but means that you reduce the risk of getting dust sucked in whilst the sensor is exposed during the swap but also the dust that can be transferred from the pocket that you have stuck the filter in. Or donut residue. Also reduces the risk of incompetents like me dropping the filters on the floor to nil. Of course, I'd like to see it not be twice the price of the Meike but, for me, its is worth a premium.

Announced today for IBC and available "shortly after" the show. It has two to seven stops of ND and integral clear filter. Its not particularly cheap at $599 (compared to Meike's take on the EF to E with variable ND) but it has the advantage of not having to swap out to a clear filter like the Meike does. I'm guessing that this should be able to stack with the Megadap E to Z adapter so its an option for Nikon shooters too.

The timing of this is perfectly understandable as the IBC show starts today so it was a pre-show announcement to get some traction before the avalanche of other product announcements happen. These are not aimed at their S camera market but are still potentially noteworthy for some in that area who would prefer the same image but within that box form factor and with additional connectivity and control.

It has been a reflex action for quite a few years for people to ask why don't they make a box version of it every time a new hybrid camera comes out that has "cinema camera" potential. If the sales of the last generation of these cameras and latterly the Micro Studio version of the P4K are anything to go by though then those self same people are keen on the espousing the concept but not that keen on the actual purchasing. There is a market for broadcast oriented models like this one though for remote operated multi camera broadcasts just that they won't generate many gurning thumbnails from the baseball cap wearing bearded YouTubers hanging about in their mauve backlit lairs.

Hang on, this from the press release might explain it as that does strongly suggest it has PDAF. https://pro-av.panasonic.net/en/products/aw-ub50-10/features.html#auto-functions-multi-interfaces

Without being able to see the complete spec for these new ones it is difficult to differentiate although the obvious advance Panasonic have made with their FF and MFT sensors since those two is PDAF so the speculation would be its that but then they'd make a big song and dance over it in the announcement if it was. Because, yes, otherwise its a case of ..

This looks very neat and is very well priced starting at $295 for the basic kit.

Ahead of the IBC, Panasonic have announced two new box cameras. The UB-50 is a full frame L mount camera and the UB-10 is an MFT camera. Its a pity the didn't call the bigger one the UB-40 as that would've given some food for the thought and possibly make RED RED Whine (ask your Grandad) . Details are scant and no idea of pricing. Product pages here : https://eu.connect.panasonic.com/gb/en/broadcast-proav/aw-ub50 https://eu.connect.panasonic.com/gb/en/broadcast-proav/aw-ub10

This might be worth looking into this to map a physical controller to operate the virtual controls in the app. The DJI mic can remotely start/stop the Pocket 3 so it does make me wonder whether the capability is there for gimbal control too that is not used. I quite fancy getting a Pocket 3 so if I do then I’ll be sure to, erm, “investigate” that avenue as well as the data between the app and the camera.

My elderly MacBook Air took one for the team. Its Li-On and fully charged without an issue. It lives ! My impatience has caused me to order a couple of tapes off Amazon rather than wait to go to the Great Warehouse Of Shame storage place so hopefully they will be here by Wednesday. I've also ordered an S-Video to HDMI unit to see how it fares being recorded in ProRes on a Hyperdeck. Poorly, I'm assuming.