BTM_Pix

I think there is even a custom bracket that someone has designed that you can download and 3d print for the Smooth Q. As for the GH5 and the Osmo Mobile.....I bet you there is someone out there mad enough to have tried it. And if there isn't then its time for you to step up! If you can power the camera externally and use the lens cap lens that Olympus do then you could shave some weight off it but it could still be a bridge too far for it.

You can mod the Zhiyun Smooth Q to take and RX100 relatively painlessly. Some tutorials and examples here. https://www.youtube.com/results?search_query=smooth+q+rx100

The Osmo Plus. The zoom option lets me use it as a glorified PTZ camera for live press conferences.

I have the Z Axis for the Osmo. Its not cumbersome and it is effective but it does make people stare a little bit. By which I mean a lot. I am going to pick up one of those ones I linked to in a couple of weeks and my exact thoughts were how it would fare with an IBIS camera (specifically my cinevised A6500 ) so I'll let you know!

There is still a permission element to the use of the music that has to be sought, which obviously varies on things like territory, type of medium, length of license etc. Its bad enough if you just want to cover a song yourself but if you want to use the original recording then its even more of a minefield because you are having to deal with whoever owns the mechanical rights as well. That is an area where rights owners - and lawyers - had some significant paydays with legal action against the use of samples. The case of "Bittersweet Symphony" by The Verve where they lost 100% of their royalties even when they thought they had got the right permissions being one sobering example http://ultimateclassicrock.com/rolling-stones-bitter-sweet-symphony/ Depending on their agreements with their piblishing companies, artists themselves can also often refuse permission if they don't want their music associated with something, such as Springsteen stopping Reagan using "Born In The USA" and Talking Heads stopping "Road To Nowhere" being used in an attack ad in another political campaign. Although the latter is ideally placed to become our new national anthem post Brexit. As Jon says, when it comes to YouTube it is actually easier to deal with using their tools than if you were trying to clear it yourself for an independent film etc.

I don't know anything about the Glidecam product but a while back I was looking at Z axis addons for one handed gimbals. I got caught up in other stuff so didn't end up getting one but I was looking again the other day and they seemed to have come down in price a lot. The one in this review is about £65 on Amazon and could be a two birds with one stone solution with regard to reducing fatigue as well as adding what from this video appears to be an impreasive degree of additional stabilisation. With it being an add on it also gives you that option to remove it and just use the one hand unit when you need a bit more low profile. https://youtu.be/_wmaNdImgf0

The bravest cowboy in the west.

Its also a huge boost at a low price for anyone with an LS300 as it allows you to record 4K60p without the additional bulk of something lile the Ninja Assassin. More signifcantly, I can see a lot more 5" loupes becoming available because of this monitor so it can be used as an EVF, which means it can also overcome the LS300's achilles heel of it having an absolutely abysmal EVD and flimsy LCD fold out monitor.

It also has a nifty function where it saves the information about the monitoring LUT you were using in the metadata of the clip which is then picked up and displayed in the clip field in Resolve. I like the baked in LUT function too but as an alternative if you need to turn things round quickly in HD while still retaining the option to have a more flexible master in 4K for future finessing then the option of being able to apply the LUT to the HDMI output is a very good reason to pick up a used Atomos Ninja Star off eBay.

Kipon do one with autofocus for about £230 and they also do a version with a speedbooster in it for about £100 more.

I think it would be good fun if you shot parallel reviews in more down to earth versions of the places where they host the PR schmoozefest launch events for each camera. So, Hull instead of Hawaii, York instead of New York, Blackpool instead of Las Vegas and, of course, if the next one sees them heading off again to shoot Nordic lagoons and and glaciers.....

My guesstimate based off the BM spec sheet is that to maintain the 85mm rail centre point if the rails went through at its halfway point, then the battery pack/base unit would be 75mm high. Thats actually plenty of room to accommodate a very decent capacity power bank, the additional XLR and some interesting other additions....

I think its crying out for a 3D printed DIY battery grip with a high capacity power bank in it. Even just buying this £34 kit and rehousing it would do as it has not far off the capacity of it is not far off 5 batteries. With enough space left over for an additional XLR input to connect to the 3.5mm socket and a more robust home for the USB-C drive.

I did make exactly that point in the last line though? "I think the video could equally have been called "Why I Don't Need A 4K RAW Cinema Camera Irrespective Of How Much It Costs" as when it comes to the most important aspects the only difference between the two is where the decimal point is in the price." Again, I did actually mention that as a difference in favour of the BM though ? "No built-in XLRs - Its singular but obviously different there."

I have to say that my takeaway from it was wondering why he bought it in the first place because those list of reasons in his description were all there before he wrote the cheque. I'm not sure it particularly validates the P4K either to be honest as that camera wouldn't move the story on significantly for him either in a lot of those criteria that he listed against the RED. * My clients don’t need or ask for 4K - So its no different there. * I don’t end up taking it because I’m worry about it getting stolen and it is so heavy - Obviously different there. * The batteries only last an hour, so I have to bring a bunch - So its no different there. * No autofocus (which matters more when you’re a one man band or are filming yourself) - Obviously different there. * I find the image is actually really noisy. - From what I've seen, the Pocket4K will be a win there. * Filming with it is just slower and more work. - So its no different there due to it sharing the same issues he lists in his next 4 points. * Footage takes a longer time to backup. - So its no different there (relative to the type of cameras he lists that he does want to use in his last point) * Takes longer to make proxies. - So its no different there (relative to the type of cameras he lists that he does want to use in his last point) * Takes longer to export. - So its no different there (relative to the type of cameras he lists that he does want to use in his last point) * No built-in ND Filters - So its no different there. * No built-in XLRs - Its singular but obviously different there. * $1750 for the module with a mic input jack + HDMI/SDI out - Obviously different there! * Really want to go back to using hybrid cameras (I hate packing two kinds of cameras for photo + video needs) - So its no different there. I think the video could equally have been called "Why I Don't Need A 4K RAW Cinema Camera Irrespective Of How Much It Costs" as when it comes to the most important aspects the only difference between the two is where the decimal point is in the price.

I was just looking back at the posts on this thread on 9th April when it was put on pre-order at CVP. @Snowfun was the first with the pre-order (he's had his) and then you weren't far behind so I'm presuming you should be in the next batch. I was trying to remember where I was (ordered at 8pm UK that day) and thought it was sub 20 as well but just looking at those posts and @Kisaha posted at 9.30 that it was already at 200 so maybe I'm further down the list than I thought !

Nope, after some far too enthusiastic detective work I've made a positive ID with a map reference and a picture and its defo Neukölln https://www.google.com/maps/place/Ev.+Kirchengemeinde+Genezareth/@52.4770372,13.4199101,17z/data=!3m1!4b1!4m5!3m4!1s0x47a84fbe14d15f9d:0xabc8649152579c03!8m2!3d52.4770372!4d13.4220988 I'd recognise those bins anywhere !

Got to say that even I'd be dubious about taking it in my carry on luggage in that case though !

You should be able to replicate the exact test as unless I'm mistaken that shot was taken in Neukölln !

I think the police may have found it. Still got most of the Rycote intact.

Wow indeed, its like when Dylan went electric.

Scary stuff. Glad you got it sorted. I was a victim of something mysteriously draining my bank account recently myself and here I am on my to tell my wife that our account must have been hacked.

If those were the lenses that "most" Nikon owners have been buying for the past 15 or 20 years then Nikon wouldn't have had enough money left in the bank to buy a mirrorless camera system let alone develop one

Absolutely. They'd need to make the changes for themselves too as their own remote solutions can't currently do it either. I have a sneaking feeling the SL alliance might do it first though.

The challenge is in translating the track of the physical input to the lens position. You can do a test calibration of the lens to determine the number of discreet focus positions it has (a typical MFT lens has around 150 for example) and in an ideal world you would then map them around the steps of a rotary encoder as your input source for the operator, so position 124 on the encoder would equate to lens position 82 for example. Unfortunately, the current situation is that, remotely, you only have the ability to do offsets from the current position, often in single steps. So, for example, if you are currently at lens position 82 and need to get to position 65 you need to send 17 minus commands to get to 65. This is less of a problem when you are trying to do an automated A/B transition (although the transition speed between two very distant points is limited in how fast it can be due to the number of commands that have to be used) but it becomes a real problem when you are doing anything that involves manual real time user input. The amount of focus change and the speed with which it can be achieved with a manual focus wheel is too difficult to track in realtime because the lens cannot currently electronically be told to go to a specific position and it all has to be done with offsets. So if you turn the focus wheel to what the encoder knows is position 124 and it has to go to position 82 on the lens then depending upon where you start the turn then at best the tracking will be probably be bumpy but at worst incredibly laggy. If changes are made by manufacturers to allow driving a lens remotely to specific positions then a universal motor and hassle free solution for wireless follow focus would be easy and cheap to produce. Until they do, every solution where you want manual control is going to be hamstrung by this tracking issue.