BTM_Pix

Based on a presumption of the ISO/Gain relationship between the P6K and the Ursa Broadcast G2/Studio Camera 6K Pro (which are both P6K in different form factors) then I would expect the same relationship between the P4K and the Micro Studio Camera 4K G2. So, 0dB and 18dB would equate to the Pocket 4K's dual native ISO values of 400 and 3200 respectively.

He's not coming back is he ?

It does have two but with it being made for broadcast it is expressed as gain (0db and 18db in this case).

Sony did this ten years ago with their QX range such as the QX100 which was an RX100 sensor and lens. A year later, they even released the even lesser spotted APS-C E mount version. Unfortunately, they all absolutely tanked. I've said a few times that they were ahead of their time and maybe if they were released now they would fare differently. Whether it would be Sony themselves who do it is debatable and if they did it would likely be an exclusive with their own phones but maybe BM could be a candidate.

I mentioned in another thread about the PZ-E1 adapter they previously did for the EF-S 18-135mm. It doesn't look too dissimilar so I'm struggling to see how its gone from $150 to $1000 in six years. If they get it supported in future lenses then that would soften the blow spreading that cost over a few different ones but I'd be cautious because they never did add support for the PZ-E1 beyond that initial lens.

Well we may Seymour if the first six are up to Parr.

Actually six now.

Surprisingly, not to mention annoyingly, the REC control of the Nucleus wheel isn't bi-directional with the app. You can start/stop the app recording from the REC button on the wheel but the app does not return the compliment in terms of keeping the wheel in sync.

It looks very good, though I must be getting old as the price of it being $3K was a bit of a shocker ! The optional powered zoom adapter for it looks intriguing too but, again, $1K seems a bit excessive for a Nucleus Nano motor in a bigger case that you can’t use with any other lenses. Canon did a similar adapter a few years ago for one of its APS-C lenses and it was about $250-300 (some inflation eh?) and the main criticism of it was that it was unique to one lens so maybe this time they have learnt the lesson and will make this one available for more lenses down the line.

Its great to see this happening but, of course, I did beat them to the punch for incorporating the Nucleus wheel into a phone app by over five years so I feel seen 😂 What isn't so great, though, is it has the frequent propensity for it to zoom the camera in to a very specific (and unusable) 13.9x during movements of the focus wheel. When it works its good but I'm getting this issue at fairly regular intervals. I'm using an antique by their standards iPhone 12 Mini so it could be that. Anyone else tried it and got similar issues ?

Sony RX0ii in the top mount of a Pocket4K/6K and wafting the whole thing about will get comparative files for someone who's willing to put the miles in to make a bi-directional converter with.

The camera integration tips the balance for me towards the ATEM family, particularly with the release of the new Micro Studio 4K G2 camera. For under $4000 you can have four of them that are timecode locked and they can be fully controlled from the ATEM not just for colour and exposure but focus and zoom (with the inexpensive powered zooms from Olympus and Panasonic). With the integration with Resolve, the ATEM ISOs and these cameras give you three products to sell to a client from one job. The 1080p live stream The 1080p master recording of the live stream. A re-cut version of the live stream in either 1080p or 4K. The last one is interesting because with any manufacturers camera you can just bring in the ISO recordings and re-cut them in Resolve (as the ATEM generates a Resolve project with the cuts in it) but with the BMD cameras gives you the option to bring in the 4K BRAW recordings from the cameras own recordings. When used with the ATEM, the BMD cameras can provide a 'video mode' output through the HDMI for the live switching whilst simultaneously recording their own 'cinema mode' versions to SSD. This is a great option for doing live videos for bands as they get the 'video' version for the live stream and the possibility of a more cinematic looking version from the recut BRAW files. The ATEM Mini Pro ISO is a bit limited so I would definitely recommend going for the ATEM Mini Extreme ISO not just for the extra four channels but also the additional media player and the SuperSource function which offers a lot of creative and practical possibilities. The drawbacks with the ATEM are in the animated CG and video player aspects. The former you can get around fairly easily with software such as Uno Overlays etc and the latter can be addressed using BMD's HyperDeck record/playback devices. The cheapest of these, the newish HyperDeck Shuttle HD, is interesting in the role of producing live sports as with some inexpensive additional hardware splitters you can coax it into being a very decent instant replay system complete with tactile jog/shuttle control. For around $6500 then, you can have an eight channel switcher with ISO recording and streaming, four timecode synced RAW shooting 4K cameras with full remote control and three channels of instant replay. Unlike the Tricaster TC40 that I used to own (which was nowhere near being even half the functionality of this system let alone how much more its modern equivalent will cost) it will also all fit comfortably in a Peli 1510 case rather than an 8u flight case and is a fraction of the weight ! Another thing that people tend to overlook about the ATEM Mini series is that it has an excellent fully fledged Fairlight mixer in it with EQ and Dynamics on every channel including the Master channel. Its mind boggling really how much of a value that is as they didn't really need to make it that comprehensive ! Don't get me wrong, the ATEM system isn't perfect but it is a very good eco system to start a business around. And you never know, maybe one of these days someone might release a product that integrates a few more things to make it even more useful......

BM acknowledging that adding OLPF to your 12K camera reduces the issue and gets you Netflix approved. The issue that they were primarily addressing was for LED screens in VP rather than a gang of wedding guests in herringbone suits though.

I have a bunch of these Weeylite S03 RGB lights. They are very flexible in terms of what you can do with them and the app used to control them is very good when it comes to creating those sort of effects as it has a bunch of different presets which you can then modify yourself. Lights can be controlled in groups or individually via the app and you can save your own scenes for later recall. They are around $20-25 dollars although depending on the size of the room you might want to consider something bigger from the range that has more output. https://viltroxstore.com/collections/rgb-lights

Maybe a nod to the fact that within the next five years it might well only be old duffers who want to buy "real" cameras so they are looking to mirror the Morgan sports car approach to the mid-life crises. We'll all be cutting about taking images on our faux 70s cameras wearing a tweed hat and driving gloves. This will be us at IBC 2026

I had a play with one in Japan last week. If they had one in stock then it may have been a challenge to not at least go and have a coffee and a serious think. Particularly considering my off again/very much even more off again relationship with the S5ii during that trip.

Sat having a quiet afternoon pint and browsing this thread. What a great thread it’s been and I hope we can all wake it from its semi slumber.

Cool. I’ve saved you some money then. Unfortunately, since the Japanese manufacturers’ secret accord that was signed in a basement whiskey bar in Kabukicho, small cameras with mic inputs have been thin on the ground. Nikon weren’t invited though so if you don’t mind something left field and obsolete, the V1 can be had for cheap.

EOS-M ? Bigger sensor for not much bigger footprint and generally available for sub £150 including the stabilised kit lens. Thats just it as a regular camera but of course there is room to grow with RAW video though that’s far from compulsory. Ditto room for expansion with the lenses both their own and also some interesting cheap options from Meike and 7Artisans etc. Plus adapters for EF either speed boosted or with variable ND. For most people the EOS-M is all about Magic Lantern but outside of that it is a great option as a very cheap compact but expandable larger sensor camera.

In 2024, I will be releasing five new products. Two for live production, one for virtual production and two for music production. In 2025, I will be having a series of long naps and returning to capturing images.

I’ve been using the S5ii a lot over the past week on my trip. The slow start is completely getting on my tits now. However, there is a logic to it of sorts as you’ve seen on the GH6 to do with it obviously being in a sleep mode instead of being actually off when you switch it off. I can’t be arsed doing a proper test on it but I would guess it will do a fast start from Off until about maybe about an hour later when you will be back to the “is this thing dead?” startup time. It would seem logical to suspect that the slow drain is happening when it fails to put itself into full off mode when it is sleeping. Another thing about the drain issue is how iffy the power gauge is for the battery so you don’t know the real status of how much it has drained. I ran a battery until the camera shutdown and then accidentally put the same battery back in the next morning and hey presto it had about 20% showing. I’m not enjoying this camera to be honest. The brave new world of Panasonic AF isn’t all that either.

Call me cynical but …

I have had two T5 drives go rogue on me. Google “T5 Mac Won’t Mount” and you will see it is a common issue with not much consensus how to fix it. In my case, the only devices that could recognise them afterwards were the BM P4K and 6K, a SteamDeck and the files app of my iPhone. The latter one can give you a path to recover the files by copying them on to your phone and then back out to another drive/SD card. After doing that and then formatting them again they were able to work again but I don’t really trust them for anything except transfers when I still have the original media. They are also very finicky when it comes to cables and the only really reliable way I’ve found is using a USB to C cable as C to C is an issue with mine. To clarify, I have used them in the FP but the issues came after them being in the Mac. Obviously the number of reports of the issue also suggests it’s nothing to do with the FP ! Samsung have their own utility software you can download so you might get some joy there but if you have an iPhone or iPad around then I’d try that first. I have had no such issues with the T7 drives.

Apropos of not much really but looking at this in the camera shop today it’s interesting that here in Japan it is marketed as the G9 PRO II but not in the US/EU/UK etc Maybe there is hope yet for a smaller bodied non ‘PRO’ version.

The startup time on my S5ii is long to the point of me always thinking the battery is flat. Really annoying. I’ve had the unexplained drain as well with a battery that was in for a few weeks. Oddly enough, I’ve just pulled the camera out of my bag to see the lever has moved itself into the ON position whilst travelling (another annoyance as it’s too easy for that to happen) and of course I was fully expecting the battery to be flat and it is still full. So the secret to not draining the battery when it is off might well be to leave the fucker switched on !