BTM_Pix

Bitrate is 100mbps fixed which is near as dammit the upper limit of the variable bitrate that my iPhone 12 uses (a typical comparator for what people would use a Pocket for) and I don't find it lacking for the purpose.
More important for me is that the Osmo Pockets have Cinelike D which is a good compromise and very easy to grade.
I had to do a little project at the weekend using the LX10/15 (with my Cinelike D hack activated) and the Pocket and they matched easily both in terms of colour and acceptably enough in image quality.
On the Pocket 2, it is derived from a 4.6K sensor which is giving about 1.2x lossless zoom when shooting in 4K and roughly 2x and 1.6x in 1080p and 2.7K respectively.
In the edit, I punched in to around 2x on a 4K file from my weekend project and was comfortable with the result so I wouldn't be bothered going up to say 1.5x as a safety and then adding the rest in the edit.
A big advantage of the Pocket is adding the control stick which will give you full pan/tilt/zoom controls right from the handle.
That usability trumps a small loss of image quality for the purposes I use it for.
 
The 24mm in that spec is coming from it being a drone camera though.
The actual lens on a Pocket 2 is 20mm f1.8.
On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.
As well as also simultaneously being able to us magnetic ND filters too.
If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role.
Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick.
Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode.
Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉 

Currently waiting for a gig to start tonight with my Pocket.
Fashionably early though !
Nice to have a stabilised anamorphic camera that raises absolutely zero eyebrows from security staff either on the way in or when you are using it.

Bitrate is 100mbps fixed which is near as dammit the upper limit of the variable bitrate that my iPhone 12 uses (a typical comparator for what people would use a Pocket for) and I don't find it lacking for the purpose.
More important for me is that the Osmo Pockets have Cinelike D which is a good compromise and very easy to grade.
I had to do a little project at the weekend using the LX10/15 (with my Cinelike D hack activated) and the Pocket and they matched easily both in terms of colour and acceptably enough in image quality.
On the Pocket 2, it is derived from a 4.6K sensor which is giving about 1.2x lossless zoom when shooting in 4K and roughly 2x and 1.6x in 1080p and 2.7K respectively.
In the edit, I punched in to around 2x on a 4K file from my weekend project and was comfortable with the result so I wouldn't be bothered going up to say 1.5x as a safety and then adding the rest in the edit.
A big advantage of the Pocket is adding the control stick which will give you full pan/tilt/zoom controls right from the handle.
That usability trumps a small loss of image quality for the purposes I use it for.
 
The 24mm in that spec is coming from it being a drone camera though.
The actual lens on a Pocket 2 is 20mm f1.8.
On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.
As well as also simultaneously being able to us magnetic ND filters too.
If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role.
Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick.
Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode.
Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉 

Far be it from me to encourage you to have more immediate gear angst but Megadap have just released the v3 Pro version of their E to Z adapter which promises even better compatibility with the Tamron lenses and improvements in AF generally, plus the ability to update its firmware directly from the camera.
So even if they don't immediately produce the 20-40mm f2.8 you could pick up an E mount version and attach the Megadap to it in the meantime to go with the native Z mount 35-150.
Opens up the a lot of other lens possibilities too from the E mount world, particularly the Sigma contemporary range.
My experience of the Megadap on @Andrew Reid's Z9 was that it was already near native performance so any advance on that will make it well worth checking out.
https://megadap.net/product/megadap-sony-e-to-nikon-z-autofocus-adapter-etz21pro/
 
 

To mount Sony E mount lenses on Z cameras.
Some desirable lenses (such as the Tamron 20-40mm f2.8 and the Sigma contemporary line) are not available in Z mount but are available in E mount.
 

No news on price but expected to be released in the Autumn.
https://www.tamron.com/global/consumer/news/detail/a058z_20230725.html
 

Bitrate is 100mbps fixed which is near as dammit the upper limit of the variable bitrate that my iPhone 12 uses (a typical comparator for what people would use a Pocket for) and I don't find it lacking for the purpose.
More important for me is that the Osmo Pockets have Cinelike D which is a good compromise and very easy to grade.
I had to do a little project at the weekend using the LX10/15 (with my Cinelike D hack activated) and the Pocket and they matched easily both in terms of colour and acceptably enough in image quality.
On the Pocket 2, it is derived from a 4.6K sensor which is giving about 1.2x lossless zoom when shooting in 4K and roughly 2x and 1.6x in 1080p and 2.7K respectively.
In the edit, I punched in to around 2x on a 4K file from my weekend project and was comfortable with the result so I wouldn't be bothered going up to say 1.5x as a safety and then adding the rest in the edit.
A big advantage of the Pocket is adding the control stick which will give you full pan/tilt/zoom controls right from the handle.
That usability trumps a small loss of image quality for the purposes I use it for.
 
The 24mm in that spec is coming from it being a drone camera though.
The actual lens on a Pocket 2 is 20mm f1.8.
On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.
As well as also simultaneously being able to us magnetic ND filters too.
If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role.
Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick.
Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode.
Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉 

Bitrate is 100mbps fixed which is near as dammit the upper limit of the variable bitrate that my iPhone 12 uses (a typical comparator for what people would use a Pocket for) and I don't find it lacking for the purpose.
More important for me is that the Osmo Pockets have Cinelike D which is a good compromise and very easy to grade.
I had to do a little project at the weekend using the LX10/15 (with my Cinelike D hack activated) and the Pocket and they matched easily both in terms of colour and acceptably enough in image quality.
On the Pocket 2, it is derived from a 4.6K sensor which is giving about 1.2x lossless zoom when shooting in 4K and roughly 2x and 1.6x in 1080p and 2.7K respectively.
In the edit, I punched in to around 2x on a 4K file from my weekend project and was comfortable with the result so I wouldn't be bothered going up to say 1.5x as a safety and then adding the rest in the edit.
A big advantage of the Pocket is adding the control stick which will give you full pan/tilt/zoom controls right from the handle.
That usability trumps a small loss of image quality for the purposes I use it for.
 
The 24mm in that spec is coming from it being a drone camera though.
The actual lens on a Pocket 2 is 20mm f1.8.
On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.
As well as also simultaneously being able to us magnetic ND filters too.
If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role.
Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick.
Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode.
Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉 

Bitrate is 100mbps fixed which is near as dammit the upper limit of the variable bitrate that my iPhone 12 uses (a typical comparator for what people would use a Pocket for) and I don't find it lacking for the purpose.
More important for me is that the Osmo Pockets have Cinelike D which is a good compromise and very easy to grade.
I had to do a little project at the weekend using the LX10/15 (with my Cinelike D hack activated) and the Pocket and they matched easily both in terms of colour and acceptably enough in image quality.
On the Pocket 2, it is derived from a 4.6K sensor which is giving about 1.2x lossless zoom when shooting in 4K and roughly 2x and 1.6x in 1080p and 2.7K respectively.
In the edit, I punched in to around 2x on a 4K file from my weekend project and was comfortable with the result so I wouldn't be bothered going up to say 1.5x as a safety and then adding the rest in the edit.
A big advantage of the Pocket is adding the control stick which will give you full pan/tilt/zoom controls right from the handle.
That usability trumps a small loss of image quality for the purposes I use it for.
 
The 24mm in that spec is coming from it being a drone camera though.
The actual lens on a Pocket 2 is 20mm f1.8.
On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.
As well as also simultaneously being able to us magnetic ND filters too.
If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role.
Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick.
Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode.
Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉 

Filmmaking is an art form. In the realm of creativity, people often crave the authenticity that only real humans can provide. This is why blockbusters often enlist well-known actors to generate interest and why, despite our daily reliance on them, our personal computers don't make headlines in gossip columns.
https://www.eoshd.com/news/dont-panic-about-ai-its-just-a-tool/

Bitrate is 100mbps fixed which is near as dammit the upper limit of the variable bitrate that my iPhone 12 uses (a typical comparator for what people would use a Pocket for) and I don't find it lacking for the purpose.
More important for me is that the Osmo Pockets have Cinelike D which is a good compromise and very easy to grade.
I had to do a little project at the weekend using the LX10/15 (with my Cinelike D hack activated) and the Pocket and they matched easily both in terms of colour and acceptably enough in image quality.
On the Pocket 2, it is derived from a 4.6K sensor which is giving about 1.2x lossless zoom when shooting in 4K and roughly 2x and 1.6x in 1080p and 2.7K respectively.
In the edit, I punched in to around 2x on a 4K file from my weekend project and was comfortable with the result so I wouldn't be bothered going up to say 1.5x as a safety and then adding the rest in the edit.
A big advantage of the Pocket is adding the control stick which will give you full pan/tilt/zoom controls right from the handle.
That usability trumps a small loss of image quality for the purposes I use it for.
 
The 24mm in that spec is coming from it being a drone camera though.
The actual lens on a Pocket 2 is 20mm f1.8.
On of the beauties of this camera though are the magnetic clip on wide angle adapters (which gives you 15mm) and of course the anamorphic versions too.
As well as also simultaneously being able to us magnetic ND filters too.
If DJI do bring a new version 3 out with an optical zoom and/or with 10 bit capture then that would be great but I have to say that even as it stands now the Pocket 2 is a very compelling camera for travel and, for me, it is a vastly superior proposition to my iPhone for that role.
Its not only because of the creative possibilities it has with having an integrated gimbal so you are not only stabilised but can do tracking etc or the anamorphic and NDs or the ability to have real hardware controls with the control stick.
Its that you can take it out of your pocket, hold the power button on and be ready to shoot 2 seconds later rather than titting about unlocking the phone, opening an app and making sure you are in the correct mode.
Another bonus is that if do have a need for remote shooting or self shooting with tracking then you can operate it from your phone which you can't do with your phone as you are already using it to film with 😉 

I dunno.
I honestly think that the same techniques and skill they were applying to work within the parameters of the medium then would have been adapted and transferred to work within the parameters of the new medium now.
Of course, I'm not saying it doesn't look good.
Far from it actually.
But, in my opinion, its because they are proper productions and, again, its the skills of everyone and everything from the back of the lens forwards that is making the biggest contribution to that.
In those terms, and its only my opinion of course, the difference made by what is behind the lens capturing the image is almost negligible compared to the difference that is made in what is coming into it.
I've shot absolutely horrible looking stuff on both film and digital so I should know 😉 

I dunno.
I honestly think that the same techniques and skill they were applying to work within the parameters of the medium then would have been adapted and transferred to work within the parameters of the new medium now.
Of course, I'm not saying it doesn't look good.
Far from it actually.
But, in my opinion, its because they are proper productions and, again, its the skills of everyone and everything from the back of the lens forwards that is making the biggest contribution to that.
In those terms, and its only my opinion of course, the difference made by what is behind the lens capturing the image is almost negligible compared to the difference that is made in what is coming into it.
I've shot absolutely horrible looking stuff on both film and digital so I should know 😉 

If you google the net worth of family then they could make a decent fist of buying a fair chunk of Arri in its entirety let alone one of their cameras 😉 

There were over 500 people involved in the creation of Born On The Fourth Of July.
It was nominated for 8 academy awards.
The writer, director, editor, cinematographer, composer and sound department have all won at least one academy award.
The actual camera and film stock only captured the end result of the direction production design, lighting, composition and performance of what was in front of it.
As such, it was the least influential aspect of what you were watching.
Resolution matters, "colour science" matters but being realistic matters most of all.
Waft the same camera loaded with the same film stock around without any of what they had in front of it and it will look as shit as if you did it with whatever the next great thing in cameras is.
We've all got the means now to capture a great image but still lack everything that goes into creating that image in the first place.
In this case, what we would be lacking would be the other 499 people.

On mine, I can get it to take an inordinate amount of time to release when the AF is in Tracking mode and then it will still occasionally do it when I switch it to Area but its not consistent and sounds like a different issue to what you are having anyway.
By the by, I sometimes don't think the AF ON is performing properly but I need to look into that further.
 
You could try using the Save/Restore Camera Setting function to make a copy of the settings of each camera onto their respective SD cards then swap the cards and load the settings up on each to see if the behaviour transfers to each camera.
If Unit 02 doesn't start misbehaving in the same way as Unit 01 when it is using its settings then that would imply it is a hardware fault.
Similarly, after saving the settings, you could do a factory reset on Unit 01, check its behaviour with defaults, then re-load your settings from the card to see if it then does it which would imply something within the custom settings you have made.

It has a great feature set for the purpose but, for  me, more so as a holiday camera.
The magnetic mounting pendant is very good for staying in the moment of what you are doing on holiday whilst still filming. The pre-record function is particularly good for using it in that way as you won’t actually have to worry about missing anything.
Let’s face it, trying to do holiday videos with a “real” camera is a pain in the arse for EVERYONE  concerned and is actually a contradiction in terms as it’s no holiday when you are titting about with lenses and ND filters and offloading footage.

Let alone carrying it all and making sure it’s safe.
It always ends up with the bulk of the footage coming from the first day and tailing off to nothing after a few days as it’s too much hassle to keep up.
The AI editing is good too not just for taking out the tedium of doing editing but likely for taking out the tedium of the actual end result for whoever has to watch your holiday videos.
No full size HDMI port means it will be a hard pass for a lot of people on here of course.

It has a great feature set for the purpose but, for  me, more so as a holiday camera.
The magnetic mounting pendant is very good for staying in the moment of what you are doing on holiday whilst still filming. The pre-record function is particularly good for using it in that way as you won’t actually have to worry about missing anything.
Let’s face it, trying to do holiday videos with a “real” camera is a pain in the arse for EVERYONE  concerned and is actually a contradiction in terms as it’s no holiday when you are titting about with lenses and ND filters and offloading footage.

Let alone carrying it all and making sure it’s safe.
It always ends up with the bulk of the footage coming from the first day and tailing off to nothing after a few days as it’s too much hassle to keep up.
The AI editing is good too not just for taking out the tedium of doing editing but likely for taking out the tedium of the actual end result for whoever has to watch your holiday videos.
No full size HDMI port means it will be a hard pass for a lot of people on here of course.

It has a great feature set for the purpose but, for  me, more so as a holiday camera.
The magnetic mounting pendant is very good for staying in the moment of what you are doing on holiday whilst still filming. The pre-record function is particularly good for using it in that way as you won’t actually have to worry about missing anything.
Let’s face it, trying to do holiday videos with a “real” camera is a pain in the arse for EVERYONE  concerned and is actually a contradiction in terms as it’s no holiday when you are titting about with lenses and ND filters and offloading footage.

Let alone carrying it all and making sure it’s safe.
It always ends up with the bulk of the footage coming from the first day and tailing off to nothing after a few days as it’s too much hassle to keep up.
The AI editing is good too not just for taking out the tedium of doing editing but likely for taking out the tedium of the actual end result for whoever has to watch your holiday videos.
No full size HDMI port means it will be a hard pass for a lot of people on here of course.

It has a great feature set for the purpose but, for  me, more so as a holiday camera.
The magnetic mounting pendant is very good for staying in the moment of what you are doing on holiday whilst still filming. The pre-record function is particularly good for using it in that way as you won’t actually have to worry about missing anything.
Let’s face it, trying to do holiday videos with a “real” camera is a pain in the arse for EVERYONE  concerned and is actually a contradiction in terms as it’s no holiday when you are titting about with lenses and ND filters and offloading footage.

Let alone carrying it all and making sure it’s safe.
It always ends up with the bulk of the footage coming from the first day and tailing off to nothing after a few days as it’s too much hassle to keep up.
The AI editing is good too not just for taking out the tedium of doing editing but likely for taking out the tedium of the actual end result for whoever has to watch your holiday videos.
No full size HDMI port means it will be a hard pass for a lot of people on here of course.

It has a great feature set for the purpose but, for  me, more so as a holiday camera.
The magnetic mounting pendant is very good for staying in the moment of what you are doing on holiday whilst still filming. The pre-record function is particularly good for using it in that way as you won’t actually have to worry about missing anything.
Let’s face it, trying to do holiday videos with a “real” camera is a pain in the arse for EVERYONE  concerned and is actually a contradiction in terms as it’s no holiday when you are titting about with lenses and ND filters and offloading footage.

Let alone carrying it all and making sure it’s safe.
It always ends up with the bulk of the footage coming from the first day and tailing off to nothing after a few days as it’s too much hassle to keep up.
The AI editing is good too not just for taking out the tedium of doing editing but likely for taking out the tedium of the actual end result for whoever has to watch your holiday videos.
No full size HDMI port means it will be a hard pass for a lot of people on here of course.

If I was Blackmagic, I’d skip the L mount and be beating a path to Nikon’s door to use the Z mount.
Natively, you can get fast Z primes up to 800mm so there is a much broader range there whereas L mount tops out at 135mm but it’s the adaptability where it scores.
Adapters for EF with autofocus, E mount with autofocus, even any manual focus lens with M mount and deeper mount can have autofocus too and even PL mount with integral variable ND filter.
Last but by no means least F mount with full autofocus, something which no other mount can offer.
Between these adapters a customer for this speculated BM camera could use pretty much any lens they’ve acquired over the years with full autofocus. Minus X mount and of course L mount itself but weirdly with the MFT to E mount you can even use those lenses too.
Z mount is hands down the most versatile mount around* with the added bonus of BM not having to deal with Leica who, let’s not forget, wouldn’t do firmware to make their cameras compatible with an adapter from one of the actual members of the alliance. My MC-21 still isn’t and won’t ever be compatible with my Leica T or SL.
Nikon are unlikely to get into the true cinema camera market so there is less perceived challenge versus Panasonic who are very likely to want to do so with an L mount cinema offering in the near future.
 
 
 

 
 
 
 
*This amazing and comprehensive compatibility didn’t of course stop me somewhat hypocritically not buying into Z mount and spending all my money that I’d intended to use on increasing my L mount collection of lenses instead 🙂

If I was Blackmagic, I’d skip the L mount and be beating a path to Nikon’s door to use the Z mount.
Natively, you can get fast Z primes up to 800mm so there is a much broader range there whereas L mount tops out at 135mm but it’s the adaptability where it scores.
Adapters for EF with autofocus, E mount with autofocus, even any manual focus lens with M mount and deeper mount can have autofocus too and even PL mount with integral variable ND filter.
Last but by no means least F mount with full autofocus, something which no other mount can offer.
Between these adapters a customer for this speculated BM camera could use pretty much any lens they’ve acquired over the years with full autofocus. Minus X mount and of course L mount itself but weirdly with the MFT to E mount you can even use those lenses too.
Z mount is hands down the most versatile mount around* with the added bonus of BM not having to deal with Leica who, let’s not forget, wouldn’t do firmware to make their cameras compatible with an adapter from one of the actual members of the alliance. My MC-21 still isn’t and won’t ever be compatible with my Leica T or SL.
Nikon are unlikely to get into the true cinema camera market so there is less perceived challenge versus Panasonic who are very likely to want to do so with an L mount cinema offering in the near future.
 
 
 

 
 
 
 
*This amazing and comprehensive compatibility didn’t of course stop me somewhat hypocritically not buying into Z mount and spending all my money that I’d intended to use on increasing my L mount collection of lenses instead 🙂

Yeah, adding an UltraSync Blue will resolve my woes if Zoom don't update their firmware but I wouldn't rule out Atomos breaking compatibility with that either.
Curious how it works with the Tascam X6/X8 though as I'd put good money on their overpriced BT adapter being one and the same product as Zoom's overpriced BT adapter.
Anyhow, I'm off to test what else doesn't work on the Connect now 🙂 

One thing that might tip me into buying a used Z9 (aside from Z8 possibly not being available from stock when I go on my trip) is whether they have cut BLE timecode from the Z8 as I have a bit of commitment to that through Zoom audio recorders and now the Atomos Connect add on for the Ninja V.
Hopefully it will also support the remote grip as well

Fuck it, I’m getting a used Z9 aren’t I?