Anaconda_

1 hour ago, BTM_Pix said:

The first three clips in the video are actually on an adapted Sigma 18-35mm on a Metabones Smart adapter so its certainly not lacking in speed or precision.

Having said that, there are quite broad variances in EF lenses in terms of precision

Ah good to know! My most used lenses are the Sigma and Canon 24-105 L which is pretty snappy in my experience. 

Looking forward to placing my order asap.

5 hours ago, BTM_Pix said:

The next most likely version of this particular one is a motor based universal version.

As a bmpcc4k user using adapted glass. Is it best to wait for this? In my experience, adapted glass and AF don't play that nicely...

10 minutes ago, Video Hummus said:

He makes other points about REDs extensive litigious behavior towards other companies and individuals, including himself and JinniTech. Some of it for even having the word RED in your company name in a completely different industry.

I did laugh when he revealed they tried to sue an Infra-red imaging company 🤣

3 hours ago, BTM_Pix said:

A way to offer a halfway house to the ATEM Mini Pro would be to have two short (five or ten second) circular buffer recordings of whatever is on the preview bus pre and post cut onto the output bus.

That’s exactly what I’m asking about. But, if you’re doing that circular buffer, then Shirley you can also just do full ISO recording?

maybe the new internals includes a storage  space to allow much bigger buffer before sending data out to the USB?

5 hours ago, BTM_Pix said:

The Mini Pro generates timecode to the Pocket Cameras the same way as the ISO version so I can't see why it wouldn't be possible.

Nice. But what about an option to record the 'live' inputs as individual clips with handles. Like this:

Input 1 is selected for 10 seconds - Input 2 for 5 seconds - Input 3 for 2 seconds - Input 1 for 10 seconds

Then on the SSD you have a project file with 4 individual clips, named:  Input1_00001 - Input1_00002 etc.

But what's better is each clip has a few seconds either side of it. In the project, you have the 'edit' you made live, but since the clips are a little longer, you can move the cuts back and forward a little bit to tidy things up.

---

I guess to do that, the device would have to be recording all inputs all the time, but the 3 unused inputs can be on a x second overwrite loop, when you select Input 2 the overwrite turns into continuous and the file is created. Maybe for the processing, thats harder than just recording all the inputs all the time?

I wonder if they could add a firmware update to the none ISO version to give users the project file. 
 

Allow the operator the option to record the master file or record the live inputs as separate clips with 2 second handles or something?

then you can still fine tune the cuts in post and it doesn’t sound like all that much more data to pass through the system to your SSD.

I have no idea what they’ve done inside the box to allow for ISO, but if my suggestion is possible. It could be a reasonable update to keep those with Pro models from feeling shafted.

I watched this and was super impressed. It's not a product I'd buy, its not for the type of work I do, but it's clearly very powerful and opens multi-cam shoots up to basically anybody. Having all of the source media in a pre-made project is incredible. The fact you can open and use that product on any computer using free software is even more amazing. 

Great update! Can anything record 6k ProRes Raw? I'm not really following the Ninja Vs capabilities all that closely.

2 hours ago, herein2020 said:

In every other way though Panasonic keeps proving they really should be the market leaders in the semi-pro/pro video world.

I feel like they hit this point with the DVX100 - that was a killer camera for it's price / market. Definitely over took Sony's VX / PD and Canon's XM cameras.

Can Braw be over HDMI? For some reason I thought it was SDI only.

56 minutes ago, rdouthit said:

I don't see journalists needing SLog. News reporting is for fast turn-around.

I have shot my fair amount and always go log/raw 4K internal and burned in LUT 1080p external. 

That gives the editing team options for super quick turn around and lots of flexibility and data for archival and future use. 

I see a lot of ungraded log footage used in news media, they don’t have time to grade, nor do they care. First wins no matter what the skin tones look like.

38 minutes ago, Video Hummus said:

mindshare among professionals is worth 10x the weight of gold.

For sure. Many of those pros will also have their own gear, and most will likely swap to Sony for their personal / private work down the line. 

Edit: yes it’s also for stills, so of course they’re using mirrorless. 

Seems smart of AP to streamline everything. 

But are they using mirrorless? I know plenty of people who work for Getty in the news media category and they all shoot Sony anyway. The difference is they use the Sony tophandle style camcorders. Occasionally I’ve met one who uses an A7x on a gimbal, but it’s mostly the top handle type. 

AP are on a similar vein so I assume they’re not using mirrorless in that field. 

Interestingly, I’ve heard many stories of big name actors who refuse to interact with AP. In fact they make it a point not to talk to AP on the media line. 

If I remember right, it was an audio recording on SoundCloud. 

I think both parties involved refused to see the other side of the argument and the conversation goes in circles for 20/30 minutes. 

The jist is, Andrew has concerns about customer service, and the BMD rep says if you buy a camera with issues take it back to the store you bought it from, not the BMD booth at a trade show. 

I don’t know for sure, but I would imagine Andrew was asked to take it down as the link has disappeared.

Thanks for the info. Raspiraw is a nightmare to figure out, and isn’t compatible with python. This is my first pi / coding project and implementing Raspiraw seems way beyond my level of understanding. I asked on the forums, but the devs approach is ‘if you need someone to hold your hand, find an alternative’ - which doesn’t exactly inspire me to learn his system. I don’t need hand holding, but reasonably easy to understand instruction wouldn’t go unappreciated.

for now I’m just sticking to h264 but the nice thing is, its easy to tinker and adjust the code even when the rest of my project is finished.... who knows when that will be. 

For the time being. My focus is on getting a 1inch monochrome oled display to show the camera preview from boot until shutdown. 

If if it helps, I’ll happily share my VNC details in a pm and you can try your own codes etc, on my hardware. Just promise you won’t run a self destruct script. 

5 hours ago, rawshooter said:

Hello @Anaconda_, can you help? I filed a bug report on the Github page of PyDNG's developer, along with your Dropbox links to the original camera files, and received the following answer from the developer:

https://github.com/schoolpost/PyDNG/issues/24

I can’t look into this right now, but my process is as I described in the post above your question. 

When I’m home next week I can paste my python script for you to see each step. But it’s basically what I wrote above with extra lines for frame size and frame rate etc.  

12 hours ago, Andrew Reid said:

We’ll have to wait and see whether the rolling shutter in 12K is manageable at that resolution. That’s a lot of data to read off the sensor but considering it cranks up to 60fps in 12K, this implies the rolling shutter might actually be quite fast!

From @CaptainHook

Full 12K : ~15.5ms
8K/4K (full field of view) : ~8.5ms*
6K crop : ~7.8ms
4K crop : ~4.25ms*


*We hope to improve this slightly in an update

Quote

High Speed Frame Rates

12K 17:9 full sensor up to 60 fps
8K DCI full sensor up to 110 fps
4K DCI full sensor up to 110 fps
8K 2.4:1 and 4K 2.4:1 up to 140 fps

6K Super 16 up to 120 fps
4K Super 16 up to 220 fps

https://www.blackmagicdesign.com/products/blackmagicursaminipro/techspecs/W-URSA-36

From someone on the BMD forums - ProRes 422 export from Braw sample.

Quote

https://drive.google.com/file/d/1lx9aIOq_p48VaLZaX6pQBrtTas6E5ijc/view

P4K, ISO400

Only changes made in post:
- Processed with gen 4 or gen 5
- Black, mid, and white points matched

As you can see, the dramatic difference is in the gamma curve. Gen 5 is much more "open". Whatever color differences there are will need a more controlled test with more challenging memory colors to reveal.

Sshhh. we want people to upgrade from the G2 and drive 2nd hand prices down.

1 hour ago, Andrew Reid said:

and the 8K / 6K / 4K crop modes are going to have the smaller sensor look (2x crop or more).

Im not sure this is representative of the facts. The crop is only for the very high frame rates. For normal shooting, there is no crop at any resolution... As far as I understood anyway.

Gen5 colour is already usable with all braw footage ever filmed. I guess soon it'll be available in cam too.

V5 is already available for everything previously shot in Braw. I imagine in a few weeks, all cameras will get an upgrade to v5 colour internal too.

I just saw on FujiRumours that people in the UK can rent Fuji gear for 48 hours for free! 

Quote

Fujifilm UK offers Free 48 Hours Loan on Fujifilm X/GFX Gear (Including GFX100)

https://fujifilm-connect.hireacamera.com/en-gb/

This isn't too far off from what you're already doing, but in my opinion is more flexible because of the connector type and 48v phantom power. https://www.bhphotovideo.com/c/product/1349307-REG/saramonic_sr_vrm1_compact_liner_pcm_recorder.html

I tend to use it the other way around to how I picture your setup. Have a lav going into this, and record local. Then plug it into a Rode Wireless go which sends the audio to my camera for monitoring and recording backup audio.

What this offers that no other device this size does is Phantom Power 48v, so you can also use this setup for wireless boom, reporter mics and a few other applications, it works very well and means you always have backup audio.

Looks interesting. Could that mean  4k Braw with 35mm crop?

I'm also hoping for camera control from a VA. That would give all pockets a really good detachable tilty/twist screen.