seanzzxx

Guys this camera is not meant to primarily shoot 12K. It downsamples BRAW in camera, so the RGBW sensor enables full sensor full rgb over sampled 8k and 4k. THAT’S the selling point, not the 12k.

Maybe a stupid question but why can’t you focus manually? I see so many people acting like no af=oof shots, but you’re operating the camera, right? I own a blackmagic camera and one with af that is supposedly much better than the fs7 (r6) as a second camera for interviews, and the amount of times I get oof shots with the blackmagic is way way way less (because I have my hands on the lens) than with the r6, who has very good af but who I cannot trust in the same way to not jump to something else or suddenly focus and refocus. 

Great question. I think I'm looking for a few things. The big one is form factor: I really dislike rigging an re-rigging the Pocket whenever I want to go from shoulder to handheld and so on. I really want internal nds, and I want more dynamic range. I thought the Ursa had significantly more dynamic range than the 6k?

Hey folks, I've asked this question on the Blackmagic forums (which is a great place), but I like to get my information from a wide source, maybe there's some folks who have experience in this matter or are going through the same process. I'd love to hear your thoughts!

I'm looking for an upgrade to my Pocket 4K (which I love and which has served me very well). The lack of updates for the G2 seriously makes me hold off on buying one because it makes it feel like an end-of-life product. It also feels like the 6K Pro approaches 99% of the G2 its features (and bests it in some way) for less than half the price currently. What are you guys thought on this?

I have a R6 as a 'b-cam' with autofocus, but it has a lot of weird quirks. 4k25 has horrible unusable rolling shutter. However 4k50 doesn't but overheats like crazy. 1080p (which would be fine for me) on full frame has aliasing. I haven't really inspected the crop modes yet but it probably has something weird going on as well, haha.

I can't believe Nikon entered the digital cinema camera line in the 1960s and has been steadily improving and expanding upon it ever since. Incredible.

A clicking drive is always awful as far as I know.

Thanks for the advice guys! Regarding the R, I thought about that, but I need at least a 10-bit camera if I am going to match it with my Pocket, I had an 8-bit camera (a7r II) and there's just no proper matching to be done on a cam like that in my opinion; skin tones especially go super waxy.

Alright folks I really need some buying advice ... 

I’m a videographer that does 90% commercial video, 10% photography. I’m filming on a Pocket 4K which I’m EXTREMELY happy with and am looking for a second camera. I’ve just sold my A7rii and now am doubting heavily between a Pocket 6K pro and a Canon r6. I own all Canon ef lenses by the way. These two cameras are roughly the same price in my country.
 

The choice in my head is: Pocket for image quality, internal nds, way better screen, just an all around much better video camera. I’d rent or borrow a photo camera on the rare occasion I would need to.
Canon for size, ibis, and especially AUTOFOCUS. I often operate by myself and really like the idea of an af capable second camera. My main concern is that nothing about the image blows me away like the Blackmagics do. I’ve tested an R5 and were left kinda ‘meh’ with the image.
 

What would you guys do here? 😕 

So I’m bumping this thread because I’ve been offered a very good deal on a Nanlite 300. My other lights are 120ds (1 and 2) and I am just wondering if the lights mix tint wise. I’m a bit worried about, let’s say, purple fill lights because of different tints.

Dude, that's amazing! Almost made me tear up! Such a great camera still 🙂

I have one, planning on selling it only because I have so many EF lenses and only are getting further into that ecosystem (being primarily an ef-mount videographer), and the AF with an adapter is getting a bit long in the tooth. I think I'll go for an R6 to get a good camera with video-capable autofocus, but that's really only because of my lens situation. The image quality of the A7R II is still amazing, almost best in class, which really says something!

To be clear Blackmagic vehemently denies the above statement and says that any noise/detail differences are due to the different debayering.

The a6300 is a good example of exactly the point he’s trying to make, the distinction between resolution and fidelity. I had a shoot with a Sony a7sii and an Ursa back to back. The Ursa was shot in 1920x1080 prores 444, the a7sii shot UHD in mega compressed h264. The difference in PERCEIVED resolution between these two cameras is night and day, with the Ursa kicking the A7s it’s butt, because the image of the former is so much more robust in terms of compression noise, color accuracy, banding, edge detail, and so on. One is more resolute but the other camera has a lot more perceived resolution because the image is better. If you blow up the images and ask random viewers which camera is ‘sharper’, 9 out of 10 times people will say the Ursa.

@Beritar the OP stated they're using a Pocket 4k, which does have a native DCI 4k sensor, so your remark is not really relevant to them (just to avoid any confusion ahead of time).

Yeah, Sigma Art lenses 100%. Which I really like. The few modern Zeiss lenses I've used definitely qualify as well.

That's right UncleBob.

As to your premise, Kye, I think it is simply not true. The Ursa 4.6k G2 uses a Fairchild sensor, yet it matches almost perfectly with the Pocket 4k, which uses a Sony one. Like previously stated, Sony produces the sensors in an insane amount of photography-oriented cameras yet these cameras produce different images, sometimes wildly so.

Jesus Christ can people stop invoking Orwell whenever someone on the internet disagrees with them. My God, how serious do you have to take yourself to even consider doing that. Not everything is part of some epic clash of civilizations (looking at Andrews piece as well). If you'd actually look around you as opposed to just screaming about whatever you have predetermined reality to be, you'd see that the overwhelming majority of people all across the political spectrum do not think Wonder Woman 1984 is a good movie. In that sense you guys should be thrilled, because it actually should relieve some of your fears with regards to the ominous cultural post-truth hive mind that you so clearly worry about. Ironically, instead of actually, you know, looking at our cultural response to this movie, you instead preemptively project your fears unto reality, get angry about it, and call it a day. Come on folks, we're better than this.

On 12/28/2020 at 4:50 PM, filmmakereu said:

There are reports the fast h.265 handling is faster but lower quality comparing with the Intel capabilities.

Will ProRes or other have the same issues?

I also had asked it there but no answers so far:

 

I also wonder if h.265 transcoding / encoding with software isn't possible to overcome those issues of M1 hardware?

Where are you seeing the news of poor encoding?

What's people's experiences with the m1 so far bang for buck? I'm really doubting between the 16 gig pro and a Omen 15 with a rtx 2070

Lol because the box office has been famously dominated by thoughtful, high quality movies.

I find conflicting info on this. Anyone know how these do with Resolve?

It doesn't, camera nerds on fora have a hard on for it, that's all. In the extremely unlikely event that you would ever need to show your movie on a projector that doesn't support 23.98 fps you'll have to speed up your footage by some imperceptible amount. (I'm speaking from experience here).

How's the color accuracy of the Nanlite?

eh I think I'll just wait for Tupp to show up and say that it cannot have a dense image as long as it wasn't shot on Kodachrome(tm), seeing how that has been this thread for the last month or so.