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Everything posted by A_Urquhart

  1. I have been using the P4K with a speed booster since it's release and when the 6K Pro was released, said here on this forum that I was disappointed it had an EF mount. At the time, I would have preferred a mirrorless mount. Fast forward to six weeks ago and I needed a second camera so bought the 6K Pro. The mount has not been an issue and actually I have enjoyed not needing an adaptor. I work professionally in Film/TV production and both my pockets get used as B Cameras and C Cameras to much bigger A Cameras from Alexa Minis down to FX9's. While the industry standard mount is PL the next most common mount used is EF. There are many cine lenses that are swappable from PL to EF or available in versions of each. While I love the P4K with speedbooster, I also like being able to run lenses natively without an adaptor. EF lenses are everywhere and many lenses that get cine Modded like Leica R's get converted to EF. Sure a mirrorless mount with a PL adaptor would be great but most popular lenses we use have EF equivalents or mounts that can be converted such as Angeniuex zooms, Celere HS Primes etc. For me a speedbooster was a necessity on the MFT sensor to bring it into line with cine standards but with an APS C sensor, this is not the case. I didn't like the form factor of the original Poxket 4K and 6K. The non 'Pro'cameras needed an external monitor and battery solution so the dslr form factor was kind of lost on these models. With the Pro, you really can use the camera as is, with no external accessories so it's ergonomic form factor are more welcome. I do still wish is was in more of a Komodo form factor though as the un centered lens mount makes it harder to rig on a Ronin but once you have mucked around a bit with counter weights, and a offset plate, it's fine. In terms of it being 'disgusting', do you mean visually? I mean, really....does that matter? Does a Carpenter look at his drill and think, ew that looks disgusting? Anyway, mine are usually rigged with cages and other accessories (still waiting on a 6KPro cage) so you can't really see what the camera looks like. There is a reason why Arri/ Red/ Blackmagic and Post production houses world wide still use ProRes and not H264 or even H265! I will say, that I find ProRes a little more redundant on Blackmagic Cameras as BRAW is such great quality and more efficient but apart from that, ProRes is still used more on professional film sets as an acquisition format compared to RAW. Post wise, ProRes is far easier to edit than H264 and H265. Even though the data rates are higher, it's less taxing on the system. In terms of a comment saying that ProRes seems softer, what cameras are we talking about? Many cameras that shoot ProRes also have less internal sharpening applied. Mirrorless cameras that shoot H264/5 usually have a lot of sharpening in camera so may seem sharper,
  2. Yep, fair enough. I can kind of see where you're coming from
  3. I’ll weigh in here from a professional point of view and say that while my P4K and now P6KPro get used constantly on professional shoots, I just couldn’t get away with replacing either of them with the FP, but then I’m sure I’m not really who the FP is aimed at. So not sure I’d agree with the statement that the FP is aimed at the same customer base. Just a few weeks back we used the P4K as an A cam on a large global ad campaign for a fast food chain after a Sony Venice with Rialto wasn’t available. (The camera needed to be small). DP’s love the easy menu system and image, sound recordists love the Timecode input, XLR’s and easy to use audio features, Post production love the codecs available. In the four weeks I have had the P6K Pro, it has pretty much already paid for itself and it’s pretty liberating being able to use it without external storage (internal RAW is killer) , without external power, without an external monitor and without external NDs if need be. Many here might criticise its lack of AF, IBIS or build quality (to which I personally have not had issues with) but the key to all this is that the Pocket Cameras are accepted by the industry and that is one feature that trumps a bigger sensor, AF, IBIS, higher DR, more K’s etc..... Sure, the Pocket cameras suck as stills cameras so I’d say the FP is more aimed at hybrid shooters.....and this is probably what Gerald was comparing it to. I’m a big fan of Sigma (mainly their lenses, camera design and ethos) and glad they are persuing the camera market.
  4. It outputs the -20db safety out of the receiver on one track alongside the normal level output on the other track to the camera. The safety is not recorded by the TX unit, only output by the RX unit.
  5. Thanks for this, the performance looks very good. Does the unit have to be mounted at the sensor plane or is there an option to specify an offset in the menu? Also, can I toggle between manual focus and autofocus from a button on the Nucleus N or Nucleus M hand units or remotely somehow? cheers
  6. i really wanted to pre order but am waiting for better videos of the unit in use. The demo videos going from one bottle to the next were not very good real word scenarios IMO. I’d like to see how smoothly the AFC tracks a person moving away and toward the camera when paired with Tilta motors and a cine lens. Also, throw in a change of direction in there.
  7. Yep, the body alone is much beefier although I have a speedbooster mounted to my P4K 100% of the time so once you take that into account the difference is less. I also like the feeling of it in the hand more than the 4K. The battery is also sooo much better. I always used my P4K with a Vlock as the LP6N batteries were pretty unreliable and has short run times but I'd quite happily run the 6kPro on internal NPF. For me, the size is an advantage..... the internal ND's save so much time on set and the second XLR input means that the sound recordist is happy being able to feed two channels of audio directly into camera as well as Timecode via a tentacle sync into the microphone minijack input. So really.....the camera is still tiny considering all its features, inputs and the fact that it had a really nice 5" high bright screen built in.......it's a proper video/cinema camera. Sure is big compared to a mirrorless camera but then it offers so much more for me. I'm also a fan of the added BRAW compression ratios. While Blackmagic are not showing the Samsung T5s as being officially 'approved', in my tests I am able to shoot 6K50p BRAW at constant bit rate down to 5:1 or constant quality at Q1 to 1TB drives. Anyway, still testing for now....I'll be using it as a B Camera on a TVC next week so will keep you updated on how it performs.
  8. I got mine yesterday. Didn't bother with the EVF so can't comment but the ND'S work well and no noticeable colour shift on mine. Definately 'pro enough'. This is the upgrade from the 4k I was hoping for. I will be picky and say that I'd rather the camera was in more of a box form like Komodo or zcam but the fact that it had a great usable screen now and internal ND's more than makes up for its form factor. Fan is much noisier than 4K but still acceptable.
  9. Have been using Samsung T5's since getting my Tilta cage for the P4K when it was first released. I chose the Tilta cage because it had, by far, the best cable system for USB-C and HDMI compared to ever other cage. My P4K has been used on major car ads mounted to vehicles, used in long form dramas and TVC's mounted to jibs, cranes, gimbals and used on docs in some rough and tumble environments. Never had a single issue with any of the 4 500GB Samsung T5's I've got. (touch wood!) Reliability wise, I have owned the P4K since it's release and received one of the first units and the only issue I had was a buzz in the audio when the camera was providing phantom power to the XLR port. BMD fixed this under warranty.
  10. Modern Zeiss lenses not a fan of their ultra clinical look
  11. I also use the Sanho HyperThin's. They're fantastic.
  12. True but in his tests, he does usually have a section where he shouts into the mic to test for distortion.
  13. I used my Wireless Go II yesterday and I would have to say......"Don't buy it!" unfortunately. I too had Rode Central App crash randomly while playing files and also when trying to export WAV's more than 7mins in length. I can confirm that these issues have been fixed by the latest Rode Central app that was released today. Unfortunately the biggest bug with the system is that both my Transmitters failed to record internally on 3 out of 8 of the interviews I recorded despite me always checking that the record light was on. I have the in camera recording, which luckily is fine, but the product as it stands is fundamentally flawed. What good is a backup recording if you can't be confident that the unit is actually recording? This seems like a completely rushed out product and as a long time Rode microphone user, am deeply disappointed that a company like Rode could release such an undercooked product to the public. Like me, if Rode had actually used this product for a day, they would have found the same issues I have faced, and by the sounds of it many others are facing too. Im returning mine ASAP.
  14. Unless you work professionally in the industry, it's hard to get excited about this camera as the tech specs are similar to the A7SIII. Features that make your job easier and a camera easier to work with/ more reliable are overlooked by most people. Internal Fan: woohoo what a boring feature for most people but this makes the camera a far more reliable tool professionally. XLR inputs: Not sure how this isn't seen as a huge plus over the A7SIII. Tally lamps: again for most here its not a selling point but professionally very welcome. I would pay the price difference for theses features every day of the week. At the same time, I wish it had internal ND and TC support.
  15. I would love for Rode to add 32bit Float if possible in a firmware update. 32bit float would make the system pretty much perfect. The catch is, that due to the non expandable internal memory, the record times would be impacted. Deity are releasing/ have released body pack transceivers that have internal recording and Timecode support so for semi pro use, these might be a far better option and the price seems great. I bought the Wireless Go on a whim as I have a job in a few days that requires me to solo shoot and record interviews. I really didn't want to buy G3's or G4's as I've never really liked them and don't like the form factor of having two G3 receivers mounted to the camera. Saw the wireless Go was released with internal recording and though 'perfect!' My quick test left me pleasantly surprised. They will do just fine for this job recording interviews and I like the idea of being able to use the internal mic without lav attached and just place them near my talent when shooting B-Roll to get much better audio than a top mic. So much easier to hide than a G3 and much less clunky than trying to do the same by wrapping the lav mic cord around the pack.
  16. And that's all I bought them for. Haven't tried shouting into them too hard but then I've never shot interviews where people have shouted. Curtis Judd did a review of the v1 Wireless Go and said he had a hard time getting it to distort, if at all. Ill do a test. To be fair, these are not professional tools although I will use them professionally and the content I am shooting will be broadcast on major networks here. I know their limitations and will work within them but the flexibility they open up is pretty extraordinary especially for the price. A pro version of these is long over due and you would think that Rode would have to have something in the works....surely.
  17. The safety track is NOT recorded by the transmitter (that would be great if it did!). The transmitter only records one track. The safety track feature is only available when the Receiver is working in single channel mode either only receiving one signal or combining the two TX signals into a mixed mono track. It then uses the other available track output to send a signal to the camera that is 20dB lower on track two.
  18. Just a guess, but maybe Zaxcom's patent is for recording to removable media and Rode got around this by recording to internal memory? No idea if this is correct though. I received my Wireless Go II yesterday and had a quick play. The system is fantastic and the range more than adequate for my use. I mounted both TX's on my belt (hips) and walked (outside) about 20meters without issues. When turning around, the TX that was blocked by my body lost signal, I did the same test at around 15 meters and even with my body between TX and RX the signal was solid. I then walked about 10meters and had two solid brick walls between the TX's and RX's and the signal was solid. I've had range anxiety with 2.4Ghz systems so never used one until now but the internal recording on each transmitter absolutely cures this. I'll be using this for interviews in a documentary I am working on (it's a solo shooter gig so no sound recordist). I've mainly used Senny G3's and G4's and to be honest, never been all that impressed with their UHF performance (yes, I know how to set them up). The size, and single receiver for two transmitters is a game changer for me as I can easily leave the receiver on the camera. I'm shooting this job on the Pocket4K and there is no way I wanted to have two G4 receivers mounted to the camera. After the test, I plugged one of the TX's into my laptop and the recordings come up and flags show where signal was dropped. Selected my in and out points and exporting the 3minute WAV file took around 10-15 seconds. So far, body mounted recorders like the Zoom F2 and even the new tentacle sync fail in that you can't monitor the sound live so if clothing or wind noise develops or a hidden lav comes unstuck during an interview , you won't know until you listen back to the files and by then it's usually too late. UHF systems on the other hand are bulky for a solo shooter with smaller camera and you can get RF hits and need to be more careful with channel selection. For me, I see this system as two in one. A wireless system for recording interviews up to 10 meters away where the in camera audio received by the Wireless Go will be perfectly usable. A body pack recorder where I can monitor the sound most of the time (within range) Thing's I wish the Wireless Go had are: - Be able to start and stop recording on each TX by pressing a button on the RX - A locking connector would be nice but I remedy this by using a right angle mini jack adaptor at the TX 3.5mm port and then add a small black rubber band around the unit and top of the jack so it can't come out. it's heat shrink'd on where the lav and right angle female port interconnect so no chance of failing at that point. - Native 32bit float recording. You can output your recordings as 32bit float but I fail to see the point of this. I'm no audio guru but isn't that similar to recording video at 8bit 4:2:0 and then saving the files as ProRes4444? Do you really gain anything? - an input gain setting on the TX's but the Wireless Go TX's really do a pretty good job at not distorting with higher sound levels. - A micro SD card slot on the TX's instead of internal memory. The above wishes along with timecode input would make a great Semi Pro system Rode...... your RodeLink systems are really long in the tooth now and due an upgrade...;-)
  19. Thanks BTM, personally I can't see myself using this for focus pulls between static objects. Im more interested in seeing how the unit and focus motor deals with moving objects or when the camera is moving like on a gimbal. I look forward to seeing more examples with the Tilta motors soon as that's is the only think keeping me from ordering. Keep up the great work.
  20. Are there any videos that show what the focus pulls look like when using manual lenses and the nucleus motor. My problem with AF on almost all cameras is normally down to the steppy nature of the motors used in AF lenses and even with this product, I am seeing the same 'steppy-ness' when the lens is racking focus. Id really like to see what the performance is like when bypassing electronic lenses all together. Just a manual lens and the nucleus motor. having someone walk toward and away from the camera should show this quite well. Cheers
  21. Looking good! I know this is just a little teaser but I'd love to see how this version tracks a person moving around the frame, toward and away from the camera. Focusing manually between two fixed points is easy and still produces a more organic focus pull but I can see this being more useful to track a person moving in frame or when on a moving gimbal. Do you have any geared manual only lenses to try this on?
  22. Gerald said that? I have lost a lot of respect for him then. How is the S1 "Obsolete"? Is it no longer usable?
  23. You have had the camera for a year. That's a fairly long time when it comes to tech but, your camera is just as good as when you bought it. It's still a great camera. You have either made your money back on that S1 over the last year and if you haven't......then the S1 is still better than what you really need and will still serve you well. I know a few ACS (Australia) accredited DP's who still shoot on FS7's despite better cameras coming along since it's release many years ago. Oh, and full articulation screen is only an advantage if you are a Vlogger. Personally, I hate fully articulating screens. If you ARE a Vlogger, don't stress, the S1 is still more than up to the job. Established DP's don't just run out and always buy the latest and greatest and neither should you. Nor should you feel like you've been conned. I really don't understand why many are always chasing the latest and greatest when what they have still does the job perfectly. The S1 is still great! People making a living from cameras are NOT upgrading or changing systems every year! Invest in lenses!
  24. Generally, the quality of a lens is better in the centre and usually gets softer toward the edges. Using a straight through adaptor with no glass means you are using more of the centre of the lens which, in theory, is a good thing. Saying that, Metabones claim that using a speed booster actually increases sharpness and clarity but i doubt you will see any difference in reality. I really wouldn't worry about the image quality. The 18-35 1.8 is a fantastic lens with or without the speed booster. Having the two adaptors is kinda like having two lenses.
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