eatstoomuchjam
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Posts posted by eatstoomuchjam
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On 5/14/2026 at 6:18 AM, eatstoomuchjam said:
If Megadap's website/YouTube is to be believed, sometime this month or next, their M mount autofocus adapter (M2RF) will be released this month sometime. 🤞
Well, it wasn't in May, but mine just arrived! Let's see how/if it works...
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At this point, I am pretty sure that I'll still be asking for it next January - and the January after that. 😉
It makes some sense that BMD would bring all of those upgrades to two of their most popular cameras first - now let's just hope that they don't leave the higher-end stuff out. Judging by their last set of announcements, there is some hope for new features coming to the Ursa LF, given that they're focused so heavily on pushing it into the broadcast market, but I could also see them pulling most of the people working on camera firmware and shoving them over into the firmware that runs on their boxes that are designed to fit in a server rack (the main focus of their recent announcements).
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Mission 1 and Mission 1 Pro are now $100 off everywhere. It's still on the pricey side for an action camera, but my Insta360 One R/RS's are getting older/a little beat up and the batteries seem to be showing signs of age too.
I'm not sure how this person did such a deep dive on the imaging pipeline, but it was an interesting read.
https://gethypoxic.com/blogs/technical/gopro-mission-1-gp3-image-pipeline
Info on the sensor:
https://www.sony-semicon.com/files/62/flyer_industry/IMX06A-AJ1R-J_Flyer.pdf
(Also saw that Sony now has a 247 megapixel MF sensor while digging that up, that's a lot of dots)
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FWIW, PDAF has been in beta on the CC 6K for like a year or more now and reviewers were saying that it was working great. This release just formalizes it as released.
My hope now is that BMD will finally follow through on their statements that PDAF coming to other omdern cameras, including the Ursa LF. That and 4-channel recording would be a nice update for it.
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8 hours ago, mercer said:
I meant the $10,000 Ronin 4D cinema camera, not the Pocket 4 Pro.
The Ronin 4D can be great, but it can really make you crazy. It is definitely my favorite gimbal. If you go used, you can get a usable 6K setup for around $5,000 which, while still expensive, is a lot more affordable than $10,000!
The Flex really makes the system interesting.
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It looks like a beautiful place. Glad you had a nice trip!
Were you looking for additional feedback on the video?
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10 hours ago, mercer said:
For me, I'd rather have the extra DR and I'd love that Osmo Raw that @eatstoomuchjam referenced. Hell, I may be able to afford that now. Hmm.
I quite liked it, but do know that if you're trying to capture anything with sound, the fan noise on the raw is really obnoxious. The image was pretty nice, though!
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4 hours ago, kye said:
I haven't read up about LOFIC sensors, but my impression was that they have an additional capacitor that catches the 'overflow' from the main read-out, which should increase the DR across all modes of the sensor.
From what I've read, this is basically correct. It can apparently add about 3 stops of extra highlight retention.
On most modern cameras, changing ISO doesn't change the sensor gain unless you move into the territory that is handled by the next "native" ISO. The only exception I know to this is Z Cam (which is why they suffer some WB shift when changing ISO). Otherwise, for raw codecs, you are adjusting the allocation of stops/highlights in the recording - and for non-raw codecs, you are changing how the camera post-processes the raw that it read at the base ISO.
So in theory, the LOFIC should help with any ISO that is set by the user.
It should also be understood that it only helps with highlights and does nothing whatsoever for shadows - meaning that ETTR is probably even more of a thing with any LOFIC system than it was with most Bayer sensor setups.
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5 hours ago, kye said:
The detail from the 8K will be completely irrelevant, except in cinemas
Minor nitpick: 8K will also be largely irrelevant in cinemas! At least near me, many of them still broadcast 2K on most of their screens, with maybe one or two set up for 4K projection. Only the most eagle-eyed audience members could even theoretically notice a difference in 4K and 8K projection at a viewing distance where they could see the entire screen at once - and outside of maybe a nature documentary, even among those viewers, it's hard to imagine them caring much.
5 hours ago, kye said:There is no justification for 8K codecs. Period.
Not true.
Aside from digital zoom without substantial quality loss, as you mentioned, a number of VFX use cases, especially those involving masking something out, are improved by having the highest-resolution source material available.
That and in theory, you'll get better color information putting 6K or 8K on a 4K timeline, assuming the use of a Bayer sensor. Remember that it's necessary to guess at the values for 2 out of 3 colors for every pixel when debayering footage. From what I remember, and I might remember wrong, this means that the readout from Bayer sensors is effectively 4:2:2. Downsampling from 6K or 8K gives you something that is more effectively 4:4:4.As to whether that matters to you, maybe none of it does. In practice, modern debayering is very good and I'm not really sure that viewers are ever going to notice a difference in 4:2:2 and 4:4:4 once at 2K resolution or above.
5 hours ago, kye said:Most camera discussions departed reality long ago and the discussions about this or that camera have the same rigour as discussing which super-hero can win against which other super-hero.
Correct. A 4.6K Arri is still preferred in many productions to an 8K camera from another vendor. The FX5 is going to sell a million bazillion units despite being released as a 5K camera in an era when all of the competitors are at 6K or higher (also assuming that some of the firmware weirdness and constant rebooting to change settings can be fixed). There are still cameras being released today using the same IMX410 that was in my Z Cam E2-F6 that I bought in 2018.
The Ronin 4D was one of the best product ideas that DJI ever had (really, the Osmo Raw was, but the execution was too clunky). They were never going to compete with Arri in the space where people use Arri - so take a real pain point from a lot of productions (gimbals are irritating to use/balance and are often disconnected in operation from the attached camera) and fix that. Now you see the 4D showing up in all sorts of productions - because it's the best camera ever made and wins the spec sheet wars? No. But the quality is good and it's an elegant solution for some problems.
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57 minutes ago, maxJ4380 said:
it doesn't operate at anywhere the rated speeds of 200mb. best i have seen 100 mb write speeds and 120 read speeds
Almost no card ever reaches the quoted "up to" numbers that they give, especially not in a sustained transfer. A2 and V30 are generally the best specs that you'll find on a MicroSD. If the Mission 1 Pro writes faster, you might want to check on some forums to see which cards people have found work well with its highest-bitrate modes. Though that said, if you're talking 100-200mb/s (megabits/second), a V30 card should do that without breaking a sweat since the V30 refers to 30 megabytes/second which is 240 megabits/second.
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On 7/6/2026 at 4:39 PM, eatstoomuchjam said:
My guess without looking at rumor sites? It'll have a somewhat updated 1" sensor and add USB-C to replace the micro usb port on the existing RX 100 IV (unless they already released an updated version with better USB?). Maximum 4K recording will go from 30 to 60fps. Full HD from 120 to 240fps. Memory stick + SD card will be replaced with CF Express A + SD Card. SD might get faster with the second row of pins that's on newer SD cards. Still images will go from about 20 megapixels to 24-26 megapixels. Video crop will go from 1.09x to 1x and open gate in either 4:3 or 3:2, whatever the sensor dimensions are, will be an option.
Looks like I came close-ish while overall being too optimistic (my guesses didn't feel all that optimistic?) and they exceeded in at least one way ((cropped) 4kp120). Otherwise, yes, faster UHS-2 SD card (I think that's the second row of pins that I meant). No CF Express, but memory stick is indeed gone. No extra megapixels. I didn't watch anything yet to see if 4k recording is now full sensor width vs slightly cropped or whether they support open gate - guessing no on open gate, at least, since it seems to be either the same sensor or a minor update to the same sensor. I also mistyped the camera model on the USB port bit.
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I have no direct experience with the rawlite filters, but people seem to like them. You might want to specify the camera since there may be variance in the quality/utility of the filter.
As a cheaper option, have you considered using a pro mist/glimmer glass/etc filter? I think those can help with moire too.
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Let's hope they updated it more than they updated the ZV-1 Mark II over the ZV-1 (or for that matter, the RX 100 V). From what I remember, that "upgrade" was really just giving the new model a wider-angle zoom lens closer to the focal lengths on an iPhone and reducing some other specs (like getting read of the burst video modes).
My guess? At most a small incremental update over existing RX10 bodies. Any substantial upgrade would see Sony risking letting their point and shoot camera have superior specs, if even on paper, to their prosumer gear. 6K? 240fps 4K? Higher dynamic range from a newer sensor?
My guess without looking at rumor sites? It'll have a somewhat updated 1" sensor and add USB-C to replace the micro usb port on the existing RX 100 IV (unless they already released an updated version with better USB?). Maximum 4K recording will go from 30 to 60fps. Full HD from 120 to 240fps. Memory stick + SD card will be replaced with CF Express A + SD Card. SD might get faster with the second row of pins that's on newer SD cards. Still images will go from about 20 megapixels to 24-26 megapixels. Video crop will go from 1.09x to 1x and open gate in either 4:3 or 3:2, whatever the sensor dimensions are, will be an option.
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6 hours ago, kye said:
The screen is really a differentiator for use, as the Charmera has a 35mm FOV that you compose by looking at the screen, and the Go is a 16mm FOV that you can't compose unless you use an app or "rig" it up with the case.
True - though an argument could be made that an ultrawide lens and higher resolution frees you from too much need of a screen. Just sort of point it in the general direction of the photo you want and shoot. Then lock down the frame in post. Instead of Weegee's "f/8 and be there," we could be in "16mm FOV and be there." 😉
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Usually a clean plate is useful for things like subtracting objects from the scene or similar things. Once you erase the thing, you need the stuff that should have been behind it.
If your goal is just to key out the smoke from one scene and add it to another, I can't think of why you'd need it. Though I'm no VFX expert so I'm fully prepared to be wrong!
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4 hours ago, maxJ4380 said:
😝 not sure if i should be offended or not... I vaguely remember him as a nikon guy ? i watched few of his youtubes but there was something that didn't click with me, i didn't watch much of his stuff.
He used to wear weirdly large cargo shorts and it became a running joke on this forum. He doesn't seem to do that as much anymore, but the meme lives on!
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4 hours ago, maxJ4380 said:
Now a question for the group. I would like to film some smoke, I presume in front of a green screen although green colour may or may not work.
i do have smoke machine to create the smoke and I think the best option would be to video it as I think a bunch of photos would not give me the smoothness I’m looking for, as i intend to composite as a special effect.
im also wondering if i need to shoot a clean plate as well ? I suspect i need to watch a few more vids on compositing to help get my head around it.
As Kye said, you could also shoot it against a back background and key on luminance instead of color.
What would the purpose be of a clean plate in this case?
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9 hours ago, kye said:
Of course these are drastically more expensive and far less pocketable, especially if you are like me and only carry things in your front pockets and therefore the camera probably wouldn't have a pocket of its own.
Another thread where I'll mention the Insta360 Go 2/3/ultra or similar as an option. The price is definitely higher than a Charmera, but in terms of size, it's maybe even a little smaller? And with much better image quality. From what I remember, the carrying/protective case in the Go 2 is about the size of an Airpods case and I've definitely kept those in my pocket before.
5 hours ago, maxJ4380 said:Cargo pants…🤔
Matt Granger has entered the chat
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2 hours ago, maxJ4380 said:
Plus there's the fact my dad had a stroke 2 weeks ago and is paralyzed on the right side,
Yikes! I'm so sorry about your dad. 😔
I hope things improve!
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37 minutes ago, Ty Harper said:
Are you referring to the original DPL base mount with the SSD bottom rack + USB side plate in this video?
It's been a while, but I think it was either that or a slightly bigger cage that wrapped the whole camera. I had the option for the bottom-mounted SSD or a side-mounted smaller one. I primarily used the side-mounted one since it was overall smaller.
39 minutes ago, Ty Harper said:Also had you tried the RAW 12bit 1080p option via SD cards?
I didn't - I don't have a lot of interest in shooting 1080p these days. If I did, I'd be more inclined to re-buy the original BMPCC (sometimes I consider this and always turn back when I see the current prices).
43 minutes ago, Ty Harper said:I'd be shooting exclusively with the EF 35mm f2 (IS) and maybe pickup a 24mm f/2.8 (IS) + the PDmovie Live Air 3
The EF 35/2 IS is great. I don't think I have (or have used) the EF 24/2.8 IS, but it's decent. You might also consider the 24-70/4L IS. It's definitely a little bigger than the other two lenses, but not bigger than both of them together. Not as fast, but the fp is alright in low light.
I personally didn't like the PDMovie at all. The one that I had used some weird little batteries and there was no way to tell it to focus on anything but the closest thing. YMMV.
If it were me nowadays, I'd give a hard look at the ZR. A used ZR costs more than a used FP, but the difference gets to be less when you end up buying a DPL cage and PDMovie to make up for the FP's shortcomings - and closer yet with the flip screen mod. With the ZR, you'll get a much nicer screen, decent autofocus, and built-in raw.
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1 hour ago, Emanuel said:
once you move away from the usual zooms vs primes argument.
For me, it's not even an argument. Or if it is an argument, it's a silly one and I want to stay as far away from it as possible. There was a time when zooms were noticeably worse optically than primes - potentially made worse with the release of lenses like the Nikkor 43-86 (that said, I have and kind of love the 43-86, though I have yet to convince anybody to let me use it on set).
But since sometime in the 80's, high quality zooms have existed. The 24-70/2.8's and 70-200/2.8's from Canon/Nikon have been fixtures in the bags of nearly every professional photographer since then. They're sharp, fast enough, and extremely convenient. I've used them on set dozens of times. When shooting by available light or when going for more extreme subject isolation, I might move to a faster prime... but when I do, I'm rarely like "wow, this is so much better."
I'd even go so far as to challenge most of those people to tell the difference between the 24-70/2.8L II at 50mm stopped down to f/4 or f/5.6 and the EF or even RF 50/1.2L stopped down to f/4 or f/5.6. There might be a different character in the bokeh from the RF, but that's more of an ultra-modern design vs still-pretty-modern design concern vs a zooms vs primes one.
1 hour ago, Emanuel said:t always comes down to how much convenience a zoom actually buys you, especially when time becomes critical. On a controlled set, changing lenses can break rhythm, slow down the crew, cost minutes, and sometimes cost the shot.
I'm pretty sure that's what I just said. 😉
1 hour ago, Emanuel said:There is also another kind of convenience in truly understanding a given focal length. It teaches you where to stand, how close to be, how to move, how much space to leave, and how the scene changes once your own position changes
This goes with another of my parlor tricks when on someone else's set - pointing out things to them that will be a problem in their scene simply by looking at the lens on the camera and where it's pointed - I usually have a good idea of what their frame is without having to look at the screen. "You sure you don't have the sound engineer's pack in the frame on the right edge? With that 35mm lens, I'd think you'd see it." (pause) "Oh, yeah. Could you take a step back?"
1 hour ago, Emanuel said:And this is also why I have never had any patience for the 2x, 3x, 5x terminology.
It can be useful for making a guess at the price/quality ratio of the lens (also based on the widest aperture). Finding a good quality f/2.8-f/4 lens that's a 2x or 3x is usually relatively affordable. 4x less so. At 5x, you're either going to be forking over a lot of money, getting a slower lens, or mounting a coke bottle to the camera.
That said, I still check prices on the EF 35-350 sometimes in a fever dream since I'd like to see if it can be "good enough" in many cases - and the same with the more useful EF 28-300, but its used price is staying stubbornly high. Once it hits $700, I might buy one in a late-night drunken rampage or something (I barely drink these days so there are fewer opportunities than there once were).
48 minutes ago, mercer said:I assume some of you have heard this story... when Stanley Kubrick got his first Hollywood job directing a movie, he asked the cinematographer to switch to a different lens for the next shot. Instead, he moved the camera to get the shot. Kubrick asked him to put the camera back and switch the lens like he asked. The cinematographer told him it was the same shot if you moved the camera or changed the lens. Being a photographer in his previous life, Kubrick disagreed and said the perspective changed. Unless I'm remembering this story incorrectly, the man vehemently disagreed and refused to do what Kubrick asked, so Kubrick was forced to fire him and throw him off his set.
Kubrick was fully correct! As he often was!
Sony a7r VI (Mark 6) - an a1 beater for $2000 less
In: Cameras
Posted
Well, my initial review is very short and succinct.
"Doesn't fucking work. At all."
Judging by their FAQ, I received a defective unit, as on my R5, it just shows F00 and won't switch out of MF mode. On the C80, it displays a communication error and won't autofocus. After updating the adapter firmware, no change. Their utility to program it also does not find it after I follow their instructions to connect it... at least on my Mac. I'll try it on a Windows computer later tonight, maybe.
Also, even if it did work, it won't be usable on an RF mount Red. On my OG Komodo, the chin/motor of the adapter hits the chin of the camera. I didn't try it on the Komodo-X, but the horizontal/vertical dimensions are identical or nearly identical so I don't expect a different result there.
Asked Amazon to replace it. I think they ship the replacement before I send back the original... though it ships from China. So I guess we'll see in 7-14 days whether the replacement works.