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    #41
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    Quote Originally Posted by davedv View Post
    Yes, the Blackmagic URSA Mini 12K ships with a PL mount and the URSA Mini G2 ships with an EF mount. Both cameras have user-interchangeable mounts though, so you can swap it with a different mount if needed. Blackmagic also makes a Nikon F-mount and B4 mount options (for broadcast lenses) and the different mounts aren't crazy expensive either (B4 mount is the most expensive at $385 due to the internal optics needed):
    https://www.blackmagicdesign.com/pro...pecs/W-URSA-23

    Given that the flange distance for LPL is 44mm (same as for EF mount), I think it would probably be possible to create an LPL mount as well. Not sure if this option would be popular enough for Blackmagic to create their own, but it's possible a 3rd party could develop one. Wooden Camera makes an LPL mount for the Sony Venice and RED DSMC2 cameras, for example.

    c7adapters also makes some 3rd party lens mounts for various cameras (RED, Arri, Sony, etc.), including a locking EF mount for the Sony Venice. The nice thing about EF to RF mount adapters is that they require no internal electronics (it's essentially just a pass through of the EF pins through to the RF mount), which makes it easier for 3rd parties to create them.
    LPL isn’t possible on the G2 / 12k chassis, not because of the FFD but because of the width. It’s got to be designed differently.

    JB
    John Brawley ACS
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    #42
    Senior Member ahalpert's Avatar
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    Quote Originally Posted by John Brawley View Post
    LPL isnít possible on the G2 / 12k chassis, not because of the FFD but because of the width. Itís got to be designed differently.

    JB
    What would be the advantage of LPL on a S35 camera? Cropping out the edges of the image circle? Sharing one set of lenses across formats? Are the large format lenses superior?


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    #43
    Senior Member James0b57's Avatar
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    https://www.youtube.com/watch?v=GqonaUTpDm4

    Komodo on the drone, and Gemini also in the mix.

    ...after reading parts of the BTS article, it appears most of the footage was shot on the Gemini, including much of the motorcycle rigging shots.
    Last edited by James0b57; 11-15-2020 at 11:09 AM.


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    #44
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    Quote Originally Posted by ahalpert View Post
    What would be the advantage of LPL on a S35 camera? Cropping out the edges of the image circle? Sharing one set of lenses across formats? Are the large format lenses superior?
    To be able to use it with LPL mount only lenses (Like Arri signature primes) or if being used on a LPL mount show where the other cameras are LPL mount.

    JB
    John Brawley ACS
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    #45
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    RED CONTROL for Komodo is out - smartphone app wireless video and control over wifi

    https://www.newsshooter.com/2020/10/...video-control/

    Pretty cool!

    Someone on newsshooter commented that it has about a 3-frame lag. How do you guys feel about that? (Kubrick never would have tolerated that, haha.)
    www.VideoAbe.com

    "Captain, the most elementary and valuable statement in science, the beginning of wisdom, is 'I do not know.'" - Lt. Cmdr. Data


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    #46
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    Quote Originally Posted by ahalpert View Post
    RED CONTROL for Komodo is out - smartphone app wireless video and control over wifi.
    Someone on newsshooter commented that it has about a 3-frame lag. How do you guys feel about that? (Kubrick never would have tolerated that, haha.)
    3 frames of latency is actually pretty good for wi-fi monitoring on a phone. In order to transmit video over wi-fi network bandwidths typically requires some form of video compression, which would incur at least 1 frame of latency (for intraframe compression, more for interframe). And then wi-fi data transmission incurs some additional latency, usually around 2-6 ms depending on the wi-fi network. Then there is also usually a bit of processing and display latency on the mobile device end as well. So realistically, probably 1.5 to 2 frames is about the best you can do with this type of approach.

    For less latency, you'd typically need to use an uncompressed video output like SDI or HDMI. And a lot of cameras have a couple of frames of latency even over their physical video ports as well.

    The bigger question I would have is, what is the maximum video monitoring resolution possible for wi-fi transmission. The wi-fi monitoring apps on lot of cameras are often below HD resolution which can make it difficult for things like judging focus.


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    #47
    Senior Member Grug's Avatar
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    Quote Originally Posted by James0b57 View Post

    https://www.youtube.com/watch?v=GqonaUTpDm4

    Komodo on the drone, and Gemini also in the mix.
    Gotta have that 6k sensor for those 560p-resolving anamorphics (when shot wide-open)! :p


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    #48
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    Quote Originally Posted by Grug View Post
    Gotta have that 6k sensor for those 560p-resolving anamorphics (when shot wide-open)! :p
    Haha! Seriously!

    (I think they had a Laowa 12mm on the drone. )


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    #49
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    Quote Originally Posted by Grug View Post
    Gotta have that 6k sensor for those 560p-resolving anamorphics (when shot wide-open)! :p
    You wouldn't want to capture the fuzziness without enough resolution! It wouldn't be sharp!


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    #50
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    Quote Originally Posted by Tamerlin View Post
    You wouldn't want to capture the fuzziness without enough resolution! It wouldn't be sharp!
    To be honest, the Gemini 5K, which is likely the camera with the anamorphics, is not a "sharp" camera by today's standards. It does still by default have a bit of that "RED" edge to the contrast, which gives it a video feel, even with the softest roll off. I believe it is just difficult for any video camera to get good midtones, soft roll off, and clean shadows without at least 14 stops DR. Although, lighting certainly can fix that. (lighting? who does lighting? haha)

    With most cameras going to 5.7 or 6K, when shooting spherical, the Gemini has a softness. When shooting anamorphic, the sensor height and 3K vertical resolution mean it is resolving as much or more than some ~6K s35 cameras. Also, about 800 (~30%) more pixels that the Alexa, and about the same as the Alexa LF. So, when talking wide open Kaowa's, yeah, the Gemini ends up being overkill, but not by much, considering the options. But I would assume, that they used the Gemini for most of the anamorphic work, because it would be a larger sensor area and get more of a true anamorphic perspective.

    There is a whole article on the thing, but I didn't read the whole thing. I did see a sentence that mentioned the Gemini was used for most of the bike riggings shot, which surprised me. May have been due to the Gemini being better in low light, or them just not wanting to waste time rigging the Komodo for everything. But that was about the most interesting tidbit I got. The premise of the commercial is silly to me, as they are saying "F that" about the music, yet the music is so integral and important to the feel of this advert, that it really doesn't make sense. "F that symphony.... but let's also keep the music going, because the motorcycle sounds alone can't give you the feels....even though we're pretending it can....." I get that in reality, there are plenty of people that would prefer riding a bike than going to hear an orchestra, but it is still a some-what silly and contradictory commercial. Music is amazing, and it elevates this non-sensical piece. But advertising these days is certainly more about the feeling than the logic. And I have a hard time believing that an Italian motor company such as Ducati dislikes classical music.

    Main reason I posted it, was that drone shot. We have certainly entered a new era of drone work. We have the Komodo (global shutter), the A7s3(super low light shooting), freefly wave(High fps slomo), and the R5 (8K raw) to do some next level things with.
    Last edited by James0b57; 10-26-2020 at 01:13 PM.


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