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Huh? :huh:
Also, liking the mirrorless shape, or something similar to it, doesn't mean that Komodo or Zcam is bad. They are both good. The only thing is, there is no video centric mirrorless design yet. they keep getting closer, but not there yet. They wouldn't be trying to get closer if it weren't a recognized profitable endeavor.
The BM pockets are way too wide, and for pro use, I don't think they are good designs. They seem well made for people who prefer touch screens to dials and structured indexed menu systems. But the BM's are very wide, and don't have an EVF, so they create about as many issues as they solved. I can understand their appeal to some, but do not see them being more than a hobbyist camera by design.
No one disagrees with that. What is being proposed is that a video camera be built with some of the ergonomics generally closer associated with dslr.They're hybrids... they'll never be optimal designs. They're trying to be photography cameras with good video specs, rather than good cinema cameras. A camera designed around production won't be a great camera for stills, by the same token. It's not an easy balance to achieve.
I definitely prefer to have physical controls for settings that operators need to change regularly, like iris, shutter angle, frame rate, and that sort of thing. Touch screens are nice for setting the meta data like project name and so on, but those are constant throughout the day most of the time.
Their "gui" does have the softest learning curve of any raw video camera.
Button cost doesn't matter too much...the original pocket was $500 at one point and had no touchscreen.
Supposedly, they used the same screen from the 5" Video Assist for the Pocket 4K/6K, so the framework/technology was mostly just recycled.
By far the best camera GUI on the planet.
A wireless GUI is better than a touch screen for gimbal use... taking advantage of the built-in BlueTooth connection, for example.
One other upside to a GUI is that it's possible to update the GUI with a firmware update.![]()
It's much easier to eliminate the controls - by either making them wired or wireless or via a touch screen - that to cramp more buttons into a limited space. of course, YAGH makes more space available but the reason it didn't take off was that, as JB put it, it was large and overpriced. But a smaller YAGH on a camera with very few physical buttons ... master the possibilities.This is why I like modularity - so you have a basic unit that can be reconfigured to different designs for different shooting styles. The YAGH was a nice step in that direction. Maybe it would be cool to have an extension like that to come off the left side of camera and bring operator controls there and reroute the HDMI out the rear diagonal...
It's much easier to eliminate the controls - by either making them wired or wireless or via a touch screen - that to cramp more buttons into a limited space. of course, YAGH makes more space available but the reason it didn't take off was that, as JB put it, it was large and overpriced. But a smaller YAGH on a camera with very few physical buttons ... master the possibilities.
PS. As far as space limitations go, there's no reason that, with a modern tech, the screen itself can't be made foldable (which doesn't mean bendable ... it can be either/or).
Not saying these exact control types are ideal, but having a few critical exposure controls on the operator side has benefits for shoulder and gimbal users.
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Saying that the ergonomic shape was a big hit with filmmakers is right up there with saying that the "Blair Witch Project" succeeded because of the crappy camera work.
Agreed. The newer models of the Zhiyun Crane can control camera exposure settings via a cable to camera and buttons on the gimbal. I wish the Ronin-s did that! I've never used it and I'm not sure how well it works or how many cameras are compatible.
At a bare minimum, I would love a cabled or wireless remote control that can control exposure. It looks like the only remotes for my Lumix S1 are shutter release and intervalometers. I think I can control the camera with my phone, but it would be nice to have a bespoke solution that doesn't need to reconnect.
Also, when I had a Scarlet, the Redmote would intermittently disconnect. That sucked. Cables are annoying but solid.
It is pretty amazing what those things are capable of, how quickly they spit them out, and how cheap they are.
It was my understanding that the shaky cam in Blair Witch was an integral part of its realism. Sure, they would have done it differently with a bigger budget - but would that have been wise?
But I guess, to continue the analogy, that there IS an advantage for light-footprint and guerilla shooting by using a camera that doesn't look like a video camera. It would be NICE to make it more functional for those purposes, though if you're just barehanding it I think it's probably fine the way it is.
I was working remotely with the DJI via cellphone. Wireless control of the pan tilt, and wirless video feed to the phone. Was pretty fun. Still rough, but will only get better.