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  2. Blackmagic Micro Cinema Camera

    The color science of these guys coupled to their solid bit rate and truly golden acquisition have no parallel wherever we're looking for at similar range (I even intimidate myself to write price range... WTH it's 700 bucks!)
  3. No worries, not only you... ;-)
  4. Today
  5. Oops! Made a mistake with that.
  6. The Canon C200 is here and its a bomb!

    There is plenty of hobbyist drop big $$ on hasselblad & leica stuff, they cost way more than ursa mini pro (especially with Chinese tourist i see, they even buy kid's leica camera to use lol) It is still cheap compare to some other hobbyist like cars/boat/gliders/airplane, we have one person in our work fly a glider every other weekend, another one fly and own a soviet yak-52 as hobby, he said it cost few hundred dollars to fly his yak-52 each time For me gh5s is good investment, did 20k job with it so already got money back and just come back from a nice trip in japan (it sucks to go on holiday without spending some on nice food and nice hotel lol) Though i use different camera when on holiday or other stuff but i m not alone in that one, i also found out some photog use different camera when they are on holiday (i know two use canon professionally but use fuji for other stuff), that way i have a different "mood" so i am actually on leisure and not remind me of myself working.
  7. The M43 Cinema - 3 Way Battle

    ... Jump to minute 9:23 and you'll see another much acute comparison... Don't forget to take a look on minute 11:12 as well ; ) Well, sharpness is far to be a standard :-)
  8. Blackmagic Pocket Cinema Camera 4K

    Don, I think News/ENG camera ops are the real ones living in their own universe still. Zooming, focusing, riding the iris without thinking twice about it. Just experience and muscle memory for these people. Heavy rigged cameras, beefy sticks and head etc, and they do it solo, day in day out. Attached a photo of an old timer in OZ shooting digital for the first time in his life, no drama to get around a problem.
  9. Yesterday
  10. Best used setup for filming ff dslr on a really tight budget

    More than do-able. Recommended if the FF route is absolutely the way you want to go. FF isn't as big of a deal to me anymore, but I do understand why it's nice to have. A used 5dII and 3 primes is more than enough. I had this set-up for years and made tons of stuff. If you can't make it work with that, do something else, like kiosk sales for cell phone covers at your local mall.
  11. The M43 Cinema - 3 Way Battle

    The very consistent truth along the filmmaking path is... ...to balance a combo as your best wizard stick within. Still as mere footnote now: prime insights to add any decent lurking mode over here BTW : ) Cheers! Glass love is always truly something to praise when we dare to think pictures (E :-)
  12. Blackmagic Pocket Cinema Camera 4K

    Having total control is a very different experience indeed and a very pleasurable as well, but there are times that I appreciate technology (like AF or smooth AE with ISO) which actually allows me to enjoy the moment instead of focusing all my effort into getting the shot. I am pretty sure many would have an issue with the old hand crank, even though at times it would be fun to use . But I agree with you there are going to be plenty of pocket returns because of its "incoveniences". The remaining bunch are going to be pretty happy though. @hijodeibn Chill. I am wondering about the relationship between color and IR filter and whether their claim is correct. I can imaging wavelengths close to IR can help with warming up the shadows and improving the skin tonalities. In your experience did you have a problem when not using an ND filter? Here is a comparison of the URSA: http://www.thehurlblog.com/what-is-ir-pollution-and-how-do-you-combat-it-tiffen/
  13. Yes. Do it, try it out. If you don't like it, you can resell it without losing any money. You might realize that Canon full frame is THE thing for you, and you might want to pick up the Mark III later on. OR perhaps you find out you don't like it at all, at least you tried it out. Im actually thinking of getting one myself.
  14. Have you ever watched a 4k bluray?

    Toss up, between Blade Runner and Shape, but I would go with Shape, it is just beautiful.
  15. I don’t see how his budget isn’t realistic? He laid it out pretty specifically. A used 5D2, and a few lenses for 1100 euros... that sounds doable. I doubt he really needs a monitor when he stated he’s looking to get into DSLR video. Hell, this guy shoots ML Raw with a 5D2 and some old non ai Nikkor lenses. You’re right nobody was being rude, but these posts come up often and rarely do people actually listen to the OP’s requests.
  16. Blackmagic Pocket Cinema Camera 4K

    Well, probably I am in another universe, since I learned to shoot with an eClair NPR, and YES, it was film, did you ever hear about it?, and everything was manual, later I got an Super 16 eClair ACL II, a 35mm Konvas-1M and a 35mm Konvas-2M, and I had a lot of fun, YES, the three shoot film, did you ever hear about that little boy?, when you were playing with your little cars in the living room of your daddy I was shooting with these babes, and all was manual, measuring the light, installing those huge light alone and hacking the breaker to get enough energy for the lights, little babies of today with their digital cameras really don't know a crap what was really to shoot in the old days with very limited budget.....did you ever lifted an eClair NPR? or a eClair ACL? or a 35mm camera ever?, URSA?, thats a joke, the only camera similar in weight to my old babes was the Red One, the rest, not even close....and I have a R1 too, and YES, it is all manual!!!!!!......I just used the Konvas two month ago to shoot some interior scenes, still a solid camera.....URSA?, sorry, not even close......so, are you going to teach me how to do things manually?......hahaha, come back little boy to play with your little cards....you really don't know what was to shoot with film, to do the load of the magazines every 12 minutes for 16mm and 4:30 minutes for 35mm, if I want DPAF is because of I needed for some projects, I have a R1 to shoot whatever else.....and YES, I have been shooting manually all these years.....sorry....nothing to learn from you...
  17. The Canon C200 is here and its a bomb!

    I dont mean investment in $ profit. I mean investment in my skillset. I learn something with every camera I buy. I am more about investing in knowledge. I could do wedding, event, corporate video's but then I would loose my passion so fast. I am not in this for the money as most of you are, as I already have a job. Its a hobby where I choose to spend my time and money on. I rather develop my skill up to a certain level, so I could do certain projects where I could work creative but still deliver high quality.
  18. Because his budget isn't realistic for having anything workable? What's the point of a hacked 5d if he won't be able to afford any decent lenses, storage or a monitor to see what he is doing? He would be much better served by something like a g7 with a speedbooster. Nobody was being condescending or rude, there is no problem.
  19. Blackmagic Pocket Cinema Camera 4K

    I talked to a rep about the olpf at NAB and they said that they tend to not put filters on their cameras and if they do its always minor because they are obsessed with image quality. Kind of a shame in terms of IR pollution. I remember having to put my Hoya IR cut filter on every freaking lens I owned because the original pocket had such bad IR pollution. I think this cam will have the same issue.
  20. Blackmagic Pocket Cinema Camera 4K

    Based on current info, the dual ISO on P4K is native at 400 and 3200.
  21. The M43 Cinema - 3 Way Battle

    It’s funny, I was so much happier and maybe even a better filmmaker when I tested lenses instead of cameras. Obviously, finished work is the overall goal but most of us don’t come here for that. Now that I have finally decided on the camera I will use to shoot the short films that float through my head and ink the page, I am much happier testing lenses for those projects rather than cameras. Luckily I already own a buttload of vintage glass. But I am still searching for those forgotten chunks of glass that add a little more dimension and character to my image.
  22. The M43 Cinema - 3 Way Battle

    In my opinion with cameras that have baked-in sharpening & contrast, the sharpest, cleanest, most flare-resistant lenses, usually give the worst results.
  23. The M43 Cinema - 3 Way Battle

    I know you didn't say it flat out, but there's often an attitude floating around that the technically sharpest, cleanest, most flare-resistant lenses are the ones you NEED to go for, and that any other choice is based on fanciful ideas or ignorance. Some DPs DO find Master Primes too flat and perfect. Some love their strong, consistent performance. Maybe we could improve the discourse of the forum by trying to recognize more often that there are many effective methods, and they should all be analyzed and appreciated for their unique merits. Mercer, the advantage of knowing a little about the higher end optics is that they have distinct characteristics they're known for, and therefore work as good references against which to compare the lower-end stuff we have a better chance of owning/renting for our personal projects. For example: my Leicas were made in the same company at the same time by the same designers as the Panavision lenses of that era--the C series--and share some similar design goals/aesthetics, though obviously made to meet completely different price points. Contax Zeiss, on the other hand, were made alongside their Super and Standard Speed cinema glass, and have characteristics that hover somewhere between the two, depending which specific lens you're looking at. RedUser is a great place to hear about the higher end stuff, as are articles by people like Art Adams. Shane Hurlbut's tests are useful, but his commentary often isn't imo. John Brawley I find has great insight on optics too; his tests on the SLR Magic APO primes really won me over. Ultimately, our tools are a personal choice that help us define ourselves as artists. All I'm asking is that we keep that in mind, alongside the more vigorous "better or worse" quality debates that regularly dominate the site.
  24. The M43 Cinema - 3 Way Battle

    FWIW - I never said there was ONE AND ONLY ONE way. hehe
  25. The M43 Cinema - 3 Way Battle

    I feel like I just had a class in Hollywood optics... glass like master primes or Cooke or even compact primes are so out of my budget that I’ve never done much research. Thanks for the tip of the iceberg... it gives me something to read about as I pine over stuff I can’t afford... lol. I tend to veer discussions off topic but I don’t know about this one... how can we have a discussion about cinema cameras and not discuss lenses? Because let’s be honest here... any one of these cameras can be used for great work, but the lenses used can really help differentiate the films’ aesthetic. There’s a reason why a lot of the GH5 footage looks the same on YouTube... there’s only so much the 12-60mm lens can do. But pop a S16 Arri Super Speed on that bitch and a whole new world opens up.
  26. A used 5DII is a great buy almost half the price of a D750. I can see why the OP wants to buy a 5DII. It's a great camera & feels just right in your hands. You get all the FF shallow DoF & bokeh loveliness plus the superlative Canon cloud science & look. You have access to RAW with ML if that's important & it's a superb stills camera.
  27. The M43 Cinema - 3 Way Battle

    Sure, but Deakins' aesthetic is generally hyper-clean and polished. He's one of the greats, but his way is not the only way. Robert Richardson specifically chose softer lenses for Hateful Eight because he hated how exacting the more modern lenses "draw." Neither is inherently a better or more valuable approach, but rather a very personal choice rooted in the aesthetic tastes if the DP/director and the needs of each specific project. Personally, I'm big on the smooth-yet-detailed look of Cooke and older Panavision, which is why I went for 70's (Mandler era) Leica glass. But even that isn't right for every project; I will often rent or borrow Zeiss Milvus or Contax if I'm looking for something a little harder, slicker, less "emotional," etc. Even then, Mercer is right in that the camera is yet another variable in this whole equation. Some are pickier than others about the glass you use (NX1, anyone?), whereas some work great with everything. Some render crisper, some more forgiving. Your lighting style affects these choices, too. Need to have bright spots roaming around the set and potentially flashing the lens without blinding the camera? Sure, I'll go Master Primes. Trying to do an epic establishing pan shot of a sunlit location, complete with dramatic flare? Not so much with the Master Primes. Got aging talent that needs to look glamorous? Run from Master Primes as fast as your legs will carry you. It is NEVER a hard and fast rule. It ALWAYS depends. Seeing the utility of each available paintbrush is a critical part of advancing in your craft. There is no "correct" way. (Sorry...veered us even further off topic here. Happy to discuss lens aesthetics and other non-camera comparison subjects via private message or in the Lenses topic.)
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