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GEAR FOR SALE

Post classified ads for your camera gear and filmmaking related kit!

1,194 topics in this forum

  1. WTB Lumix GH5

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    • 252 views
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    • 853 views
  2. WTB Kowa 16h/8z

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    • 1 reply
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  3. WTB Hardcore DNA

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    • 493 views
  4. WTB Elmoscope-II

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    • 541 views
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    • 633 views
  5. WTB Digital Bolex D16 (EU)

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    • 368 views
  6. WTB Digital Bolex D16 - EU

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    • 1,590 views
  7. WTB Digital Bolex D16

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    • 973 views
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    • 1,239 views
  8. WTB Digital Bolex

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    • 429 views
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    • 375 views
  9. WTB Canon 1dc

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    • 532 views
  10. WTB Bolex Moller Anamorphic

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  11. WTB Bolex Moller 16/32

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  12. WTB a canon 1DX mark II in spain or europe

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  13. WTB : Iscorama pre/36

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    • 367 views
  14. WTB : Bolex 16/32

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  15. WTB - Canon 1DC

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    • 436 views
  16. WTB Sennheiser MKH 60

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    • 190 views
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EOSHD C-LOG and Film Profiles for All Canon DSLRs
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  • Posts

    • Very true, but I admit the Panny S1 is hands down to me the best output of all the FF cameras now. It is damn impressive. But yeah Sony is in a enviable position.
    • Seems like Canon or Nikon could just find a way to make mirrorless cameras using their old mounts. 
    • Okay I need some help..I'm cutting together a project and I can see that my clips are linked/unlinked however, Resolve doesn't seem to be letting me drag them or edit as a link clip without selecting both audio and video. When selecting both and hitting the link clip command I see the linked lock on both audio/video tracks in the left hand corner however again, when I click on a blank part of the timeline and then click on the newly-linked clip, it only selects either the audio or video (whatever I clicked) and is not truly behaving as a "linked" clip. Any suggestions? I'm sure this boils down to my newbness in Resolve but I am using the 16 beta. 
    • Nice pics! In a sense, I can't imagine shooting sports with MF either.  I do it, but it's about the situation you're in.  I do it for myself, I only make highlights videos so 'coverage' isn't a thing I have to worry about, and so basically I just try my best and whatever works is great, and shots that I miss are no big deal. I also kind of have an advantage shooting things so far away (our fields are >100m long) that DoF is pretty deep just because of the distance. If I was rich I think I'd have a fancy parfocal zoom, but actually I'm doing ok with what I have.  I used the zoom function on the lens far more than I thought I would, even on the first outing, so that's encouraging. Considering it's so low res and has such a small sensor, pick up almost any camera, put on an all-in-one zoom on it, then in post make sure you over-sharpen, add contrast until you're clipping shadows and highlights, then export at low bitrate 480p (or 360p) and it'll look just like the real thing!   
    • LOL. I'm assuming it was F8..  the clicks on these lenses are all over the place, some have two clicks per stop, some one click, some have a mixture.  It was 4 clicks from 3.8 to 8, which makes sense in a two-clicks-per-stop sense, and it looked like it was lined up to the number, but who knows.  Maybe it was half a stop faster. In terms of the quality, I'm pretty happy with it as I don't feel I've lost any IQ from my Minolta primes.  I was concerned as vintage primes are considered to be far better than vintage zooms, but being a fixed aperture zoom I figure this one might have been a premium one, plus the fact that the m43 sensor is only looking at the middle of the image circle and has cropped most the nasties in the corners. Looking at the footage I take of the players on the field I've concluded that focusing is my biggest challenge, not lens sharpness.  I could make that easier by stopping down, but I do like a bit of background separation, and to do that at any distance requires the lens to be fully open.  I'm often shooting at >100m away from the players, so I need all the help I can get  
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