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Showing most liked content since 09/18/2017 in all areas

  1. 13 points
    Ok, so how does that all add up? Simple, I started reading Andrew's site a few years ago and learned everything I needed to know about the Samsung NX1 and SLR Magic Anamorphot 1.33x adapter. I decided to use them on our first feature film. After numerous film festivals and special events our film, Black Luck, signed an International distribution deal with Indie Rights. Yes, we probably would have done the film without this knowledge, but I'm not sure it would have had the same look or feel. The camera and adapter worked amazingly well and proved that a no budget indie thriller can still have a high production value. I can't thank Andrew enough for educating me and so many other filmmakers about the possibilities of shooting a feature film with these great tools. Cheers! David P.S. If you want to check the film out, it just launched on Amazon Prime. Read the reviews as well. This isn't some masterpiece of cinema, but it is a satisfying movie created with passion. https://www.amazon.com/Black-Luck-Garrett-Sheeks/dp/B0764KD2K8/ref=sr_1_2?s=instant-video&ie=UTF8&qid=1507185936&sr=1-2&keywords=indie+rights
  2. 13 points
    Hello. I'll maker this short but informative. Firstly, I sold my FS5 Raw setup - took a big risk, got a GH5 to replace it. The reason was mostly down to portability. Recently shot an entire paid music video with the GH5 and some stuff on the A6500. I'd never used the GH5 before - it practically just came out the box. Shot in Vlog L. Had an awesome experience. Main Pros IBIS. Much better than the A6500. Invaluable. Speedbooster XL gives a very different look to typical M43. Sigma ART's + XL = win! 1080p 10bit modes are fantastic. Made the A6500 in 1080p look fuzzy and blurry. Body design is one of the best I've experienced. Battery grip definitely gives a steadier feel to handling and definitely gives a higher impression to the client. Big impact. VlogL is fairly easy to get into (coming from Slog). Colours are accurate and lovely when graded. Custom white balance is very quick and easy. Menu system is pretty nice, especially the My Menu bit. Way better than the A6500. Small and powerful enough to put straight onto the Zhiyun Crane and Edelkrone Motion Kit. Battery life is decent (but nowhere near as good as the GH3 - which was ridiculous). EVF nice and large. Again much better than the A6500. Full Size HDMI. Yep. Main Cons (I'm being picky here) CineD skintones - finding it hard to get it where I want. Looks very odd off the bat. I need to work more on this as V-log isn't always the best profile to use. Photo Style options are very lean (compared to Sony). Not a massive deal, but would be nice to have more options. Autofocus is essential for my gimbal stuff. A6500 is excellent here. GH5 before V2 firmware is not. Hopefully this is reliable now. Dynamic range is a bit less and steeper in the rolloff than what I'm used to. Again, need to mess round with things to get it smoother in the grade. I think the record button is in the wrong place. I just use the shutter button anyway. Overall An absolutely outstanding piece of kit. I've only used the camera for one shoot, but using this camera has already made a big impression and is already serving my creative choices to a greater level than the FS5 did. I've not updated the firmware yet, but what Panasonic have give us is an incredibly valuable tool with almost very single feature you could ever ask for, or actually need. With a great emphasis on online video distribution, and video being consumed on smart devices - if that's how you're playing it, I would say you would never need another camera for a very long time. If the Autofocus is reliable in V2, it would relegate my A6500 to just a carry around camera. Got to say, I'm incredibly pleased and looking forward to shooting more. (see below for quick VlogL grade).
  3. 9 points
    Yes. I, random stranger on the internet, affirm that you made the correct camera purchase for yourself. Congratulations. You are awesome. Now go make something interesting with it.
  4. 7 points
  5. 7 points
    Andrew Reid

    Nikon D850 vs everything

    Meanwhile, in the real world: (All full frame. Flat profile. Sharpness on zero)
  6. 7 points
    Piet Haag

    GH5 v2.1 firmware

    Hey all New firmware update, 10th October 2017: Following bugs were found after updating the firmware to Ver.2.0 but now they have been fixed. [Power Save LVF Shooting] was automatically set to [1 sec]. (This makes the camera go into sleep mode in 1 sec in a standby mode.) * [Power Save LVF Shooting] will be set to [OFF] when the firmware Ver.2.0 is updated to Ver.2.1. If you would like to enable [Power Save LVF Shooting], please set it on manually by selecting a designated time. The parameters of picture quality adjustment in Photo Style were all set to -5 when setting the recording mode to [MP4 HEVC(AAC)]. This bug has been fixed. * The parameters of picture quality adjustment in Photo Style will be reset to ±0 when the firmware Ver.2.0 is updated to Ver.2.1. If you would like to adjust the picture quality in Photo Style, please adjust them manually. There were cases where [V-LogL View Assist] did not work, This bug has been fixed. There were cases where motion pictures recorded in [AVCHD] cannot be divided. This bug has been fixed. --------------------------- http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html Cheers Chris
  7. 7 points
    Hey Salim. Thank you! I will do my best to outline some of what I experienced. First off, I looked at making the film as my film school. I had done short doc work and commercial work before, but nothing as big and complex as this. We are fortunate in the middle of America that a lot of people love to be involved in filmmaking. We had a ton of volunteers, but we signed contracts with each of them offering everyone a piece of the pie, if the film made money. For me, it's really about creating enough revenue, so that I can keep making films and share with the people who help make it happen. When we first started we had many delays, we would shoot one weekend and then it was two weeks before we could get back together. Everyone had their regular jobs, so it took us about 6 months to complete the film. If I had any type of budget I would have everyone take off two weeks and we would knock it out, but I didn't have that option. The cameras were great, but I did have a few issues with the lenses and NX1 manual mode when I first started. We finally got it down properly and it was good to go. We only had a Arri 1K and Arri three light kit when we first started. I bought a ton of c-stands and 2 Digital juice Flag kits. That really helped control our lighting setups. Most of the lighting on actors is bounced light, which I love the most. I wish I had known more about actually directing talent. That was something I have studied ever since. Jason Levering and I co-directed and that was complicated as well, but we both adapted and kept pushing each other. When it comes to festivals, I would say enter the festivals that you think the film will fit in the best. Have people watch it and have them give you their honest opinion. I had a fantastic editor give me some amazing insights and I ended up re-cutting part of the film. It's nothing personal and you have to look at it that way. We were fortunate to sign with Circus Roads Films who is a sales agent. They reviewed the movie and liked it. I would recommend them if you have a solid film. They took it out and got us a couple offers, but they didn't fit what we needed, so we went back to the festival circuit to build the film. Then we signed a deal with Indie Rights. They have a fantastic reputation with treating their filmmakers well, so we were happy to sign. There is never any guarantee on money. I think if you are going to make any kind of money you need someone taking your film to AFM and Cannes, which Indie Rights will do. They will sell the rights to different countries and that can be a nice revenue stream. On the other hand, if you have a massive following, it could be better to self distribute online. It just depends on the film and where you want to go with it. I hope this helps out. It is a little vague, because I have no idea how much money the film will actually generate. Best! David
  8. 7 points
    sony a6500 pp off ‘Neutral’ creative style metabones speedbooster ultra w/ nikkor auto 50mm f2 and nikkor auto 105mm f2.5 both lenses shot w/ tiffen satin filters graded w/ koji advanced luts
  9. 7 points
  10. 7 points
    Andrew Reid

    There is an imposter about

    Yep easy to trap. "Please send to Ebrahim Saadawi, 1 scam street, fraudtown."
  11. 7 points
    Oh come on. If you're really doing medium to high budget video projects, you are most certainly not rocking up on set with a mirrorless camera. Nor is it so easy to justify a switch between the two. The GH5 footage has the potential to be cleaner, sharper, punchier - for sure. But the difference between the two cameras is not night and day, and I'm sure a lot of clients won't be able to spot the difference. This doesn't even take into account glass, or lighting or crew size which have a much larger effect. Really, you're just perpetuating this camera myth where people like to think a new camera with flashier specs will elevate their projects, and in turn make them feel like they're a better filmmaker by owning the latest piece of gear.
  12. 7 points

    Shadow Warriors (BMCC) - Short Film

    A little short film I've literally just released online! Shot on a BMCC and graded with my BozBMDFilm to Rec709 LUT. Download HERE: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/. Hope you like
  13. 6 points
    I think Max Yuryev is doing some great work, and certainly deserves more subscribers/views: https://www.youtube.com/user/Maksimyuryev The Royal Ocean Film Society post some great think pieces, and film criticism: https://www.youtube.com/channel/UCWq-qJSudqKrzquTVep9Jwg I'm also partial to these guys, specifically the dude on the right:
  14. 6 points
    The science is far from settled, for example on the topic of renewables and the management of food, land and the agricultural economy. Further research is needed there to gauge the impact losing all that land to wind farms will have on food supply. Furthermore, it's interesting to hear what Freeman Dyson says in the film about the computer models - that they are a good tool for understanding the climate but a bad tool for predicting it. I'm no climate change denier but the discussion is getting way too dogmatic on both sides of the fence.
  15. 6 points
    Already installed. 1080p60 All-I 200 Mbit 10 Bit will be my GoTo for slowmo from now on. The details and noise structure are insane considering it's only HD video. Especially after Nnedi3 upscaling. It basically looks like 4k. Am impressed. Seems like sharpening at -5 is completely disabled? Still searching for sharpening halos... That would be amazing!
  16. 6 points
  17. 6 points
    The G85 is a year old now, the GX85 about 1.5yrs. I'm not sure it's fair to compare them to the 6mo-old GH5, rather than the GH4, which they outclassed in some ways. The G90 and GX90 (or whatever the next generation are called) will certainly get some trickle-down features from the GH5. Personally, all I feel I can reasonably ask to be improved on my G85 would be higher-bitrate 1080p. 25mbps is a bit too skimpy when things start moving. Outside of that, it's been a great upgrade/sidegrade from the GH4 for me. Better color, better lowlight, and most importantly, IBIS. I paid $550 for the camera, I don't expect it to share everything with the quadruply-expensive GH5- even if it technically could (i.e. "artificial" marketing segmentation) share some things. Panasonic has every right to do this, both legally, and I even feel, "morally"- Panasonic is by far the most responsive to our segment of the market, and even if their cameras are "artificially" limited, they're still by far the best value on the DSLR/DSLM market for shooting video. If I was going to expend energy bitching at/about a camera company, Panasonic certainly wouldn't be my first choice. The way I see it, get busy switching, or get busy hacking, because I don't see much coming of the angst otherwise. Will it, though, actually? The last Panasonic to be hacked was the GH2. Vitaliy hasn't had any luck with the GH3 onwards, and Magic Lantern's work is all Canon-based, I don't see them starting from square one when they have their hands full with the Canons. I think holding out hope for a hack is a complete pipe dream at this point.
  18. 5 points
    Hello community, I have finally finished my new video "A Journey through the St. Marks National Wildlife Refuge”, when you have 15 mins to spare and want to relax to some nature / lens porn, I love for you to check it out. On a good screen with sound ;) Filmed over 3 years with Baby Hypergonar 1.75x, Bolex 16/32 1.5x, Kowa C35 1.5x and Kowa Inflight 1.75x. Taking lens used were the Voigtländer 42.5mm f0.95, Voigtländer Color-Skoparex 28mm 2.8 , Olympus Zuiko Pen F 38mm f1.8, MeVis 35mm f1.8, Takumar 200mm f3.5, SMC Takumar 135mm f2.5 and the Zeiss Ultron 50mm f1.8. Edited in Adobe Premiere and colored with Colorista III and Film Convert. If you give me a screen grab of a shot you like I will tell you the combo. Bonus, of the 160+ shots 2 are not scope. A special shout out to John Barlow for his lovely Rectilux Hard Core DNA and 3FF-s which are all over this piece. Thanks.
  19. 5 points
    Danne (Magic Lantern superstar) and I have been working on a log DCP profile for Magic Lantern. At the moment, it's just for the 5D3. But if feedback is positive we will try to roll it out for all Magic Lantern cams. This profile is for use with an Adobe Camera Raw to After Effects workflow (although it may have other applications). Although other workflows may be faster - Resolve, for example - many people feel that the debayering, colour reproduction and noise control offered by ACR is unparalleled. The philosophy with this profile is to get the raw linear data into a log curve, so that blacks and whites aren't clipped and there is a relatively equal relationship between stops. Interestingly enough with this profile, and maybe it is unique in this regard, it has very accurate colour. Unlike Sony's S-Log or Panasonic's V-Log it's not necessary to correct for unusual colour reproduction. Just set a good white balance in ACR, apply a curve and colours are (almost!) bang on target. If you've never used a DCP profile before read more about it here: https://www.magiclantern.fm/forum/index.php?topic=20710.msg191757;topicseen#msg191757 Here is a ZIP file with the DCP and with two kinds of curves, one clean one with a "filmic" colour cast. You get both as a LUT and as a curve file for your convenience. DOWNLOAD: https://bitbucket.org/hyalinejim/ml-log/downloads/ ACR default: ML-Log ML-Log + curve
  20. 5 points
    i love my stuff! PANNYSVHS APPROVED
  21. 5 points
    Even with magic lanern: No XLR, no EVF, poor live-view when recording raw (it's practically unusable in 3.5K), huge data rates, limited dynamic range... Not to mention using raw on a paid shoot would be a risk most wouldn't (shouldn't) take. I've done it.. but I'm not into those risks anymore. It's a great camera - Amazing image, built like a tank, pleasing skin tones. I may never sell mine. But, ultimate? No way. Also, please top approving your own posts. Every forum post in the history of the internet has been approved by the author of said post, or they wouldn't hit submit.
  22. 5 points
    http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html GH4 - In VFR (Variable Frame Rate) shooting mode, there were cases where the image stabilization did not operate when non-Panasonic interchangeable lens is used. This bug has been fixed. H-HS030 - Macro - Dual I.S.2 is available by this firmware update. (in case of the usage of Camera with this function) H-NS043 - Nocticron 42.5 - Dual I.S.2 is available by this firmware update. (in case of the usage of Camera with this function) GH5 - 1. Compatibility with "LUMIX Tether" PC software This new firmware enables GH5 tethered shooting via USB, using “LUMIX Tether" PC software. Users can control the camera by connecting it to a PC via USB. Click here to the LUMIX Tether Download Program 2. Improved auto focus performance - Auto focus performance for subjects with low contrast in photo shooting is improved. - Tracking auto focus performance in video recording is improved. - The customized AF area can be continuously displayed in [Multi AF] and [Custom Multi AF] during live-view. - The AF area in [Multi AF] can be moved to the other edge (side, top or bottom) when it reaches one edge. - The start point of AF lock can be set on the live view screen in advance in [AF Tracking]. - The AF area can be moved while the shutter button is half-pressed or while recording in [Burst Mode], [6K PHOTO] and [4K PHOTO]. 3. Improved performance in [6K PHOTO] and [4K PHOTO] - The waiting time to start the next burst shooting sequence after [6K Burst] and [4K Burst] is shortened to less than half the time. - [Loop Rec] is available in [6K PHOTO]. * Use of Panasonic SD Memory Card with Video Speed Class 90 is recommended for [Loop Rec] of [6K PHOTO]. 4. An additional ALL-Intra Video Recording mode- 4:2:2,10-bit ALL-Intra video recording mode is added to 4K/FHD video recording. * Use of SD Memory Card with Video Speed Class 60 or higher is recommended for 4K ALL-Intra video recording. Operation is confirmed with Panasonic SD Memory Card with Video Speed Class 90. 5. 4K HDR video recording - [HLG] (Hybrid Log Gamma) is added to [Photo Style]. HDR (High Dynamic Range) is a mode to reproduce both bright part and dark part in an image, making it look just as human eyes see. The camera records video with a designated gamma curve compatible with ITU-R BT.2100, and you can now choose Hybrid LogGamma (HLG) in [Photo Style]. - A low-bit-rate recording mode 4K HEVC for HLG was added. This enables playback on AV equipment compatible with the HEVC compression format, such as Panasonic 4K HDR TVs. 6. Enhancement of the Anamorphic video recording mode- High-Resolution Anamorphic mode, which enables video recording in 18-mega effective pixels, is added. * Recorded in HEVC - [Anamorphic Desqueeze Display] was added, which lets you view an enlarged image in Cinescope size while recording with 2.0x and 1.33x Anamorphic lens. - [Video Guide Line] is added to display the image in a variety of aspects, such as Cinescope, 16:9 and 1:1 while recording video. This can be used not only in Anamorphic mode but also in other video recording mode. 7. Enhancement of Body I.S. (Image Stabilizer) - [I.S. Lock(video)] is added. This powerfully compensates for handshake when the viewing angle is fixed. - A new handshake correction mode is added, which provides optimum correction when using 2.0x and 1.33x Anamorphic lens. - In VFR (Variable Frame Rate) shooting mode, there were cases where the image stabilization did not operate when non-Panasonic interchangeable lens is used. This bug has been fixed. 8. Correction of white balance setting - When the K (Kelvin) value was changed after adjusting the color temperature with 2-axis white balance compensation, the setting was reset. This bug has been fixed. 9. Improved usability of Time Lapse Shot - The time to finish shooting and the number of recordable pictures are displayed on the stand-by screen. 10. Improved usability of Power Save LVF - Power Save LVF can now be used during all stand-by display options. 11. Wireless functions - The Bluetooth Remote Control function can be used with Image App, which will also be updated at the same timing with the GH5 firmware release. - If the camera has not completed image transmission when it is turned off, it restarts transmission when it is turned on with the [Auto Transfer] function. 12. Other improvements - A rating function using a Fn button is available in Playback Zoom and Multi Playback. - The following functions can be assigned to Fn buttons - [Constant Preview] [6K/4K PHOTO Bulk Saving] [Min. Shtr Speed] [RAW Processing] [Rec/Playback Switch] [Destination Slot] and [Mic Level Adj.]. - The DISP.Button can be locked. - In Relay Rec, there were cases where the video file number was not able to be reset. This bug has been fixed. - In Relay Rec, there were cases where the video file number was reset after formatting the SD Memory Card. This bug has been fixed. - In Backup Rec, there were cases where the file number was not reset even after applying resetting. This bug has been fixed. - The image quality when applying the following settings is improved: Extended low ISO, [i.Dynamic] (Intelligent D-range Control) and Highlight Shadow. Notice for the Change of Specifications
  23. 5 points

    More love for the Sony A6500?

    Sony SLOG w/ sgamut3.cine I boosted the color depth to +15 to add more useful data to the 8 bit color space. I made sure to expose my brightest areas up to 95 zebras. I then transcoded the files to 10bit 444 1080p. To my surprise the app I used to downscale the files added true color depth and microcontrast to the image. Fun fact : according to the cineon (which SLOG3 is based on) white papers the difference between 8bit Cineon files and 10bit files are imperceptible when the image is printed to the 6-7 stop dynamic range of our tv’s.
  24. 5 points
    Having worked in Hollywood I can say categorically that the marketing department (money, budget, etc) is less connected to the filmmakers than the person filling the popcorn at the movie theater. Also, the money can come from different sources. Even back in 1985 when I worked in the biz foreign distribution money could give/take-away a green light. That is, there are many "interests" in the film, from academy nominations to simple worldwide gross. When I was at Orion they made "Dances with Wolves" only to keep Kevin Costner happy so he would make other films with them--who saw Waterworld coming? ;). While it was being made, people practically laughed to his face about that movie. Blade Runner is partly a vanity project for all involved. I remember when they were making 2010, or whatever that 2001 sequel was and had to build all new sets because Kubrick had purposely destroyed the old ones. At first I thought he was a jerk. That changed after watching the sequel. They must have known it would be no 2001. They didn't care. For many reasons, various people wanted to invest in it. Bottom line, if money was the only reason to make blade runner, I doubt it would have been made. It's an adult story. They're not money makers. All the money makers have children in them as lead characters--well, children to me
  25. 5 points

    Aronofsky's Mother! 16mm Genius

    As I watched Aronofsky's Mother!, I noted how soft and noisy it was, figured 16mm film (it was: http://www.imdb.com/title/tt5109784/technical?ref_=tt_dt_spec). Lots of handheld, close follow shots, POV pan-reveals, and overall genius-level unnerving camera motion and editing. This is probably his best film to date: A+, 5/5 etc. Camera, color, editing, acting, story, lighting, music, sound, VFX, all top level work. He digs deep into the human psyche / ego / control / fear and doesn't let up 'once it starts' (you'll know what I mean when you see the film). For those who haven't studied psychology, it might seem incomprehensible. However while it works as an amazing horror movie even if it doesn't make sense, it's genius on so many other levels! Worth repeat watching to learn more, it's that good. Recommend not reading any reviews beforehand, and hopefully no spoilers are leaked in this thread. [edit: removed the trailer link, best to see it without any fore knowledge!]
  26. 5 points

    More love for the Sony A6500?

    slog3 with sgamut3.cine is promising ! It has a way of desaturating brighter colors like film that I just love. If you pull your shadows down in post the image is crazy ! thanks for suggesting slog3 @mercer
  27. 5 points
    It looks like it works pretty well, when you stay within the realm of reasonable. I'll never understand the jumping completely in and out of frame tests, Honestly who shoots that way.
  28. 5 points

    Wes Anderson - Isle of Dogs

    Inspiration on so many levels!
  29. 5 points
    I'm not really following this....are you suggesting that regardless of which camera you buy from Panasonic, or what you pay for it, all their cameras should be capable of the same features and IQ?
  30. 5 points
    I signed the petition about a year ago. I am happy to hear they got a response from Samsung. My question is would you guys be willing to trust Samsung again after leaving us hanging like this? and if not what kind of commitment would be needed from Samsung for you to trust them. For me, I would need to see a 2-3 year lens release roadmap schedule similar to what Sony did. It's not that I need a lot of lenses I just need to know they are committed to developing the line and that an NX3 would follow after the NX2. Actually, who am I kidding I like my NX1 so much I would probably buy an NX2 no matter what lol. I can only imagine if they made the NX2 today it would probably have some ridiculous specs like 4k 120p and 1080 @ 480
  31. 5 points

    Petition for Samsung NX1 hack

    I would disagree with you on the points that Samsung's own store did not sell them and the employees who worked there never heard of NX1. I worked at Samsung's OWN store as a sales associate in London where we have seen the NX1 and got trained on it month before the release of this camera. I was the first person to sell the NX1 on the launch day. I bought the NX1 (display unit) that was being used in the store as training purposes by us and to show customers after the store shut down on December 23rd. I'm still using it and I bought another NX1 just few months ago to use it as backup or B-cam. Used the NX1 last month on a wedding. The footage came out astonishing. I also had the Sony A7S II, but it was resting inside the bag most of the time. Prefer to shoot with the NX1 more.
  32. 5 points
    "It's now 2017 and the NX system is still alive and going strong. In some cases, the NX cameras still offer technology still missing from other manufactures to date. Think about how impressive this is? That's how ahead of the curve you were." Very true! The technology was an incredible achievement. If they wanted to just do an NX2, an update, I am sure they could swing the factories back into action. Problem is, they have to justify the business plan to the Samsung board and CEO, who has his eyes on sales numbering in the millions. I hope Samsung can see the advantage of doing a smaller scale brand prestige project with the NX2, ahead of a full frame camera launch in the future that grabs a big chunk of the market.
  33. 5 points

    Magic Lantern Raw Video

    Still plugging away on my film. And still could not be happier with ML Raw and the 5D3. I went out on Saturday to to do a couple pick up shots because my first attempt was a little noisier than I wanted and I wanted to get this scene before the water gets too cold. So I took out the Canon 35mm f2... what a lens. Anyway here is a screengrab from the shoot and a test color grade after I processed the footage. I'm still hoping to test the 3.5K builds soon, but right now... for my needs... the 1080p is more than enough.
  34. 5 points
    Tim Sewell

    Wonderfully cinematic stills

    One of my first 'inspired by Edo' shots, from Friday just gone:
  35. 4 points
    yawn - are you also user Satoshi who has just repeated the same fanboy talk on another thread....
  36. 4 points

    More love for the Sony A6500?

    Oh trust me I remembered thats why I bought the a6500 lmao ! The GH5's aesthetic wasn't far off from the G80 in terms of the look so I went with the a6500 with speedbooster to start shooting shorts ! Im keeping my pana g80 for event recaps and projects I don't have time to grade since cinelike v is so good. I shot the above video at iso 800 I bumped up the in camera saturation in the SLOG3 settings. Since the color gamut is so wide I figure there's no way I can oversaturate the thing, If anything I can desaturate in post. I gotta figure out how high we can raise the in camera saturation before we get weird color shifts. Im gonna play around with the detail section of the picture profile in an attempt to tame the in camera sharpness. @mercer
  37. 4 points

    One Camera - For Life?

    I am sooo tempted to buy an a7s for its amazing lowlight 1080p and then some external 4K ProRes. But it’s still a few hundred away from a must buy for me. When I can get a like new one for $1000 or less, I’m on it. With that being said, I would stick with my 5D3, unless I could afford a C200 or an Alexa Mini. I’ve also been really impressed with a lot of the LS300 footage I’ve been seeing lately. I’m just waiting for an indie film to use that camera. I can’t believe nobody has yet. A friend of mine sent me this link and it looks amazing...
  38. 4 points

    Aronofsky's Mother! 16mm Genius

    Agreed about the close ups. Any smaller scale formats really shine in this setting. The extreme being Super 8 or Polaroid film. Portraits on polaroid look like they've already been airbrushed. On the discussion of 16mm. Stuff I have shot with the Bolex has just been the most rewarding for me. The colors, skin tone, and overall feel are very hard to replicate. I think someone saying they can easily copy the 16mm look with filters, is the same as saying the GH5 can look like an Alexa or a F35. I suppose there's different traits that people would to copy. To some people that would mean analog inconsistency; film burns, grain, jumping gate, etc. There is a huge difference in the film stocks alone. These first two frames are 1080p scans on the Shadow. This is a 10+ year old scanner. The 3rd frame is a 4k scan from a Scan Station. This is just cheap c-mount glass. I've n ever used Zeiss on a bolex, but I am sure the results would be very nice. I've never seen this but the trailer looks good. I'll be checking that out this week.
  39. 4 points
    I was director and DP for a small budget commercial shoot yesterday and I chose the Digital Bolex as my camera of choice over the 1DC sitting in my bag. I put it on the MoVI M5 for the first time and it was a ton of fun having a sexy global shutter while getting gimbal shots! I honestly believe that if you light for it, the D16 creates some of the most stunning, rich colored footage I’ve ever seen. I had the option to rent a full RED Dragon kit, but I CHOSE Bolex with MFT mount. Shot using the rokinon 12mm MFT lens on the gimbal to keep the weight down, and the rest shot on old Super 16 Zeiss Super Speeds PL’s. The 9mm and 25mm were my favorites. I’m excited to put the edit together and show you what I got. All I can say after shooting with it all day yesterday is, it’s still a relevant camera for 2017 and creates stunning images that are truly unique.
  40. 4 points

    Old Fords NX1 +Pro Mist Filter

    Shot this throw away footage about a month ago. at the time I was all into that Steve Yedlin post and talk about resolution and haliation (is that how you spell it?) Went on a tear looking for a some Tiffen filters from my NX "S" Lenses average price was $100+ for a pro mist black. I scoured until I found a Pro-Mist 3 for $18 on amazon. I was walking past a classic repair shop and found these subjects... I put mega film grain on it trying to match that Yedlin look. All Hand held stuff. and if for some reason you want the 1.8 GB output from resolve (not sure why) its here https://drive.google.com/open?id=0B0mz6D_bQOx7dHRLZzJ4bThCdm8 Next Test I got a Tiffen Ultra Contrast Low Light....
  41. 4 points
    Official V2 firmware out! http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/dl/gh5.html
  42. 4 points
    I really think it's more like a hardware limit. You need hardware acceleration for 10bit H.264 and H.265. It's silicon, not software. If you don't feel like you got what you paid for on the G85 and GX85, then I'm amazedballs. They really do go beyond the specs you'd expect for the price. Any closer to the GH5 and what would be the point of ponying up $2000 for it? Making the G85 any better would kill the GH5 stone dead and nobody wants that to happen. Sensor readout speed isn't fast enough. It's not just the processor. Again it's not just software. The sensor has to be fast enough to scan for CDAF at over 240fps. If they gave users the option to buy V-LOG for an extra $100 on a $500 camera, they would lose $1500 not gain $100. I'm all for generosity, and Panasonic are much more generous than Canon. You could argue that Sony having S-LOG on their consumers cameras gives them a bad reputation because a lot of consumers don't know how to grade it properly and it ends up all over the internet making people think Sony cameras shoot weird looking video. You don't expect 1st class service when you buy an economy ticket on a flight though do you? So why expect it with cameras?
  43. 4 points
    I don't think that's what people are saying. I think it's sort of the opposite. If you're working professionally you want to make sure you can justify the cost of the gear or else it's bad business. So there's no reason to buy an Alexa unless you can afford the crew to support it (and the roughly $100k investment up front)... and your revenue warrants it. Whereas if you're buying a camera as a hobbyist, your bank account (and credit) is the limit. I'd say spend more on other areas of the production, but if you have the money for a camera package and the rest of the production, go for it! I do think a bigger problem is that a dSLR or C300 or FS7 is a camera you can operate comfortably with a crew of one or two, whereas in my experience it's harder to shoot on Red on Alexa without a bigger camera department and a much bigger G&E department (the sensors are light-hungry). Particularly if you want to introduce more camera movement. And so that can add many thousands a day getting the additional crew and support gear, unless you have the ability to get people to work for free and have access to cheap rentals G&E and camera support. Frankly I find the Red MX and Epic to be a nightmare on fast-moving sets and very difficult to use as owner/op cameras, though to be fair I was using both of them a month or two after they first came out and they are a lot better now. This isn't meant as an anti-Red screed. The Alexa is just as bulky and requires a lot of battery swapping, too. It's also pretty slow, but the Amira is faster. I love the image from the Mini but not the ergonomics. They're all built for a bigger crew. So I think the hidden expense is the added cost in workflow and crew and time with some of those cameras, and that can add an additional five figures to the budget of a short easily... that is, if you're paying your crew and post team. But if you have that worked out, you've got it worked out. That's my only argument against getting a big expensive camera, but if you have that part worked out, go for it. On the basis of image quality I'd put the 4.6k BM well above the MX well above the original 4k BM, which has a significantly worse image than the 2.5k. The 4k has the thinnest dynamic range and most fixed pattern noise I've seen in a cinema camera. But if you're used to shooting on film and lighting for film, you won't need any more light than that with any of these cameras, though you will need to be very careful managing your highlights on the 4k BM and to some extent on the MX. What lens set do you own? Some lenses have strange corner performance with some cameras (I believe the Cooke Speed S2/S3s do with some Reds). I would rent all three cameras before buying anything. Anything with very oblique light rays in the corners can perform dramatically differently on different sensors and that won't be as apparent on a 2.5k converted to PL because of the smaller sensor only receiving the more direct rays. But as for spending money on your hobby, do it! 99% of Porsche owners aren't professional race car drivers. Just get whatever is gonna make you happy. They're all nice cameras. You sound like you know what you want and to that extent can't really go wrong. I might envy you for having gobs of disposable money, but I think any of us would spend it just as irresponsibly if we had it.
  44. 4 points
    Here's a series of screen grabs from some video today...critique?!?
  45. 3 points
    "Are we doing the right thing?" That's the question The Uncertainty Has Settled explores, and you may ask yourself the same thing about shooting Magic Lantern for the big screen! Crazy or inspired? My friend in Berlin, Volker Schmidt was behind the camera on this film, and the decision to shoot Magic Lantern raw video on the 'vintage' 5D Mark II... Read the full blog post
  46. 3 points
    http://deadline.com/2017/10/ryan-gosling-blade-runner-2049-harrison-ford-opening-weekend-box-office-1202183063/ I've just seen it. Definitely not a fast paced action film. It's slow, brooding and very very tense. Roger's cinematography is his best work ever, and he'll get a Oscar for it. So many deft touches and changes mid scene to serve the story. It's a stunning looking film. Dennis Villeneuve slowed down the pace, focussed on a study of the characters above everything else. I'm still not 100% a Villeneuve fan but this is far more entertaining than Arrival. I am more impressed with the story and screenplay... It has many good ideas. Some genuinely original and untried. I think it will stand up to repeat viewings, it has the depth to go down as a bit of a modern classic. I just wish I was more a fan of the overall cinema experience of people munching stinking nachos in your fucking ear whilst talking constantly. (To be fair this isn't as common in Berlin as some other places but I lucked out and got to sit next to a dirty old corporation man on a date with his 18 year old intern)
  47. 3 points

    One lens for life...

    Lol! You really think s35 was a standard created by Red? It was a standard film size for decades before that! DECADES. And ask your focus puller whether micro four thirds is easier to pull focus on than full frame. Go ahead, I'll wait.
  48. 3 points

    Nikon D850 vs everything

    If the D5600 replacement gets full sensor 4K with focus peaking, then I'm buying it!
  49. 3 points

    One lens for life...

    Leica R 35mm Summicron or Contax Zeiss 28-85mm f/3.4-4.
  50. 3 points
    Look at the new voigtlander. 40mm 1.2 for the E mount. The diagram looks like a speed booster behind a medium format lens, the samples look medium format to me, although bokeh at 1.2 looks ugly. http://www.cosina.co.jp/gallery/iida-40-1_2/01.html