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Pretty much the final edit, but if you do see things that make you wince or just seem bad timing or out of place - please make yourself heard (just be good to have a 2nd, 3rd, 4th...set of eyes). Thanks PW: stu

Guys, I was asked if I can cover a 3 hour indoor stage event shoot. It has a series of performances, each separated by a brief (1/2-1 min typically) breaks, but is otherwise continuous. Is it possible to cover this with NX1, stopping/starting during the breaks? I also have NX500 that I'll use as second camera.

Hi everyone. I have uploaded a test sequence with shots from a indie feature I´m doing. We Shot a small scene with film because we wanted a really particular look for this par in the movie, more vintage, like memories from childhood. Se we shot on a SRII super 16mm Fuji Eterna 8673 stock. Then scanned on an Arri scanner. I never color graded film. So wanted to hear some opinions about. If any one have questions, please be my guest PASSWORD: fuji test Also, i wanted to share the raw clip for anyone who want to give it a try. Remember its film log. compressed in DnxHd https://mega.nz/#!hFh1hAyA!b0mxVAk1KtjL7guXYcRExBEcdTAVinaTLfMIQq5k-24

If you find a magic lamp, make one of your 3 wishes the (missing) Canon Firmware update for the magical 1D C. Meantime, the Zacuto loupe is a must.

No longer will I have weird skin tones in any of my future footage. Thank you Internet. I put this to work on this thing I shot on red one mx.

I had assumed this was the standard technique. What were you guys doing before??

Unfortunately it doesn't. You have to create a LUT for each scene which is cumbersome.

I often admitted that I can't grade. That's true, though I technically understand everything Huczek did in his tut and think I could have done even better. I agree that the key is not as good as it could have been. BUT: The difficulties start when you don't grade a single, isolated shot so that it looks much better than before, but a whole sequence, in which almost every shot presents different problems. Yeah, Resolve has this very easy-to-use wipe-splitscreen for saved grades. Now the way to make the sequence look "consistent" (term by Stu Maschwitz) is to grade your favorite shot from the sequence first, for look. Then you compare the rest of the shots one by one with the splitscreen. Not just with the naked eye, you watch the RGB parade, which also shows the split and indicates if the balance matches. So far the theory, and by following this advice, a half-blind will get 90% of the task accomplished. The remaining 10% separate the boys from the men. Because then you balance without net, and you will just need "an eye" for it, much like a good cook needs "taste" not to spoil everything but instead make it special, sensational ... Two more aspects to consider: the whole philosophy of skin tones which need to be preserved because they are "memory colors" (Maschwitz again) is arguably wrong, the vectorscopes' skintone-line just a crook. If the skin color is perfect "porange" (Maschwitz) doesn't mean that it's looking alive and beautiful. Because that - second objection - has more to do with the richness of nuances, with the number of different shades and colors the skin is composed of while it was stored in the recording file. Who says that colors are more believable if they are "pure"? There is a reason why the classic painters didn't just smear some porange on their portrait sketches. They applied different shades in layers, they let shadows wash away the saturation, they let the skin reflect the light or nearby objects. You could say they did a lot of grading. To get beautiful and not just acceptable skin, you need the right light/exposure, the right WB, the right color science of your camera's profile. The best options offer 10-bit or raw. And you need that extra bit of delicate taste for colors that will never be taught in a tut. EDIT: On the Larry Jordan tut. This is not grading, it's saving a shot with a terrible cast through color correction. We don't see the girl full screen, but we will all agree ("everybody knows the color of human skin") that the color balance looks natural. It is an SD-approach actually. In SD it was enough when the outlines were filled with the right color. For true HD, let alone UHD, this doesn't suffice anymore. We are able to see so many details that the chroma values can't just represent skin. It's like a jump from a children's coloring book to a Vermeer.

I do my costs on day rate, whether it's only 3 hours or 10 hours. Pre-Production: estimated days to complete pre-shoot work. (treatment, references, locations, talent, equipment, shot lists etc). Production: days to complete shooting schedule. Post Production: estimated days to complete post work. Within these costs, I add a 25% margin to cover the cost of business and a bit more for cushioning. I will also add an extra 2 days for post production amendments and advise the client that should they request anything above what was agreed, then that would be charged at day rate too. The amount that you charge really depends on the value/quality of your service, the expense of operating business and the project type

This is in fashion nowadays for camera reviewers. Philip Bloom also wore lipstick as he presented the Sony A7s... https://vimeo.com/102448889

I'll post back when i have more info, I bet the card will be fine in the C100, those cameras still record if you push a potato into the SD slot Of my SD cards that meet the specs Sony states are needed for 4k and 100p, 4 out of 7 actually work. That's not a great hit rate.

Wish I'm on that "low end".... !

In that case free isn't uncommon. Or $100-$150/day if there's a bit of budget, whatever covers the cost of gear. I thought it was corporate videos for small businesses, in which case $600/$400 is a low rate if you're the vendor, a pretty normal mid/low end rate if you're a wet hire working for someone else.

It has worked for me a lot of times!!! Those are good prices for commercial work. Inazuma told us that he is helping a friend who is working on a long term documentary...

Such a shame Eterna is no more. But there are still some in stock and I have 900ft in my freezer :-)

I know Kodak has some really different tone that i like, but there was very low supply of film stock and Eterna was the only available at the moment. I still love Fuji look

Cost: $4500 for body only. Already had the other parts: rig, 7q, vmount, 2sdi cables (for 12bit 444) Richg101 is making me some Pl mount Trump lenses (38mm and 58mm). Will hopefully be arriving soon! When he does I'll post some shots. Short on time, so I haven't been able to shoot or play with footage much, but very impressed so far, especially in the highlights.

We'll be making a Super 8 film at my doc class next week, super excited for that. Loved the grade and feel of Wild Ranger's shots at the top, it's still one hell of an aesthetic.

Looks great! I love film and especially S8 (happy birthday Super 8! For 50 Years! and hope for many more but doesn't look good) Anyway... maybe you choosed wrong stock: Kodakchrome looks totally different (warm and reddish) and that is the look of our childhood

I sometimes hide the fact that I use Android together with windows phone since Android users tend to be so fanatic and almost like a cult. And I guess thats why the iphone gets so much hate for not being first with 4k. Same thing will happen if the 5Div gets 4k. It will be endless battles about how Red, BMD, Panasonic and Sony already did it.

an abstract point: never be afraid to say "Whats your budget?" just look em right in the eye, and say that, and smile next one who talks loses lol

No biggie! I'm still hoping to hack the camera at some point with the NIkon Hacker mb hack but until I can afford a gh4 i'm satisfied.

First I have to say that it was such a pleasure to shoot with these lenses compared to shooting with other vintage anamorphics. No hassle, no aligning, no triple checking focus. Other lenses can give great results. Kowa, Bolex Möller, Sankor, Iscorama and other anamorphics all have their special character, beauty, disadvantages and solutions to be able to shoot in a proper way. But being able to shoot without lens clamps, rings, front lenses and other stuff feels so good. It’s just choosing the right focal distance, attach it and shoot. Is it perfect? No. But I have to compliment SLR Magic because they are at least putting energy into anamorphic solutions and now even into native anamorphics. When shooting wide open, which I tend to do and have done for this short film, some chromatic aberration can be visible, it disappears when stopping down. The 35mm mm has clearly some visible circular distortion in the edges. I tiny bit too much to my personal taste but i know many anamorphic lovers love the distortion. I am enthusiastic about the sharpness, the overall look and user friendly usability. These are the first ‘lower range’ anamorphics I would dare to take with me on a commercial job. Color correction was done in Adobe Lightroom, not the most easiest and common way common way to color correct video but I love some tools that are available in Lightroom. I exported and color corrected every single frame as a tiff.

I really can't tell if the latter's tips will work with the Fotga's DMW-DCC8 knockoff. If they don't the most universal solution is to get a battery with an AC inverter.

The Sony F3 is another bargain. 444 output, great color, good in low light too... it's now $5k! http://www.ebay.com/itm/Sony-PMW-F3L-Super-35mm-Full-HD-Compact-Camcorder-885-Hours-w-S-Log-Gamma-/331376366422?pt=Camcorders_Professional_Video_Cameras&hash=item4d27921356