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Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film. I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good. Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).

So as I've hinted more than a few times in the other thread, the discovery of the Cinelike D and other bits and pieces for the GX80 etc was actually a bit of a happy accident while I was trying to do understand the Panasonic wifi stuff for something else. And here is that something else. Well at least a prototype of it but it is fully functioning and will just be finessed a bit more. Basically, its a wireless hardware remote for the G series cameras that operates over wifi and can currently control record start/stop, shutter speed as well as aperture and focus if you're using a native lens, including a single shot AF switch. For the non-Cinelike D cameras that can now be hacked to have Cinelike D there is also a dedicated button to toggle it on and off so you don't need to mess about with browsers and computers or smartphones anymore. Focus and aperture control are done on a joystick and everything else is switches. I'll be putting a layer switch on so that it can be toggled back and forth to a different control mode for ISO, WB and other stuff. As this is the prototype it is nowhere near the finished piece and it will be reduced in form factor to just be about the size of the control board. Power is by any USB source so there are billions of options. There is a lot more finessing and feature enhancement to go on with regard to the focus control (and yes, I know exactly what you'll all want it to do !) but the hard part is done now. It does support the display of the values on a screen and I'll be sorting some options out for that. The purpose of this gadget is primarily for use with a gimbal but it can also be really useful on a tripod bar for anyone shooting live event stuff. For cameras with inbuilt lenses I'm going to add a zoom mode on the joystick. A very quick very rough demo so you can see it in action. Any lag you might see between me operating the controller and the camera video is just a sync issue between me throwing the two recordings on very quickly

I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results). I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right: I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope: Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added: And here's the same shot with the colour correction applied: Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3? I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR. First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera. A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview. If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS. FOLDER: https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms ALL FILES ZIPPED: https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM

OK So for anyone wanting to try this, I have made a really simple method to do it. I have tested this numerous times on my GX80 and it has lived to tell the tale but obviously do this at your own risk. All that this process does is fool the camera into thinking its talking to the smartphone app and then the commands it sends are exactly what the smartphone app sends. Or would do if the smartphone app thought it was talking to a camera equipped with Cinelike D ! So as such it is only getting sent what the Panasonic app would be sending to it so there are no hacky or sneaky debug things getting sent to it. Again, though, proceed at your own risk. Although I would say, if you’ve tried that region switching hack on YouTube with the 10 million key press combos during power up then you’re already brave enough to try this! Bear in mind that my unit is a GX80 and the firmware is version 1.0 If you have a GX85 or have got a different firmware then I just don’t know because obviously I haven’t got any other devices to test it on. Here we go then…. Follow these instructions exactly and you should have Cinelike D on your GX80/85 You will need a laptop or a phone with a browser, the camera and to download the simple html file attached. 1) Switch on camera and turn on wifi as though you were connecting the app and you should see the waiting screen on the camera 2) Load the Deploy Cinelike D.html file into your browser 3) Select ‘Handshake’ 4) You should see the browser page change and it confirm that its connected to a GX80 5) Hit the back key on the browser 6) Select ‘Connect’ 7) You should see the browser page change to say ‘ok’ and the camera give you an ‘Under Remote Control’ message 8) Wait until the camera screen shows you a live view 9) Hit the back key on the browser 10) Select ‘Deploy’ 11) You should see the browser page change to say ‘ok’ and the camera should NOT now be displaying the Photo Style you had selected (i.e. Standard, Vivid etc) 12) Cinelike D is now active on the camera 13) If you go into the menu on the camera and select Photo Style you will see that it is blank and you can’t navigate to other Photo Styles such as Standard etc. 14) To restore the Photo Styles hit the back button on the browser and select ‘Restore’ and the camera will display the Standard photo style and you should then be able to go into Photo Styles and change them. 15) Repeat 9-14 to switch between them to your hearts content! So, like other settings, the Cinelike D profile will persist when you switch the camera off so if you want to use the other Photo Styles again then you MUST go this process again to re-enable them. However, if you would like to switch between them without using this method again (and who wouldn’t) here is a neat way round it. When you’ve done Step 12 and got Cinelike D on, set all your other parameters (4K24p etc) as you’d like them and save these into C1 of the custom settings. Then go to Step 14 and use the ‘Restore’ to get your standard Photo Styles back, set all your other parameters (4K24p etc) as you’d like them and then save these into C2 of the custom settings. Now when you switch the camera on, you simply choose C1 to have Cinelike D or C2 for the standard Photo Styles and forget about using any nonsense about using browsers and wifi connections! In couple of weeks I’m hoping to show you how you can do stuff like this and some other useful bits and pieces from a little hardware gadget that will work on the Panasonic cameras but have fun with this in the meantime. DEPLOY CINELIKE D.html

After much work and many sleepless nights, I have almost finished my work and I think I have brought the lens NXL to the point of being sold to the public. I thought if the test this week will be positive to produce it with Canon EF mount dumb to which you can add a Nikon adapter with iris aperture control. At this stage it allows to mount all Nikon and Canon lenses, in the future I will continue to work to enable the electronic control of the lenses.

So as some already know, I recently purchased a 5D3 primarily to shoot Magic Lantern Raw. Well this week I started my first short film with it. It was definitely a learning experience but I really don't know of any camera where I would have achieved such pleasing images. I also purchased the Canon 24-70mm f/4 lens and I am consistently blown away by what a great lens it is and the OIS is so damn good, even at 70mm, that the majority of my short, thus far, has been shot handheld. With the recent 4K Raw developments, I figured I would post some pros and cons in case somebody else is looking to pick one up. Well the first pro is that shooting Raw could not be simpler with it. Set up Raw histogram with the overexposure hint and when it shows your color channels are starting to clip or the word "over" appears on the histogram, then just dial back your exposure a touch. Another pro is that there are a bunch of people on this forum still shooting with the 5D3 and everybody is helpful. If you have a problem about any aspect of the process or workflow, there are plenty of other ML shooters around here that go out of their way to answer even the stupidest of my questions... not nearly as daunting as the ML forum. Now a couple cons... you need a bunch of cards... or a computer and hard drive to offload your footage... 12 minutes on a 64GB cards gets filled quickly. Even with 3 cards, and trying to be conservative with my shots and shot ratios, I still ran out of space 3/4 of the way through my second day of shooting. Converting the footage is a bit tedious. The RawMagic route of converting the MLV files to CDNG is fairly fast but then you still have to process the footage through Resolve or After Effects before really seeing what you have. I really like the MLRawViewer program, but although you get to preview your footage, the conversion is slow and after I updated my Mac to Sierra, the version I have does not work with it, but I believe there is a newer version, so hopefully it will work then. I guess that's about it for now, so I'll leave you with a couple graded screen grabs, from a couple shots I briefly messed around with yesterday...

If you want to ban someone for pointing out real log is different to your flat profile (which is really good and useful, btw)... Then ban away.... I thought you liked honesty though?

I’ll admit it, I use camera forums a lot. Too much, probably. I use them to check out the latest cameras and lenses and lights and accessories. I waste about two hours a day on them. Time I could spend watching “the View.” When I started out shooting part-time in 2005, I got a DVX100 because a juggler who was a featured extra on a tv show called “Sons of Saddam” told me to. “Cause it does 24p.” I didn’t know what that meant, but I plunked down $3,000 - all the money I had in savings on this camera. The camera could have been a bust. But I did it because a juggler who played one of Saddam’s sons goons said so. That’s how easily influenced I am. Then I bought a HVX200, not even testing it first. “Cause it can do HD.” I bought the Redrock micro adapter because I watched the work of MacGreggor and some other DPs back then do stuff on a Gorilla 35 lens adapter that hadn’t even come out. I hadn’t even tried it first. Just sent in my credit card info. Rinse and repeat. All these periods of time I bought things just based on videos I saw shot on them. No tests - I didn’t understand tests. Just videos shot with them and the opinions of people I respected. I could look at screen grabs but just scroll down to their opinions. Well finally 11 years later, I am seeing what I was doing - buying based on people’s emotions. Based on the emotions of people whose work I liked. This is fine to do, but it’s not always the smartest thing to do. There are several, maybe twenty influential figures online in the cinematography world. David Mullen, Shane Hurlbut, John Brawley, Art Adams, Geoff Boyle, and of course Andrew Reid, come to mind as leaders who people follow and listen to. Even the opinions of the above people and the other influencers are, in the end, just their opinions. When someone says, “this to me screams filmic” or “this looks digital” - again, that’s all an opinion. If they say, “that grade is terrible” or “man you nailed the skin tones” - again, that’s all opinion. Even looking at test charts and camera tests, the results are subjective. Aesthetic is subjective. There are scientific tests, but they lead to opinions. This isn’t pure math - this is an art form. There is no such thing as filmic. Everything is digital. Film emulsions see the world differently, but they go through a digital intermediate. They become digital . And I think that’s probably about 99.9% of all films shot on celluloid. Maybe a few hipsters shoot film and use a steinbeck, but they still upload their results to vimeo, which converts this to a h.264 file. I have very strong opinions, and a lot of people have very strong opinions. That’s why we work in film. It’s an art form that is full of passionate people. But I also have low self-esteem. My whole nature of existence is based on others approval. I’m getting better at trusting my own self, but this is my basis. I think maybe most artists have low self-esteem or why would they want to share their art? Is it ego? Or the attempt for others to connect? Yes that’s part of it. But whether you want to admit it or not, we love when people love our work. We live off the feedback, or why would we check vimeo 5 times a day to see if someone commented? Why else would we have awards? Especially in an art field where awards are just based on opinions of a community who may or may not get your work? Something is beautiful if you think it is. You don’t need an oscar in cinematography to be happy with your lighting or camera movement or angle, or have your opinion mean anything less if you aren’t in the ASC. Everyone brings something unique to the art form. Everyone brings a new perspective that is needed, especially now, when everything feels pretty much the same.

Here it is! We recorded hdmi 8-bit 4:2:2 out of it and went to the odyssey skin tones overall are nice! and stabilization is amazing. The camera was interesting to use - especially considering that it's a 200 ASA camera and has moire and dynamic range challenges - sometimes this is interesting to have to maximize something with limitations. It's difficult, but I guess it disciplines you.

now only needs a sim card, we can easily dial phone numbers with these buttons, and talk with our client.

Minor update, still doing what Im doing, still digging and documenting what changes Im finding in the firmware, have started to explore with telnet and the camera. Its looking good. Have a few ideas on how it utilizes firmware updates but nothing solid yet. But I like how both stages are progressing. Although i wish I had more to show haha but dumping c isnt going to have a point! I should have a major update in a few days though!

Wrote up a little guide for people new to this and looking to buy their first recorder. And is the way I see the world of low budget recorders is they're ranked like this (starting from worst/cheapest to best/expensive): Tascam DR22WL / Zoom H1 (I'd suggest skipping right over this tier of recorders! But hey, my first ever short film I did years ago was with a chinese shotgun running straight into a Zoom H1!! :-o Shocking but true... everyone starts somewhere!) Tascam DR60D mk2 (the DR60D mk1, before the mk2 came out, is what I myself started out using for no budget shorts as a budding location sound recordist) Tascam DR70D (the *minimum* I'd recommend for a location sound recordist, even if you're just a student / no budget guy. Although in desperate cases, you could scrape by with getting the DR60Dmk2, but doing the opposite and stretching for an F4 is very worthwhile. Certainly, I could travel back in time I'd just have gone straight for the Zoom F4 from the starts! *Except* the F4 didn't come out until a few years later... you live in a very lucky time with so many wonderful options to choose from!) or Tascam DR680 (these can be found at bargain prices secondhand, which is what I did before I then later on purchased a Zoom F4 once that came out & I spotted an F4 at a good price) Zoom F4 / Zoom F8 / Sound Devices MixPre6 (I skip right over the MixPre3, as the MixPre6 is very similar yet does so so much more at only a relatively small extra cost. Also I regard the three of F4/F8/MixPre6 as all on broadly the same level to each other, just varying slightly from each other in one area or another that ones might have a small lead over the other one. This is the tier where I'd see you're now reaching the semi-pro level) Sound Devices 633 / Zaxcom Maxx / Sanosax SX-R4+ (finally you have now got up to the "industry standard" when it comes to recorders people use for small shoots, especially when mixing from the bag. If you're doing this full time as your job or hiring someone who is, then likely this is what is being used. Either that or similar gear, or even something better above this) And if you considering ones priced above those last three.... you're surely doing this full time as a sound recordist and getting a healthy income from that, so why are you asking us here on Frugal Filmmaker? ha! :-P But yes, tonnes and tonnes more options exist at the higher end as well! Finally, if you're considering something in the budget range within what I just covered, but isn't one of those that I mentioned, then it probably is *not* a good idea to buy if you're intending to be a location sound recordist. Something else only might *maybe* make sense if you've got in mind some other purpose for it, such as perhaps you want to record a band in a studio (which has very different needs / constraints), or you're the rare exception which proves the rule, or you are getting lucky finding some amazingly priced deal which can make an otherwise bad purchase decision then make sense if "the price is right". For instance I didn't include the Roland R88, as I feel it is extremely poor value for money in 2017! However.... there was a time at the end of 2016 when the Roland R88 got a huge price drop because it was being discontinued. Even with that massive price drop, the Roland R88 probably still wasn't a smart purchase vs the Zoom F8, but the big drop in price at least made the R88 a somewhat competitive option worth mentioning in a round up of all the various choices. However, that sale is now long since ended, and the prices I see on eBay for a Roland R88 is even higher than what you used to be able to buy it new from B&H Photo! Clearly those eBay sellers are dreaming. Anyway, that was just one example which might have been applicable but isn't now, so I don't rule out the possibilities of something like that perhaps popping up again in the future especially if you very keenly look around for secondhand deals. But for over 95% of people reading this, that won't be applicable, and just stick to going with one of the main ones I mentioned earlier. http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

We filmed Sammy the dog touring around Asheville, NC. Filming a dog is a crazy man's work. So difficult, but working with the cutest actor makes up for it haha... Let me know if you have any comments or questions!

Shoot everything at 1080p. Don't shoot yourself in the foot with 4K. Although I do like shooting ceremonies at 4K for the post crop. Canon skin tones are the best. Even a used 70d would be better than Sony IMO. The C100 mk1 and 2 are the best cameras for weddings IMO. I've shot a few recently with C100 mk1 and my 1DC and it's super nice. Here's a teaser I did with 1DC/ C100 combo: You MUST MUST MUST remember that wedding films are CONSUMER PRODUCTS. DONT EVER FORGET THIS. THIS IS 6 years of experience and over 300 weddings shot of experience talking to you. These people aren't professional filmmakers. They aren't producers. They aren't film snobs. All they want is pretty shots of them on their big day. If you shot it all with a t2i and a 50mm 1.8 they would love it because it looks "cinematic". Don't get caught up with the gear when it comes to shooting weddings. That's the biggest waste of time and money. The couples simply don't give a shit. I hope you enjoy it. Weddings are a fantastic way to get lots of experience and become a ninja shooter

Hallo NX World, the NX Booster it's coming soon! This is the Prototype Mark II. Marco do not worry, if I do not post my progress, is because I have a lot of work in my private life. Next week I start the test with Nx1 camera.

So, as some of you may know, I've been "experimenting" with having little chats with different Panasonic cameras over WiFi and after whispering in the GX80s ear last night, I may have come up with something quite interesting. The first image is a grab from a GX80 using its Standard profile. The second image is a grab from a GX80 that is definitely not using the Standard profile.......

In December 2016, I wanted a stills camera. After some thought, I was swayed by the A6500 because of the video features. (typical!). I've been testing this camera mostly on the excellent Zhiyun Crane (on a price / value ratio I'd say it's the best gimbal you can buy). On my most recent shoot, I put it in the deep end. I used Slog2, the 18-105mm kit lens and exclusively used autofocus for the entire shoot. Felt weird. (stills attached) Overall, this has the potential to be a very special camera... but it's not...quite...there...yet. Here's my mini mini mini review: PROS The 4k image is the best 8 bit 4k I've used. Certainly the best in Sony's lineup. There's a very special sauce going on here - it's super gradeable, detailed and the A6500 colour is much improved. Colour is improved? The image and skin tones are very, very pleasing - both using a standard everyday look and a stylised look (which I tend to go for). Sony look? Not here. Autofocus is very responsive. Absolutely essential on the Zhiyun Crane, makes it so much easier to focus on the shot as the image is 99% always in focus, even at shallow DOF. Compact power. Very nice to hold in the hand without a rig. Super light. 120fps is surprisingly good. Sharpened up and exposed nicely, it's a stellar 120fps. CONS Rolling shutter is a problem. It's easily avoidable however it can be annoying and ruin a shot. There's very little in the 120fps mode. Battery life is poor. This is a constant issue with Sony mirrorless. Even if they make the bodies a bit bigger for a higher capacity battery, needs sorting! The LCD dims very low. Maybe this is to manage heat or whatever. But the LCD does dim quite significantly. LCD gets scratched easily. These cameras need a cover to come with the camera, or flip the other way round. Got 3 scratches on my LCD from transit. Some of the buttons are flimsy and thin. Sony need to extrude the buttons more. The wheel on the back i especially fiddly to use. CONCLUSION The 4k image in XAVC-S is absolutely fantastic - I've not been wowed by image quality in a while. But it do get giddy when editing it. What's going on there? The shortcomings do dilute the experience a little - and Sony should sort them out for the A6700. With other expected updates, this would be a classic camera. There should be more love for this camera, as it sits under the hype shadow of the GH5. (I expect the GH5 to be awesome, but haven't used it). Overall - it's a very useful tool in the bag with some stunning features, great for stills too.

Shot with the Blackmagic MIcro Cinema Camera with the Angeniuex 12-120mm 16mm lens, a cameflex mount modified to micro 4/3rds. For color, I brought into Da Vinci resolve and used Filmconvert with a Fuji Eterna film stock and softened it even more to Super16mm softness. Added a tiny bit of grain and that gave me a great starting point to harken back to a more organic look. I zoomed in digitally mostly around 20% - and it still was too sharp of an image. Why not shoot it anamorphic instead? Well, I am in love with documentaries of the 60s and 70s like Grey Gardens, etc. And they used this lens I think, and it has a certain feel to it that’s pretty beautiful. Let me know what you guys think of this.

full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy. the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.

Man, I suffer in silence when I read some stuff here (I guess I'm masochist to keep reading it). But this one is too much for me... On what ground do you think it should cost 2,500$ ? Please tell me. Do you know a video camera costing that price and doing this ? And don't tell me blackmagic please (fan of the brand, but their cameras aren't in the same price range and they are way less reliable and easy to use, and no autofocus, no support) Do you know a pro 1/3 sensor camcorder costs more than 2500$ (Sony, Canon) ?. It might not be the camera for you, that I totally understand but with all due respect, I think your comment is from a spoiled naive non pro shooter who doesn't know the requirements of pro work and on being on the field with reliable equipment. People always complain, at some point it's just ridiculous. They want new technology right away, but when Sony releases a new camera too soon, they think theirs just became obsolete and hate Sony for it. In the mean time they blame Canon for holding off. And now they unleash something very unexpected from them, still complaints. Same goes for bitrates. Canon files take too much space, now they want that kind of bitrates in their gh5, and they're suddenly ok with the file size. And all that to end up posting videos on Youtube (which is not a bad thing but just all those concerns are irrelevant for that type of delivery). Anyway, this camera seems to be freaking great. Canon used to deliver not on specs but on the field and with the image quality/mojo. Now this one also has the specs ! Granted an intermediate codec is more than necessary for a camera at this price point, but it will come down the line anyway. Pffiou, sorry I had to get it out of my chest Now I can burn in hell !

I saw a film, swore to myself it was shot on 16mm nope it was shot on the red dragon. (Dayveon) Then I thought it was shot on zeiss ultraspeeds. Nope it was Canon K35s, which I think are similar to Canon FD glass. I saw another film, swore to myself it was shot on the alexa, nope it was shot on the c300 mark i (motherland) I was sitting 30 rows in the back, in the front, all over the place. I couldn't tell anything After all that, after everything we do, and say, at the end of the day, none of us can tell.

i goggled "music video" and this came up. director is some guy named paul thomas anderson. doesnt seem to match your formula. first time director maybe? clearly not a "pro"

Eagerly awaiting your Pocket Cinema Camera? You already have a micro for thirds camera and some C-mount lenses? Want to know if they will cover the sensor of the Pocket? Lets find out! I hope you will add your results, so we can make this list growing. I will only add lenses to the lists when you have proof, in other words: images. How? Because we know the active sensor area of the BMPCC measures 12,48 x 7,02 mm, it is fairly easy to check if our C-mount lenses will cover the full sensor. Calculate this by taking a picture with a lens on your micro four thirds camera, and crop out the image area of theBMPCC. In Photoshop: Open the image. Go to Edit > Image Size, uncheck resample image. Change Image width to 19 centimeters, press ok Go to Image > Canvas Size, change dimensions to 12,48 x 7,02cm, press OK to crop the image to BMPCC size. Resize to 1920x1080 pixels Post your results! Note: If you shoot on the GH3 or other MFT camera's, the sensor size is 17 x 13mm, so change the width in step 3 to 17 cm! To lazy to do it yourself or you can't work it out? Upload the full resolution files and I'll do it. List terms explained: Yes = covers the full sensor of the Blackmagic Pocket Cinema Camera No = doesn't cover the sensor Needs modification = Doesn't fit on C-mount to M43-adapter without modifications Equivalent = The focal length and depth equivalent on a fullframe camera (5D Mark III for example) Blackmagic Pocket Cinema Camera Compatibility list Primes Apollo 25mm f/0.85 - Yes = 72mm f/2.4 equivalent [link to proof] Angenieux 10mm f/1.8 Retrofocus (Fixed Focus) - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 10mm f/2 - Yes - Needs modification = 28,8mm f/5.8 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 35mm f/1.9 - Yes - Needs modification = 101mm f/5.6 equivalent [link to proof] Century 9mm f/1.8 - YES (poor quality) [link to proof] Computar 8mm f/1.3 - NO [link to proof] Computar 16mm f/1.4 - NO [link to proof] Computar TV Lens 25mm f/1.8 - YES = 72mm f/5,2 equivalent [link to proof] Cosmicar 8,5mm f/1.5 - NO [link to proof] Cosmicar 12.5mm f/1.8 - YES - Needs modification = 36mm f/5.2 equivalent [link to proof] Cosmicar 25mm f/1.8 - YES - 72mm f/5.2 equivalent [link to proof] Ernitec 6.5mm f/1.8 - YES (heavy distortion) [link to proof] Ernitec/Navitar 17mm f/0.95 - YES (v. blurry corners & distortion) [link to proof] Fujinon TV 12.5mm f/1.4 - Yes (blurry corners) - Mod.? (unknown) = 36mm f/4 equivalent [link to proof] Fujinon TV 16mm f/1.4 - NO [link to proof] Fujinon TV 35mm f/1.7 - YES - Needs modification = 101mm f/4.9 equivalent [link to proof] Leitz Macro Cinegon 10mm f/1.8 - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] Kern Switar 10mm f/1.6 - Yes (slight vignette & blurry corners) [link to proof] Nikon Cine Nikkor 13mm f/1.8 - Yes = 37,5mm f/5.2 [link to proof] Nikon Cine Nikkor 25mm f/1.8 - Yes = 72mm f/5.2 equivalent [link to proof] Pentax 25mm f/1.4 - YES - 72mm f/4 equivalent [link to proof] Schneider 10mm f/1.8 (silver version) - No (almost) [link to proof] Schneider-Kreuznach Cinegon 11.5mm f/1.9 - No (almost) = 33mm f/5.6 equivalent [link to proof] Schneider-Kreuznach Cine-Xenon 16mm f/2 - Yes = 46mm f/5.8 equivalent [link to proof] [link to proof (2)] Schneider-Kreuznach Xenon 25mm f/0.95 - Yes = 72mm f/2.7 equivalent [link to proof] Schneider Xenoplan 17mm f/1.7 - Yes (blurry corners) - [link to proof] SLR Magic 11mm F1.4 - Yes - [link to proof] (added by EOSHD) Tokina TV Lens 8mm f/1.3 - NO [link to proof] Tokina TV Lens 16mm f/1.6 - NO [link to proof] Taylor-Hobson Cooke Kinic 25mm f/1.3 - Yes = 72mm f/3.7 equivalent [link to proof] Taylor-Hobson 25mm f/1.9 - Yes - 72mm f/5.6 equivalent [link to proof] Wesley 25mm f/1.4 - YES = 72mm f/4 equivalent [link to proof] Wollensak Cine Raptar 12.5mm f/1.5 - Yes = 36mm f/4.3 equivalent [link to proof] Wollensak Cine Raptar 25mm f/1.9 - Yes = 72mm f/5.6 equivalent [link to proof] $ 25 noname 25mm f/1.2 CCTV - YES = 72mm f/3.5 equivalent [link to proof] Zooms Ernitec 6-12mm f/1.4 - NO [link to proof] Kowa TV Zoom 12.5-75mm f/1.8 - NO [link to proof]

I've collected a few gems from Facebook:

On my walk to drop off some gear at the rental house, I ran into 5 teenagers filming. I of course wanted to ask what they were up to, camera, lens etc, and it ended up being a very enlightening experience (15mins of). They are vloggers and instagramers here in Finland with over 100 000 followers/ subscribers in each medium. I, indeed, was the old fart (all 37 of my years on earth) they were humouring but they were super pleasant and made my day. But to the point, all they had as 'gear' was an olympus, native pancake lens, and a tiny plastic tripod. Their main goal was to walk around the city and produce content. I metioned I had some stuff like the Zhiyun Crane, like it was impressive... but it turns out that kind of stuff was arbitrary to their interests. These guys were content machines. It made me think. Have I been getting it all wrong? Yes, I script, I storyboard, I know my way around a manual cinema camera and traditional lighting techniques... But who cares anymore? These kids are the future and they did not care a toss about dynamic range or bitrates. They wanted everything auto so they could focus on actually enjoying a shoot. Something to think about...

Thank you! I honestly cant remember, its been quite a while, but it wasnt too hard, Ill try have a look and try to get something for you Im currently testing some new settings, heres a few examples, these are all separate projects, so they all have a slightly dif. look. These are all videoframes, and not pictures, as soon as im done testing these settings, ill share with you guys! Im considering creating a specific lutpackage that could be sold at a very affordable price, what do you guys think?

A story without words about the demobilized soldier watching with drone for the neighbors Inspired by Fargo (TV series) Budget: 15$ All work in Davinci Resolve Studio 12 Shot on Canon 5D Mark III with Magic Lantern (ML RAW) and DJI Phantom 3 Thank you for watching

I am just a guy with an independent voice in the world of camera reviews without hundreds of cozy ties to people from the manufacturers, without ads splattered all over the screen, without sponsors on my every video, yet still I find EOSHD mired in a world of cut throat rivalry. Only very occasionally like in the beginning with DPReview have I been given a leg up in this industry and even then it only takes one person like Barney to massacre that relationship too. The other blogs like NoFilmSchool, Cinema5D and NewsShooter spend 10's maybe even 100's of thousands of dollars trying to punt my homebrew EOSHD site into oblivion and I just find the whole thing utterly distasteful. Rather than offering a new talent an opportunity they instead I am treated like just another commercial rival to be beaten. In the end it is up to you guys to choose. The managed platform of platitudes and advertorial, or the honest opinions and educational books of an artist/filmmaker. May the best guy win.

Here is a quick video showing the NX1 and NX500 SD Card Hack for Focus Buttons. This program allows you to record up to 6 focal points, these are stored on the SD card and will work after a camera restart. This works for photography, especially good for storing infinity focal point to re-use when it is dark for Astro Photography. Works in video allows you to do focus pulling from one focal point to another. Thanks again to Otto for all the hard work, All details can be found on https://github.com/ottokiksmaler/nx500

Hey guys, I wanted to share with you an awesome and affordable monitor made by IKAN that can, with a tiny bit of work, be used as an EVF. The main reason I wanted an EVF + loupe for my Micro setup was to create a fourth-point of contact between my Micro and my body. With my right-hand on the ENG grip, left-hand on the len's focus-ring, chest-pad against my right-shoulder, having the IKAN + loupe pressed up against my right-eye added that extra piece of stability I have been looking for - not to mention being able to monitor and pull focus perfectly in bright daylight. For those interested, the monitor is called the IKAN VL35 and can be had for as little as $259USD: http://ikancorp.com/productdetail.php?id=1738 I rigged it together with an old ViewFinder that I used to use with my A7S and A7RII. Having sold those cameras, I decided to use it as a loupe for my IKAN VL35. It doesn't fit the VL35 perfectly (as it is designed for 3" monitors, and the VL35 is a 3.5" monitor), but it will do for now. However, the good news is IKAN recently told me that they will be releasing a loupe specifically designed for the VL35 - and given the affordability of the monitor itself, I'm sure the loupe will be priced very nicely. As for the quality of the monitor itself - all I can say is that it's great Very similar to the monitor on the BMPCC. I haven't conducted any scientific or methodical tests yet, such as running down the battery or precisely measuring colour and luminosity, but I have used it plenty in the real-world, and it has functioned flawlessly and beautifully. Highly recommended for those looking for a setup like this Anyway, here are some pictures for those that are interested

Got myself some new glass for Christmas. I do prefer native lenses but the Sigma Speedbooster combo works really well! Screengrabs from GH5 + Speedbooxter XL + Sigma 35/1.4 + Black Pro Mist 1/4. Edit. Oh yeah, thanks to @jase and @kidzrevil for introducing me to Black Pro Mist, and other, filters.

This video proves that GH5 "S" is not only a low light camera, but a lowlight sea MONSTER. It also works underwater, as the scene gives us obvious clues to this feature. Also the use of boats suggest that it will be shipping soon.

Yes, the GH5 is second. For sure, the 5D files have much more malleability than 10bit VLog. You can really go to town on Magic Lantern RAW - it's a much thicker file. It's almost pristine (except for ugly shadow noise). But I think that it is actually a testament to the GH5 that I can do that. And what I've presented here is only the realisation of my preferences. The point that I want to make is that the 10bit 422 files are robust enough to undergo a fair bit of colour correction / grading. To me, the VLog coming from the camera is a "raw" material with massive potential, as the (properly) RAW footage from the 5D3 is a beginning, and not an end in itself. In the main GH5 thread you mentioned that there was a range of quality in the posted videos for the GH5, from video-ish to something more satisfactory. Believe me, if Magic Lantern RAW was accessible to the same kinds of users - and in the same numbers - as the GH5, you'd see a hell of a lot of bad 5D3 ML videos. Exactly. You need 12 nodes or 20 minutes work to match this with that. But when the groundwork is done, you're in business. Today I made a nice lut that combines the Canon-like colour with a Lightroom film emulation preset. I loaded this into the camera as a monitoring lut and exposed until it looked good in the viewfinder. Came back and slapped the lut on and each shot was perfect. It took as long as it does to Ctrl+C and Ctrl+V.... with maybe a small WB and curves adjustment beforehand This is the look that I'm into at the moment. In a year's time I might be into something different. Big time!

Thanks for the support. If people don't agree with me on this, then I will at some point also cave in and do a run of big advertisements splashed on the site and regular sponsored articles. But if my readers say they're NOT fine with this, I won't. Simple as that. So speak up for the indies... not many advertising-free places left now on the internet. It wasn't supposed to be this way online.

Normal gamma, and mostly Ricadro's settings. Enjoy :

Dear people. Shot this musicvideo for a friend when is was in US. Enjoy

Humbled this week while I am in Nicaragua using an older camera that would never be my first choice...the GH4. I have been pleasantly surprised by the image quality once I figured out how to dial in the picture profile. Shooting on Natural with contrast, saturation, sharpness down all the way and using filmconvert to bring the image back to normal. Shooting mostly with Sigma 18-35 with speed booster on a MoVI M5. Love the long battery life. The very efficient 4k compression. The audio preamps for in camera audio. Weather sealed body. Great slow motion in camera. My previous experiences with the GH4 SUCKED. Hated the IQ and never gave it a chance. I think once you dial in a solid workflow and picture profile...you have a killer video machine! More to come later. Ill post in this forum post. Should have a video soon.

I believe I have found the sdk for the srp. And quite a few examples of the c scripting style used before it is parsed into the machine state and binary. Working backwards it should be possible to figure out how it is compiled and explore what lies inside the system. It seems similar to an fpga so it shouldnt be very hard to dissect. Things that can be added over just changing the config files. Will update as I go. Keeping these updates short as I have a lot to do with making sure I fully understand the inner workings of this system.

Got a great deal on a new BMPCC during a Black Friday sale for nearly 50% off. It's my first Blackmagic camera (I have the Micro pre-ordered) and have been eager to pair it with the Trump lens set I ordered from Richard Gale. I took possession of the set a couple weeks ago and have started shooting a short film with it. I love the versatility in terms of contrast control (from standard to ultra-low) and the variety of aperture discs. The 2x and 3x ovals are my favorite. Made a quick comparison of the two here. But this week I finally started shooting a short I've wanted to do for some time. I work professionally as a freelance editor so this project is being done as schedules allow. Shooting RAW has been an eye-opener for me. For the last year I've been trying to wrestle a GH4 into being something it just wasn't capable of. And have come to the conclusion that I should have traded 4K for color science and dynamic range a long time ago.

I'm going to go ahead and say it. This $1,000 camera looks slightly better to me than the URSA Mini 4.6 footage I've been seeing -- in terms of color rendition and motion cadence. That's a matter of taste to be sure but damn it if it doesn't make sacrificing resolution a no-brainer for such a beautiful cinematic image. I have one pre-ordered. Maybe i should sell my Pocket and get two of these.

The camera which Panasonic can't decide what to call (GX80 in Europe, GX85 in the US and GX7 Mark II in Japan!) really excites me. It's the first time that anyone has put 5 axis in-body stabilisation in a 4K camera which exceeds the performance of the stunningly good Olympus 5 axis system. It's not quite as effective as a gimbal for sweeping handheld movement, but that pain-in-the-ass tripod you can certainly dispense with now, along with that Olympus 1080p mush too!! GRAB A CUP OF TEA, PUT DOWN YOUR F***ING IPHONE AND READ THE LONG ARTICLE!!

Firmware 2.0 for the Panasonic GH5 has been officially announced, and will be available for download at the end of September 2017. I've been testing a pre-production version of this on my camera thanks to Panasonic, to bring you my first impressions of the new features which include: Professional 400Mbit ALL-I intraframe codec for 10bit 4K 4:2:2 "Open Gate" High Resolution Anamorphic Mode (4992 x 3744) Hybrid Log Gamma with view assist feature for HDR shooting New and improved autofocus engine for video Performance optimisations and bug fixes Read on to find out what it's like to shoot with...

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

I'm tempted to register there just to reply to him that the only way we'll definitively know if Canon are ripping us off is if we have to pay by Western Union and Canon tell us their mother is posting the 5DMKIVs back.

At film school, your professors are usually not actively working in the field. So this WanderingDP - interview young up and coming DPs who share unique perspectives and ideas is incredibly valuable. I learned a ton from the interview with Chayse Irvin, super talented young dp who shot the Lemonade Beyonce film. http://wanderingdp.com/

Friday 7am London time sees the release of a firmware update for the Sony FS5 which optimises the performance of internal recording, fixing the issues spotted by early adopters of the camera including myself (Andrew Reid) and Paul Antico. Read the full article

Good news, bad news. Good news is that I have learned a lot about the srp( samsung reconfigureable processor) architecture. Bad news. It is very very very very complicated. Machine compiled c into binary. Unknown yet when it is loaded into the firmware and if the .cpp files that are listed are infact that, or just other hard ware controls So the srp is like an fpga in the way you can change what it does on the fly. It differs in the way that it uses VLIW instead of bits to do its magic. Reverse engineering the binary into something workable.. is possible, but time will tell if and how much can be changed. The plus side of a simple isp changing values in softwear can do something like what the gh2 hack did. The downside being you are stuck with the hardware. The plus side of the srp implementation.. Building a custom algorithm to..exchange the hevc codec with something else.. Could be possible. Unknown yet if the nr is a part of this or just a software implementation. Also if the rumors were true about the ml guys approaching samsung, this would be why it didnt happen. They dont release the srp compiler. One instance of them giving access to it at the SAIT school in Korea is all I could find. very very proprietary. But the dream for me of having a cheap 14bit 6.5k red competitor is what keeps me going. The confirmation of the UHS-II bus sweetens the deal. Going to investigate the possibility of a SD-SATA converter.. I wouldnt mind having a 1tb ssd attached to the back of the camera. TL:DR This camera is complex and things are not getting easier but still progression is being made.