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It was probably needed to mask the sound of disappointment seeping out of the rapidly deflating balloon of expectation.

There you go:

Maybe not for narrative film making but I see a lot of smartphones being used professionally by journalists in my work. I remember being quite shocked when I first started seeing them being used a few years ago for reporter pieces to camera outside stadiums by "real" broadcast companies but its so commonplace now it doesn't even register. I'm not talking just self shot pieces here either - though that happens as well - but a regular setup of a cameraman and a reporter, its just that the camera on the tripod is a smartphone instead of an ENG camera. Typically, they'll be on a rig like this one What has really pushed it forward over recent years is the availability of good audio options and its even becoming more commonplace at press conferences I've been doing to see smartphones being connected directly to the audio split box to take the feed from the console. So standards don't have to drop just because the form factor and price of the gear you're using have. Everything about them is becoming more sophisticated in terms of hardware and software (apps like LumaFusion are serious editing tools now and the Teradek Live:AIR products let you do multi cam broadcasts) and of course where they really win out is not just in the form factor but also in how fast they can get to air from anywhere. So I can definitely say they have reached a point where you can do professional video work with them but the transition to "proper" film making (whatever that even means today) is always going to be hampered by the lens on the front of it. If RED actually get it together in terms of a viable bolt on camera for the HYDROGEN then we might over time see it gain the same traction. I'm of a generation that sees a smartphone as a device whereas the people who will be making the films I watch in my retirement home see it as an extension of themselves. It is that ubiquity that will drive the change because to them, they do everything else on it so why wouldn't you make "real" films on it? And to be honest, I have to say that dealing with a fixed device that limits your choices also limits the rabbit holes you can fall down so it can actually improve creativity and productivity.

An hyperlapse and drone video of the beautiful city of Buenos Aires. The aerial part was filmed with a DJI Mavic Air which is a very capable drone.

BMPCC + Zeiss 25mm + Century Optics Anamorphic Adapter. Color Grade based on my BozBMDFilm to Rec709 LUT. Download Here: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

Hello guys, I want to avoid using my bad nikon d5500 preamp so I plugged a zoom H1 to it. H1 line out -> camera H1 line in -> radio Transmitter line out Does it worth it the extra bulk? have I done something wrong? any recommandation? Thank you R0182350.DNG

The hotshoe 3.5mm input is a great idea and camera companies should be encouraging developers. The problem is they have never got together and come up with any of the needed standards whatsoever. They all should have a common standard smart hotshoe interface and USB C should replace HDMI. The camera companies could do a lot for sales and innovation if they encouraged third party modules to be made that could all connect in the same way! Canon, Nikon, Sony, Panasonic, they all need to have a chat. Common interface for battery grips, which can take a data feed through USB C, would enable really cool video recorders with raw capability in a battery grip on the base of the camera. Sending a video signal up through a common interface in the hotshoe would get rid of the wobbly HDMI cable up to a external monitor. All future cameras should have that common "smart shoe" and "smart arse hole" on the bottom... Ok I thought of those names in a rush As for the RX100 M6, or as I like to call it... the IVIVIVIVIIVIIVVIIVIIVIVI. When Nikon cancelled the DL cameras before a single one was sold and a Panasonic LX100 successor went missing for 4 years (and counting!) one must ponder the existence of the dodo, or as they call it in the camera industry "the compact camera". Star of the show for me has always been the Sony RX100 line (and Panasonic LX100) and star of that range for me has been the fast aperture lens. If you go to the effort of a large 1" sensor in a compact body then you need the fast apertures to back it up otherwise you end up with a Canon G1X III type situation where an APS-C sensor looks smaller than the 1" sensor in the G7X II. You kiss goodbye as well to any improvement in low light and cinematic character. The other problem I have with the RX100 M6 is that it is £1149. That puts it in the price range of a high-end mirrorless camera. If you want to shoot 4K and have 120fps for slow-mo, along with 240fps cache record, for not much more money you could get a Panasonic G9 which is superior to the RX100 M6 in more areas than I can count. It does 180fps 1080p, 4K 60p, fast apertures, a huge EVF and fat battery. The next problem I have with the RX100 M6 is that the man who designed the camera body fell asleep in 2012 and nobody has been able to wake him since despite making a lot of noise. What the RX100 series was crying out for more than everything else is a better form factor and better ergonomics. The LX100 is a pocket 4K camera done right ergonomically. Fuji X30 too. This isn't. It's as fiddly as the others were. The dreadful ergonomics haven't changed in 6 iterations. If Sony are going to drop the fast F1.8 wide angle and give us 200mm instead, I suggest they do it with a separate line rather than spoiling the RX100. In fact they already had a separate super zoom line. With the RX100 getting a 24-200mm range it all feels very ominous for the future of the RX10 line doesn't it?! I don't think it had been mighty popular and maybe Sony decided to reduce things down to one more popular camera which tries to do everything. Needless to say the motivation to buy an RX10-type Sony just got chopped in half by the very company who make it! Results from a small sensor looks even smaller with a slow aperture, so effectively the RX100 M6 no longer has the same look as the RX100 M5 between 24-70mm, the range most people use the most often, and low light just got 1 stop worse at both ends of the range for more money. Canon shows with the G7X II that you can have a respectable 24-100mm range in the pocket with a wide F1.8-2.8 aperture and superb low light performance. You don't need to stop at 70mm like the more recent RX100 models which I admit is too short. Sony could have put an equally compact 28-135mm F1.8-2.4 on this if they wanted to give us value for money. They way things are, both on pricing and strategy this model makes zero sense.

Well I just got my Apple iPhone 10, 256 GB back from my son for good. I have not taken anything yet, but the spec on it are pretty amazing to be honest. Now that they have dual camera, and hell 4K 60p, stabilization, DoF defocus, I don't see why with a good 3rd party App, why you can't make something worth happening. Maybe not a Blockbuster movie, but a pretty damn good output surely is possible with the skill a lot of people on here have. It has to be more fun than dragging out a Arri Alexa setup LoL. That new DJI phone Gimbal for 199 bucks looks damn good. I am going to look into it in a few days. Like they say you always have it with you. Would make at least a hell of a good B Roll camera. This was shot in Jerome, Arizona with my iPhone 6s Plus.

I did a series of docs a year ago recording wireless audio onto a H1. All audio was recorded "out-board" and, in post, the H1 audio and cam-audio tracks were synced with Plural Eyes. The Zoom and audio receiver were carried in my pockets. This allowed me to be rather incognito since that extra gear was off the camera. More importantly, this also allowed me to not be tethered to the camera via the headphone cable. Liked it better that way; no weird boxes, rubber bands, or wires on top of my camera --or wires running to the camera. That would be my recommendation, assuming you're willing to do a little post-audio-sync work. You'll get better audio using the H1 recording anyway, and your camera will have a little more freedom when out there actually doing stuff. (I love those old Nikkor lenses, btw. That's the 24mm, right?)

And the large depth of field from the small sensor is an absolute boon when you need to keep the background magic trick in focus.

For "Man on the Street" stuff, it makes perfect sense. IQ isn't terribly important. Even with "pro" cameras and cameramen, if you watch local news broadcast you'll soon discover IQ is the least of their worries.

"Jack" copies his posts from other forums and then just pastes his spam link to the bottom. So, from PhotoBoothTalk.com we get this Which ends up on here as this : I thought at first it was a human bot as in some poor soul in an underground shed getting paid fourpence an hour to do this manually but the lack of line breaks makes me think it is actually automated (badly). At least "Jack" has the good grace to let us know he's an automaton repeating parrot fashion things he's lifted from other places and passing them off as his own thoughts on here though

There are other options in terms of the field recorder aspect at that price (like the Marantz PMD-706) and above (Tascam DR701D) that will give you the 6 tracks but the USB audio interface is the unique part of the Zoom. One criticism I've seen come up about it a few times as an interface though versus a normal USB one is that as the XLRs aren't all on one side it can be a bit of a spiders legs job so that might be something to consider. With regard to the file structure, its like this, so each project has a folder and within it the separate files for the recording are denoted LR for stereo recording of the L/R input, Tr1 would be a mono track of Input 1, Tr34 would be a stereo recording of Input 3 and 4 etc..: For what your needs are as both a USB interface and a field recorder as a single unit, I can't think of a better solution and if there is one it is certainly not that price. Having a real monitor mixer on board would be something I could see you benefiting from as you could use it to provide a separate monitor mix to the musicians when you're using it like that or for providing a mixed version out to a camera when filming for fast turnaround whilst still having the benefit of the individually recorded tracks as a safety. As for the actually quality of the mic-pres, there are a ton of videos on YouTube of it being used in various levels of competency with a ton of different mics of different quality so I guess you can take them as a spectrum of what it can do but you'll really need to plug your own mics in and compare it with what you know they can do with your current setup to make that call.

It actually might be the combination with the speed booster. Did you try to adjust the optical element to fix it? http://www.metabones.com/article/of/infinity-adjustment-speed-booster-only I also heard that with some focal reducer brand/model + lens combinations, there are issues that it's not possible to get perfect infinity focus.

I did some tests as well and definitely, there is an improvement but still not useable and reliable for my liking. I think at the current stage GH5's autofocusing is as good as it gets! can't expect much from contrast based focusing system.

That makes total sense.. in a way the typical 24-70 can be thought of as a laymans scenery-to-portrait lens, so the only other shot left would be the telephoto, but thanks to the ~50mm equivalent second camera on many smartphones they're now covering off both scenery and portraits, so telephoto is the only one left. Just wait until three or four lenses are common, the Light L16 has already solved the problem of how to get that variety of focal lengths into a thin body (the longer focal lengths go in sideways with a 90degree mirror):

It is not line level. It is mic level No. Yes

its not my best video, but its my favourite. Shot with nx500 at 4k with helios 44m-7 and some shots with 16-50 pz on 720p 120fps

For pure image quality and speed, the Sigma 18-35mm f1.8 is the obvious choice. If you'll be shooting entirely off of a tripod or similarly stable support system (slider, etc), the lack of IS in the Sigma won't be an issue. If you'll be shooting on a monopod or a flying stabilizer you can get away with no IS if you're careful, but it'll be nice to have. For handheld you definitely want a lens with IS, which rules out the Sigma. I would look at the Canon 17-55mm f2.8, or if you want to save a few bucks, there are third-party 17-50 f2.8 alternatives from Sigma and Tamron, which are decent, but personally the Canon is so cheap now used that I would go for that.

It depends how compact you're looking for. I'm guessing you're also looking for a point and shoot camera? Panasonic has a good number of options, from ones that can fit in your pocket (LX10) to ones that have a traditional camera style body (FZ300). Most, if not all, of the Panasonic 4k lineup has very good video quality.

More classics from David -

I would like to thank Mokara, the Panasonic engineer for clearing that up! A big welcome to the Nikon product manager, Mokara! Thank you Mr Sony san!

Just want to comment on the 2.3 GH5 fw - preliminary experience. AF-C is waaay better for faces now. For interview / locked on, set AF-C to face detect, AF Speed -4/-5 (slow), AF sensitivity -3 (max locked on). This reduces pulsing considerably and the face detect is ok. Should be useable for vlogs and casual use, need more testing before using it professionally but it could work. I tried at 24p and it wasn't bad! When it was left at default 0/0 there was pulsing and basically unusable professionally, but set to slow and locked on it was much better. Tested by filming myself in a static interview position, I sometimes moved back and forth like a real interview. Focus racking isn't the smoothest, might not be acceptable if you want silky smooth transitions, but most people probably won't care. I tried this with both the Panasonic 12-35mm and the Sigma 18-35mm with Metabones SB mark IV @ "F1.2". Face tracking is hilarious though, nowhere near Sony. If you tilt your face (still looking at camera, just your head over 30degrees) the box disappears. From the YT videos it's clear that different settings get your drastically different results, so take note. The second thing I want to use it for is B-roll. I tried single area AF-C, set to 0/0 and it works decently in 60P. Most B-roll I just use 60P and not 24p. If left on -5/-3 it's not responsive enough for tracking objects and will easily lose focus if you are changing focus distance. Very positive on it so far, especially for interview use and shallow DOF. I'm not super confident in the AF-C for B-roll but time will tell.

so I was comparing Aputure 20D vs Boltzen 30 W bicolor. I picked 20D over C because I wanted more light output and since it was mostly as a kicker/ hair light, I actually preferred the lights being even a bit cooler. Plus in theory you can gel the 20D to get to 5600k or 3200K. I say in theory, because the filter for 5600K apparently bleaches. I tested the 3200K gel but I put it in the same slot as the 5600K filter spot (between the fresnel and the barn doors. And in matter of like 10 min of testing, it almost melted. You need to put those gel on the barn doors with the clip. Anyways, withe gel you lose like 1 stop so there is almost no reasons to get the 20C version IMHO. So, for the money Boltzen is a bigger bank for the buck! The Bicolor output is the same as the single color. It's really the best bicolor fresnel deal in the market. The output doesn't really change between 3200K or 5600K. There is a strange stepping between 4000K to 3200k. It almost jumps from 3600K to 3200K. But that's fine. The light is solid, no fan (for 30 W). But I returned the Botlzen and kept the Aputure 20D. For these following reasons (basically because of my specific needs). 1 - The Aputure is not as heavy as Boltzen (the heat sink is very heavy) so it's much lighter on your luggage weight limits. 2 - The light control with aperture was much better than with Boltzen. Botlzen would create these soft cut off shadows. The aputure (unfortunately more so on the flood spread of the light not on the spot range) creates fairly clean cutoff compared to Boltzen and has a tighter spot. If you're going to push the light through some soft box, with some occasional spot needs, and you're not goin to be flying with your equipment so a bit of extra weight is not an issue, Boltzen 30W (bicolor) is one of the best buys in the market so far. I would pick that no questions asked. If your needs are like me, then Aputure 20D might work better for you. The fan on the 20D comes on in matter of 10 minutes, but it's not that bad and for what I'm going to use it for, it's fine for me.

Yep, turned that on months ago.

On another note about browser accuracy...someone posted this in the fb color grading group. Could be of some help, but haven’t tried it yet.

I'd suggest Leica R zooms - I found that their construction is second to none except modern Voigts. They don't protrude, focus and zoom rings are incredible smooth, again only comparable with Noktons. If lenses are in nice conditions (and their long life period is unbeatable) they achieved quality that is the most important to me but I don't know how to better explain it: cleanness. Simply, image without predominant tone/shadow veil. Most of vintage lenses has it - and although it may be interesting in effect, it is near impossible to remove it completely in grading to get proper initial/neutral/clean grading point.

The price on those 1.2 primes was the main reason I haven't gone for them, all the footage i've seen looks fantastic.

"sub optima" IS the reason I will use them. ? I don't want sharp as hell lenses like I said. And clumsy AF, hell the 4K BMPCC doesn't even Have AF in a sense. I am glad they don't resolve 4K LoL. I really doubt I will ever output in 4K. Maybe down sample at times to 1080p but I doubt even that often. You are stating the complete Opposite of what I want in a lens. If I wanted sharp I would buy a Sony A7r mk III. I think the magic of a BMPCC is that they are not razor sharp. Not like ML 5D mk III. I don't want to really have to knock down sharpness on every shot I take. But sure nice if you want that option thought Like I guess you want. Now if you want a smooth look, which I like, I think those lenses can do that, buttery smooth, I doubt we can get that other than using real film with Cooke lenses, we will never be able to afford. Cut your face, well no either. But I don't like cut your face stuff. Seems you do. I like to get a lot of the look I like in camera, not spending 6 hours on a NLE doing it. So I think cheap lenses on it will do fine for me. Plenty of old Nikon, Canon MF stuff around for peanuts for my needs. Plus I am a cheap slate, eh poor, and don't have all that money to spend on 1000 + dollars lenses, when I can buy what I want on Amazon for 60 bucks each and get my result. But that is the beauty of video, photography, we all get to make it look like we want it to look like if we have the skill. But yeah if you are going to try to make a living with the BM sure you will Need the lenses you are talking about and more of them. I am just in this as a hobby. At 71 I am too old to worry about deadlines, spending money left and right I don't have, on and on. You guys are funny as hell. I doubt ANYBODY has even made anything worth a shit with a 14.-140mm or the kit lens. Oh the vanity to throw tons of peoples stuff under the bus LoL. I did BIF stuff for years photography wise and video wise, and gee, they seemed to work fairly well doing it. Super duper ideal, no, but crap lenses nah.

To add to Andrews comment about Resolve, if you're considering it there are a few articles about editing with Resolve that might be useful. They're from editors, not all-in-one people who would colour grade as well, but they're still potentially useful. My take on them was that Resolve is promising, if you configure it with the hotkeys the same as your current NLE then it's straight-forward to learn, but everyone says it's interesting but they're not going to use it solely for editing yet. They don't normally give any reason, I suspect they're just being careful and not wanting to stand out as being too 'radical' as it may be too shocking for people. I use Resolve as an all-in-one but I work on multiple projects that are tiny so my experiences with it really won't translate to your situation.

Lil spot for a FIFA tournament we have at work every year. Shot in 4hrs, edit/grade/audio in about 8hrs. Since everyone here loves tech, it was shot with FS7, 35mm+100mm Lomo anamorphics, Easyrig. And a longer commercial for a modular house construction company that went along with a less-corporate look'n'feel with poetry as VO (in Swedish, though. Sorry non-Scandinavians) rather than corporate mumbojumbo Shot on FS7 in FS-RAW, Cooke S2/S3 Panchros, combination of dolly moves and Easyrig stuff. Gaffer mostly used M18 and accented with smth like an Aladdin Flexlite on a boompole with a pancake for diffusion. https://vimeo.com/247948695 (embed turned off apparently and I'm on my private phone so not logged in to fix it) Cheerios!

Here is my entry, amateur shooter: