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I got my Lilliput A5 last week, used it on a quick gig the next day with my A7iii. I'm satisfied with it, happy even, considering the price. I like the size, resolution and super low weight. The buttons and menu are a little fiddly but not too bad. Can't figure out how to re-assign the single function button. The brightness was better than I was expecting. It'll do just fine for me until the NinjaV comes out.

Was episode 7 of Orville:

This film is now online:

This is awesome or was, since the company has been bought by assumingly Panasonic or Red. The Andromeda mod gave the DVX100 fantastic 10bit 720p in 444 color, making it a magic super 8 digital cinema camera with its beautiful three ccds, bypassing the nappy DV format and showing its true resolution in pixels and color. If digital bolex is the incarnation of its 16mm analogue ancestor, then the DVX is the kid of the super 8 bolex. https://vimeo.com/groups/andromeda @BTM_Pix, Hey, you have done such awesome stuff with software on the Pana GX camera and with your upcoming hardware controller. Would you be interested to revive this project? I would pay money for this to have this unique ccd cinema magic in my hands. Holy macaroni:

I also remember following this development all those years ago. It seemed as exciting back then as the start of the Magic Lantern RAW video hack.

Fist video looks like it was shot on a FS100.

I remember this mod from back in the day and I seem to recall they had something similar on the horizon for the HVX200 before they sold up. Something like that is waaaayyy beyond my competence level.

It’s not that it’s big, the arm being at a 45° angle causes the overall height to increase several inches. This combined with the fact that it is also on the mount in this picture make it appear much larger. I had a chance to play with several gimbals in this category back to back at NAB, and at no point did I conclude anything other than it was the best gimbal at NAB... and they were all there.

I completely forgot about that lens. Exception to the rule but some exception though. In a Canon mount with an MC-11 on a full frame Sony that would give a ton of fast options in combination with the crop mode and clear image zoom. The Fotga remotes with the zoom rocker make it quite decent to be fair. My upcoming remote lets you store clear zoom positions so you can press a single key for a specific focal length change like changing a prime

Its a bit of different solution but something like this might be useful. Connect it to the HDMI output of the GH5 and it will wirelessly stream h.264 1080p to connected devices such as laptops, tablets, phones etc for monitoring using an application like VLC. As VLC can also record the incoming stream to the MacBook, this will give you a playback option on the MacBook that doesn't involve swapping the SD card and as it is compressed you will not have any issues playing it back. As its compatible with anything that runs VLC it also means that instead of the MacBook you could use a large screen tablet for play takes back wirelessly straight from the camera.

I've debated chiming in, because the variable ND I use is a low budget option, but I've been using a Tyfoto variable ND after a friend recommended it to me almost a year ago. I've only really seen Nigel Barros review it since I've owned mine, so I'm not sure how well known they are, but I've been pleased with mine. I'm admittedly a sucker for budget gear, though!

Maybe that should be your marketing slogan.. "On everyones team!"

F2.8 zoom lenses with speedbooster become F2 lenses which are F4 equivalence on M43. This is plenty of subject background separation plus enough DOF for focus accuracy. A speedbooster on M43 is not far off S35 or the classic cinema 35mm frame size so if you can't get 'cinematic' footage with this you should be looking elsewhere for it. If peoples idea of cinematic derives from film shot on 60/70mm film then yes the M43 system may not be a good starting point....

In that case I'd use fixed ND filter + a VND and as long as they are all good quality multicoated glass you shouldn't see any image degradation.

Jared shot this on a BMPCC original btw, with a fairly teeny tiny lighting package (a few redheads and a few small LED panels). Show what can be done with almost nothing!

I will be using it for my Sony A7s, which you Have to have a recorder to do 4K, and the 4K BMPCC when it comes out. Like I said I don't have the money to buy both so I am buying a Recorder. I don't do run and gun so I don't care how much it weighs. Plus I am 71 years old. I don't see like I did, and with only one good eye I Need the best screen I can get. And you are not going to run and gun with the 4K BMPCC anyways with dog shit AF and no IBIS unless you want footage that looks like you are having a seizure!

I hear the "views/likes" point being made a lot lately. The worst porn videos have millions of views, and we all know that the vast majority of the humam population is oblivious to some (most) of the best movies/paintings/musicians. All my favorite bands together, all their albums and songs ever, have probably less views than the last Justin Bieber video, and I do not even know one song of the guy. Views and/or popularity, do not justify everything. Disclaimer: This opinion is irrelevant with the above video. There are a couple Black Mirror episodes and one in The Orville about popularity, social media and the new challenges they create in the new world.

The review by Ken Rockwell is pretty amazing - he's not afraid to say what he thinks and doesn't pull punches but that is basically a rave review. Any those images!! What a spectacular looking lens ???? Thanks Robert - that's interesting feedback. I've heard that IBIS and OIS (and gimbals) can sometimes work against each other so it seems like it's a bit of a mine-field in a way. What camera body are you using? Having a combination that works really well would be fantastic for me

Yes and no. Technically, when it clips it clips, so you're right about that. However, if your audio looks like this: and you up the gain by just a tiny bit then it will clip, but only at one point and on only one transient. Will it be audible? Very very very unlikely. Let's understand what is happening when you clip a signal like this: The unclipped signal on the left appears to be a Sin wave, and assuming that it is, it will be a single audio frequency. The clipped signal on the right is approaching a Square wave, which has a base frequency but also has a series of odd harmonics - the difference in tone between an acoustic guitar and the kind of distortion that Metallica might use. So, here's the "quite a bit" part.. If you push a Sine wave into clipping by a very small amount then what you end up with is a base frequency at full volume and a series of odd harmonics that are very quiet in comparison. The harder you clip the signal the louder these odd harmonics will be. This is why a "little bit" of clipping only gives you a "little bit" of distortion and "quite a bit" of clipping gives you "quite a bit" of audible distortion. ie, there is a huge difference between these two: I hope this helps to explain. Audio is hugely complicated and it's easy to make simple statements but as with most things there's usually more to it.

There is the Sigma 24-35 f2 in FF but otherwise, yeah. Sony FF users can also use any lens including (for example a 50 f0.95 and I have tried a 85 1.2) as a 2x zoom for video too though (that would be hard to shoot except in a very controlled environment I would think).

As far as VNDs go, I have always used them and have always been happy with them. But I have two points of criteria after testing a lot of cheap VNDs and a couple moderately priced ones... 1. I will only use VNDs that have hard stops. As most on here know, due to the nature of VNDs, if you push them into no man’s land, you can get the dreaded X pattern and in most instances you won’t notice it until after you get the footage into the computer. And strangely enough, there aren’t that many brands that offer the hard stops. 2. Color neutrality - most VNDs will have a color cast, especially the cheaper ones. With some cheap ones, like the Fotga, you’ll get a crazy greenish/brown color cast but you do gain a very specific look that is interesting in its own way, so for the price and a specific shoot, the Fotga is worth the $10. But most of the time I don’t want any color cast. So there are really only two brands I use now... • Bower - cheap around $30 a filter with neutral color and hard stops. These were shot wide open with an f/2 lens or faster and a Bower VND... • B+W Vario ND - they’re more expensive with less stops of ND but they are better built with a really nice coating... gotta love Schott Glass. And the less stops actually keeps me honest... forcing me to stop down my lens sometimes. These were also shot with an f/2 lens or faster using the B+W Vario ND...

Which is why they have not been usurped for my day job. But for video, they need to get a move on. In 4K, my D500 has got a bigger crop than an Iowa corn field.

Same but with a monopod! The ultra frugal emergency "steadicam"

You sure your not Scottish? A really good monitor lasts for Years, and Years. At your age, come on LoL. At my age, I don't even buy Green Bananas!

He's probably currently doing the same thing everyone does after the first wedding they agree to shoot.

Most couples in the UK would be happy with four hours CCTV footage and a few snaps from a mobile phone. A bonus reel containing shots of uncle Alf rolling around drunk in the hotel fountain completes everybody's joy. Never again will I pour my heart into a wedding film.

Besides the quick edits, cool location and amazing model help. Imagine it with a fat chick. ? Digital Bolex on a shoulder rig would probably give a better version of what this is trying to be.

You seem to be picking fights with everyone since that debacle with someone calling you out rudely a few weeks back, that's all. I can't remember this place ever being as nasty as this and it becomes a slog to read through – it's not only you, though.

1900 for the Pana... Bruhhahahaha!