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Got my DJI Ronin S a few weeks ago and while digging through the app realized that I could program tilt and pan moves and repeat them. I paired the Ronin S with a motorized slider creating a small motion control system. This allowed for some interesting VFX in a music video I just shot. I was able to created several versions of the singer interacting with himself while the camera moved around following the action. Check it out:

Now we all shoot at 800 asa. actually, I have heard some younger people get upset if they can't shoot at 1600 asa. Pretty amazing to me. Since most modern cameras can do this easily, and that gives you enough natural light in most locations, you just come in and shoot. The style these days is use what already exists, and augment the lighting, and use grip to subtract light. Subtracting light. Before ASA 800, when many of us were shooting at around 200 ASA, you would add light. Now we show up, use a window light - maybe put one light outside of it, and then 4-7 pieces of gripwear to cut it. Toppers, cutters, siders, eggcrates. But a recent job I did for a liquor commercial, we were shooting with the digital bolex as a b camera. The bolex is a beautiful organic image, with a ccd sensor for beautiful motion and the ability to use 16mm glass, which is beautiful and lightweight. We lit for this camera's low native iso, and the A camera, the alexa, we set at 200 ASA as well. At 200 ASA, I was back to where I started 10 years ago, and it was thrilling again. Light didn't spill all over the place - it faded into the darkness, had lots of falloff - and everything was deliberate. We Could liGHT up spaces deep in the bar with red color, and push light into areas we wanted, and hide the rest. It was easier to do, since there were less stands to place on the ground and less rigging to do. Grip takes up a lot of space and stands. Lights - not as much. And we ended up making the bar more interesting than what it was - we transformed it. (I'll post videos and stills once the spots are released. It was putting on a different brain from an earlier era - cause we had to move a different way. And we painted with 1k tungsten lights in a jem ball again and got that tungsten warmth again. That color of a tungsten fresnel - it has a golden warmth to it. Coming back to it, it reminded me of how unmatched by LEDs which have more green and yellow in them than that pure lovely orange glow are these chinese balls. To rediscover those old tungsten fresnel units, that was also important to me. These old lights you can now get as every grip house throws them out, as the world has moved onto led lighting like skypanels, these old lights are a thing of beauty.

I'm not sure if you're being literal, or sarcastic (it's so hard to tell on forums..) but I think that fixating on just one aspect of this camera is a bit silly. It's also a RAW camera, a prores camera, a BM colour science camera, a m43 camera, a non-IBIS camera, a fixed-screen camera, etc etc etc. All equally relevant aspects to discuss. Talking about shooting 1080 in a thread about a camera that shoots RAW 1080 seems quite relevant to me, especially considering the enormous file sizes of 4K and high image quality of RAW 1080 I think a lot of people will shoot various flavours of 1080 with it when it comes out. My prediction is that lots of people will be viewing this camera as a BMPCC where they fixed the battery issues, the screen issues, the sound issues, etc, as well as the people who will be viewing this as a camera that shoots 4K. I'm not aware of many discussions around the BMPCC v1 where it was criticised for the image quality not being sufficient, and I'm sure that lots of cameras in 4K are poorer performing than the Pocket 1 or 2 are in RAW 1080.

Apologies if this is in the wrong forum. I do a Youtube show that generates roughly 1 million views a month on audio production & one of the questions that keeps coming up is, "how the hell do you get your voice to sound so good?" Here's my approach:

The old Samsung NX300 is still getting good use on shoots! :-) Not a dead system yet. I used my NX300 for this vlog for my youtube channel. Was about using an Atomos Shogun Inferno on this shoot I did to tap into the "slow motion" 60fps from our Sony PMW-F3 cameras for this dance scene, it came out beautifully: The most shit audio ever in the world. but that is because the room we were in sucked. This was just using the NX300 audio. I wished it had an audio 3.5mm jack!

From my experience face detect AF works fine on clear single face shots, but it starts to hunt or switch focus once other faces come into view. We had a busy event the other day and the A73 on gimbal couldn't keep up with Canon's dual pixel face tracking on our A-cam: The eye AF remains the most impressive Sony AF feature imo, unfortunately it disables in video (hopefully not in upcoming A7S3). As for skintones, it's a mixed bag as well.. on youth it's pretty uniform but once facial hair, wrinkles and other skin imperfections appear, they get exaggerated somehow.. Not the most flattering... combined with typical mixed lighting AWB issues.. Noise reduction also creeps up heavily in low-light as you crank up ISO, giving waxy airbrush look to skin tones: Never got this side effect on A7S2 so in that regard it's a step backwards.. All that being said.. i still think A73 is great bang for buck and paired with good glass ( we're using Batis here) it's got that FF wow factor clients crave, but i wouldn't yet pass on Canikon giving them a good run for money with their upcoming mirrorless offerings..

this will be closer to a D750 without flash & mirror than D850/1DX2 imo. i'll take better ergos, stability, battery life & IBIS of a bigger body vs pocketable but to each their own!

Clear as mud! But yeah, I think it will be beefier with the ergonomics that NX1 users liked rather than the awkwardness of the early Sony products

Sometimes I'm tempted to go shoot an entire feature film improvised with only a rough outline, but that is just because I'm lazy and I need to find a script writer to partner with! It was an on camera mic? (oh wait, maybe maybe there was one lav) Nearly 10 minutes is quite a long short film to do in only 6hrs, I'd keep it more compact. From my skim over your film I feel it would benefit from snappier cuts? But then again a couple of weeks ago I shot around 20 pages of script in only a single day :-o Shit

Tonnes of people shoot at 1080/2K with a 4K camera. At a wild guess I'd say well under half of the shoots I'm on are done at 4K But raw 1080 would be a substantial crop I'd rather use the full sensor to shoot at 1080 ProRes HQ

When it comes to the mount blocking the sensor it's obvious that the flange distance is crucial. It shouldn't be necessary to point out that scenario is completely different for a 100mm flange distance and the e-mount's 18mm.

massive grip.. looking good nikon!

I think there is, or was, a Full Moon out tonight. Stay the hell indoors LoL.

I'm pro free speech - and that means pro-offensive-speech. 100 percent. We're in Fahrenheit 451 territory as a culture.

The rumored specs have listed 5-axis for quite some time. If Fuji can do it, I'm willing to bet Nikon can too. Chris

I'd love to explore it more, but I got some flack for discussing workflow issues like this as being non-core 4K issues in this thread so let's talk ab out this somewhere else some other time. JB

Is this the first and only feature film created about a video editing application? Website for the film here. I've not watched it yet, but I can see the creators have passionately made this film to prove people wrong about FCPX. I agree!

Thanks for call for opinion - but, uh, it surely will not help for the case of my lovable Harlem shooter (actually, for the case of forum atmosphere) that is, as I see it, totally unguilty and fell as a victim of unhappy misunderstanding I'm glad that - in spite of my bad English, i. e. in spite of effort needed to understand my attitude/position - you, as it seems, recognize my sincere benevolence. My opinion: wholeheartedly honestly, I'm afraid that I'm totally indifferent about that and similar pseudo-fussiness in Hollywood industry. In general, I think that most of the Hollywood industry is so deeply sunken in hypocrisy and corruption, that most of the people there - especially those engaged in entertaining 'hits'' that are not matter of my knowledge and interest (I mean, not, say Inarritu-Beautifull or Quaron-Children of men, if they are Hollywood) - are so completely habituate to fakery, and so really-autistic-brainwashingly prepare to believe that nowaday problem of USA may be clown Trump or witch-dolly clown Klinton or salad-philosopher-Zizek or so-call left or right wings... that I simply cant take for serious their "problems"... Again, wholeheartedly honestly, I even don't see raison d'etre of existence of that part of movie "industry". Sorry - it may sound as idiotism, but I'm, say, closer (although far away of identical) to rude impulse of revolt presented in "Idioterne" by early von Trier, which, as I understand, you greatly respect. Or, better, I see problem of USA or some minor lastwave imperial society and consequences as nicely pictured with early diagnosis in Antonioni's Zabriskie Point, or Roeg's Walkabout or Ang Lee's The Ice Storm: Empty, hedonistic, deeply boring, out of ideas, unemphatic life that try to find miserable excitations, cheap thrills and "provocations". Being little bit curious or trying to be at least so-so objective, I tried to find some works of that mr Gunn. I simply can't call it "art". I don't think he is an "artist". (And sorry for some presentation that I really don't care about here, but just for some light of explaining - my point of view is of an novel writer with Collected works and pair of dedicated dr-degree works, who is mostly compared with (complicated and maybe boring :) works of Joyce, Hermann Broch, Robert Musil etc. So, I'm not strictly competent about "hit" industry, and, more seriously, I even don't care to be competent in entertainment hits while, say, milions of Syrian children had to survive life horor because American society has to be pumped with oil and entertainment hits for the task of keep refusing to recognize where nowaday resides truly problem of mankind: above all, infection of selfishness. But I'd say I'm enough competent to disagree with one of your sentence as apodictic statement "In the earliest dawn of civilisation the role of the artist was as a provocateur." That is deeper question: role of the artist. Between many, I chose some of the East suggestion about role or born of the art(ist) - 'When the balance of the world is disturbed, the song comes out of the throat.' Or not just from the East - it is also Hoppy Indian's idea/word that is intertwined in Reggio's Koyaanisqatsi. Personally, I think that it is not at all hard to recognize what is your point and your, at the base, completely normal reaction - yes, your impulse is right: society, especially at the hedonistic phase of its evolution (of course, we all read Oswald Spengler Decline of the West, or Ortega y Gasset's The Revolt of the Masses) has to be spurred, butted, provocated... with a purpose to find a soul instead of comfort and calculation and... entertainment because of "oblivion to the Being" (Malick/Heidegger). But, I don't see anything of beauty and mastery of, say, provocateur Oscar Wilde, or poverty of old provocateur Diogenus, in that Mr. Gutt and his shallow works. Actually, I see in mr Gutt's case just marginal fake dust of fake fight between two identical currents - it is the same old great invention of some master minds of XX century: put two (in fact identical, and) equally wrong and equally malignant political sides in front of public, and let masses vote or kill for one or for another... with identical final result. Or, as say recently late Alexey German in Hard to be a God - Problem is that after Blacks always come some Grаys... To sum up - I think, mr Reid, that your impulse is noble and worried. I think that there are much better cases than that of Mr Gutt that your noble impulse could be invested. His "jokes" was not neither provocations, neither liberations to anyone - for me, they are just exhibitionism. I think that you don't need to be involved in the side of megaexhibitionistic liberators for which ultimate level of freedom is exhibitions (tomorow it will be something "conservative" - they always change roles) Your EOSHD is much much better place and achievement than any of similar hit makers that last one popcorn season. Actually, I think that Mr Gutt's case doesn't deserve such sort of your attention. But I think that mr Kidzrevill impulse also is noble and worried. And that's the reason why I'm guilty for this long boring love-affair-letter with both of you And both of you are member of similar society, and share its similar "advantages" that nowaday are, in fact, more and more burden of confusion and tumble for sensible people - burden inside of which is very hard to make road out...

That's what I thought too, but the guy in the video I posted, shows that if the native is 800, but the camera can go lower (400 or 200) those might give cleaner images at the cost of DR, but 400 is the perfect balance. I guess we'll wait and see. Pretty lush huh? And check these out.

@anonim thanks for the video - it's very nice! @sgreszcz I think there are degrees of low light performance. I have found that you need ISO 6400 to record anything with normal indoor lighting (unless you have heaps of lights on) which means anything after sunset, so birthday parties, dinners, etc. However, cameras these days like GH5 have relatively good ISO performance, but things like my Canon 700D get significant noise in even the highlights at 6400, so things are relative! @tellure pace is an interesting thing. The way I think about pace is from a few perspectives. 1) we often perceive pace according to our mood - if we are in a fast paced mindset then something slow and delicate (like @anonim's video) will seem too slow, but later on when we're in a slower mood it might seem fine. 2) I think the way we experience each shot is over four stages: "what is this", then "look at all the interesting stuff in here", then just enjoying the feeling of the shot / music, then "bored now!!". Obviously the art of editing a shot is to cut before we get to the "bored now!" part. 3) The length of a video, or each section, or each sequence, is kind of like the above, and this is where the storytelling aspect comes in. The trap of editing your own footage is to be too precious and include too much. I shoot and edit home videos and my sister (who worked in the film industry for 20 years) would always tell me to cut things out, and she was always right. The test for me is to get a narrative for each shot / sequence / section / film. In @anonim's video there were things like "the buildings are old", the shot with the note might be something like "these places have meaning for people" and the shots of pulling focus between the buildings and plants and buildings and the view is to kind of paint the picture that the buildings are overgrown, or that it's a rich and fertile area, or that the buildings are on the side of a hill facing the ocean, etc. The challenge is to understand what it is that you're trying to say, and then to say it with as few shots as possible, whilst not going too fast for the overall pace and music choices you have made. One piece of advice I thought was wonderful was that your video should feel "a bit too fast" but not a lot. So keep cutting until it's just feeling too fast and then stop. In terms of pace, I thought that @anonim's video had roughly the right shot lengths as it suited the music, but perhaps some shots could have been cut as they had the same story elements as other shots. However the Gone Fishing video of the little girl that @sgreszcz posted seemed way too long in parts - especially the shot of the girl walking which was way too long and was then followed by another shot that didn't offer anything new either! Yes, children are much more interesting to those who know them and love them, but there are limits and I think this might have pushed those even for relatives! @tellure I liked your video quite a bit. Beautiful place. @stv Your video was really quite wonderful. I think the filters you applied were actually contributing to the overall vibe of the film, and because they were aligned with the music and cutting style and subject matter I think it worked really well, despite them being really heavily applied. I am also not a fan of micro-jitters and camera shake, but I found your footage to not have too much of them, and the ones that were there suited the filters etc you applied. As I've mentioned before I think duration is a matter of cutting until the content moves fast enough. Much is written about the short attention spans of Social Media people, but look at Casey Neistat whose YT channel has almost 10M subscribers, 2.3B views, and whose top ten videos include five videos longer than 8.5 minutes. IIRC his total watch time averaged something like >5minutes per video, and his most popular age group is something like 10-12 year olds (happy to be corrected here - the stats aren't visible anymore). And then look at how many people watched 10 seasons of Friends, 5 of Breaking Bad, Game of Thrones is still going strong, etc. The answer is content. Keep the pace up and you can almost go for as long as you like. My kids watch YT for hours, and will watch meme mashup videos that go for 30+ minutes, even without moving or even taking toilet breaks, and we talk about how people spend so much time on social media that it's is "addictive". People have huge amounts of attention - if they're not spending it on your content then it's the fault of the content, not the viewer! I've seen people setup gimbals with a quick-release plate that is balanced nicely (normally for the middle position on a zoom lens if that's what they're using) and then taking the camera on and off can be done very quickly. Shown at this point of this video (the rest of this video is really useful too):

A lot of progress has been made on the EOS M in the last two days and it looks like they've been able to make the camera shoot in mv1080 mode using the full aps-c sensor (no crop) for the first time ever (as opposed to the mv720 mode that the camera was always stuck in). This means that the EOS M will now be as capable as the other digic 5 cameras.... so what I said before about anamorphic shooting changes completely - this will now be a great camera for anamorphic as it can record max 1736x1120 (3:2 aspect ratio) which I think uses the whole sensor height and width. Will do my first test soon - liveview preview isn't working fully yet though. Can't wait for the Viltrox speed booster to be released soon and shoot full frame raw video with this £100 camera! Here's the forum post and first footage: https://www.magiclantern.fm/forum/index.php?topic=9741.msg203530#msg203530

Try Rocky Mountain Converter. Has ProRes options. https://sourceforge.net/projects/rockymountainsmovieconverter

No need to feel sorry for us PC users. Resolve has been cutting through 4K raw like butter for years. I've been shooting raw exclusively since 2013. Stopped using proxies in 2015. I've only ever used regular consumer hardware for post. Frankly, raw is old news for PC users.