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The release button being on the left on Nikon cameras is to do with the traditional functions of the controls on the right on the film cameras, which were for self timer and depth of field preview. The latter physically engages with the aperture control lever in the lens to stop the lens down to enable the preview so you can retain the viewfinder brightness of having the lens wide open when you are focusing and composing but still be able to check the depth of field before you press the shutter. This functionality is carried on through all their DSLRs today (along with the additional programmable buttons) which means if you are an old git like me then the muscle memory you've built up from starting with an F2 back in the stone age is still valid on a D5 but crucially the lenses that you had attached to it will still work too. It might seem archaic in the age of constant preview for mirrorless (and it is for electronically controlled Nikkors) but its still relevant for Nikon as they have that big back catalogue of lenses that don't have electronic control and have to be engaged physically. I've no idea why they decided originally to put it on that side - though I personally think it makes more sense to keep the lens release away from your 'busy' hand - but once they'd done it they had and have to even now stick to it in order to support all their lenses. The problem for me comes when I'm swapping between my Nikon/Canon/Panasonic cameras to my Sony/Fuji/Leica/Sigma ones and thinking "where the f*** is the lens release" And, like when you get in a different car and try and find the windscreen wipers and indictors, you can guarantee that its on the opposite side to the one you've most recently been using ! The biggest issue is if I use a Leica R lens on my A6500 with the TechArt adapter as I also have to have a Canon adapter in the middle of it and each step has a lens release on the different side so its like doing a Rubik's cube to deconstruct it.

Motionflow, Auto Motion Plus, AquoMotion, ClearFrame, ClearScan, Smooth Motion, TruMotion, Clear Motion Drive, Cinema Smoother... No wonder people don't have any idea what the Soap Opera effect is and how to cope with it on their new TeeVee's. Of course, some people actually LIKE it. For instance, you can watch the Zapruder film now on your new display and actually solve the Kennedy assassination.

Panasonic GH2 + Flowmotion V2.02 Hack. Color Graded to taste. Download my BozGH2Pana_GT Film LUT for Panasonic GH2 Cameras HERE: https://bulentozdemirfilms.wordpress.com/downloads/bozgh2pana-gt-film-lut/ Music: Ross Bugden - Dawn

thanks for all the comments guys, here some more from the same place (but adult event):

Yeah, it's basically a "turn off the crap nonsense and do a rough calibration" mode, but whatever works. FWIW, I walked into a brew pub last night and they had "Shawshank Redemption" playing on their large screen (first of all, why?) ...and frame interpolation mode was turned up to 11... If it takes some silly marketing from Sony and Netflix to put a dent in that trend, then I'm all for it.

For those of you forward thinking enough old lenses which are of good quality but lack IS, whether Nikon or canon, will me a lot more desirable if IBIS comes to their mirrorless options. For instance the ef 400 5.6 suddenly becomes a great modern lens and its price might rebound to reflect that.

@jonpais did you twitch a little bit as you wrote that? ?

I guess you’re right...

Shot this video for a Bible camp I was at last week entirely with Pro Color V4 HDR:

Hello. I recently purchased a pre-36 from a user on here, and used it for a project; a promo for an arts fair, held on the kubrick estate every year. Hope you like it !

Hello! I had some time to pass over the summer so I made a breakdown of a music video I shot last year. I tried to write it so that anybody could copy exactly what I did. If you have any questions about anything, feel free to post here or comment on the blog! Link to the blog in question

Article: https://www.hollywoodreporter.com/behind-screen/netflix-mode-comes-new-sony-master-series-tvs-1130621 Looks like the industry is gradually getting colour and gamma standards in place..

We were looking for a TV for the bedroom last year and ended up getting a small (like stupidly small) LG projector. We just have an Amazon FireStick plugged in to it so we can watch Prime, Netflix and Kodi content and I have to say its worked out brilliantly. Its only 1280 x 720 native resolution so I'll get run out of town for mentioning it on here but its actually pretty decent and at €200 was by far the cheapest and painless way to get a 70" TV in there! As its so portable (and has an internal rechargeable battery too) we throw it in a bag and take it with us if we are going somewhere for a while or, like tomorrow, going to my brother's for a barbecue and a DIY movie under the stars night. I hope his grandkids are keen on WW2 films as we are planning on that particular movie being Where Eagles Dare ! Its a noisy bugger though but its a discontinued one (hence the price) that was released in 2014 so I'm sure the later generations will be better, cheaper, quieter and support bluetooth. Our one has a line out that I just connect to a £10 bluetooth transmitter. As you say, with families all spending so much time watching content on their own screens, it does seem superfluous to have the traditional big TV in a family room these days and I think the projector is a good solution because it does make it a bit more special to kill the lights and have the cinema experience when you actually are going to watch something together.

I have been using the Panasonic 14mm paired with the sony Sony VCL-ECU1 wide angle adapter and it's been awesome! I also recently purchased the SLR Magic 8mm f/4 which I'm liking so far, but haven't had a lot of time with it. I took the Panny 14mm/Sony VCL combo on a Europe trip this spring as my go to wide and it did not disappoint. Great combo for cheap

I use the PL15/f1.7 and the Laowa 7.5/f2 (and the 45-175 zoom) with my GX80 as a very small travel package. All lenses have the same 46mm filter size, so I used the same step-up to my 58mm NDs. On the Laowa, I get some obvious vignetting due to my filters and magnetic adaptors - will look at that for next time. I have an example when I'm walking with the 7.5mm using the GX80 IBIS - I was carrying a lot of beach stuff and probably could do better. Here are some unedited (4k 25fps 1/50s shutter, AWB) screen grabs shooting Cine-D from the 15mm (first 4) and 7.5mm (second 4).

But that is how it is done on every indie low budget production I have ever been on. This Is Not Unusual. So it is a bit unfair to say "but Maxbrand's real true budget is $xxx,xxx,xxx" or whatever, as no, rather that is just how life and the world works. People beg/borrow/steal/etc what they can to get it made. And if you're a nice person, and are active and busy in the scene, it isn't at all hard to get it done. (ok, I might not be able to borrow a RED Dragon! But I could for instance borrow a second Sony PMW-F3 for free on a shoot I did last month, and I organized that in mere hours beforehand. I was holding out hope I might be able to source a F5/FS700/FS7 instead! And if I'd had more time to hunt around I might have made it happen. As I've certainly been on shoots which have had an F5/FS700 for free. Although yes money was spent, but it was spent on lights rental and on other stuff, not on renting the 2nd F3)

HDR footage shows up over exposed and insane. But just try pulling your highlights down and playing with it. All the information is there. The LUT fixes it too. So just apply the lut and you’ll see

If anyone is looking for a lens with built-in Black Pro Mist filter, then I'd highly recommend Samyang/Rokinon 24mm T1.5 Wide open this thing glows like a Super Moon.

You're spot on there. One of the reasons mirrorless started beating DSLRs, in my opinion, was the incredible implementation of eye focusing. I remember many times with my 5DMKII where I got mostly nose shots even though I was using face detection.

Huh? Cameras are designed to be held one handed on the right hand side - that is why they have a grip there (and the lens release should be there.) Holding a camera on the short left hand side is uncomfortable because the left hand generally holds the lens 'which is convenient for taking the lens off and putting it on' I know because I used to have an Olympus that had the lens release on the wrong side which was very stressful. In fact, I would often have to spend a day in bed after changing lenses, simply to recover.

I am 100% behind this. I recently lost my Plasma to the winds of time and had to purchase a new TV. It was almost impossible to find a TV that let me turn all the stupid enhancements off.

hello and welcome, i'm new too, i was looking at a hilux 264 on ebay aswell for about $125 australian. all i know is prisms are less popular as anamorphics not sure why. i think you can do anamorphics with a prism but it is the road less traveled i did find something but it was when i first started looking and i suspect it may have something to do with the look and a prism may give you a different look compared to a ''normal'' anamorphic lens. i ended up buying two different brands of projection lens to play with neither where prisms. hopefully someone far more knowledgeable will chime in with a suitable reply.

Where is the footage?

If it's going to last another 100 years, designing it with more pins than you think you'll need, or even some spares would make sense. Who knows what kind of currently-unknown technologies will come into play during that time..

So that's the latest teaser from Nikon, what it is confirming is that the size of the Mount will be huge, could fit a hasselblad 44x43 mm sensor. But I think this will give is much better IBIS for full frame camera and some unique lens like .95 Noct primes that they have patented. The more I think about this new Nikon Mirrorless Nikon camera is that the saying that Nikon might be late but when they come, they come with a bang. No one was guessing that this new mount would be that big and the more you think about it, the more it looks like a move that will last for another half a century at least. My guess is that Sony will be in big trouble, in this range of Mirrorless cameras and will have to see what Canon comes out next.

I'd be surprised if they didn't. The vlogging community has been jumping up and down about a "floppy screen" and great AF, but all the Sony vloggers have learned to vlog without seeing the screen, and GH5 users have learned about MF, so it's possible. Considering that run and gun docos, corporate gigs, and the like are more controlled and slower paced affairs (certainly than the grind of daily vlogging) so MF and other limitations are surmountable. People have been running and gunning at close to the same pace probably since auto-exposure. and with film there was no preview window

I was last weekend working on a short film with a RED Dragon. And done a feature film this year shot with an ARRI AMIRA, and also worked on a feature film shot with 2x REDs earlier this year. You'd be surprised how cheaply some DoPs might work on narrative, and what deals can be found for gear. Whoops! I agree. Damn, wireless follow focus + set of NDs + mattebox for under a hundred bucks? Impressed. Then again that is USD, but still.

I don't know if I wrote it in the blog, I think I did. But it's all about what favours you can pull out. I was employed at a production company where we had two REDs, so I could borrow one over the weekend without paying for it. And I used my own lenses, so the only rental cost for the camera deparment was a follow focus, ND-filters and a mattebox, which must have been under 100$. It depends on the shoot. Like you say, sometimes there is no "set" and you have to make do with what you've got. Thank you for getting the discussion going! I agree, very much talk about cameras, pixels, motion cadence, colour sciences and so on. I think that mostly pales in comparison to lighting and camera placement/movement. But it is also easier to discuss than the more interesting matters. Yeah tungsten is cheap as hell and good colour rendition as well. Too bad it's so crazy hot and energy consuming. We did bring trash bags to tape over the fire detectors but we ended up not going with the haze since we didn't want a sour relationship with the owner of the house. Nice solution with styrofoam cups! I did actually mention what camera we shot on in the gear list, but I didn't want to focus on it since I don't really think it matters that much for this particular post.

Wow that brought back some happy memories of my Sprint, and Enduro Kart racing! Fun times. Was a lot safer than my Motorcycle racing!!

Something I think is interesting that nobody seems to be talking about is the fact that 3rd party adapters will likely be available to adapt Canon DSLR lenses to Nikon are vice versa. I have no doubt CaNikon can pull off good adapters for their own systems - Nikon did it years ago with the 1 system and Canon has done it with the EOS-m - and I'm sure an adapter for a $3-4000 FF camera with as much riding on it as these releases have will be better. But it really opens up some interesting possibilities to mix in glass from the other side or tinker with a body that would be incompatible in DSLR-land. Chris

Yeah it is a nice, balanced setup. Compact also. That is hard to achieve to be honest on any camera.

It is a pity there are no replies here. I'd much rather talk about lighting than cameras! Although I know I am very guilty of always being "dragged" into camera discussions..... #hypocrite (in a way I liked that you never mentioned in the blog what camera you used! But I did get a peek at it by zooming into some of your BTS pics) Indeed, Tungsten prices secondhand are falling with the popularity of LEDs instead. And they're much cheaper to rent too. Had a director/producer ask me on a shoot in December when we arrived at the lighting rental house why we were not getting LEDs instead? (we were picking up a couple of Blondes and a pair of Dedos, plus various other supporting gear) Wellllll..... because if we got LEDs instead then we'd basically be able to afford nothing, or maybe one good LED light! ha Interesting. I should play around with various filters more often. Had last month a similar shoot in which I wanted to use a haze machine, but person whose office we were using was freaked out about that as a fire engine call out is VERY EXPENSIVE! But I got ladders and taped over all the fire detector sensors (using Styrofoam cups taped over, so it was fully sealed up) then the shoot went smoothly without a hitch.

I am sure that hybrid mirrorless sales are largely driven by still shooters though. In fact, from a video/film centric view, I think the whole concept of mirrorless hybrid is driven by the fact that you get a very capable video camera that is heavily 'subsidized' by still shooters.

Well. That escalated quickly.

DPreview did a poll of what people want to see in Canon and Nikon FF mirrorles (they got nearly 4,000 replies.) Not surprisingly 'full compatibility with existing lenses' came out on top - so these systems will live or die through the quality of their adaptors. (I really hope that Nikon doesnt go with a translucent mirror design.) IBIS also scores highly (not surprisingly.) Also note that 'compact size', small affordable primes and lightweight scores high. (Fast primes, substantial grip - not so much.) So I wonder if the Nikon bigger mirrorless is going to be that successful.

Well, I'm an old stills film guy, so I don't remember movie film speeds, but I do remember ASA25, and 50 for stills. Actually, I bet I could find some ASA50 color film in the fridge bins, I know I have some 4x5 and 120, though those wouldn't be ASA25, nor 50.

Some rough edits from the C200 with the beta version of Resolve. This version works better than the last one, but still does some "weird" things. Adds black spaces between clips. Cuts sections out and resizes for not apparent reason.

Yes, Polar Pro will be among the first one to get the drone and design new filters.

I attended a Black Magic event today and got to play around with the BMPCC4k for a while (maybe 30 mins or so). I cannot discuss all my observations for fear of causing unnecessary panic, but I will state a few things I noticed. 1. The autofocus is not the best, but with the M43 lens advantage, and focus peaking things should be fine. 2. A lot of firmware features were disabled and flavours of ProRes were limited along with recording capabilities, to prevent people from sharing random non final firmware footage. 3. The on-board fans for the camera were not only absolutely silent, they were also unnoticeable (I put my finger over the vents and noticed almost nothing). 4. The Windowed HD is a substantial crop. So Metabones may make a BMPCC4k specific adaptor (which would be essential IMHO). 5. Low Light seems decent. I would like to compare the GH5s with it, though the Black Magic doesn't seem to have any noise reduction, and so at higher ISOs, noise seemed visible (as was the high level of detail in the image). I think once a few units reach reviewers, I would love to see this reviewed for low light, among other things. 6. I found it to be heavy with cinema lenses. But I guess this may have been due to the lenses more than the body. Also after the composite, it should shave off at least 100gms off the weight. 7. Very impressive ergonomics. Especially the wheels the grip. After Panasonic's IBIS + OIS we're literally spoit if anything doesn't offer anything like that (Canon cameras?), it's a little disappointing (I know stabilizers are good enough). I feel Blackmagic is working with a lot of accessory makers. I hope they get a battery grip with atleast 3 hours of juice. If Panasonic tweaks the VLog, I am sure they can easily get atleast another Stop of Dynamic Range out of the cameras (if not more). I realised that M43 is in need of a very fast zoom lens with a decent Range (f2 12-36mm). They could make it fat or large, who really cares. And it must have good OIS (for cameras that don't have IBIS).

Camera fanboys are as bad as Trump fanatics.

Thanks! Sony 16-35 f4, SLR Magic 35mm 1.2, Zeiss 55mm 1.8, Canon 135mm f2, Metabones IV adapter, and the SLR Magic variable ND

I pre-ordered a BMPCC 4k that minute it was announced, too good to miss!

Sort of like watching grass grow!

I think it’s the SLR Magic anamorphic primes they are using. IMO those lenses are garbage. They should have just rented some Cookes.