Leaderboard

I just created the first video of hopefully more about how to create a Good Travel Video. All based on my experiences and past, but wanted to see if you guys/gals had any thoughts around things that you would want to see and if you are even interested at all??

Well I know what happened to a lot of you guys cameras LoL. Sorry. I wanted the one on the Very bottom. ? In the Conclusion he sure doesn't sound too enthusiastic about it! Interesting.

Info for video above... Lenses: Voigtlander 17.5mm f/0.95 and Super Takumar 50mm f/1.4 with Black Promist 1/4 (Which explains the less clinical look then!!) Canon C200 Lenses: Sigma 18-35 f1.8, Canon 50mm f1.2 and Canon 85mm 1.2 with Black Promist 1/4 BMPCC Resolution and codec: 4K DCI, RAW 4:1, 24P and 60p Canon C200 Resolution: Canon RAWLIGHT 4K 60P 10bit Remind me... Is C200 raw internal or external? I have forgotten LOL.

Ebrahim sent me the new ML firmware for EOS-R. It shoots 4k RAW with NO rolling shutter due to new programming!! PLease PM me to send western union as payment, I will then send files Hakuna Matata

I've only had the P4k for a day, but the first shots I made have a very similar feel to the original pocket. I could do a side by side comparison shooting at 1080 24fps, same lens ISO, ungraded if anybody is interested?

It is the entire 2018 production of the BMPCC4K ?

It depends on what you're trying to achieve. Turning a RAW photo into a nice picture is basically the same for video. Perhaps video might be a little harder if theres a single shot where the subject moves between light sources with different colour temperatures, but that's unlikely for most of us. I think there are two situations where grading does require a very high level of competence: When you're trying to compare two cameras by grading them to look the same, or trying to make both look as good as possible so the potential of both cameras can be compared, or, When you're trying to grade a piece of footage so it just looks absolutely stunning. The first scenario is what the videos in this thread lacks: people that can't match two cameras (or can't even WB both cameras properly) or people that grade one camera nicely and grade the other one very poorly, resulting in that BMPCC4K vs GH5 video where everyone said the GH5 footage looked worse than even average GH5 footage, let alone be good enough to compare to another camera. The second is a bit less relevant to this thread, but we've talked a lot about the BMPCC videos and how they just looked wonderful with lots of mojo and general awesomeness, and that the BMPCC4K hasn't lived up to that. Unfortunately, what we're doing is comparing the best results from years of people shooting with the BMPCC - both in terms of people getting to know the cameras modes and best lens combinations, and how to grade it, but also picking those videos where the colourist was quite skilled. The BMPCC4K hasn't been out long enough for the people who have it to get to know it, test lens combinations and filters, and probability suggests that the best colourists haven't even touched any of the footage yet. You simply can't compare the best ever footage from one camera with the first few quick films from another. The videos we've seen so far have been basic colour space conversions, or even just a LUT. Wait until people really get stuck into the footage. The highest level of grading work will have qualifiers to treat skin and various other specific tonalities, will have localised adjustments that will be tracked as objects within the frame move, and these days often some VFX elements, which it's also worth noting that VFX elements don't always mean adding in objects that aren't there, but can also do more subtle things like adding lens flares, digital re-lighting to change a scenes light-source behaviour, digital make-up with face tracking and face enhancements, etc etc. Lord Of The Rings is obviously a movie with a lot of VFX but IIRC they said that every frame had some VFX on it, even if it was just localised adjustments to dodge-and-burn elements in a landscape or whatnot. Truly skilled colourists will not only do all the above to make things like nice and give them a look, but they will emphasise and de-emphasise elements and adjust colours according to the psychological effects that these adjustments give, but all in support of the story and characters and entire world of the film. When we watch a film we become emotionally invested in the world that the film creates, and we cannot help but let this effect the way we see the footage. A photograph will have more meaning to us if we know the people in it, and so if a great story has characters we care about then the footage will all look better to us because of our emotional engagement. This cannot possibly be emulated by random test shots of strangers in parks, models posing, or travel films where the people aren't really featured and certainly don't have any real dialogue. Have a look at this video which shows a good but still basic colour grade, and note the difference between the first step (LogC to rec709) and the final grade, even though this is a very basic adjustment. Truly great images will be made from footage recorded with this camera, but the images themselves won't be truly great until they are made into emotionally engaging art. Otherwise, cameras really would improve our film-making.

A shill dude being hit by EOSHD squad! : -D

And with a lot of $$$$$$ spent on lights.

Holly Cow, simple as pie LoL. NOT! Yikes.

I shot in F-Log and converted to PQ Rec2020. Actually the F-Log already uses Rec2020 as F-Gamut so really just converting to PQ in Resolve by normalizing with a Bezier curve and outputting ST.2084. This article explains how its done. https://www.mysterybox.us/blog/2016/10/27/hdr-video-part-5-grading-mastering-and-delivering-hdr

The Alexa is not God. It's quite an old camera now. Just because its the industry standard doesn't mean to say it has a wide performance advantage to certain other cameras. I had an interesting bloke from the new Mad Max movie contact me during the production. He was looking for the most compact possible single focus anamorphic for a drone shot and had Google'd Iscorama Small stuff is used all the time in top-flight production, and cuts just fine with an Alexa. The way people talk about that camera, you'd think it was Alexa, BIG GAP, then everything else. It isn't. Some of the cheaper RAW stuff is right up there.

Yea me too! The reason for this is that I bought the Eva1 with the Atomos Shogun Inferno Kit and an 1tb SSD. I didn’t have any expendable extra cash to buy the required SD cards for the Eva1 and the cards I do own doesn’t support the recommendations for recording in the resolution that I want to record in. Plus the mount I had felt flimsy and didn’t want to risk the monitor falling off of the camera. So in order for me to record with the Eva, I would have to rig it up with the Inferno, which didn’t feel secure and the projects i were doing didn’t require such a setup. With the GYLS300 I can just pick it up with my dual loaded card slots (very long recording time and sloooow battery drain) and capture very lovely looking DCI 4k for hours, without lugging such a cumbersome setup, especially for mostly handheld filming. I would monitor through the GYLS300’s screen (not at all great, but I have a VA 4k specifically for it) using its rather good (Great!) focus assist and exposure features. With the Eva1 and the gear I had for it at the time, I would need to carry at least 6-8 batteries and tripod. I wasn’t ready to commit to that yet. Now I’m ready because I streamlined my power needs and even though I’m still recording with the Atomos, I have a sturdier mounting solution for it! As an aside, regarding my equipment I’m usually a tripod type of person and have tools that are used mostly stationary, but I’ve been doing a lot more handheld work, that’s why I purchased the two E1’s, which are wonderful by the way and use them with Zhiyun Crane M’s, but the monitoring on it sucks, so I also use the VA 4k with it. I haven’t used the E1’s in a while because it doesn’t do 4k externally, only 1080 and I’m trying to keep all of my original files in 4k or higher now. The 4k internal is only 60mb and that’s not really enough for me. For my needs 4K 150mb is acceptable!

"Blackmagic Pocket 4K's ISO10,000 still usable? Yes, with Neat Video. The noise level in ISO10,000 from the new Blackmagic Pocket Cinema Camera 4K is as noisy as ISO3200 from the Panasonic GH5. The best part about the Pocket 4K's HFR is that there are no signs of banding. Keep in mind that in ProRes, even in 120fps, it is still 10-bit." source: https://vimeo.com/294680968

@Neumann Films to quote an oldie but goodie... you just won the Internet. Seriously though, that is simply gorgeous. Thanks for sharing it!

Avaliable for preorder! https://www.bhphotovideo.com/c/product/1438685-REG/tilta_wlc_t04_nucleus_nano_wireless_lens_control.html

Fro Knows Cocktails.

LOL Indeed... : -) Thumbs up! : -) Who does? ; ) They don't support nor award any enthusiasm outside their bubble. This is not a good selling point. Other than that, BRAW effectively is -- a bit from where their arrogance comes to be honest from my own experience : -)

uh oh

MFT is the most versatile cinema mount you can find, so you can add from affordable native f/1.7 primes as for instance -- I've had reports 12-35mm f/2.8 is a good match for P4K as well. Both pretty affordable Oly 12-50mm f/3.5‑6.3 and Panny 45-175 f/4.0-5.6 offer you electric-powered zoom capability like you had a video camera in your hands. Without mention the Queen 18-35mm (I'm afraid longer focal length zoom won't make much sense once much heavier) f/1.8 coupled to a focal reducer where ends +1 to + 1 1/3 stop of gain and finally, those incredibly cheap C-mount pieces. There's no other mount where you can add almost everything you want, even PL mount lenses via adapter. So you are in some special territory where you can even mimic something midway S35mm film and FF look as you wish : -)

I was used to see small companies to defy the big ones, now I've found the major players to adopt themselves to the market. The argument they don't care about small companies like Blackmagic or RED in the past is subject to the confirmed sources because I only see it fully outdated. The competition is ferocious and they're adapting themselves to any innovator may introduce. I've listened reports Panny will respond with RAW and so on, keep going, Sony, Nikon, Fujifilm as the most recent releases prove it just to mention a few. Seems pretty natural to me or anyone that people here in a forum like this one may support a younger player to give them a dream of a camera like this Pocket 4K is. The reality is beyond that, though. Shills are a plague in any way whatsoever because they misshape the POVs. I can't surely know where they are. Our webmaster doesn't, go figure myself or anyone else here. To log in and write whatever is possible to post means nothing or too little ; ) That's what I try to transmit taken some reserves. Andrew spotted something with that thread he has opened to mention "Plants" from companies on this forum. I've also been supporting him against his own forum included, from so much discreditable ingratitude some time earlier. Same period of time, what brand? On that one, we can identify the move. I didn't like. Such approach can't have my support. Sometimes we must say no. Why? Just a matter of fairness. Isn't it enough? It is childish to infer the world is made of flowers and yups or fanboys. I once heard someone to reply a post of mine saying "he was as brand agnostic as Emanuel". I think this sums up my perspective. No hater standpoint here, no matter what, quite the opposite : ) One swallow does not make a spring : -) * One swallow does not a summer make, nor one fine day; similarly one day or brief time of happiness does not make a person entirely happy. ~ Aristotle

Mattias, I personally know both of them. Trust me, they are as real as my personal experience with Blackmagic. Ordinary people like you and me. I think we don't need to extreme positions whatever the topic is, theories of conspiracy are silly. So the same applies with this subject we're discussing here. I am enthusiastic with this camera. Unique of a kind, as already posted by my myself so many times from April (not this morning or yesterday night! : ) Let alone the Resolve Studio pack all included for free with the purchase. End of story with the camera deal, OK? I just don't see this company to adopt the best policies, those ones I'd appreciate to feel myself safe with. This comes from business with them, not even tech related. Marketing also fails. Manchester episode is only the finest episode of it. There was a London presentation last week BTW. Same thing. Fortunately, I can't say the same with RED. I had a good story with them. 5% of attendees when Ted came to Rome during their World Tour were brought with me. Without mention both Jim and Jarred, as much as every rep I've been in touch with, they are 5-star service. Just my 0.2, E : -)

Indeed. Looking at this review, it has comments from SteadXP themselves regarding shutter speed. "...we recommend around 1/200 sec shutter speeds, but experienced user can go as low as 1/100. It's a small limitation with very high contrast scenes, but you can get perfect cinematic look in a lot of situations!" Mmm.... https://www.engadget.com/2018/01/24/steadxp-s-dslr-stabilizer-impressions/

Short day test

Questions on N Log recovery of highlights have been answered for me ... https://vimeo.com/296302172 Password : daysend Up for a short time.

This thing is the best thing since sliced bread for the money. And it is small to boot. It was designed and produced in France so that might explain why it is "Different" LoL. Probably used some past Citroen engineers. ☺️

Absolutely. I find this test sample much more interesting though, apart the subject : -)

I feel like I read somewhere people being scared that you can’t shoot lossless 4K DCI and record with T5. Well today was the first time I plugged it in and it definitely takes it. I tried 23.976 recorded for 5min before I was convinced enough. Did 30fps recorded for 5min, convinced. And finally 60fps which did get a frame drop after 40seconds. But that’s 40sec 60fps lossless RAW 4K DCI on a 100dollar drive! The T5 works great! No problems at all here!

@Topcat Best test ever seen to triple match slowmo, a gimbal shot and nice bokeh from that kit lens. For your 1st video ever and if she is your fiancée, double compliments fellow : ) My top hat : -)

Alternative to the T5...

Up until very recently, traditional Fuji fans have been negative to almost hostile to even the inclusion of video features. I've been in epic fights over having decent video capabilities with the X-Pro2, for instance, and even the X-T2 should be a "pure photography camera" (sic!) for some of these idiots. Things have turned 180 degrees in the last couple of years: nowadays most consider the last breed of Fujis as the best hybrid camera system overall in the market, and some even buy them primarily for video. If the X-H2 lives to the expectations, it would solidify this trend. I'm also wondering if a "proper" cinema camera is in Fujifilm's future. FF video is in fashion lately, but Super 35 is the norm for cinema cameras (not to mention, FF look and light gathering using a SB). As you say, and have heard from a lot of users, having a proper color science and ready-made efficient film simulations is becoming more important than RAW or Prores for a good percentage of potential customers. That is not to say the latter should be excluded, but imagine a small-format cinema camera with Fuji color science+sims. Due to form factor, it would have proper controls and ports, a V-mount battery, possibly electronic ND and slot for small SSD. Heat dissipation would not be problem either. This could compete in the EVA-1/C100 space, and right now people know what to expect from Fuji video. But one step at the time: at this point, I guess an early X-H1 replacement is in order. Being at a higher pricepoint and different format than the X-T3 I don't see it hurting its sales; it could also eliminate any advantage Sony may gain introducing their "high-end" APS-C camera.

Hollywood loves the Alexa for its reliability as much as anything else.

I use the following: - In Project Settings, under Color Management, Change to Davinci Color Managed - Under Color Management select: -- Rec 2020 HLG ARIB STD-B67 for Input Color Space -- Rec 2020 HLG ARIB STD-B67 for Timeline Color Space -- Rec 709 HLG ARIB STD-B67 for Output Color Space

Imo, the MKX lens series shows a commitment to video that few others have shown. Certainly Fujifilm is taking video very seriously. I'm hoping for some more film simulations with grain added so I can skip that step in post.

Great to hear your thoughts, and I agree about post-processing being critical. I specifically went with Resolve because it had the more advanced colour and image processing, which I believe is more important to the feel of the footage than people realise. After more than 18 months of trying to learn colour grading I can do a lot of stuff, but putting magic into the footage still eludes me and is a deep art indeed! The best footage is yet to come. I know from playing with my GH5 and some vintage lenses that an image can be detailed and yet still soft and film-like, and this is the kind of thing that can be done in post if the colourist has the skillset. You'd think that they'd know better than to let @webrunner5 in there in the first place!!

Singlus prototype focus module test Used gear: Schneider ES Cinelux 2x (Singlus prototype) Porst 50mm F:1.4 Helios 44-2 F:2 projector lens LETI 92mm F:2 Sony a6300

I prefer this version .... https://vimeo.com/296214409 Password : daysend Same proviso ....

How about some 4K ... external recorder 10Bit ProRes HQ .... Went to a favorite place to capture some migratory birds ... turns out a weekend for a waterski tournament. So I captured some birds of a different sort. This is a short clip from the Cavanaugh Flight Museum, Addison, Texas. https://vimeo.com/296206092 Password : daysend It will be taken down in a day.

In blue: valid argument even though with SD and storage price today, well..... In red: sorry but this is simply not true at all... like this is the most untrue thing I have read this week online.

It seems it is you who has something to address me where publicly doesn't fit ; ) What should it be said in public? Pity, that 'shill argument' feeling didn't abandon me yet... This brand is not the one some of us would expect but a few supporters sell like they are the last cookie of the pack? And then someone comes to invoke the real world...? What real world?! There's real world beyond our own perspective and experience whichever it is. Your excuse is pointless when we're not discussing cinema cameras, only the $1-1.5K price range, exactly the hybrid segment, have you forgotten? ; -)

You've sounded, yes. To infer someone is dictator is not the use of a friendly approach. At least to me. I hate to have to read ad hominem attacks on here or anywhere else. First off, we can discuss a point. We just can address some personal point directly to the person we want to reach. There are places for. I wouldn't call autofocus tracking unrealistic. IBIS, as well. BMD has even introduced tap-to-focus on their lineup now. When some other contenders give that to the customer. It is pointless my personal use. That's what I'm trying to express myself before. On the other hand, this manufacturer is self-centered on the broadcast segment. But, they deliver cinema cameras exclusively (trust me) from that angle. Offering that like a hybrid tool. This makes little sense to my perspective. My disappointment is not towards this camera, as said, but their standpoint. Andrew's report on his Manchester event experience only raised up a red alert I could unfortunately confirm. Sad find by the way. Nothing about that case now. That's the way they see the market from their broadcast market target. And you come here to tell us they're focused to produce cinema cameras? They don't even care to understand what a hybrid tool means. Impression got from real contact in the real world, not fanboyism delirium... Is this good? Not to my book, I'm sorry.

Ah so there's also travelers not to be forgotten here... ; ) Let me see, the best camera is that one you have with you, isn't it? Or should we infer we have to resign on our phone camera for that? ; -)

I have conducted a bunch of tests comparing shots between the XT-3 and the Pocket 4k, which unfortunately I can't share because they are of my wife and she won't let me post them online. I will see if I can do some shots of other folks whom are comfortable having video of them shared online. But for now I can give a bit of insight with my findings. The highlight retention/roll off of the Pocket 4k is miles ahead of the XT-3. Having the ability to have RAW, is also miles ahead of the XT-3. Both of these are obvious to me and I pretty much knew them going in. I think we all knew this. The colors straight out of the camera, again, blackmagic wins. So is the obvious choice the Blackmagic Pocket 4k? No. Keep reading... After all that, the combination of a more organic/slightly softer looking image and much MUCH smoother motion cadence of the Fuji XT-3, make it look more cinematic, with less work. When both cameras are out of harsh light, I prefer the video of the XT-3. Just the way the movement looks is immediately apparent and almost jarring. I know a lot has been talked about whether the pocket 4k is the same sensor of the GH5 or not, personally I am not here to say it is or it isn't, but the actual movement (motion cadence) reminded me of my old GH5. You can soften the video all you want, add grain, but tweaking motion cadence is not an easy thing. So I really value the way the motion looks. With both arguments out there, I still don't see it as a clear choice for the XT-3 or Pocket 4k, unless you start factoring what you want out of it. If you do gimbal work, the XT-3 is hands down a better choice with its great auto focus. If you need RAW, then you don't even need to read or bother with your choice and I am not sure why you even read this far, the Pocket 4k is your choice. Screen on the pocket 4k is amazing, fujis is small and harder to use. But, you can use a small Ninja on the Fuji and record prores. With the Pocket 4k, unless you are using CFAST, you will need to mount an SSD on a cage. So with either one, chances are you will have either an ssd or monitor on top of it. I prefer having a monitor on top, because thats an added bonus of easier to focus and choose angles. Here is where I stand. I shoot video and do photography, pretty much 50/50. The specs of the pocket 4k blow my mind. They are amazing. But, for what I do, I am not sure if its worth having 2 cameras, 1 for photography and 1 for video, which means more gear I need to carry - as opposed to just my Fuji to do both.I bought the pocket 4k to see if it would blow my mind. It has impressed me, but has not blown my mind. I lose some, no RAW, not as great of a color science, and far better codecs. But, I also gain some with the Fuji, smaller body, easier to balance on gimbal, autofocus for gimbals, and no need to lug around 2 cameras and more lenses for each system. This last argument is whats making it harder to just keep both. The fuji regardless is staying, because its my main photography camera. Its a keep the fuji or keep both choice for me. I am going to do more tests once the sun goes down a bit and see how they fair outside of the harsh light I tested today. Right now, I am leaning toward sending the pocket 4k back, just to simplify things. When I have too much gear , over stimulated/whelmed with choices - I end up NOT being creative. This is why I have always liked hybrids as a photographer, the camera is always on you and ready to shoot video when you need. Decisions, Decisions... I am open to answering any questions on either camera.

They react. BMD case these days. Panny has had some other story though. Not my advice as senior consultant for more than 25 years today. My dear Don, almost any camera can look better than the most recent technology in that so small box like GH5S is. It just depends on the shooter... (E ; -)

BM cameras don't have AF. Not exactly that's accurate: https://photofocus.com/2014/10/27/how-to-focus-the-blackmagic-pocket-camera/

I wonder about absence of focus button in the rear... tap to focus this time? https://photofocus.com/2014/10/27/how-to-focus-the-blackmagic-pocket-camera/

Ugly... someone said so...? No worries, no girls for dating... LOL ...so, other skills must honor the craft and no photo shoot shall be missed ; ) my best bet: skirts won't miss them too : D prep your RAW weaponry under one grand price range (or so) this time ; ) no redvolution but simultaneously lighter within your pocket with no need to break the bank either :-)

Prognósticos só no fim do jogo... (translated to English) Predictions only in the end of the match... ~ João Pinto (old international football/soccer FC Porto Portuguese player) LOL :-)

Let's put all this on rest, OK? Let's focus strictly on the topics please. This is Andrew's house. His good efforts simply don't deserve it. Nor your past contributions and fellowship, Jon! I'd still appreciate to follow your posts and juicy insights over these boards (your readers need you! : ) so refrain yourself to write any personal attacks addressed to others, I guess we all beg you. We are all human beings. Opposite POVs can be written without offending the other side. No one likes to be publicly attacked, isn't it? As much as it is really unpleasant to see you or anyone else to be attacked here too. Only goodwill may able to be considered welcome. Regards to everyone, E :-)