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Do you have those clips that I did with it? Because I’m fucked if I can find them anywhere ! I’ve got some frame grabs from them (with the base then the different ARRI LUTs applied) when I was moaning on here about the warpy IBIS on the S5ii but not the actual clips. Not that they are a great loss to the world !

I was on a very, very slow internet connection this morning so YouTube was loading in instalments. It loaded the titles but the thumbnails were a long time coming and it’s interesting how much more appealing a lot of the videos were to me when just looking at the title but how much less so they were when the thumbnails eventually loaded. I’m probably missing out on a great deal of good content by my inner “oh fuck off you absolute tit” dialogue when I see the content creators stupid gurning shock faced bullshit. Whether the narcissism that infects so many of them would allow them to just do a content relevant thumbnail is the big question. I can hear the ”But the algorithm makes us do it” whining from here.

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Only Lexar cards, those approved by Panasonic.

Been on the look out for a yellow lens for awhile now. Some one said something down in the lens thread a while ago about a yellow lens , that got me thinking... Also i know there's two trains of thought with with photography / videography either do it in camera or do it in post. In most ways i like the in camera theory. Seems more authentic to me to do it in camera or more personal / intentional perhaps. In post seems more like an after thought to my way of thinking. Not wanting to rock any ones boat and if you like to do things in post that's great, please continue. Anyway finally decided on a lens, a super takumar 35mm f2. Should be a thorium lens from what i have read. So probably best, not to sleep with it under the pillow. I purchased this lens mostly with the intent of adding some warmness to an image / video. Not sure if the result will be a yellow or more sepia effect. There's a couple of images for your perusal. Should arrive before my birthday i hope.

I did some research some time ago from what i have read raynox are the wide angle adapter of choice. If you are keen to go further maybe do a little of your own research.

I suspect that's because the in-camera LUT is processing the video before it's compressed, but in post you are working video after compression (which is likely to have reduced or smoothed over some detail, depending on picture content and bitrates).

For once I'll give you all a reason not to get a new camera 🙂 The thing with the Komodo is you have to believe it's worth the hassle, in terms of cinema magic. Special sauce. And so on. The colour science is tip top, we all know that the codec is pretty special too. But cinema cameras are tanking in the lower-end of the market for a reason. They are clinging onto the sensor in a box concept without the convenience factor of a stills camera. They are still designed to be rigged up into something unwieldily, heavy and slow to operate. And in the past it was worth it for the image. But now that internal RAW video is commonplace on mirrorless cameras and you have a sensor as good as in the Z8 or EOS R3, the special sauce is right there along with the small body, small battery, power economy, EVF, IBIS and so on. Which makes cinema cameras completely obsolete. They now serve only non-creative functions like impressing clients or fitting existing workflow expectations. ARRI is still a bit special in terms of the cinema magic in the images, but you can't really say the same about the Komodo vs a $3k mirrorless camera. In fact I dare say the Sigma Fp-L has a more cinematic look in uncompressed 4K RAW mode.

It's exceedingly rare that a client will ask for an aesthetic that allows me to dust off my vintage lenses. And on the passion project side, I've shot four of five of my last narrative shorts with Canon zooms. The next one will be with a Canon zoom as well. That decision was based on speed, convenience, and the fact that I trust modern AF much more than a friend who has been given an hour of instruction on pulling focus, changing lenses, and calibrating motors. Of course, I'd rather have a professional 1st AC and some more interesting lenses. But there aren't that many of them around anymore (at least not in my market) and the pros that we do have usually don't want to cut their rates to work on a no-budget film. It's the same reason that I sold my RED cameras. They just weren't getting any use.

I can only assume MPB must have now seen this thread, because they have given me nothing but radio silence on all channels since a week ago. The CEO himself Matt Baker, has now ignored 3 emails after starting off all chipper. A Sony RX1R which was described as having a bit of dust on the sensor (easy to disassemble and clean, I have done it before with one), turned out to have a laser damaged sensor with a string of damaged pixels. So if you do purchase from MPB make sure you are luckier than I have been.