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Are you actually here for help? People have given you advices but you're not willing to try anything new because it's a "shitty camera you will never buy."

The biggest issue with life is that there is no structures, no resolution, no ending. There is no order. It's a mass of complete randomness, where being good or bad does not matter. Some times you get caught, some times you don't. Just an endless mess, floating in space, a turtle's hallucination. Vs film - a good film - it takes you on an emotional complex journey - a window into characters that are interconnected and with emotions and ideas that matter. It all matters in there. A good film can be better than life itself, just like a good book, a good video game - an experience that elevates you to another place. With the scam chapter on this camera nerd site not closed - it will never be closed. It will continue forever. There will never be a resolution. The scam artist will not learn his lesson and become a good human being. Life is strangly unwritten and messy and frustrating and we're all just floating around in it. Never to know what we should have done better.

So I lost my binge watching virginity with the first season of Orange is the New Black. Now it is my preferred viewing experience, so much so that I dont even look forward to films anymore. With a (well-made) TV season I get more bang for buck and also resolution in my own time. E.G. British crime drama like The Fall, Happy Valley or River - or American drama like Transparent, Bloodline, OITNB, - or even international capers like The Last Panthers and Top of the Lake. (Most recent binge was Strange Things - it was like the homage to Spielberg that Abrams wanted to make with Super 8 - but much better with its odes to Serendipity and The Goonies!). Is slo-burn (crime/ suspense) drama (over 6 - 12 hours) becoming and actually art-form? Is it a digital fad, a new production model or the beginning of the end for cinema?

interesting discussion is watching 17 hours of one show nonstop a fad? absolutely not: its the new way, people love it, its a normal part of media consumption now when i first heard of this phenomenon, i was actually surprised that people have the attention span to watch, say, an entire season of a show at one time. as a content creator who might want to make some abnormally long content in the future, and just in general, i find this encouraging. i think it will allow more options for people like me be that as it may, theres something to be said for the empty time between installments of a serialized product when im into a show, i spend that time with the characters, even though theyre not on tv. so when the sopranos comes back after a season break, im like Whats been going on in their lives the past X number of months. additionally, the sopranos wasnt meant to be watched back to back for 6 seasons – it wasnt designed that way. but thats not to say that one could take binge watchers into consideration during the early stages of conception for a product, in order to produce a show that can be watched in 44 min episodes or in 7 hour chunks at a time waiting is also good. hell waiting is the best. whats better than anticipation? that time is significant getting a show over that people HAVE to watch live is really hard these days.... live tv used to be a thing, now i think most would prefer watching at their convenience. for narrative its a tough sell. i watched the main event of UFC 202 live the other night because it wouldnt have been the same later (i was rooting for nate diaz btw #stocktonstrong #frownyface) the times are changing thats for sure

We die..

Producing great color with the a7s II isn't that hard, You need great grading skills though. This was shot using slog 2 + slog 3.gamut (saturation to max and sharpness to -7), so most of the 8 bit range is kept, while still having a nice rolloff. Skintones were very hard to correct (completely green, thanks to the leaves). But results are great, achieved a really colorful look. Didn't use any LUT. Was shot in London, Epping Forest.

It draws in a large audience, no doubt, maybe even more than a film these days, but I don't prefer it or anything. I've heard some filmmakers say they're "switching" to tv.. and that's just baffling to me. Maybe it can work that way for comedy or if you include mini-series as tv, but for me the best part of a film isn't the viewing experience or budget or anything, it's the ending. The Graduate, Reservoir Dogs, A Woman Under the Influence, The Departed, Primal Fear, Drive, etc - the ending is what makes the whole thing count, and shows you they were competent the entire time. And tv shows made without an ending in mind often flop when it counts. Most shows jump the shark, and the very end can be even worse. For Lost, the important part was definitely supposed to be the ending.. which turned out to be.. who even cares? it was so-so. Purgatory or something. The end of Dexter nearly killed the whole series for me. Breaking Bad, ugh. I'm slightly embarrassed to say I used to watch Pretty Little Liars, 80% as a joke, but I was curious who A was.. turns out it's no one! Or everyone.. the writers don't have a freaking clue, and it shows. Scenes From A Marriage is an amazing show, but if Bergman wrote the first episode and then let new writers swoop in and carry it to nowhere for 10 seasons.. and then try to end it with JUSTICE, kill me. Season 3 of Sherlock was a mess, made me wonder if any of it was ever good. Anyway, too many examples.. For a comedy, I don't care how it ends, especially if it's episodic, like Cheers - and those endings are so much easier, just pat yourselves on the back and say goodbye to your fans. I AM, however, very into Girls and Love. And to a lesser extent, You're the Worst and Casual. The genre those all fit under I think has real potential. Not sure what it is, but it's a great tone, very human, and I don't particularly care where it's heading. but again, none of them have ended.. I'm a little scared what may happen. And I have noticed a little drop in quality of Girls in some of the latest season episodes I think, but their good stuff is so good, I can forgive them. anyway, those are my 4 cents

1DC S35 mode uses a cropped area of 3216 x 1809 photosites on the sensor. It does a 2 x 2 binning to get a 1608 x 904 RAW bayer and upscales to 1080p. Since the sensor OLPF was not optmised for this binning mode, you get slightly more aliasing shooting S35, which also makes it perceptually sharper.

Olympus LS-5: https://www.audiotranskription.de/Olympus-LS-5

Nobody answers, because you didn't RTFM. You have to eventually, but I help you out once: To perform the same tool with another purpose, you need a new > NODE (manual) Efficient order of corrections: 1. Node - primary corrections, optimize contrast, get rid of color cast. The second node (learn about the differences of sequential and parallel nodes) sees the first node as another instance of the image. You perform everything on top of the first. 2, 3 asf.. Node - secondary corrections - you isolate colors with the qualifier or areas with a mask. Finally you create a look on top of the primary and secondary correction with further nodes. You can >save the grade It becomes a still to be compared to ungraded shots with the splitscreen tool, but it can also be dragged&dropped to ungraded clips. If you have done all corrections in meaningful order and understand your own "node tree", you can easily adjust minor differences in exposure asf. in the rest of the shots. No faster and easier method.

I know who Breidbart is, I know who Steve Bannon is, I know who Robert Mercer is ...I am not going to argue about this or that person. I will say perhaps you may like to read what really happened in Libya, Hillarys war (everyone agrees on this on both sides of the fence) Read about Libya under Gadaffi...what the laws where etc...its out there and confirmed on many blogs (cant really lie about this stuff) The what happened after Hillary intervened...Point being she has a lot of blood of innocents on her hands, I seriously doubt wether Bannon, Trump or Mercer could even get close to her on this score. Perhaps also read the summary of the first 4 chapters of the TPP (the one Hillary wants to fast track thru) Wikileaks has that info. Also maybe the open borders that Hillary is planning in the US may somehow have a different outcome than Europe...but I seriously doubt it. Then there is George Soros...interesting to read his history too...an actual genuine Nazi war criminal at 14, and one of Hillarys biggest donors and friends, I am sure he is looking out for all the US's best interests...not!!

C100/300 uses 2 x 2 binning too but from a 3840x2160 sensor area and is colour-ware, the OLPF was optimised too. But if you sharpen the S35 image (best recorded externally as ProRes or DNxHD) a little, it matches perfectly with C100/300.

True. It humanises the characters in a way. I think the best current example is The Walking Dead. We are somewhat 'in sync' with their show schedule and breaks - as humans who are evolving and growing - so are the cast. They are almost the anit-instant-gratification model. Nobody is complaining and it is a welcome repreive to have a show keep you waiting. But then the show better satisfy. Or is that too demanding.

mind = blown.

You cover a lot of ground here, and I thoroughly disagree with the Sherlock assessment. Bad Sherlock is still good TV... and I thought that way back when I snoozed on The Hound of the Baskervilles (Season 2?) - but it was still the best of British. I agree that writers are at the forefront in TV. When the second season of True Crime came out, the penmanship was slaughtered, as is every writer on any TV show that loses its way (*cough* Wayward Pines). I think we are in a Writers Renaissance. I still remember when Charlie Kaufman was an enigma... now good writing is abundant, like uber to taxi drivers - or airbnb to hotels. Its not rocket science and anyone who can download The Poetics by Aristotle is miles ahead of the older generation who were told about it at a dinner party. But what I wanted to discuss was that experience of spending up to 13 hours watching one show. What dynamics make it work and when would it fall on its face. Haven't seen Pretty Little Liars or Scenes From A Marriage... will check them out! ... and Breaking Bad and Dexter where serialised formats... I'm talking about the new slow-as-folk stuff (that used to be the domain of BBC drama- Wallander, Downton Abbey, Pride and Prejudice, Prime Suspect etc). Oh! and The Missing (James Nesbitt)- it is the perfect example. Would have been a snooze-fest week by week, but emotionally gut-wrenching when watched in one go.

What are your thoughts on Steven Soderbergh's TV ventures - The Knick and The Girlfriend Experience? I personally enjoyed them more than any of his actual films... Edit: Gonna check out A Woman Under the Influence, haven't seen it... Edit Edit: albeit, Sex, Lies and Videotapes was the first VHS I rented because of the title. Boy was I disappointed. All they did was talk.

If they do add DPAF hopefully they offer this as an upgrade option for existing XC10 owners like they did with the C100.

Films are just stories and stories are the way humans are programmed to make sense of/give structure/meaning to the chaos of life. Zodiac is based on real events. Fincher chose the story he wanted to tell about the chaotic real events within the time constraints of a feature. The incredible thing is that the thread in question read like a true crime doc as it unfolded. The odds of it tying up neatly were minuscule. Stories are created in the retelling. Like Rashomon we'd all tell it a bit differently. Some might wait for a resolution in real life, some may tell it now, open-ended as Fincher chose to. Some may see resolution/ending in the excommunication of ES. Stories are, like all art, representation. How a person or community make sense of an event or experience. Life itself is just chaos death murder etc (adopt Herzog voice to taste).

Five star thread here guys

I think a lot of films are realistic and don't feel a need for a character to change, or the bad guy to get caught, or the couple to get married etc. It's a difficult discussion.. I'm sure there are movies you could watch without obvious motifs etc, from objective camera angles, that show things going on, and when you step back and look at the scene you don't really see a reason that couldn't have been a real conversation. There are probably several films in everyone's life you could make if you cut out the irrelevant, boring stuff. True Adolescents (and tons of films obviously, only looking at the ending, not this whole concept) - it's not the end of his life and doesn't solve his problems. It's just somewhere in the character's life where they ended the film. Maybe a series could do reality more justice and keep going forever. Maybe it helps to skip years and years at a time and end with the character's death and never use an omniscient voice over. But we've probably strayed entirely from what you were saying. I didn't expect a resolution with the ES thing. It was dumb, it's still dumb. The resolution could be someone sitting at the computer, refreshing, hoping to finally see a reply from Ebrahim... and it never comes... (Social Network)

That's why movies are so popular. It's an escape from the norms of life.

OMG. Thanks for this. I don't know how this has flown under my radar! ...oh...looks like this is why: "I then saw that before they were even released they were discontinued in the US. I did quite a bit of research and it looks like Zaxcom sued Tascam for patent infringement and Tascam had to stop selling them in the US. Zaxcom has a similar device but it's over $1000."

I read all of that with my inner-head Werner Herzog accent. Also Casablanca. One of the "Hollywood-ist" films ever made, and all the better because of it. RIP Ed. :-(

If the EM5II had slightly better video, I would have never bought two GX85's for my current project. The EM5II with the battery grip feels and works like a "real" camera. It just jibes with my old school sensibilities. I swear to you, and it's almost embarrassing to admit this, but I have carried that EM5II camera around a few times simply because it felt good! Not because I wanted to do anything with it, just simply because I liked the way it felt in my hands. Crazy. I really do like the GX85's. I don't love them. Aside from the IQ, the model comes up short for me in the ergonomics. It's not bad per se, just not as reassuring as a EM5II. When you're using a camera 8-14 hours a day, that really makes a difference. And son-of-a-bitch, I hate the GX85's EVF. Gah! Believe me, there's been times recently where I've thought to myself, "The heck with it, I should take the IQ hit and go back to the EM5II. The video is 'good enough'." Also, I can do (good 'nuff) on camera audio recording. Man, that is such a god-send when dealing with hundreds of hours of b-roll. But these are concerns that lean more to the pro-side of things. If you want something for more personal use, getting the most video IQ out of a hybrid might not matter. So, if you're looking to get a stills camera FIRST, and then a video camera second. I'd definitely recommend the EM5II. Keep in mind this: The video from the EM5II isn't bad, it's just not as good as the GX85's clean and crisp 4K. I'm pretty sure, if I can rustle up the cash, when the next gen of OMD comes out with 4K, I'm hopping back onto that line.

And again, the forum strikes back - thanks for making me aware of the Olympus recorder, mercer! it is indeed much smaller than the Zoom H1 and the current generation sounds great for ambient (i heared some samples) - will definitely look into them!

@jase here's a link to the LS-7. They have newer models but I'm unsure of their size. Also, just to be clear the H1 is a great recorder, I just found that it was a little too big and I wasn't a fan of the plastic build quality. http://www.getolympus.com/us/en/ls-7-digital-voice-recorder.html

This is probably more adorable than helpful, but.. thinking outside the box.. https://www.amazon.com/Micover-Stickover-Mini-Universal-Windscreen-Laptops/dp/B006IWYH4Y

Thanks for the suggestions. Yet in terms of overall size, the H1 looks like the smallest device. I cant yet imagine myself putting someting like the Saramonic dual recorder on my GX85 - there is no way i can slip the camera in my carrying case anymore and pull it out fast & frequently during activities like a hike or being on a festival, etc... I like to keep my setup small Maybe I will just test the H1 since it is quite cheap. Maybe it is not the perfect solution, yet it should improve the recording of ambient sounds compared to internal mic

I am not sure the Rode Mic X has a built-in recorder. I tried using a Zoon H2n once, but the Zooms (and most other handheld recorders), have a lot of handling noise, as a consequence of the rumbling of their plastic bodies. This becomes more noticeable once you walk, as well as while you listen to the sound on a pair of headphones. And the lack of a shock-mount may aggravate the issue. Try the Saramonic dual recorder. It seems like a cheaper version of the one made by Shure (LensHopper VP 83f). Though they both will record dual-mono only (I could be wrong about the Saramonic). Edit: this is the link for the Mic https://www.amazon.com/gp/aw/d/B01B1QO12Y/ref=cm_cr_arp_mb_bdcrb_top?ie=UTF8

Wow, just wow, such a contrast between an expensive camera and a cheap microphone!

Maybe he means the Tascam DR-10CS? (or DR-10X) I've mentioned it a few times. Doesn't have a mic built in however. Tascam have a few models kinda like the H1 as well, like the Tascam DR-22WL. Saramonic is bringing out a recorder as well: http://ironfilm.co.nz/saramonic-sr-vrm1-new-xlr-sound-recorder-coming-soon/

I've found SLOG3 + Impulz LUT is a pretty easy way to get a great image with a few tweaks afterwards. Obviously, there are big minuses with that on the A7SII with the codec. If you live somewhere with bright blue skies, banding's a big issue. I recently switched to SLOG2 + SGamut3.cine and I've got great results. It does veer slightly more towards yellow but that's easy to correct in post. I've found FilmConvert works with that footage really really nicely.

No, but if you ever see me selling an Alexa for $5k, western union only... IT'S HIM!!!

BTW: I made a mistake, it's serial node, not sequential node. You seem to have FCP X (other thread). This is way more easy to comprehend and much more intuitive in many respects. Even correctly exposed and white-balanced clips sometimes don't have very appealing skin tones. Canon and Nikon are often (but not always) better at that than Sony. With optimal A7rii (PP6, sharpness and saturation dialed down, my own preference over S-log) - footage, the skin looked less attractive than possible. I had just loaded the Tiffen DFX plugins as a trial and browsed through them. One filter, called Nude/FX, warms up skin tones. A porn filter if you like. I created a better one in Motion (copying the colorize - filter and reversing the skin-keyer to 'colorize' instead of 'protect'). You have to move the "AXS" folder from downloads to >private >movies >motion templates >effects, then you find it in FCP X's effect browser (it's called "Hautfarben', german for skin color), with preview also. In FCP X, try to use an adjustment layer, connected above the whole length of the timeline (move titles and graphics above it, so that they aren't influenced). You could ... a) ... use FCP X's own qualifier ("color mask" in >effects >color >color), select the skin tones *over* ONE clip and correct them. You could also save this corrections as "skin" or so. Don't be too "in-tolerant". No problem, if some wood, "autumn leaves" (name of a Sony creative style, an inside joke, pleasing colors, but not very grading-friendly and suboptimal DR) or cereals are changed as well. b) ... find a Lut that changes the skin tones (or export your own one using Resolve, but beware: expert level !!!), using LutUtility or Color Finale. c) ... just apply my crude colorize filter to the adjustment layer. ... many ways to skin a cat. The concept of the adjustment layer allows easier control over your operations. Needless to say than you can stack them and rename them, blade them and toggle their visibilty with "v" for before & after as well as change blend modes and transparency. You could key your weird colored sky (proof that you made some major mistakes) with FCP X's own excellent keyer and apply a correction on a separate adjustment layer. They are not as good as Resolves nodes, nor is any of those tools nearly as precise as those within Resolve (okay, one, the keyer), but I found out for myself that I never will become a master of colors and that the unbelievable simplicity of FCP X leads to pleasing results very quickly.

Thought some people might be interested in having a look at this link where John Seale talks about not using a script, but working with 3,500 story boards to shoot Mad Max Fury Road. I know it's extreme, but interesting all the same. http://nofilmschool.com/2015/11/in-depth-look-cinematography-mad-max-fury-road-john-seale

'Despite many, many other shooters across the world being able to get at the very least quite pleasing, if not simply great (or stunning) looking footage out of the A7sII, my inexperience with the system meant that I was unable to shoot and grade to get the look I wanted. Therefore, instead of attempting to further my knowledge to be able to get the best out of a camera system, I'll blame the camera'. If you were so happy with the D5500, why did you rent the Sony at all? And why rent and shoot on a totally new camera system without doing tests & research? Anyway, post up some screengrabs, or some footage and I'm sure there's many of us who would happily help you out.

I think the mythical "motion cadence", separated from rolling shutter, is down to how different codecs and cameras compress motion and how that affects motion blur. Pretty much without exception people pick RAW cameras as ones that have best motion cadence - because there's no compression or artifacting affecting the motion. Then after that come the cameras that do Prores or other flavours of high bitrate codecs, and dead last are the ones that compress the image to ludicrous degrees with interframe codecs such as Sony cameras or GH4. The best motion comes from a camera with a fast sensor readout and high bitrate compression or RAW. Imho that's all the magic there is to it.

Well looking at the differences between the XA30 and XA35, which are part of the XC10's camcorder group, I wouldn't be surprised if the XC15 only adds HD/SDI output for news broadcasters and maybe some type of XLR input or add-on pack. You would think if it was a new lens, dual pixel focus (which would imply a new sensor?) then it would be an XC20 based on the XA ranges naming history.

I'm pleased with my footage from the A7SII. To get nice colour, it's required to modify the Slog2 profile (there's loads of help online), expose the footage at least 1.5 stops to the right and white balance correctly. Then you need advanced colour grading skills - firstly to correct the image accurately, bring down the exposure (especially those mids) and use a LUT as a base for further styling if required. Sharpen subtlety and you have a very nice image. If you don't do any of the above, then your footage will look like a pile of sick. Again, there's so much information on the A7S, LUTS and exposure. You have to put the learning work in to get results. The A7S and other Sonys get the best results through intricate hard work. For those who don't want that fuss, Canon or Nikon is your weapon of choice. Crap though, like you say, it isn't.

You guys are extraordinaire. GH4 a bad Motion look ingé fake and electronic. Not it does not make sense. Pure BS, and I bet 1000$ I can find you multiple GH4 videos that look way more filmic than any video you have ever made on any of your canons. Anyway, canon is releasing a XC15 in September. Curious to see what will evolve... Such a shame that they crippled so much the 5D. What I don't understand though is why Nikon who does not have an EOS Cinema line to protect does not push great video features. Imagine a D750 with full video capability (FF 4K with Nikon flat profile,...)

Yeah, I used to use them with my eos-m and Sony 3N. As you know, awesome little lenses.

Try the Slog2 » Rec709 LUT https://luts.iwltbap.com/free-lut-log-to-rec709-and-rec709-to-log-conversion/

I have the NX1, mainly I shoot weddings, corporate stuff, and small commercials. The Sigma 18-35 lives on my camera, absolutely stellar lens. When I need wider, the Rokinon 12mm f/2 is very small, very light, and very sharp. Mid range, I'm in love with the Zeiss/Contax 50mm f1.7, which has a certain je ne sais quoi that renders things so, so beautifully. Long end, the Rokinon 85mm T1.5 gives that jaw-dropping, ultra-shallow look, awesome for narrative stuff too. As far as vintage lenses go, I'm not sure why some posters above have said the NX1 has a "problem" with them. 95% of the time I use the lenses mentioned above, but once I get my hands on one of those new dream-come-true NX-L speedboosters Lucubutera has been cooking up, I'll be using my full frame vintage glass much more. I own the Nikkor 28mm f2.8 AIS, gorgeous, extremely sharp lens. Minolta Rokkor 40mm f2 looks great, Zeiss Jena 35mm f/2.4 is on point, Canon FD 50mm 1.4 looks great, Tokina 24-70 f/2.6-2.8 has a very distinct, vintage glow to it with the NX sensor... let's see, what else... Ah yes, the above-mentioned Helios-44 is awesome, 58mm is kind of interesting focal length to play around with, and that signature swirly bokeh is super cool. I can go all day, I've got way too many lenses, I'm afraid it's a bit of an addiction at this point. But the take-away is, there is an absolute wealth of great, affordable glass to be had for the NX1 (or any mirrorless camera for that matter) that can fit a wide variety of looks you might be after, whether it be the ultra-contrasty/ultra-sharp modern look, low-con vintage haze and dreaminess, vintage swirly bokeh... There's not really any "right or wrong" answers, it just comes down to the look you're after, and how much you're willing to spend to get it.

The XC15 moniker suggests it may be a small upgrade. If I had to guess, perhaps a constant f2.8 lens with a better focus ring or maybe 5-Axis in 4K. Of course, those are my only issues with the camera, so they would be a major upgrade in my mind. Otherwise maybe some higher frame rates in 4K and maybe some higher bitrates in 1080p. If they do announce soon, I hope they do it on the August 25th announcement date, because I can still return my XC10 I bought a little over 3 weeks ago, if the upgrades are big.

I completely understand not liking the guy, but why do the anti-Trump people have to sound so utterly unhinged and irrational? Also, Hillary sucks too.

https://vimeo.com/179306887 NX1 -16-50S vasile 5.01 140mb, 4K 25p mixed with 1080-50/100p,only first scene on tripod, rest handheld, still a small amount of banding, maybe from variable ND.

A new vid with the GX80/85, lots of people and wide shots https://vimeo.com/168318144 And a good example showing the stabilization. But that moire, yikes!