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Showing content with the highest reputation on 05/27/2018 in all areas

  1. 8 points
    It sounds like you’re threatened by this camera so you’re making sure you point out any and all shortcomings you can. Isn’t sissy a bit emotional ? You’re reaching. Some people will be happy with 10bit 422 as their maximum image quality as long as they have a tilt able screen and autofocus. Most serious image makers know that 12bit raw and 10 bit ProRes for half the price trumps the MILC features you’re desperately trying to remind everyone your precious GH5s has. Mostly because “filmmakers” don’t tend to use those features anyway. I don’t use AF. But I shoot narrative drama. What I need isn’t what others need. For the majority, they will prefer the utility of the form factor, longer battery life, AF and IBIS on the GH5 and will find the bare minimum for serious work 400Mbps codec to be good enough. People who care about image fidelity will likely prefer what a Pocket 2 produces side by side and will also decide that they can work around the shortcomings that pertain to the way they work. The same way others will prefer to work around the shortcomings of a lower bit depth more compressed and sub sampled image because other features are important to them. On board batteries on an Alexa mini on my last show were lasting about 40 mins by the way. I guess you’re calling me a sissy. JB EDIT by the way, I don’t think it’s at all appropriate to use sissy, a word that means effeminate man or homosexual. Maybe you want to change that.
  2. 6 points
    I'm not really worried about what someone calls me. I've sure heard worse. I don't really care what you think of me either, but thanks for taking the time to let me know. I don't wish to derail this thread any more than it already has been. Don't bother reading below if you don't wish to. I accept the way I use a camera isn't the way others use a camera. I love a robust, informed and respectful discussion about features and approaches to workflow. I'm happy to argue the pros and cons till the cows come home and I love being proven wrong. But some users posting here seem to want this argument to be more than that. They are specifically trying to look for contradictory quotes from me for the purposes of muddying the issues being discussed. I'm happy to chat about that too. With regards to use of language, I'm going to respond in kind when I perceive that someone is vilifying someone else with language that absolutely has a problematic past. All I actually did was ask the poster to re-consider the language being used. The poster then argued he didn't use the word in contention. Language is highly subjective and contextual. I merely pointed out that I don't think it's an appropriate way to describe another user of this forum because it's akin to saying you're the equal of someone that's effeminate ( you're the SAME as a woman ) or gay because of how often they change battery. That's what sissy means. You may have thought he meant something else. But I didn't have to look it up to understand he was saying. https://en.wikipedia.org/wiki/Sissy "Sissy (derived from sister), also sissy baby, sissy boy, sissy man, sissy pants, etc., is a pejorative term for a boy or man who does not conform to male gender stereotypes. Generally, sissy implies a lack of courage, strength, athleticism, coordination, testosterone, male libido, and stoic calm, all of which have traditionally been associated with masculinity and considered important to the male role in Western society. A man might also be considered a sissy for being interested in traditionally feminine hobbies or employment (e.g., being fond of fashion), displaying effeminate behavior (e.g., using hair products or displaying limp wrists), being unathletic, or being homosexual." I guess you're OK with that choice of language or you genuinely thought it meant something else by wanting to argue it, but I'm going to call it out if I don't think it's appropriate and invite the poster to edit their post in case they don't realise that some may find it offensive. It's just decent courtesy on a public forum like this. We're not at the pub with your mates. I'm going to go out on a limb here and guess that not a single one of you posting here is a woman. And actually I would love to be surprised if there was someone lurking who wanted to out themselves and weigh in with their views. I don't think you get to decide if it's offensive or not. You can still call me names for pointing out though if you like ? While you may not care about such language because you can take a joke, it's not you that's being vilified. Why do you think women don't post in forums like this ? Because they are out there. They read these forums and choose not to engage because of the boys club that this place can be. Especially when talking about the very kind of issue that makes them not feel comfortable and welcomed in a forum like this. This is not about being PC . It's about us as men calling out language like this because it does matter. You're wrong if you think those who are vilified aren't here lurking and choosing not to post. Maybe it doesn't matter to you, but to those one describes by using this language, it matters a great deal. Maybe you can try asking them. JB EDIT . Oh and by the way, in the ACS, the Australian Cinematographers Guild, female members make up about 10% of the membership and only 2% of the accredited members. I can't think of many other fields where the gender disparity is so high, can you ?
  3. 4 points
    TwoScoops

    Blackmagic Pocket Cinema Camera 4K

    I've never seen any sexism or 'boys club' mentality on here tbh. There's probably more testosterone in the average knitting circle than on here.
  4. 3 points
    There's a much bigger audience online, but, as you're probably learning quickly, people aren't always as nice! So the first question is who your audience is. (Online? Festival? Broad? Niche?) The second question is what your goal is with that audience. (Are you doing spec work to get hired to direct at somewhere like Buzzfeed? Trying to build a following for your own unique brand online? Trying to find like-minded creatives to work with or for? Trying to get a technical/craft job or exclusively writer/director?) The bigger your audience, the more you'll have to stoop to the lowest common denominator. Look at YouTube stars like Pewdiepie and Jake Paul; that's the image of a successful online filmmaker. If your work doesn't resemble that, maybe don't go that route. If you want to direct spec ads, imitate ads and apply to production companies. If you want to direct at Buzzfeed, imitate Buzzfeed videos and apply at Buzzfeed. If you want to go to film school, submit according to the application process. But the more niche your voice/its potential audience, the harder it will be to find the audience and the harder it will be to monetize. But also, the more creative freedom you'll have, and hopefully the longer your brand will persist. (There are a few niche web series I love. They don't seem to make much money, but one of them has been around ten years now.) But even finding your audience is sort of irrelevant unless you're great at marketing. A family friend used to sell roles in his high school movies to finance them. I think he's now running one of the largest YouTube empires and is making seven figures. Ditto a friend of mine used to sell DVDs and now he runs a very successful corporate video production company. They changed audiences, but their strong sales skills remained. Ultimately it's the same marketing and promotional skills that worked in person that later worked online, and it's more the marketing than the filmmaking that gets you in the door, and then the filmmaking talent that sustains the success. I don't know if I have any talent with video, I hope I do! But I know I don't have much with marketing, or at least I'm uncomfortable with it due to low self-esteem. :/ And frankly not really liking a lot of online content these days or even a lot of theatrical films as much as I used to. So I won't even be attempting what they did, but my audience is different anyway. We all have different audiences, or maybe we have many audiences for our different projects. I might be doing spec work rather than making a YouTube channel, or I might be applying to festivals... or even getting a PA or low-level job at a company that makes my favorite work just to meet the right people there. Or I had another idea that maybe someone might watch on YouTube. But a letter never goes anywhere if you don't know who to mail it to. If you just want to be internet famous, be a sociopath on YouTube. If you're inspired by a director you really love, reach out to him or her. If you feel you appreciate his or her work better than others, try to work for him or her. Be stubborn about it. Track your heroes down. Find their email. Ask every month to be a PA on a set of theirs. Travel to where they live for an interview. Then hand them that DVD (or script, or Vimeo link) in person. That's your audience of one. This actually works. Regardless of specific tactic (it all depends what you want personally), know your audience and what they want. Your audience might be one person. If you're doing a fan film it might be Marvel fans. If you're doing a camera vlog it might be camera fans. If it's something new... risky, but go for it. Plenty of different approaches depending on your audience. But know them. And know yourself. Even the festival scene, which is somewhere in the middle of those two options, is all about marketing. I have friends who've gotten into nearly all the top ten festivals and the trick is they're part of that social network and they really really push hard with their applications, even hiring people to promote their films. The other trick is that once you get into a top ten festival, other festivals will ask to program you. The whole festival scene is a bit of a farce, but the farce is simply the disconnect between how they market and what the truth is. Big festivals need content to match their brand, so they're fairly conservative. Even if your brand is "edgy" you have to stay on brand, so it's a conservative approach to edgy. Small festivals need films that played big festivals, so they're even more conservative! (But knowing programmers personally–the DVD route, so the speak, matters here. And I was surprised to learn that a short at a major festival attracts more attention from a talent agency than a Vimeo staff pick and by far.) The other really sneaky thing is that a lot of the most successful Vimeo videos are actually made with assistance from larger production companies or agencies or post houses, but are marketed as very guerrilla. This isn't always the case, some stories are true, but don't believe everything you read online. (Certainly don't believe me. If I knew what I were saying, I would be working now–not posting this!) But internet platforms aren't all they promise to be; that promise is just the marketing by YouTube and Vimeo to get you to produce content for them so that they can monetize it. The success stories of online filmmakers are their marketing. And they're very good at marketing. And you're their audience. So if you haven't had a lot of success online, maybe try a different route? The one thing NOT to believe is that if your work is creative and unique and great others will discover that and flock to you. I saw one of your videos and you have a good voice and should keep doing what you're doing, or exploring what you want to do next, whether it's more of the same or something new. Probably the most original voice I've seen on this forum, but this forum seems mostly to be about image quality and specs. I've seen more creative voices at Slamdance and SXSW and Sundance and Rooftop, for instance. (No offense, perhaps they're just more developed. and I have friends who pay the bills doing corporate and then make really wild and awesome festival films–so you can be interested in both markets for sure.) But the idea that people online will immediately recognize what you have to offer and leap to make more of it is a very myopic view. Look at Spielberg's first spec film, it's not a personal story. It's more an example of visual talent and competency. His creative voice developed after he got in the door directing TV. I think Eraserhead is the only example I can think of of a really outsider voice nailing its first landing. People see Jake Paul succeed and assume everyone should see their work and judge it better because of what an asshole Jake Paul is, but that's not how it works. Jake Paul is a genius at what he does. What he does is just act like a high school bully. The Kardashians are geniuses at what they do. But what they do is appeal to lowest common denominator, which is also the biggest audience there is. Don't judge them based on their audience; find a different one. I'm on time out here for posting incorrect technical information, which I again apologize for. And I feel like I'll probably get some pushback for a lot of the above being factually incorrect; I expect a lot of it is, and I wouldn't take my advice if I were you, since I'm just an anonymous guy online. So take it with a grain of salt. But I do think knowing your audience, knowing how to market your work to them, and knowing how to meet them halfway is crucial. The first thing film schools do is to "normalize" your voice. They look for creative voices then tone them down and improve production value so those voices are tolerable to the other students and faculty and then eventually to festivals. (Although a lot of film schools aren't worth the money, so if you aren't rich, consider that they're also marketing their wares to you and want you to think they're gonna do things for you that maybe they can't. Some are good. But be wary and make sure you apply to the right ones if you do, and you definitely don't have to.) All media are social media, so look at your relationship with your audience as a relationship with a person (or cohort...), whether you make it a real personal relationship (selling DVDs, pursuing your favorite director or production company) or a virtual one. I think maybe this forum isn't the right audience for you (or for me) if we're trying to get into festivals, for instance. If I knew more technical stuff, it might be better for me. Different values. For instance, I have a lot of friends who've gotten into top ten festivals recently with 1080p/2k films, but here I keep getting reminded I need 4k. Both can be true, just for different audiences. (To be fair, some of those were shot at higher resolutions and delivered at 2k DCP... I ate my words once and I'll keep chewing.) But the festival route is really hard and really slow. (Like filmmaking used to be!) And online feedback is really fast and comes with instant gratification. I don't know if the festival route is right for me, I don't know if anything is, if I even have the talent, or if I do, if there's an audience for it. But I think the replies you're receiving in this thread speak to a disconnect between what you're making and your audience's expectations. (Not to be rude.) So I'd give that some thought. Removed from your current outlets, what are your goals as a filmmaker? Who are your favorite filmmakers? If you could make anything and show it to one person what would it be and who would you show it to? That's the trick. You're marketing yourself to get into a festival/get YouTube famous/work for your favorite director or at your favorite company. But they're also marketing toward you so you watch their content and believe in their brands. And marketing isn't about the audience or the creator exclusively, it's where the two meet. Know yourself. Know your audience. Meet halfway. But also take everything online (including this) with a grain of salt. Online relationships are rarely worth as much as those in person.
  5. 3 points
    Well, thanks to a bit of jet lag boredom, that escalated quickly and tomorrow is now today. I have an Alcatel Pixi 4 (4) which is a cheap 4 inch Android phone which you can get for £36.50 off Amazon. They also do a 3.5 inch version as well. As a phone its not going to give Samsung or Apple any sleepless nights but its a good little tool for stuff like being a pocket hotspot or running custom remote control apps This is it running an app I've just made will basically turn it into what you want which is a big record button for the GX80 (or any Panasonic camera). You just press the screen to toggle between record and stop (red when recording). Cheaper and easier than knocking up a piece of hardware for a task like this. App is here if anyone needs it. https://mega.nz/#!5mpXTB4J!4v8WNh1l8E7HpqO9piV43LdL5NPWECVH694ye2ICDVw
  6. 3 points
    I for one value your posts (here and on BM’s own fora) based as they are on extensive experience in a genuine professional environment. I hope this experience won’t dissuade you from posting. Let’s hope the delivery schedule is still realistic for September - any idea when official footage might be available?
  7. 3 points
    forget about canon
  8. 3 points
    DBounce

    Canon C300MkII vs C200

    Had a chance to take the Canon C200 out for a quick night shoot. Slapped on the Tiffen BPM 1/2 to see what it would look like. I can tell you the 1/2 strength may effect the AF... I need to do more testing to see if this is the case. AnyWho... the video is below. Let me know what you think about his combination.
  9. 2 points
    It's 2018 and a good video feature arrives on a Canon EOS! I immediately assume it's an accident, so taunt is Canon holding the leash on performance. The 6D Mark II even managed to step back on quality from the 2012 predecessor which was already dreadful by the standards of 6 years ago. That's no accident! Indeed, what makes the M50 appealing to me is the happy accident of what crop factor you get when you cut an 8 megapixel window out of a 24 megapixel sensor. All the best things are happy accidents when it comes to Canon, who gave us DSLR video by accident, then later RAW video on a 5D Mark III with Magic Lantern by accident, then with the M50's ridiculous crop - a Super 16mm camera! Read the full article
  10. 2 points
    BTM_Pix

    What we want in the ZCam E2

    I'm presuming it will be the same protocol as the Z-Cam so it is actually pretty comprehensive in terms of what can be controlled. Its implemented in much the same way as the Sony so porting to my current controller would be a quick job. I'd need a donor camera though to test it and it will be behind Sony and BM in the queue for the port but as I say it wouldn't take long to do.
  11. 2 points
    DBounce

    Canon C300MkII vs C200

    $hit just got real... More to follow
  12. 2 points
    Coiii

    Canon C300MkII vs C200

    I have used both in commercial projects, mostly digital content for brands. The C300II since it came out, the same for the C200. Both are great cameras for low budget production, it's the step before a RED or the Alexa. Both also are great in hands of good colorist for matching with high end production cameras like RED or Arri. That's my experience. Talking about the C300II vs the C200, I think that the C300II falls with the inclusion of 4K60 RAW in the C200. The color science are a little better, but definitely the game breaker it's 4K60. The DPAF it's better, the monitor it's better, dynamic range and low light are better on RAW, and the body it's better. Since we were shooting commercial jobs we always wanted the highest quality possible (and delivering 1080p final output!), so we are not concerned of storage or the cards we use, that's why we always shoot raw. Also the crop factor on the C300II its a big deal. My only concern it's the lack of interchangeable mounts for some projects when we were using PL cine lenses. But now things are a little different since the C300II option to shoot external Prores RAW, but the lack of 60fps at 4K still hurts. Now, if you're shooting in more run and gun situations and you need fast delivery or broadcast standards, the C300II it's the camera to go, but only in this situations. I feel that the C200 it's something like a "future proof" camera for at least a few years. 4K60 RAW it's a huge step for our workflow, and the DPAF works amazing. And don't forget the canon color science, you can almost start grading for yourself with the Alexa standard lut in premiere if you can't afford a colorist.
  13. 1 point
    BTM_Pix

    My LUMIX Hardware Controller Is Complete

    As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing. You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is. And yes, it does look rather like a calculator doesn't it? The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are. Here is the finished spec and features : Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories : Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders. The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever. I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then. So, I have been a bit less lazy than first imagined By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??
  14. 1 point
    Sorry for the long shots, I should have filmed more yesterday evening. Movements at the railway in my neighbourhood Oostzaan. Filmed with the combo NX1 + Yashinon 45 f1.4 + Bolex 16/32/1.5x + HCDNA. Graded with the lut from Casey Wilson, The NX1 DC Kodak and Filmconvert.
  15. 1 point
    I bought the A7Riii and I wanted to make this thread into a resource where I can learn from others and share what I have I've learned. There is enough overlap in video with A7iii that I think it would benefit both camps. I bought mine $300 less than the MSRP via GreenToe. If you're not familiar it's like Priceline for buying gears. You place your price and if it's reasonable, sellers match your price or make a counter offer. I placed a bid for $2750, later increased it to $2780 and I got an offer for $2890 which I accepted. It's from a US Sony dealer. I've also heard people buying some zeiss lenses about $200 blow MSRP. You can go to Greentoe.com or if you follow my affiliate link, I think I get $25: https://gtoe.me/YsjOxVWyaM So I like to discuss camera settings, picture profile people are using, AF settings, post processing, LUTs, noise reduction techniques, etc. I start with what @Don Kotlos replied to my question on his picture profile settings: setting suggestions by Sony Global Ambassador: a setting used by a youtuber: and by another YouTuber: Understanding picture profiles: PDF version: HTML version: http://helpguide.sony.net/di/pp/v1/en/contents/TP0000909109.html Picture profile comparison: One YouTubers recommendation for Cine4 profile settings: Exposing SLOG2 for skin tones: Wolfcrow's explanation and reasoning for his Slog exposure process: Cine4, Slog2/3 comparison video: Some good reads from XDCAM, they're not specific to A7Riii but still very informative: http://www.xdcam-user.com/2014/10/using-s-log2-from-the-a7s-in-post-production/ http://www.xdcam-user.com/2014/03/understanding-sonys-slog3-it-isnt-really-noisy/ http://www.xdcam-user.com/2017/09/why-is-exposing-log-brightly-beneficial/ http://www.xdcam-user.com/2017/09/why-are-sonys-isos-different-between-standard-gammas-and-log/ http://www.xdcam-user.com/2017/12/using-luts-for-exposure-choosing-the-right-lut/ http://www.xdcam-user.com/2018/03/banding-in-your-footage-what-causes-it-is-it-even-there/ http://www.xdcam-user.com/2017/12/more-on-frame-rate-choices-for-todays-video-productions/ Not specific to A7Riii but relevant to getting a correct exposure:
  16. 1 point
    sanveer

    What we want in the ZCam E2

    Most of us on these forums and almost all Indie Filmmakers (especially those who buy their own gear) are forever asking for features a camera should have or not have. The ZCam E2, already seems to have a few very impressive list of features (4k @120fps and 13.5 stops of Dynamic Range). What features do you feel it really needs to be able to sell in the truckloads? I didn't really like the live streaming Ethernet port thing, which except the high speed advantage doesn't seem to offer anything. Also, by the time things are uploaded on YouTube, are already down to way less size than they were shot or edited on. Also, IMHO very high bitrate live streaming may not be a great idea. 1. IMHO since they probably cannot fit in another Card Slot (for SDXC or other cards, apart from the CFast one it already has) maybe a dual usb-c may be a better idea instead of one Ethernet and one USB-C. 2. Perhaps either one or 2 mini XLR ports for sound. 3. A few flavours of Cinema DNG RAW. Finally, I feel the price seems a little off. If it were priced at $1495, it may seem a lot more attractive. I am creating a new thread for this, because I feel the ZCam guys are open to listening and want feedback on features filmmakers want on their camera.
  17. 1 point
  18. 1 point
    Canons best 1080p is on it's C line. Even the lowly 24Mbps from the C100 blows away in sharpness/detail any Canon DSLR with twice the bitrate. That's cuz of internal downscaling from a 4k sensor. Of course ML Raw on 5D3 is in another league but the typical Canon soft 1080p is terrible across the entire DSLR line imo and feels like upsacled 720p..
  19. 1 point
    I just tried the app. The phone connects instantly to the camera (actually faster than Image app...) and it works! This community is a gem, thanks to people like you sir!
  20. 1 point
    Yeah, there's no way you won't be able to reach this one. You could operate it with boxing gloves on and still get it into record Mmmmm....operating in boxing gloves as a gimbal shock absorber. Now theres a thought !
  21. 1 point
  22. 1 point
    sanveer

    What we want in the ZCam E2

    Wow, that would be great. @BTM_Pix I will try and update you soon.
  23. 1 point
    Hilariously bad compared to an a6500; not even remotely in the same class.
  24. 1 point
    sanveer

    What we want in the ZCam E2

    I read a lot of reviews of the Z Cam E1, and many users were more than satisfied after the various firmware updates and after the price cut. But, considering it was a product by a small little startup, they seemed to have resolved a lot of the issues users had when the product was released. I too feel the Z Cam Z2 could have included a screen and some (more) ports and a SD Card slot. Also, ProRes and RAW. But it does include H264 and H265, and if Sony and Panasonic's implementation of codecs is any indication, than one won't really be missing ProRes (though we could do with RAW). It also seems to have wifi, and I am guessing if it has an App that's even close to @BTM_Pix quality of implementation, it could be a runaway success. Or better still, @BTM_Pix makes a controller for the ZCam E2. That would be a great collaboration.
  25. 1 point
    Why can't canon just do something half decent? I'd kill for an APS-C canon version of a6500 or GH5 etc... Yeah I know why, but still it would be nice.
  26. 1 point
    This is assuming they actually read out exactly 1920 x 1080 on the sensor. It is possible by varying the resolution very slightly to do a 3x3 binning on almost any sensor. The best Canon 1080p resolution is delivered on the 5DS funnily enough, at 50MP! Also it could be that Canon read out a lower than 1920 x 1080 image on some of their cameras to purposefully limit things - either for power consumption or heat reasons or marketing. The Magic Lantern raw video frame sizes from a lot of the 1080p Canons prove this. Sony have a very good 1080p (and 4K) image from their 42MP sensors. Sony again manage an incredible 4K image from a 100MP Hasselblad sensor (see below!) So there is not really any magic megapixel count, certainly not 22.3MP.
  27. 1 point
    kaylee

    Blackmagic Pocket Cinema Camera 4K

    im a cat
  28. 1 point
  29. 1 point
    kye

    Blackmagic Pocket Cinema Camera 4K

    So, about the Pocket 2 then....
  30. 1 point
    From the hardware point of view, you'd need a wifi capable Arduino or similar, a switch, an LED (optional) and a power source (either USB or Lipo). Software is obviously all custom from scratch so you'd need to write that too For something like you are trying to do though, I think I might be tempted to look at a cheap generic 3.5" or 4" Android smartphone and an app. They have the advantage of being an integrated solution so you wouldn't have to mess with wiring and powering options and a case and at £30-50 they'd work out to be not much more expensive than buying the components. I'll knock a quick app up tomorrow to show you what I mean.
  31. 1 point
    IronFilm

    What we want in the ZCam E2

    I agree. Is this camera meant to be extra small or functional?
  32. 1 point
    Don Kotlos

    What we want in the ZCam E2

    Two media slots? I can't even find one! But I agree an SSD slot or an extension that supports it would be nice. A mini XLR would be a great addition as well as a relatively uncompressed codec. The price seems high only because the new pocket 4K is priced so low...
  33. 1 point
    Quicker link for those who want to sign: http://www.change.org/p/blackmagic-design-we-ask-blackmagic-design-to-add-super-16-windowed-mode-to-pocket-4k-camera
  34. 1 point
    Anaconda_

    Blackmagic Pocket Cinema Camera 4K

    This is ridiculous guys. Maybe there should be a 'bullshit' thread? Is it a good idea to talk about the projects people hope o have this camera in time for? I'm shooting a film festival in September and really hope I have this in my bag by then.
  35. 1 point
    Axel

    Blackmagic Pocket Cinema Camera 4K

    jonpais paraphrased Frank Glencairn, who in spirit (if not literally) wrote that battery whiners were sissies. Did he intend to insult gays? Well, english is not my native language, but to me "sissy" sounds more like "pantywaist". Frank is living in Bavaria, a country that's not famous for diplomacy or political correctness or much respect for "snowflakes".
  36. 1 point
    I’ve been making the C-Mount lemonade since its release and this article sums it up perfectly. There are some 1” TV lenses that should cover at wider focal lengths, making this camera even more fun. For me, this seems like the perfect little, glovebox camera. If you want to shoot casual, friends and family stuff, throw on the 22mm and shoot in 1080p with DPAF. If you wanna go out and experiment with a different look for a short film or just for fun, there are dozens of cool options in c-mount. It would be really cool if there was an Arri STD mount to EF-M adapter for sale to use those old Schneider S16mm lenses like you tested with the GH5.
  37. 1 point
    jonpais

    Lenses

    A short shot by Paul Cameron with Zeiss large format primes.
  38. 1 point
    This is not true, and it would be easy to find samples that disprove what you're saying. There is no such thing as the "FF look". Chris
  39. 1 point
    Agreed ;-) You're saying you can tell the camera's apart that took the two pictures from Andrew's original post? Nah man.
  40. 1 point
    John Brawley

    Blackmagic Pocket Cinema Camera 4K

    I know plenty that feel IBIS is almost as good as a gimbal and therefore can be used in place of a dolly for tracking shots. As as opposed to me in a car tracking someone, the example I gave. Thats two different types of tracking shots. And by the way you said “locked off” shots which I didn’t actually say and is not what I’m talking about IBIS being good at. Keep trying. JB
  41. 1 point
    jonpais

    Lenses

    Veydra Mini Prime 85mm T2.2 Camera: Lumix GH5. Settings: HLG, ISO 400, ALL-Intra, 400Mbps, T2.2
  42. 1 point
    The speed booster and the C-Mount lenses came in today! The speed booster is fishy. Using my all manual CONTAX Zeiss, the image displayed on the M50 is super choppy. Almost like the video card in the camera cant handle it or something. Really weird. But when I put an actual EF lens with electronic contacts on it, it works fine. I assume this has something to do with my Leitax mount CONTAX glass. Below is the CONTAX ZEISS 28mm F2.8 WITH the speed booster. Shot 1080p, 24fps. I did test the booster, and autofocus with dual pixel DOES work and it works well. What is interesting using this adapter with this camera is, this is the ONLY Canon camera that shoots full frame video with focus peaking and a 4k mode that has a flip out screen. I hope to see a fully articulating screen like this with focus peaking on the future full frame mirrorless from canon. Below is the same lens. Same distance. Without the speed booster. Just using the EF-M to EF adapter from Canon. The c-mount lenses were a downer. You get very serious vignette, even in 4k. I know there are some C-Mount lenses that mount on APS-C. Maybe I should pick some of those up. The only way to use the C-Mount in 4k is to either crop it to square format, or zoom in 150%. Neither is a practical thing and I wish I did more research on this before I jumped in. Anyone know any C-Mount lenses that would suffice on a 2.4x crop? 100% 150% Square format
  43. 1 point
    Brother

    Lenses

    The Olympus 40-150/2.8 Pro is one hell of a lens!
  44. 1 point
    IronFilm

    Canon C300MkII vs C200

    If you're always working in house, and don't mind losing a channel of audio, then sure. But if you're working with others, this might not always be a workflow they prefer.
  45. 1 point
    jonpais

    Panasonic GH5 - all is revealed!

    Two screen grabs with the latest beta Leeming LUT. Veydra Mini Prime 25mm T2.2
  46. 1 point
    Amazing job! Does it have a name? Some of these devices have raised serious startup cash on Kickstarter - given the shitty camera control apps (Fuji, Sony), there's definitely a market for your widget. If you can figure out time-lapse and focus bracketing, you have a potential customer with every a9, a7r3 and a73 body sold. If it can trigger 4k recording, it'll make Fuji users heads explode. Cheers Chris
  47. 1 point
    Hi everybody, I'm here to share my test film of the GH5s. Everything was shot with a flashlight and bounced with reflector. ISO 3200, Nikon lens 50mm f1.8
  48. 1 point
    Just finished my very first doc using HLG: All surf scenes were shot in CineD (4k60p), all non-surf scenes were shot in HLG (150mbit). Used Leeming LUT for the HLG scenes as base for my grading. Suprisingly, the Leeming LUT for CineD did not change the image at all when applying it? Lessons learned: - Use a lav for interviews. Even though I mounted the Rode VideoMicro next to him there were way too many background noises. I am no audio expert, so all attempts to filter those noises resulted into non-natural sounding audio - Now that I am used to non-slowmo shooting, I have to admit that the 60p didnt add as much as I thought it would. If I had to shoot it all over again, I would probably buy some V90 cards and shoot everything in HLG 400mbit.
  49. 1 point
    just use your NLE. No need for special tools to benefit from the higher bitrate.
  50. 0 points
    What camera / codec would you say renders adolescent acne the best?
EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Pro Color 3.0 for Sony cameras
EOSHD Pro LOG for Sony cameras
EOSHD 5D Mark III 3.5K RAW Shooter's Guide


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