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cancelling my pocket 4k pre-order right now!

The motion isn't necessarily filmic but I think the grade and overall look is. Looks nice anyway, that's the main thing. ?

Here is some new footage shot with the C200 by the folks at Film Riot. It a short, granted YouTube compression is evident all over the place, but still nice to see something other than slowmo, weddings and plant life.

The problem is that everyone speaks from their perspective, and humans are adaptive, and contextual creatures. $2 for a cup of coffee doesn't sound like a lot, but to someone in the 1,000,000,000 people living on less than $1 per day income, that would some like a ridiculous luxury. Considering that most of us can afford hundreds or thousands of dollars to buy camera equipment, and care about things like Dynamic Range and Colour Science, we are all in the vastly deluded minority of people whose concerns seem trivial and frivolous. Potentially the largest problem this forum has is that the members habitually fail to acknowledge that we are each coming from a different environment, trying to accomplish different things, and have different priorities, and then we howl at each other furiously because of our lack of almost the tiniest bit of perspective.

Actually I have never really had a problem with Sony skin tones but, then again, I live in SE Asia too. I have a 'vague theory' that Sony colors work well with Asian skin tones. I have certainly seen some pretty horrid Caucasian skin tones from Sony. Inserts token portrait from earlier this week ...

Actually, if we apply the analogy to photography, they'd say "That's a great looking hammer - it must make spectacular houses!!"

I've seen people add noise in preparation of harsh compression to prevent banding and other compression artefacts, especially for online compression. It's a common technique - they add noise in audio under very specific situations because it can lower artefacts (dither). Oh, I don't know. There's talk in other threads about just using a small kit lens or a single wide angle, so if you do that and have cargo pants or one of those vests that can take a 70-200 2.8 then it might be just fine! ?

CIZ is good to about 1.5x on the Sony's I've most recently owned - the a7r2 and s2. Beyond that it gets mushy. I've used it a few times shooting wildlife since my longest lens is the 70-200, so 1.5x in crop mode (300mm) and another 1.5x (450mm) with CIZ. Its like a built-in TC. Put it on a custom function button and you can quickly punch in by tapping a button. Works pretty well, caught a couple lions having domestic issues in Masai Mara. I'm going to move from the 70-200 to the 100-400 soon, so that will give me some serious reach. p.s. Just minutes after this female scolded the male, he walked over to her and they did the nasty. Best 5 seconds of his day. Shot the whole thing in 4k with the a7r2 s35 mode, just need a voiceover from David Attenborough. Cheers Chris

Careful. I've been hurt before.

I'm just editing a little highlight reel from the Berlin Fashion Week last year, and I deeply regret selling my Canon FD 24mm 2.8 lens now. Some of the rendering is really nice, to my eyes at least. I replaced it with the Sony 28mm lens, and that's great, but it is just lacking something. Also used a Tiffen Black Pro Mist 1/4, GFILM settings and Deluts Downtown Alt as a base LUT if you were curious.

Samsung has joined forces with Fujifilm to develop sensor technology and says it will apply the new innovation to a large sensor. Could the NX1 finally get a successor? Read the full article

Had a quick test with the Hoya Solas VND. It is exactly what it claims, there is almost no polarization or colour shift. It also maintains the sharpness as if there is no filter. It is better than the SLR Magic MkII in every way.

Ron Sim is a good dude. I have 3 Leica R’s that he modded for me, and he’s always been on top of quality control. I haven’t tried the NDs but I’m guessing if he puts his name on it they’re top quality.

Here is an article on the GH5s from DPR on DR. It pretty much thinks it is a bit over 12 stops. I agree that is probably the top. https://***URL removed***/reviews/panasonic-lumix-dc-gh5s-review/6

You’re right, Vertigo and North by Northwest aren’t cinematic at all... ?

Your Crazy LoL. You Do realize they have had 4k cameras since about the beginning, and some of their stuff even has Global Shutters, No rolling shutter problem. Kinefinity has just come out with 90% of their stuff. BMD is not old by any means, but they make Kinefinity look like a startup company, which they are.

Well with the 4K BMPCC having Raw in it I am sure it will have more DR than the GH5s. How much, heck who knows. But I would guess an easy 1 stop more. I am more thinking the GH5s really has 12 stops in V Log. So the 13 might be right on the BM.

I got the A5 in a rush (after finding last minute that the Ninja 2 does not work with the NX1), and have been shooting with it every day for the past two weeks. I'm pretty happy with it. Regarding the discussion of the brightness, it's adequate. I've had the brightness at 50% and it's viewable outside for framing and peaking, though it's no match for an EVF. All in all I would totally recommend it to anyone on a budget who doesn't want a massive 7" monitor. But make sure your batteries work before using! Here are my pros and cons, loosely in comparison with the Feelworld FW760 that I used to use. + Smaller but still 1080p. 5" vs 7" is a huge difference - and also it has thinner bezels and is thinner so it's actually much much smaller. + MUCH lighter. Makes my setup more balanced + HDMI out + Mounting points on three sides + Screen is fantastic. Focus peaking works very well. + It remembers settings through power on/off cycles. The FW760 would reset everything if it powered down. - The battery plate is finicky. It's not a problem for me since I power everything from a power bank (I didn't even own any batteries for my FW760). It will not work with a Wasabi LPE6, but it will work with an Ipax LP-E6, even though BOTH of those batteries power a 5D3 perfectly. - Plasticky. I think the FW760 felt a little sturdier, but not by much. However, the mounting points seem secure and it's not going to fall apart in your hands. Sort of the build you expect from a screen this price. - Only one customizable button. - False color does not have a color scale on the side, so you have to guess what IRE each color corresponds to - The 1/4-20 threads are too shallow. I had to put a few washers on my friction arm's thread. - The hot shoe mount that comes with it is junk. - It would have been really nice to put one of these on the back: https://www.amazon.com/SmallRig-Camera-Threaded-Monitor-Accessories/dp/B01NCK79G2 . I had one on my FW760 and then used a lock washer on the friction arm to keep it from accidentally rotating.

@DBounce I felt they did a fantastic job here. This might be my favorite film they’ve done yet. This short could definitely be expanded into a full film, at least I would see it.

Fuck you, the depth is impressive, love it. The 5D is a beast, I wouldn't call this filmic, to me it looks hyper-realistic.

Spam spam spam

Well then why are we here discussing cameras? If nobody cares what tools you're using, grab a 550d to shoot stuff and edit it on a $200 laptop. You're right, tools don't make you a better workman, but they can get you more inspired and change how you work. The hammer analogy is much too simple, the way you hit the nail (or your thumb) never changes, but the way you encode the footage, light your scene and basically use your camera definitely does change depending on which one you're using. My previous point was, there's no clear definition of consumer - prosumer - pro, but whats more important is how you use each camera and what you're using them for. EG a 'consumer' GX80 in a professional broadcast setting doesn't change that it's a 'consumer' camera. Like you say, the audience don't care what camera I shoot with, and in those settings, the GX80 fits the bill.

5s! lol Poor her.

There is always the possibility they may not fulfill *all* orders at once on the first day, it might trickle at only a few hundred at a time. So they're "meeting their target date" but also many pre orders might also still have a long wait ahead. Who knows. It is funny what different people see as "prosumer" cameras. I might maaaaaybe classify an LS300 as "prosumer", maybe. But a FS7?! Nope!

Always off.

I don't think Sony is going to loose any sleep with Samsung or anyone else in the Sensor business. Sony is the King of video. They have been pretty much since the start. The have the best engineers in the business. And they have plowed a crazy amount of Billions of dollars into their sensor Fab plants. Plus like I said they want to be #1 by 2022. And I am not sure if they can do that, but if anyone can it's Sony. and they will undercut everyone, even themselves, just like they did with this new A7 mk III for market share. They stuck a stake in Canon and Nikon's heart with that move. No more charging 3 grand for FF stuff now unless it is their flagship. It even sent a message to Panasonic, Olympus on their 2500 dollar m4/3 stuff. And now BMD even set a new standard cost wise with the 4K BMPCC. Sony is out to win at any cost. Now no doubt if you can come up with a new Sensor that has say like DPAF in it like Canon did, or some other magic thing, well good. But if you think you are going to go toe to toe with Sony on sort of the same tech, well good luck with that lasting. To have a Big name camera maker switch from Sony, well it would have to be an earthshaking new design. That don't happen very often.

To me the Sony A7 mk III looks more like Canon colors than Canon as of late. I think they are looking pretty good right out of the box. Dies it use that Venice Color Science??

You were clear, my summary might not have been The more I learn about the A7III the better it looks and the less likely the alternatives will suit my purposes.. Then I will begin the journey of learning to tame its colour science

Just to clarify, CIZ goes to 2x. I just don't like the image degradation beyond 1.5x, which is what I meant when I said it was good to about 1.5x. Sorry if that wasn't clear. Chris

i will explain better know as i could on english: i think the best way to get a cinematographic piece is thinking what you want to tell on your video, what you want to narrate, and then think about your resources to achieve that. there is where the shutter, exposure, color grading, compositing shot(or framing), the editing, speed, music, sound and use it to create the atmosphere and the narrative you wanna create.

When you are in auto ISO the +-0 only shows the exposure compensation and not the meter reading. You can test by changing the EV dial. When you switch back to manual ISO then it shows the reading.

A return by Samsung to the camera manufacturing business would be very difficult, the one thing they need which they lost so spectacularly is trust. But making sensors for other manufacturers makes a lot of sense, the sensor in their NX1 was ground-breaking. Are there any other 28Mp APS-C sensors even out there yet.....?

Those Taks look great! Are you using filtration?

400nits? So probably even less than that. This is a perfectly fine monitor for Vampires, and I am sure there is a thriving community over there (of "What we do in the shadows" fame)! I hope you are not wasting your money.

Ehh there is all of July, all of August and 4 days in this month, and the 3 days of September. Your math is sort of funny LoL. ?

B&H reckon they'll be shipping on September 3rd. That's 5 weeks from now. That's not very far away at all. I would have thought with so little time between now and delivery, BM would know by now if they're going to meet the target date or not. In fact, it wouldn't surprise me if they already have warehouses in a few countries full of packed up cameras ready to ship out. Then again, I have no idea of the manufacturing and shipping industries... maybe they'll make and pack them all on the 2nd for next day global delivery. ?

Still difficult what to do now. Looking forward to a camera with IBIS, for filming and photographing. A7III, BMPC4K, GH5 are interesting but does not have that extra IMO. The a6700 rumour would be the most exciting replacement for my NX1. Now this news. I think I will wat a few months for upgrading. this was posted 5 days ago, Old news or did this guy knew more a few days ago?

Hasselblad calls it medium format, Fuji calls it medium format, Phase One calls it medium format, Pentax calls it medium format, Sony calls it medium format. Leica calls 30x45mm medium format. If you think it's not it's fine, what do all those manufacturers know

im sold on dark skies and springs and bighorn sheep id go yeah guys, socal is crazy. riverside county is huge too! i live up in the san bernardino mountains heres a picture thru my living room window!!! its so peaceful i love it

That's exactly what we aimed for! To tell a big, apocalyptic story, but through the eyes of the people. How would you and I act if our country was attacked by a mysterious enemy? We tried as hard as we could to do as mush as possible for real. Of course it's a lot of CGI, the movie as 420 VFX shots, but we really tried to avoid all-CGI shots. The shot with the helicopters is one of the heaviest VFX-shots and include a lot of 3D. The helicopters, the threes they interact with, one car, smoke and some debris is all CGI. But what really sells the shot is the plates of real smoke, debris, dirt and rain. We spent a week in a studio blowing things up. We shoot rain, glas explosions, fire, smoke, falling birds and more. Everything that we couldn't do for real on set, we tried to shoot for real in post and comp in. 3D always was the last way out. The movie also include som mayor miniature shoots. We're going to release a BTS video for that next week, but here is some stills:

I decided to test some 48fps with the regular 14bit ML build. I processed it as Alexa LogC 24fps through the MLV App. As suspected... since it’s less than HD... it’s soft, but for short close ups... it could work in a pinch. Any updates on the slow motion capabilities with the experimental 10/12 bit modes?

I'm fairly confident that won't happen. Resolve is included free in the package, it's not a forced addon. It doesn't cost BM a penny to put a license in the box, but they would lose a lot of pennies for every sale they don't include it. I'm sure after a while you can buy the camera on it's own, but only on the second hand market. In fact, you're much more likely to find cheap Resolve licenses from people who have bought two cameras and only need one license. Look at it like this. You go to a store to buy 4 apples and you're given these options: $2 for 4 apples or $3 for 4 apples + two free apples Those extra apples aren't free. Similarly if you argue that 'I already have a Resolve license so don't want the free license, can I have a discount instead?' That's also not going to work. Imagine buying a new camera that uses the same batteries as the camera you've already got. You can't ask the store to take the battery out the box and give you a discount - why would this be any different?

As far as VNDs go, I have always used them and have always been happy with them. But I have two points of criteria after testing a lot of cheap VNDs and a couple moderately priced ones... 1. I will only use VNDs that have hard stops. As most on here know, due to the nature of VNDs, if you push them into no man’s land, you can get the dreaded X pattern and in most instances you won’t notice it until after you get the footage into the computer. And strangely enough, there aren’t that many brands that offer the hard stops. 2. Color neutrality - most VNDs will have a color cast, especially the cheaper ones. With some cheap ones, like the Fotga, you’ll get a crazy greenish/brown color cast but you do gain a very specific look that is interesting in its own way, so for the price and a specific shoot, the Fotga is worth the $10. But most of the time I don’t want any color cast. So there are really only two brands I use now... • Bower - cheap around $30 a filter with neutral color and hard stops. These were shot wide open with an f/2 lens or faster and a Bower VND... • B+W Vario ND - they’re more expensive with less stops of ND but they are better built with a really nice coating... gotta love Schott Glass. And the less stops actually keeps me honest... forcing me to stop down my lens sometimes. These were also shot with an f/2 lens or faster using the B+W Vario ND...

It's too bad that there aren't too many modern lenses in the 17-55mm F2.8 range with really great optics AND handling. The fujinon Mk is awesome but expensive. The Sigma 18-35mm is fantastic and it's the lens that stays on my cameras most often, but in a lot of doc situations doesn't get far enough into a portrait range for my taste...even with a dumb adapter, so I still have to do a lens change that slows things down. For doc work, there is a reason why the 17-55mm EF-s lens is ubiquitous. The optics are decent (but not amazing) for sure, but it's mainly the range combined with the stabilizer that makes it popular. That Angeniuex linked in a previous post looks really intriguing but not easy to find. I find the focus ring on pretty much all of the 17(or 18)-50(55)mm F2.8 to be pretty meh. Tokina, Sigma, Canon, etc. If someone comes out with a killer Fujinon Mk style lens but at half the cost (giving up perfect parfocal and no breathing), but with a fantastic focus ring like on the Sigma Art lenses, they would have a hit on their hands. Basically, Sigma needs to do a 17-55 F2.8 Art lens. 24-70 is not wide enough for most doc work on a crop sensor even speedboosted, but the 17-55mm gives you wide enough and just barely reaches far enough into the portrait range to help you forego the need to carry an extra 50mm to compliment the workhorse wider zooms like the 18-35mm.