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I had a deep loss today... a dear uncle of mine 89-years old and a half (eight months and twenty one days of his last year of life to be more precise), one of the best friends a fortunate man -- his nephew had, passed away this July 27th. I got the idea I didn't spend enough time with him in these last years of his light in my personal experience, inner circle and course of life. Don't lose any chance with your closest ones... (just a thought, just my sad two cents) - E.

No offense but I feel much better having not watched this.

As mentioned in the other 4K Pocket 2 thread... In episodic TV, where I spend a lot of my time, we shoot three cameras almost all the time. The show I'm on now shoots 8+1, meaning 8 days of main unit and a day of second unit (while making unit starts the next episode). We tend to shoot about 2 hours per camera per day. So that's 6 hours by 8 days of footage. On second unit they shoot with at least two more cameras, if not three. So that means on some days the data wrangler has 12 hours of dailies to process from set from two units. The footage is backed up on set, then shuttled to the post house offsite. They backup twice again and then transcode the footage for editorial. We shoot in Atlanta but editorial are in LA cutting on AVID. So they grade (time) the dailies, for editorial and render DNX files and send them over a very secure connection to LA. All done Overnight ? Editorial then sound sync the dailies, first thing, compare the shots logged vs what they've received and sign off that they have everything that we say we shot (down to the shot). After the emails I see from editorial are notes querying the wrong slate number just so that they can verify this. As well as doing all that they produce the pulled or select dailies and generate 264's of just those circled / printed takes and they get assembled into a H264 file that gets uploaded to DAX for about 200 studio execs and production people to watch / refer to. There are also some secured rotating ipads that get the same 264 files updated to them for those of us that hate trying to scrub 264 files over the internet. I get those myself, and the director of the episode gets one as does the writer. Right now the show I'm shooting is on air 9 weeks after we started shooting. That's a clock winding down, because it airs every 7 and we take at least 9 days to shoot each episode ? You can see how it escalates. There's no safety net for time at all. An episodic TV series will generate a LOT of footage that can quickly overwhelm a production and there's very little room for a slow down at any point. The studio I'm shooting for now is Fox. They still only air in 720 so they only master in 1920. Despite the rhetoric about 4K, the reality is that MOST TV DRAMA production isn't shot 4K. We shoot 1920 ProRes and I always make ProRes 444 the minimum because it's 12 bit. That's all I really need from a grading point of view and RAW workflows offer very few genuine advantages. Try designing a test to show that it does and I'll show you a TV network that shoots 4K. (None of them do) They're not even interested in mastering 4K for a future proofing scenario. 4K also quickly kills workflow because everything is that much harder with all the above numbers. I think ProRes RAW is an interesting option, but honestly, over 12 bit ProRes, I don't see much need to shoot ProRes RAW. I have some friends on Stranger Things at the moment. They do 12 to 14 days per episode. We have 8. That's nearly double the amount of time to shoot the same screen time. They tend to shoot single camera too, because that's the style of the show. But that's a large part of why they need so much more time. I guess you can argue it's success makes the investment worthwhile, but days shooting is the most expensive part of TV production. Because of the cast generally and their availability. A show that shoots for longer tends to find it much harder to hang on to good actors. JB

I dont quite understand what particular video features people are looking for 'medium format' to add. * Medium format is usually associated with very high mega-pixel cameras which are not the greatest starting point for video * The Sony sensors (and they are pretty much all Sony sensors) have slow readout speeds meaning jello * ...and they are not yet BSI so despite the larger sensor, low light isnt much improved... * Medium format lenses do not tend to be very fast so you cant really get shallower DOF than FF I can definitely understand why someone who owns a medium format camera for stills would like to see better video but I dont really see how it would end up generating better video than what we can expect to see in FF.

Now we all shoot at 800 asa. actually, I have heard some younger people get upset if they can't shoot at 1600 asa. Pretty amazing to me. Since most modern cameras can do this easily, and that gives you enough natural light in most locations, you just come in and shoot. The style these days is use what already exists, and augment the lighting, and use grip to subtract light. Subtracting light. Before ASA 800, when many of us were shooting at around 200 ASA, you would add light. Now we show up, use a window light - maybe put one light outside of it, and then 4-7 pieces of gripwear to cut it. Toppers, cutters, siders, eggcrates. But a recent job I did for a liquor commercial, we were shooting with the digital bolex as a b camera. The bolex is a beautiful organic image, with a ccd sensor for beautiful motion and the ability to use 16mm glass, which is beautiful and lightweight. We lit for this camera's low native iso, and the A camera, the alexa, we set at 200 ASA as well. At 200 ASA, I was back to where I started 10 years ago, and it was thrilling again. Light didn't spill all over the place - it faded into the darkness, had lots of falloff - and everything was deliberate. We Could liGHT up spaces deep in the bar with red color, and push light into areas we wanted, and hide the rest. It was easier to do, since there were less stands to place on the ground and less rigging to do. Grip takes up a lot of space and stands. Lights - not as much. And we ended up making the bar more interesting than what it was - we transformed it. (I'll post videos and stills once the spots are released. It was putting on a different brain from an earlier era - cause we had to move a different way. And we painted with 1k tungsten lights in a jem ball again and got that tungsten warmth again. That color of a tungsten fresnel - it has a golden warmth to it. Coming back to it, it reminded me of how unmatched by LEDs which have more green and yellow in them than that pure lovely orange glow are these chinese balls. To rediscover those old tungsten fresnel units, that was also important to me. These old lights you can now get as every grip house throws them out, as the world has moved onto led lighting like skypanels, these old lights are a thing of beauty.

Agreed, I came here to escape those YouTuber stars... don’t want to see their name mentioned at all!

With the introduction of Prores RAW and the soon-to-be-released BMPCC 4K, professional quality codecs are now really entering the prosumer market. We've had some contact with RAW and High Quality codecs through BlackMagics BMPCC and Magic Lantern, but this is probably only a small percentage of us, even on these forums. There are quite a few challenges I see associated with this, including: Absolutely huge data rates Most 1080 prosumer cameras are around 25-100Mbps, BMPCC went up to around 600Mbps (6-24X prosumer), Prores RAW is 640-1120Mbps (6-45X prosumer), but the BMPCC 4K will go up to around 4352 (44-175X prosumer data rates!!) RAW requires extra processing in post-production DaVinci Resolve includes this functionality but it might require a separate piece of software for other packages, and will take significant time to transcode to large proxy files Image quality beyond 'good enough' The image quality from these RAW / HQ cameras is potentially more than is needed - in many cases shooting RAW 1080 or compressed 4K for a compressed 1080 output is going to be almost indistinguishable from shooting RAW 4K Commercial TV workflows are perhaps the best place to learn how other people manage these issues and why. I think they are better suited to our concerns than feature films because Prosumers and TV shows shoot over and over again using the same setups, so issues like scalability, efficiency, and so on are relevant here, whereas feature films only have to be done once. Who has worked on serial productions with RAW / HQ cameras, and what can you tell us before we fill our HDDs with RAW 4K files?

Thought I’d share a fun project I did for Sandy Devastation. We had 2 days och shooting and edit/color another 5. I shoot it with Bmpcc, metabones, Sigma 18-35 and Samyang 10mm cine ds. ”Zero dollar budget” Enjoy!

Sorry, I couldn`t watch those videos more than one minute.....I can`t watch them in youtube ether....I guess I am garbage allergic...

Disney is a corporation. If they think it'll help their shareholders to fire someone with negative PR, they're compelled to fire someone with negative PR. Guardians of the Galaxy is a kids' movie and they don't want edgy content associated with that brand. How could they not fire Gunn? YouTube is a corporation. If they think it'll help their shareholders to "shadowban" neonazis, they're compelled to "shadowban" neonazis. YouTube is an advertising company and they don't want advertisers associated with neonazis. How could they not demonetize holocaust denial videos? (I'm not drawing any equivalency between the two, just examining two distinct and understandable phenomena that are eliciting similar outrage from opposite ends of the political spectrum.) The govt protects free speech in the US, but Disney and YouTube/Google have no duty whatsoever to protect what their vendors say or do. They're private corporations. It's Disney and Google's free speech being protected when they're allowed to jettison whomever they want at a moment's notice. This is the system working well. Imo (and this is purely subjective because a lot of people are very happy with the direction the country's taking) what's broken is the culture. It's the culture that gets politicians elected and it's the culture that dictates what's considered a fireable offense in a corporate environment. It's the culture that leads to most YouTube personalities being trolls and sociopaths in the first place (which is maybe why Alex Jones doesn't even seem that bad as online content goes), and why more and more politicians and political surrogates are taking similar tactics. It's the culture that leads to CNN broadcasting 24/7 negative Trump coverage. That's what gets ratings. Ratings make money. (Trump at least understands this.) It's the culture that leads Colbert's ratings to go way up when he starts viciously attacking the right. It's the culture that feeds Alex Jones millions when he starts demonizing the left. The political and corporate machines are functioning. (I have some strong complaints here but unrelated to that article and specifically relating to policy.) Culture isn't. The solution isn't complaining about the "other side" from one side of the aisle; they're doing the same thing about you from their own echo chamber. It's the same mechanics at play that lead to stupid arguments about gear, ironically. Sony echo chamber. Canon echo chamber... with very few movies being made by those whose primary medium is online outrage... The solution isn't complaining about what's wrong; it's doing what's right. If enough people want to actually boycott Marvel that Disney is forced to re-hire James Gunn, maybe they'll re-hire James Gunn. But until that number of people is larger than the number of people who are grossed out by his comments, they will have made the right choice as a private corporation in firing him and the govt will have maintained the right choice in protecting Disney's right to fire him. Fwiw, I do think we're at a cultural nadir. Most blockbusters are terrible. This wasn't true 15 years ago. But it's up to the market to determine what gets made and what doesn't. Who gets fired and who doesn't. Disney fired Gunn because they were afraid to offend people (on the right). That alienates some filmmakers and some progressives. PC culture exists to prevent offending people (on the left). That alienates some conservatives. It's a fear of being offended that's driving this cultural divide. Free speech is not under attack on either side; our threshold for offense is just pathetically weak. That's the scary part: we actually do have the power to fix things and we aren't. I personally disagree with Disney's actions. I don't blame Disney... it's making them money. I personally disagree even more strongly with Cernovich. I do blame him for his rhetoric, while also understanding it's making him a ton of money, too. But everything he's said and done (except for any criminal charges against him, I haven't researched those) are within his right to say and to do. And demonizing him for his politics is just going to have the same kind divisive and polarizing result criticizing Gunn's tweets will... it will feed him. Same as the Russia investigation is increasing loyalty among Trump supporters because it makes him look like a victim of the "deep state" or whatever. The other side isn't the problem. The divide between us is.

Latest leak, Mavic 2 Zoom with 2X Optical zoom (24mm-48mm) and Mavic 2 Pro with 1" sensor, with 44mph top speed

Nope, can't be done yet. But they are working on it looks like. https://magiclantern.fm/

There are still more Dslr sold than Mirrorless until now. The thing is Nikon had very very good profit this year with their downsizing and restructuring. In their latest fiscal year they said how the D850 impacted their profit as it was a huge success. Now coming back to the ML line, the more I look into it the more I see big big surprise. For a starter the new lens mount. The thing is gigantic, it is about the same than Fuji medium format. I am not saying that they would release bigger sensor that 35 mm, but that could be a possibility in the future. The most probable use will be for .9 lens or lets say .2 zoom, that would put them in another category. The second thing is a much bigger sensor box where the sensor could move much more with ibis. Imagine a full frame camera with the same quality ibis a gh5 etc. I even think that the rear screen will be bigger than 3.2 from the size which we know now is around d750. (but thinner). What I don't expect unfortunately is 10bit video, 4k 60 fps, log etc.

From my experience face detect AF works fine on clear single face shots, but it starts to hunt or switch focus once other faces come into view. We had a busy event the other day and the A73 on gimbal couldn't keep up with Canon's dual pixel face tracking on our A-cam: The eye AF remains the most impressive Sony AF feature imo, unfortunately it disables in video (hopefully not in upcoming A7S3). As for skintones, it's a mixed bag as well.. on youth it's pretty uniform but once facial hair, wrinkles and other skin imperfections appear, they get exaggerated somehow.. Not the most flattering... combined with typical mixed lighting AWB issues.. Noise reduction also creeps up heavily in low-light as you crank up ISO, giving waxy airbrush look to skin tones: Never got this side effect on A7S2 so in that regard it's a step backwards.. All that being said.. i still think A73 is great bang for buck and paired with good glass ( we're using Batis here) it's got that FF wow factor clients crave, but i wouldn't yet pass on Canikon giving them a good run for money with their upcoming mirrorless offerings..

There is space on the market for the lightest and smallest possible full frame mirrorless, for sure. Look at RX1R II and imagine something like that with interchangeable lenses! A dream. Maybe that's the future for Micro Four Thirds... Micro Full Frame has a much better ring to it

Cant decide between the 20mm f1.2 and the 2000mm f3.9 Any thoughts??????????????????

Are you English? Got to love all the English sports! "What British sports look like to non-British people"

One thing I do feel quite strongly about this 'mess' is that Disney holds a lot of responsibility for it. (And it is a 'mess' because noone comes out looking good in this episode.) Let's take a look at their statement.... "The offensive attitudes and statements discovered on James’ Twitter feed are indefensible and inconsistent with our studio’s values, and we have severed our business relationship with him," said Disney chairman Alan Horn in a statement obtained by USA TODAY. The key word here is 'discovered'. It makes it sound as though these statements were hidden in a black box underneath his mattress and 'discovered' in some police raid. In reality his 'tweets' were in 'plain sight' and 'public record'. So Disney doesnt have a leg to stand on..... Either... 1. Really Disney doesnt care much about what views/jokes/insults etc their employees have historically posted on their twitter feed (in which case they are hypocritical for claiming they are 'indefensible and inconsistent' with their values...) 2. Or, and this is much worse in my opinion, they claim the moral high ground but are so incompetent that they havent bothered checking (due diligence) his social media accounts before appointing him to spend US$100m+ of shareholder funds directing their movies.

The online outrage/PC brigade has been completely out of line and out of control for a while now. The climate for discussion it has created is nothing short of sick. Now that the targets have expanded from the right to the middle and the left, maybe they'll end up having some real opposition. Hopefully.

and here is a complete work (some art event deep inside russian territory):

https://www.eoshd.com/comments/topic/26299-fuji-x-h1-new-apsc-video-oriented-camera/ latest specs sound great! i remember that shootout.. so unscientific with different lenses on each body.. and such weird "test shots" .. brown foliage, a baby & fruit lol.. anyways Fuji came in 4th btw.. Pentax 8th.. it's all pretty subjective though (aside from iPhone lol) as a recent Fuji convert (XT2) after spending years on Canikon i must say i'm very satisfied with the Fuji X experience & results both in stills & video. what sets Fuji X apart are 2 things: X-trans sensor which eliminates chroma noise and gives a more filmic luma noise at high ISO & the film simulations which make use of Fuji's extensive knowledge in film color science. their AWB is also second to none, nailing even the most difficult mixed light situations.

I've been asked by Private Message regarding using the higher ISO's in recording. Ordinarily, the extended ISOs are for stills only but there is a way round it for G7 owners at least. On the GX80 it is always clamped at 6400 irrespective, so when you go into video mode it will always revert to this setting if you have an ISO set above that. On the G7 however, if I instigate the recording with my controller then I can then change it beyond 6400 and it will accept it. I have a trick with the hardware controller so that when you put it in record it re-sends the currently set ISO so if you have it on 12800 on the controller it will record a tiny fragment at 6400 but then switch to the 12800 If you want to try this manually you can by just putting your G7 in record at 6400 and sending the higher ISO command form a browser. My feeling is that this will probably work for other cameras too (except the GX80 where it definitely doesn't) so if you can test it and let people know that would be great. With regard to asking questions by Private Message - and please do not take this the wrong way as I'm really pleased this has sparked so much interest - but can I just ask that people put them in here instead, as to me this should very much be a community project so everyone will benefit from the shared information and there is a much broader range of model variants represented here that people can share the testing on as well. Ta