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Hi Guys, Here are some screens from a short I recently wrote/directed. Originally planned to use the Varicam LT but availability was scarce at the time of our shooting days. All in all using the C200 was pretty cool to use. Our colorist said that there was some slight noise issues in the shadows but the color cleaned up well. I can post ungraded raw tiffs in here if anyone wants to see any. peace

Well, thats set the frenzy off on that site good and proper hasn't it? "So, as you can see, its probably a 67mm thread on that lens, which if we also reference it to the available data on average index finger length of South East Asian females in the 20-26 years of age group we should be able to extrapolate the exact dimensions of the camera and have a 3D printed model ready before bedtime"

I shot this recently, nothing special. Yet I love B&W.

Nah, I tried external video recorders for awhile, but hated carrying around the extra hardware. That was one of the reasons I purchased the C200... internal raw. And yes, I know that some are recording external to 2k raw, and I understand it looks pretty good, it’s just not a path I’ve embraced. Re-reading my last post, perhaps it was ambiguous... I meant audio records. The P4k is potentially an interesting camera, but I would not consider it a substitute for a dedicated cinema camera like the Canon C-series. But that’s not to say it does not have it’s use. Really, until we see footage it hard to gauge how serious to take it. There’s even a review on BH claiming it’s output falls short of the GH5S. Though I’m not sure how much weight we can give that review. I remain to be convinced on the P4K, only real footage will suffice to cement my opinion.

I don’t think it ever even got made, let alone sold. I think they only announced it. It’s worth reading the very interesting article Andrew posted about how Nikon sensors get made..I would hope it may change our view of the idiotic phrase “off the shelf sensor”.... because no sensor is off the shelf.... JB

Hello. I recently purchased a pre-36 from a user on here, and used it for a project; a promo for an arts fair, held on the kubrick estate every year. Hope you like it !

A little short film I shot with the Bmpcc + Kowa 8z Anamorphic Adapter I repaired back in June. Color graded to taste - Download my BozBMDFilm to Rec709 LUT for Blackmagic Cinema Cameras Here: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/

Hello, Yes, I would like to see your ungraded tiffs. They're all excellent

Of course for a higher level of productions is always better to choose external recording, but I though we were talking about projects in a budget....if I have the money I will do narrative only with an Alexa and the best sound recorded of the market, since I don`t have the money I can only afford a team of two or three people, and the pre-amp of the C100 are incredible good for the cost....

Soon... JB

Yes, versatility is the priority aim of the game. The camera setups needs to cover almost every scenario possible, as that's how my work is going. Everything is so different that one camera can't do it all. The main thing that bothers me most about the Sony package are the internal codecs being weaker (should I need them at any time), and that's about it. With the Panasonic package, mainly it's the cropped 4k 60p and 240fps, only correctable by purchasing wider lenses (which in the high quality range are very expensive). I wouldn't ever intend to use the A7 cameras for green screen work. I do also have a BMPCC 4k on pre-order. My comparison chart still says the Sony package edges it (to cover ALL situations), but not by much. May have to test the GH5 properly on a gimbal.

I feel you're 150% missing the point, as it wouldn't even matter if the C100 had pre amps "twice as good" as my sound recorder, as it simply is an impractical workflow to not use an audio recorder/mixer and instead record straight to camera for scripted narrative filmmaking of a certain level of complexity. To do so would undoubtedly lead to worse audio.

He was referring to cmos image sensors in general which are used in a wide variety of industries - automotive, mobile phone, pc web cams. security devices...

You're implying that you can buy a generic sensor, put it in a camera and you get a picture. It's not that simple though. Let's look at a camera that uses an off the shelf sensor in the sense you're describing. The Apertus project. Started conceptually in 2012.... https://www.apertus.org/ Still not really a production ready useable camera and they've been working on that for YEARS, even with the magic lantern help and the open source community. In the time since they've started, the same sensor that has been developed into use for the AJA Cion, several BMD 4K cameras and other machine vision cameras. If it really was off the shelf, then Apertus would have a camera that doesn't still have issues Apertus have. They would have delivered by now with the significant effort going into it. Why haven't they ? Why haven't they just been able to plug the same off the shelf sensor used in other cameras into a body, program up some boards and get it working ? Because there's no such thing as an off the shelf sensor. Even the off the shelf sensors still need a huge amount of development to make them into a functional product that can ship. It's certainly not the exception rather the rule at all. JB

@Sage you have a conversion that works with CineLikeD, right? If so, has it ever been tested with a G85?

Context is everything. Here's an interesting article illuminating how the alt-right (in this case) have selectively use past internet comments to sucker-punch their enemies, including Gunn's employer. It's worth being very familiar with the tactic, so that it's more easy to identify and to see when your own viewpoint is being manipulated. It's a subset of general propaganda, given additional potency by the reach of the internet. The mock outrage is systematically deployed in a way that will co-opt (infect) the target - i.e. the general population, and vulnerable/fearful administrators and managers, to result in additional leverage against opponents. The 2016 US election was rife with it.

Cheers ! I actually only used the Nikon Pancake 50 1.8, with a variety of cheap diopters.

Ah, the old GoPro inside an old shoulder mount ENG camera routine

Shot this video for a Bible camp I was at last week entirely with Pro Color V4 HDR:

Hey all! I want to share this trailer for Sennheiser's Pro Talk Season 2 I shot using a Sony FS7, A7iii and A7sii. Two weeks before the shoot I decided I wasn't happy with my current slog3 workflow and wanted to change it up. I found Pro Color V3 (at the time, V4 was not out yet) and gave it a shot. I loaded it up on the A7sii and A7iii, barely made a few tweaks to both to match them up, give me a great result and bam. I was sold. I then created a preset in FCPX (yea I edit on FCPX for now) that took my FS7 slog3 footage and popped it into Pro Color V3 matching the other two cameras perfectly. So my new flow is like this, Pro Color on the A7 series cameras and the FS7 shoots slog3, I then match the FS7 to the A7 series cameras in post and work from there. The reason why I needed Pro Color in my life was because I had these beautiful little A7 series cameras but couldn't use them to their full (small) potential shooting slog3. I didn't want to have to tote around an external monitor, etc. There's a lot more to say but I'll leave it at that. Way more to come. Enjoy.

Heey, I took the ump and the leica-r summicrons for a testspin. I did make a lot of errors but learned from them, so I can take that with me on the next project. Feedback is welcome. Kind regards,