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You’ll smile when you read this. After a brain spasm of a meeting today - the choice has been made and has gone ahead. It’s the EVA1, GH5S and GH5. The Atomos Sumo will join the EVA1. (@Sage will love this). We also need to update our gimbal. At the moment it’s a toss up between the Ronin-S and Tilta G2X? Tough. After all is said and done, I’m going to cry for week as I’ll be living on instant noodles and cheap biscuits for a while! ?

Hey guys, I wanted to share this rehousing mod I made recently for my Iscorama 36. It's a replacement for a front piece of old plastic housing, that is made of anodized aluminum and has cine gears, retaining 72mm front filter threads and adding just 50 grams of weight. It took me quite some time to figure out this design and I'm pretty proud of it! It solves some real-world problems like close-focus, enabling you to focus down to 1.1m, but unlike DIY mode it has a hard stop at 1.1m and infinity, and looks way nicer then a grub screw drilled into a hole. I made a little video explaining what it is, since after I posted this on facebook people started asking what it does and what are the specs, and asking how to buy one. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 I have decided to order a small batch of these, and already placed an order at one of the shops that does the first stage of the milling. I will make another video showing a closeup process of swapping the housings, so people can evaluate the effort and see if the price (which will be announced at the same time) is right for them. This is intended as a do-it-at-home kind of mod, but you can also take it to the nearest photo technician and they'd be able to do it for you, it's a simple process that takes 3-5 minutes to perform. I also made a PDF with some specs, you can find it here. https://www.dropbox.com/s/wd1w620ddxnv2je/proxiscope.pdf?dl=0 If you're interested in getting one – shoot me a message and we'll figure it out, there's a little queue forming already

But we can afford ND grads, which aren't perfect but can do a pretty good job.

They're going to show their camera at an expo in Austin TX on August 23 (as per their tweet via BM Support). Just thought I put that out.

Thanks, very interesting. In theory that should work almost exactly as an incident meter would (though with the limitation that whatever's facing the camera is lit by whatever source is hitting it frontally, so a bit trickier to meter for some lighting set ups that aren't front-lit, but if anything that would likely promote overexposure). Are there zebras or false color for RAW clipping or just for CLOG3? I supposed the clipping point might overlap, so maybe either way would work. I wouldn't need a spot meter at all if I had false color, but I'm not talented enough to light without an incident meter. I would personally expect a much brighter image than what you posted if the footage were exposed with an incident meter at key (or a gray card at key, same result), so perhaps overexposing a bit is a good idea. I do remember from my days shooting slide film I'd try to get the darkest part of the sky at 18% gray to get a vivid sunset, in which case everything else would be a black silhouette in lighting similar to what you posted. But I also noticed with the Sony F5 that 2000 ISO base was really more like 1000-1200 ISO and if you exposed that way you had a ton of DR, double what slide film had at least; the A7S also benefits from a stop or two pull (imo). I'm not a big ETTR fan because I think it changes the color of some objects and can cause banding with some codecs, but it does seem like a good idea with digital cameras to overexpose a bit, and the more experienced members of this forum all advocate ETTR. 5000 ISO maximum would be similar to the C500. I do think the C200 appears to have very noisy shadows, likely noisier than the C500 and certainly with a different (imo worse) texture.

I can tell you that Canon and Nikon sure as hell have their work cut out to begin to match a Sony A7 mk III, and I think impossible at that price point for either of them. They are not going to do it at 3500 dollars!

For film making, don't rely on AF. It will never be as smart as your brain for choosing what needs to be in focus in your frame unless it's a super simple scene. A slight AF hunt during a shot will make the shot unusable unless you can edit around it, especially when it's jerky like you get with most dslr lenses. Learn to focus manually.

Required reading! https://www.nytimes.com/2018/08/16/business/elon-musk-interview-tesla.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=first-column-region&region=top-news&WT.nav=top-news https://www.thecut.com/2018/08/azealia-bankss-feud-elon-musk-grimes-explained.html So Tesla has some unnecessary side-battles to fight now, which I am sure the oil and established auto industry will use against their biggest rival. It's important for the whole damn planet that Elon Musk achieves his goals at Tesla and at SpaceX. Vital for humanity. People simply cannot get their heads around this. They are constantly gossiping and looking for ways to bring him down. Sure he's overworked. Yes, on sleeping pills. Maybe he even has a girlfriend (musician Grimes) who may not be the most stable presence (personally, I like her!). Yes, he may well have been on acid when he made the tweet about securing funding to take the company private at $420 a share. Who cares. People need to look past all this gossip, even the possible breach of the law, and give the guy a break. Imagine our city streets with no pollution and breathable air. Imagine a home on another planet, ready to continue humanity after we fuck up this one. Every investor in Tesla should let Musk concentrate on his health away from the extra pressure of lawsuits.

I think we have to be fairly careful when we go down this sort of path. I am 100% behind the concept that we should give visionaries room to breath if we are going to progress but that doesnt mean they should be immune from criticism. My personal opinion of Elon Musk is that while he is a clearly a visionary (and more importantly is incredibly adept at getting financing to turn his vision towards reality) he also skirts the borders of 'vision' and 'hubris'. Take the fact that he launched a 'Tesla' into space. Fabulous but should we celebrate this as a 'hubris' or the 'pinnacle of human achievement'. And before anyone says achievement of anything at is worth celebrating, I would say that it is almost exactly 50 years since the US achieved landing the first person on the moon which largely proved that many things arent really worth achieving in the first place. But we have a more significant problem. You see I seriously dont have any problem with Elon Musk doing exactly what he pleases with his money (on acid or not) rather like I do not have any problem with Trump being rather eccentric (with an unhealthy obsession with his daughter) - nbut I dont think it is wise to make him President of the US. So once, Elon Musk starts using other peoples money - he is CEO of a US$50bn public company - he has to be held to certain public standards or at least within the Law. Once someone is managing your capital 'who cares?' or 'he was probably on acid' just doesnt really cut it. Personally, I think there is a serious disconnect here. A 'visionary' who is essentially looking say 50 years in advance, is probably uniquely unqualified for running the day to day operations of a public company or being CEO of a company reporting quarterly earnings

With September just two weeks away, I would have thought they'd know by now if they need to delay. We're still waiting on footage, but I think keeping the exact date a mystery ensures people will continue to look and search, maintaining the interested and excitement the camera has built up since April. I'm feeling pretty optimistic about receiving this camera within the next 6 weeks.

Here's a quick test from tonight. The sequence labeled GHAlexa is PRE and GHa Daylight LUT only, no luma adjustments. V-Log L, Full-HD All-I, 60p & 24p, 400 ISO, auto white balance SLR Magic Anamorphot-40 1.33x + Polarizer Panasonic Lumix G 25mm f/1.7 De-squeezed frame is 2560x1080.

I thought it was that rich people were called "eccentric" but for the same behaviour not-rich people were "crazy"

Avery Peck is also worth checking out (https://www.youtube.com/user/theavenogfilm/videos), Ripple Training gives some good free content (https://www.youtube.com/user/rippleguy/videos) and also the articles at PremiumBeat are really good (like this one: https://www.premiumbeat.com/blog/create-illness-davinci-resolve/). I suspect the real reason that excellent colourists aren't all over YT is that they're busy doing actual work and producing free content doesn't pay their mortgages. Of course, if you're willing to pay for courses then I think it's a different story. If you want to work hard and learn fast I'd recommend a few things: Practice matching clips from different cameras using only the Lift Gamma Gain and Offset wheels (for log footage you need to convert to REC709 first). Once you've got a basic handle on how to use them and what they do, pull in clips from as many sources as you can into a project, put on some music, and grade them to visually match as fast as you can. I know what you mean about pros working really fast, I've noticed they pretty much use these controls and only use others if there's some specific quirk in the footage. Getting good at this helps train your eye to see contrast and colour tints. Find a bunch of before and after grading videos, pull them into your software and have a go at replicating the grade. I'd suggest using scopes to help you see what is going on (waveform and vectorscope are tremendously useful). Videos like this are great if you put in the work, but useless if you don't: Basically, the best way to learn will be to work at it. Set yourself challenges and dive into them. Watching a video is easy, replicating it is painful but is how you'll learn. Real learning is about changing what's in your brain and that's not easy and doesn't happen if you're passively involved, which is why people watching cooking shows on TV don't end up as brilliant cooks!

@Oliver Daniel have you used an EasyRig? It makes holding cameras like the UMP, Amira, FS7 a breeze.

They are Really going to have to do something about AF or they are going to be out of business. AF is hot now even for Video. Having Crappy Photo and Video AF. Why even buy one?

The Oly EM1 is really a heck of a good camera in all respects. It is one of the few cameras that I regret ever selling. It just seems to fit well in your hand and it is responsive as all get out. The colors OOC are punchy, and the IBIS in it for the time is amazing. Yeah it could be better for video but for most stuff it gets the job done. I had the battery grip on mine. Little small for big hands without it. Two weak areas though. The strap lugs can break and the control wheel the back can go dead. Although some people just twist the wheel like heck and it comes back to life. But it is rare so don't Not buy one because of that. Might have been replaced under warranty years ago.

So are other people.

The BM PK4 is probably going to be just like the BMPCC. A pain in the ass to use with pretty amazing output. It is not going to AF worth crap probably, no IBIS, no preset of just shoot and post to the web video, not going to use it on vacation, give it to your wife to take shots of the kids, on and on. Bu it will be great LoL. The Sony A7 mk III is the jack of all trades. And a master at a lot of the trades. Probably the best Point n Shoot ever made. Other than better codecs I can't see nuch it is lacking in other than Big MP for landscape photos. Though choice no doubt. PK4, Kind of a poor mans Cine camera, or A7 mk III, an all arounder that can get the job done with ease other than a really great Cine look.

Is Tesla going to release a full-frame mirrorless camera as well? That would be epic!

Well I guess that is another reason Smartphones are so damn popular. You have to admit, other than at night in dark areas, it is pretty damn hard to screw them up output wise, whether it is photos or videos. And even editing in iMovie is not super difficult. Now is it Filmic looking as hell, well probably not. But I don't think 4k and higher can even look filmic unless you are intentionally trying to make it look that way. Even Arri spent years to get 4K with the ALEXA SXT Plus to "look" like Film. And I think the original Arri Alexa Classic at "Only 2.8K" looked better, Creamier. The Alexa XT at 3.2K ehh was not so bad either LoL. So heck I don't know what the answer is to be honest. We on here, well a lot on here, are trying to be a one man band, or at least doing stuff on the side if you work for a business that is into video. And it is nearly impossible to be good, let alone great at all aspects of video. That is why there is 200 people or more that work on a big time movie. They are all pretty damn good at their One specialty. And even then it takes them weeks, months to do it. How are we as a single person going to whip out some masterpiece in a week that is a Classic? Ain't happening I guess LoL. I would argue that post production is Way more important on average than shooting the footage, other than Audio. And who is great at that other than you know who on here. ? And how many of us are great in post production? I bet it is a damn small number. Nearly an impossible task to be honest.?

I picked up a few things too, but I tried your line of reasoning at liftgammagain and got slammed for it. The problem with watching people who don't know how to grade is that for every piece of information you pick up that will help you in the future, you're risking picking up other information that will hurt you, either in bad practices or in a lack of understanding of what is going on, and you won't be able to tell which is which. As an example, think about how many YT colour grading videos talk about how to use LUTs, and then think about how many of them tell you that LUTs clip the data, and then think about how many talk about HOW luts work and WHEN not to use them. This is one of the reasons that I find the Juan Melara grading videos such a revelation - almost every sentence in his videos contains information that would take you hours or days of watching YT videos to find in those "buy my LUT" colour grading videos, but on top of that he presents the information in such a way that it builds an understanding of how to link techniques together in simple but powerful ways. The way I see it is that colour grading is the same as shooting - it takes 10% equipment and 90% skill to get a great result. I've also noticed that the more skilled the colourist, the more that the grade is about using the basic tools well but knowing exactly what to do with them. After spending dozens of hours watching YT colour grading videos, buying multiple paid colour grading courses, site subscriptions, and hundreds of hours of fiddling in Resolve over a dozen or more camera tests and a dozen more real projects trying to match multiple cameras, I learned that if you shoot it right, the less I do in post the better it looks. I think I am at the point now where my adjustments do more good than harm, and much of that is training my eye, but I think I might have gotten there a lot faster without watching all those YT videos of people who blindly apply LUTs and twiddle the knobs until their "how to make your footage CINEMATIC" video is ready for upload.

If it's a digital zoom, then what's the point? All drone footage can be manipulated to do this in post.

Tony Northrup mentioned the dolly-zoom effect on the new Parrot drone, which does a zoom (digitally I think?).

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/

Few test shots for a short movie, made during half an hour with Panasonic GH5, mostly with Voigtlander 10.5mm. Being only with slow laptop - fast editing in Hitfilm Pro, even faster grading in Davinci Resolve. (At a glance, it seems that youtube really sometimes makes wonder massacring contrast and DR

Don't forget to use Alister Chapman's "venice" LUT if your using the A7 III as a B-cam

Righty roo. I think I've made my choice. After comparing the feature sets of every setup, plus my very own emotive desires to image, I'm going with: Sony FS5 II with Atomos Sumo 19 (my director partner wants the monitor big ass!) Sony A7 III (and Sony A7S III when announced) as B and C cameras, with A7 III for stills. Keep A6500 and possibly upgrade to A6700 if it's worthwhile (personal carry camera, bits and pieces). The thing that tipped it for me was: Vast experience of Sony cameras, since 2012. Venice colour science on FS5 II is amazing! This bypassed me til now. Solid Gimbal AF. Low light. Much better full frame stills ability. Slog workflow (I love Slog). E-mount is hugely flexible. FS5 II can fit on DJI Ronin S and my Edelkrone Motion kit for the odd special shot (should i actually buy it, hmmm). HFR does not crop. 4k 120fps. Variable ND filter on FS5 II. Can get FS5II for a sweet £3.5k.

Well so far, this is how the race is going: 1. Panasonic EVA1 + GH5's. 2. FS5 mk II + (A7S-III) + A7 3. Kinefinity Terra 4k + not sure. 4. RED Monstro + RED Gemini + Arri Alexa Mini + Varicam 35 + Sony Venice + GoPro. 5. Cinemartin Fran + dishwasher.