matthere

1. What makes you(tuber) think that I'm interesting to look at your face most of the time? If your video is about Something, make it to be about that Something, not about your narcissistic persona.
2. "Do not saw the air too much with your hand thus, but use all gently, for in the very torrent, tempest, and (as I may say) whirlwind of passion, you must acquire and beget a temperance that may give it smoothness." Shakespeare, Hamlet, Act III, Scene 2, 1603 AD. - So, tie your hands behind your back until you get used to not sawing the air.
3. If you must have some kind of opening, make it short. And do not let me wait for 30-60-90 seconds for actual start, go for It as soon as possible.
4. Also, do not put loud soundtrack that drums or screams into my ears. I'm not interested in your "musical" taste, nor I came to watch you video for that. Be polite. (And try not to use loud soundtrack in background that interferes with your voice and words.) Be articulate.
5. Do not bother me by asking to like or subscibe to your video)s). If they are interesting to me, then I'll do it.
6. Rehearse or make a plan beforehand, practice, that will make you more "pro" than any other gimmick.
7. Try to be economic with time. Do not waste yours, nor mine. Be short, precise and (and at least try to be) intelligent. Do not repeat yourself.
8. Find someone who would be critical but fair about your videos, and show them to him or to her, then listen. Four eyes could see more than two. Especially if you are trying to be innovative.
9. Don't just give to me your precious opinions. Give me the reasons why you think so-and-so, and then I'd accept your opinions (or I won't).
10. Go to the good museums, read clever books, watch classic movies. Your personal culture always needs improving.

Nice! What about focus control with an external rotary encoder with a clamp to be used with 15mm rods/handles/gimbals? ?

Braw 3:1 holds up well on this guy's comparison..
 
 

They do differ in favour of the Arri for sure, but my thoughts in posting were that the differences are smaller than I imagined they would be, considering the saving.

@anonimYou have the most valuable opinion when selecting what you need for your own images ?

I didn’t watch the short since I am in a rush to an appt. I’ll check it out later…
But responding to the initial question, Imo, if you don’t have a particular story to tell (you do, but maybe your natural medium isn’t a screenplay), have a particular way of telling a story:
•Watch Spielberg films and focus on how his camera placement and camera motion correspond to how characters feel. What is the emotional center of the scene? Where is the camera in relation to it? (Consider focal length: a CU isn't just a CU–it could be shot with a wide lens right in someone’s face or a telephoto lens from across the street.) How does emotion relate to what characters want? We get emotional about our needs... Focus on emotion and how Spielberg draws you into moments of wonder and drama, but provides distance on moments of tragedy or comedy through blocking and camera placement. Notice how he integrates the gags (whether CGI or practical) into the medium shot, but doesn’t rely too heavily on POV shots. He keeps you close to the characters, without making you "one" of them. He's very transparent and classical. He puts you in the world with his characters without directly putting you in their eyes. Watch how Saving Private Ryan’s opening puts you into the battle even before there’s a particular soldier with whom you’re aligned. What he’s doing is complex and subtle, and probably mostly intuitive. He uses POV shots, he just uses them differently from Hitchcock. So just do what feels right!
•Watch Hitchcock films and focus on how his camera placement corresponds to what characters see.
(Consider range of narration and plot vs story–what characters get the most POV shots and when do you know more or less than a character. The “master of suspense” is often aligning you closely with the protagonist to make you sympathetic… then giving you a more omniscient range of narration from time to time to create suspense. Read the “bomb under the table” quote about suspense vs surprise.)
•Watch Fincher films and focus on how his camera placement corresponds to what characters know. Who is the protagonist of the story? Who is moving the story forward at any given time? Who knows the most information at any given time? What’s in the box? And why do we find out at the same time as Brad Pitt (instead of Fincher choosing suspense and telling us before hand)? Why does he choose surprise here? To me, the Fincher protagonist is whoever knows the most at any given time. I feel like Gone Girl and Seven change protagonists halfway through… or repeatedly... in that sense. I think Dan Harmon and David Fincher both like to focus on the smartest person in the room. No surprise, those guys are really smart lol.
•Watch how Peter Jackson shoves the camera right up the face–generally with a wide angle lens–of whatever is scariest or grossest in a given scene. Why does he shock you and gross you out so well?
•Watch how David Lynch taps into subconscious patterns, frequencies, loops, in story, visuals, and sound design. How does he get into your subconscious so well? His films, to me, are more similar to music and painting. More abstract. Read his “eye of the duck” quote and consider how he structures each scene around a particular detail, each movie around a particular scene, etc. etc. I think with him it’s very intuitive and abstract, but there is a repeatable process nonetheless. I just don’t think it works if you try too hard to emulate it and think about it. Doesn’t mean it isn’t worth thinking about at all... but if studying this stuff doesn't interest you, probably don't bother.
Just think: “let me show you something.” What do you show and how? To whom? How do you see the world that’s different from how other people see the world? Who are those other people you want to share your vision with? Why? Try to meet them half way and show them in a way that’s personal to you, but accessible to them. That’s you see the world uniquely. That’s your voice. It’s your personality. Ultimately, part of this is a popularity contest. But you can choose your clique… and how true to be to yourself...
Or if you know the story you want to tell, simply tell it, and the rest will evolve naturally. I suspect none of the people I mentioned above are laboring over the choices I mentioned. They’re simply acting intuitively, true to themselves. Be yourself, but be cognizant of your audience. Make them want to spend time with you, or show them something no one else can. I love Tim and Eric and Lars von Trier. Those guys aren’t making palatable content. But that’s the point. They’re agitators. If you're an agitator, agitate.
I remember you mentioned before that your strength was visuals. That you were doing similar things to Kendy Ty? That might be even easier to get started with, but it’s a different trajectory than feature film director imo. (At first at least.) Maybe get into branded content, music videos, try to get a staff pick, etc. If your friends and you walk down the street snapping photos and yours are the most beautiful, that’s your voice and your strength right there! Translate it into videos and start posting them on Vimeo and hounding everyone you know to try to get a staff pick. Obviously connections matter, this is a social medium after all. Network. I hate networking...
There are a million different avenues–festivals, YouTube, sneaking into some director’s office, etc. No one can help provide those specifics until you provide the specifics of what you want to do. And even then we’ll get it wrong. But it’s not too different from social media–why did you put this on Instagram vs 500 px? Why did you submit to Cannes rather than Sundance?
I 100% appreciate the problems you’re struggling with. I have scripts that are too big for me to shoot on my own, and it’s hard for me to recruit enough people to produce them. But that has to be a part of the conversation, too. FIND people who like your stories. If they don’t like them, find out why–is your story bad or did you just find the wrong audience? Maybe it’s GREAT but they’re envious of it or disagree politically. Still a (potentially) bad collaborator, even if they're a good person and it's a good script. Maybe it needs work (mine do) and your friend is confused. Explain it to them until they get it, then incorporate those changes onto the page. The process of getting the film made starts with communicating your ideas to your first audience–your collaborators. The process ends with you communicating your ideas to a larger audience–your viewers. Build your audience slowly. Build your voice. Start small. And focus on the journey.
That said, I struggle with the same stuff. It’s not easy. It’s why, for more ambitious projects, I’m focusing more and more on writing. Not my strength, but if the ideas aren’t there in the script, they’re going to be harder to get across in the final thing and I'm too busy now to devote my life to making weird magnum opuses. Sometimes I wonder how David Lynch got a huge crew together to make Eraserhead. That movie apparently had next to no script and it's bizarre, but this guy was so magnetic that he got people to spend five years filming it. And the movie is amazing. I would seriously doubt he would win any popularity contests based on his films, but here he is directing my favorite tv show. (Admittedly more a cult classic.) Be true to yourself. Act in good faith and with confidence and the two will reinforce each other and grow.
Or if you cynically just want to be a director to say you’re a director, study Brett Ratner’s career. That's true to what that guy wanted. And it worked! 
And more than anything, be confident.

Well, here we are then.

The 3C app is now officially available from the Play store for Android devices.
3C enables you to remotely control and monitor the primary functions of your Blackmagic Design Pocket Cinema Camera 4K from an Android device using Bluetooth LE.

Using 3C, you have access to the following camera functionality.

Aperture
ISO
Shutter Angle
White Balance
Record
Focus & Zoom (with compatible lenses)

With 3C you can also store your own custom setting sets for exposure, focus and zoom parameters for later recall as well as automate transitions between stored focus points*.

For ease of use, 3C uses a single screen touch interface to control all of this functionality and avoid the need for you to have to activate any sub-menus to change settings.  
 

3C has a scalable user interface to enable you to remove focus and zoom controls from the screen should you not require them and wish to run the app on a small screen Android device.
In addition, 3C can also be used as an interface hub to enable control of the camera from compatible Bluetooth gamepads.
You can purchase 3C from the Play store here http://tinyurl.com/y5eyujeu
You can read the PDF user guide here User Guide For 3C v1.1 by CDA-TEK Ltd .pdf
You can use gamepads from iPega and 8Bitdo that support keyboard mode and examples of these are https://www.amazon.co.uk/dp/B00KA6OR7Q (iPega) and https://www.amazon.co.uk/dp/B017PAX036 (8Bitdo).
3C will also support wireless live viewing from the camera in a future update with additional hardware.

3k anamorphic mode on the mini!!  why not on the pocket cinema 4K? Any ideas, anyone ever asked black magic?

Blackmagic RAW for P4K released!

https://www.blackmagicdesign.com/support/readme/d258337e43844b47a0a88d554755345e

I've just shot part one of this lens comparison which is the ~70-80mm equivalent lenses for MFT.
https://app.sugarsync.com/iris/wf/D8480669_08693060_6019565
Notes:
It's a mixture of cheap/expensive and vintage/modern lenses, and my goal was to see how these lenses compared aesthetically and to choose which to keep All shots were taken with my GH5 which has a 2x crop compared to FF, so your FOV may vary, and remember that the edges distort more than the centre part which is what we're looking at This isn't designed to tell you how good each lens is, but more how good they are compared to each other - google has many great examples from each of these lenses All shots taken in RAW and converted to JPG but with no other processing so this is almost SOOC I tried to match FOV for lenses with different focal lengths, but it's an imperfect test I started with each lens wide open and then stopped-down, some lenses have more photos because they have half-stop clicks, some have full-stops, some are click-less (in which case I did full-stops) but they're not exact so some exposure differences are in there, I also noticed that exposures were often off so I'm not confident that all the clicks were accurate on all the lenses (some are vintage after all) The electronic shutter only goes up to 1s exposures, so some of the lenses didn't get tested at their smallest apertures, but diffraction just kicks in so I don't feel like we're missing much Apart from adjusting aperture (and shutter speed to compensate) everything else was manual, ISO 100, and identical WB and lighting, so colour differences are the lenses I focused each lens on the marks on the little white card in the centre and normally stopped the lens down a stop or so to help with manual focus, I've heard some lenses change focus as you adjust the aperture but I didn't allow for that so the focus might shift a little perhaps Unless noted the lenses were used without a speed booster, and the SB I used with the two Helios lenses was a cheap Chinese one from ebay.  I also shot the Helios lenses without a SB so you can compare and see if the SB is good or not. My next step is to test the 135-200mm lenses (270-400mm equivalents) which I can't test with the current setup because my room isn't long enough.  I'll add these to this same thread when they're ready.
After that I'll narrow the field down a bit and go shoot some real-world video to see how they go.
Happy to hear impressions about what you see, what you like and what you don't.

This looks great thanks @BTM_Pix 
Can anybody recommend a cheap android device with a decent screen and Bluetooth LE to use this on, thanks

If you want a bit of an insight into how relatively rare this camera still is in the wild, I doubled the amount of Pocket 4K cameras that were being used at the BVE Expo in London today when I got mine out of my bag.
I plonked it down on a table that Zeiss had left brochures on but abandoned to setup my app and immediately drew a crowd who thought I was an exhibitor.
Of course I did not disabuse any of them of this belief and promptly started demoing the living daylights out of my app.

Well, it’s been 8 months since I completed this and almost a year since I promised @mercer to post it once completed

I don’t really know what to say about this, it’s my first short and I wanted to try this medium after trying music, photography, drawing/painting and all sorts of writing in order to figure out myself and my depression.

It took me months to complete due to my mental state and lack of energy and I intended to post this sooner, but life can be a little too much sometimes. Or very often in my case.

Even though it was the hardest creative thing I’ve done in my life, (despite having a background or experience in most of the separate artforms that make up a film) I was really lost in the entire process and I developed love/hate relationship to it. I wanted to quit all the time when I wrote it, when prepping, when shooting and during the long, motivational drainage that is editing.

But I guess that’s also where the love was born. No matter all the mistakes I made, I could somehow save it and make a decent first short thanks to the editing by re-arranging the pieces I had. Throw away most of it, stretching what was left of it, slowing or speeding up some of it, playing some of it in reverse. Dubbing in new sound (needed, cause most of it was unusable. Note to self: Don’t forget sound!

I’ve tried to make another short since, but haven’t completed the shoot. I don’t know if I’ll finish that one, it’s just a silly comedy I made with my then girlfriend, now fiancée on my phone (This one was shot on the DVX200 before anyone asks, cameras are important on this forum apperantly, hehe) because she wanted me to make something less depressing, but I guess I’m just a gloomy guy, all my new ideas are based on my different malfunctions.

Hopefully I’ll work up enough energy to make another, I really want to.

Anyway, enough talking. I hope you’ll give this a go and give me some pointers, but go easy on me, okay?

Now, pick you poison:
 
https://vimeo.com/272702923
 
https://youtu.be/rsXdjH4I5YA

 

Hello everybody!
 
So, I've attended the Blackmagic Raw seminar held at CVP here in London yesterday and I thought I'd share some impressions:
Let's start with the bad news first: unfortunately there is no official release date for BRAW on the PCC4K yet.. They confirmed it is coming to the camera 100% but they want to make absolutely sure that the update is safe and won't brick the camera (which sounds like a sensible plan indeed!) ?
That been said I can't wait to have the option to use BRAW, it's such a clever and well implemented solution and i reckon it will be the best choice on the PCC4K for 90% of the occasions. What really impressed me is how good the performance is in Resolve compared to CNDG, it is entirely possile to edit BRAW on a laptop without creating optimised media and/or dropping the resolution. To drive the point home even more they worked on a grading project that was hosted on a USB 3.0 spinning drive and it worked flawlessly, i was quite shocked when I saw a clip with a speed ramp set in optical flow playing at 24fps at full quality on an entry level MBP!
Another super clever feature of BRAW is the ability to shoot with any dynamic range preset and being able to revert back to film mode afterwards, that is pretty awesome for dailies or things like that.
I also very appreciated the fact that they were totally sincere in showing us the difference in visual quality between BRAW and CDNG and, although there is a slight difference in quality with CDNG being a bit sharper, said difference is only visible in extreme magnification (pixel peeping basically) so in real life BRAW is perfectly adequate especially considering the many advantages it offers in terms of workflow. The Blackmagic guys reckoned that CDNG would be the best choice only in very specific situations where having the best quality possible is paramount (like VFX for istance).
Overall it's been a very interesting demonstration and i think BRAW will make the PCC4K even better value for money, exciting times ahead!
 

A quick rough output of the app doing zoom/focus control of the cheap and less than stellar and not in any way par focal Panasonic 14-42mm lens on a Pocket 4K.
Video shows servo zoom, snap focus between two memory points and transition between two memory points.
 

I'm not sure how much quality you would be losing with the element in that adapter but I suppose its worth a go for that price.
If it doesn't work out, the path would probably be to do the Leitax F mount conversion for them (its reversible) but if you have a few lenses then at €64 per lens the price might begin to stack up. You'd have to check compatibility as well.
http://www.leitax.com/Zeiss-Contax-lens-for-Nikon-cameras.html
Your other options then would be to get the Metabones C/Y to MFT but its only 0.71x.
Or alternatively join the EF club, which would be the lowest cost if you bought a generic one, but again you will be likely be losing some reduction unless you sprung for the Metabones XL etc.

Looks like Blackmagic Raw isn't to far away! Someone from the Blackmagic forum went to a Blackmagic camera masterclass and noticed the P4K was running firmware with Blackmagic Raw installed. 

I'm excited to share my new travel film I shot over 4 days in Yellowstone in August. This was my first video on GH5. I learned allot on this shoot. I hope you sit back and watch on a decent screen with some good sound and enjoy some CinemaScope nature bliss. Cheers.
Filmed on the Panasonic GH5. Filmed in HLG and Cine D profiles. Colored with Film Convert. Anamorphic lens used were the Baby Hypergonar 1.75x, Bolex 8/19 1.5x and 16/32 1.5x Anamorphot. The Rectilux 3FF-s variable diopter and closeup lens.
Taking lens used Pentax 300mm DA f4, MeVis 35mm f1.6, Carl Zeiss 100mm f2.8 and Pen F 38mm f1.8 with wide angle attachment in front.
 

BM Raw coming soon?

More DR, internal ProRes and external RAW would be preferably to more pixels.

BM Raw coming soon?

BM Raw coming soon?

GH5 and Iscorama pre36. The way I saw Japan in  a 9 days travel.
Thanks to webrunner 5 for his help.
 
or
https://vimeo.com/271896481

LMAO.