hmcindie

I shot it all in 4k with a 10-18mm ef-s lens. Clog internal, just a quick little toning nothing specific.

5D Raw is still my favorite. Dont really care for resolution that much. My movie collection is also starting to fill up with old vhs films and those b movies from the eighties still look "great" 🙂

Decided to film action training with the Canon EOS R. People like to complain about the RS but it's still usable in highspeed stuff.
 

Doesn't the 1DC have less RS in 1080p S35 mode than the C100? 1DC has more in 4k mode but 1080p S35 should have twice less than the 4k.

I love how the URSA 12k is released and everyone gets mad because "who asked for this?" and "12k is overkill when all you will ever need is 4k". So Sony releases the A7siii. It only shoots 4K, it fixes the major issues that plagued it's camera, invested in better, not more pixels. Practically eliminates rolling shutter, adds 10 bit h.265 as well as 16 bit raw output and can shoot in full resolution up to 120p and SOMEHOW everyone is saying "this isn't enough" or "I was expecting more". 

You aren't filmmakers, you're hobbyists!

❤️
This looks like an AAA production, really.
Great acting, gorgeous VFX. I liked the story, too.
 
Thanks for showing us the BTS - it must've been a lot of fun!

This is great! All around top notch. Great locations, clear sound, really quite enjoyable to watch. I love the prosthetics and the effects were very well done.
My biggest critique would be that the knife cutting off the head is not convincing. If you can't get a better shot or make it in post, just cut away before you see it, or give a reaction shot instead.
Stylistically, I would prefer deeper DoF and a little more lingering on the scenery. You've got such great locations, but I feel like it was either out of focus or the camera skipped by too quickly.

Wow, so I've finally caught up with the latest season. The show has completely lost its edge. The latest episode felt like a Marvel movie spin off written by first year film and art students. I remember the first 3 seasons as being mesmerizing, engaging television. You cared about the characters and kinda dreaded watching the next episode for fear of what could happen. The intrigue and the suspense was soooo soo good.
We started to see the problem in season 7 but season 8 is complete garbage. They took an extra year to write this trash? This should be a text book example of how not to do a critically acclaimed book adaptation before the book series is done. After they left the pages of the books behind the show has plummeted in imagination and view experience.
Season 8 gets a 5/10 from me and EP4 a 2/10 Lazy television award. Who was the night king again? Ah who cares. We only spent the last 7 SEASONS building a story about his looming threat and then...LOL!
The details make this story special and engaging. Not just the marvel action scenes.

Magic lantern is making a lot of progress with 3K+ on the 5D mark 2!
Seems what happened with the 5 year old mark III in 2017 is now happening with the 10 year old mark II...
3K announcement: https://www.magiclantern.fm/forum/index.php?topic=19336.msg205638#msg205638
Initial 4K progress (10.5 frames per second): https://www.magiclantern.fm/forum/index.php?topic=19336.msg208417#msg208417
Initial 5K progress (6.5 frames per second): https://www.magiclantern.fm/forum/index.php?topic=19336.msg208355#msg208355
The 5D mark II has always been limited to 30fps, but there is also some progress in getting higher framerates:  https://twitter.com/autoexec_bin/status/1048804509827452928
The forum user reddeercity has some builds on that thread.
I am super excited about this, even spent 100 pound on a new motherboard to fix my camera.
Video I made using the 3K build:
Shot in 2880x1080 resolution, Graded + converted to ProRes using MLV App (https://github.com/ilia3101/MLV-App), edited in Pitivi on linuX.
Lenses: Jupiter 9, Helios 44, Takumar 135mm, cosina 19-35 (for one shot)
If anyone wants an MLV or DNG or something from the video I can provide.

Wow. Thanks for those kind words. I’m the director/writer/VFX-supervisor & a member of Crazy Pictures which means that I’m kind of involvd in most things regarding this project. We worked qite hard to achive a high production value with the small budget we had, so it feel GREAT to hear that you enjoyed the result. 
(extra fun to hear about your girlfriends reaction!)
If there’s anything you wonder about the production, the process or some technical details, feel free to ask.  

Can't believe how much money those chancers must be making conning film makers for these festivals.
So, I'm off to buy a projector, some garden chairs and a domain name and I'll be soon inviting entries for the Society of Cinematic Arts and Media Festival

Looking back I owe everyone a big thank-you for using the forum and taking an interest in the blog, it is amazing what it has turned into with so little effort on my part  I think this place must be the only website on the entire internet without adverts. Long may it continue like that.
Got a GX9 arriving tomorrow... about time I did a review of something cheap with the big shift to high-end stuff. Let me know what you'd like to see in the review of it.

In addition to my previous post, a good way to think about efficiency is that it's like a relay race where the baton is passed from person to person.  The largest issue in productivity is when the baton either isn't passed properly "I thought you had it...  I didn't realise you were waiting for me..." or the person who is meant to take it isn't ready yet.
Obviously there are situations where it's not a straight pass between people/departments, the easiest example of that is "ready on set" where everyone has to be ready for a take, however you will find that there is only one critical path / sequence of activities that starts when the director says "cut" and takes longer than everything else that needs to be done between takes or setups.
Having an AD / Director that understands the sequences of what is happening, the dependencies between them, and then continually monitors everyone on set to ensure the baton gets passed cleanly and there are no delays is how you get efficient.
The "appearance" of what people are doing on set can be important too, if the client is there, but don't confuse that with efficiency.
If you can, educate the client so that they can see that the baton is being passed efficiently around, but if not then manage things however you must, but be clear that managing a client who cannot see if a set is efficient or not is something that doesn't effect the final work, and what effects the work won't be visible to the client.

A rant. I mostly shoot on DSLRs for my work. Got a big yesterday with a Sony FS7, big ass tripod, monitor, the works. Ohhhh fancy stuff by my standards!
But here's the thing. It drove me nuts. Moving, positioning, getting shots was so damned cumbersome. Shot some Broll of a guy on a sailboat.
I garauntee I could've gotten way more and frankly, way better and more interesting content with my trusty GH4 and gimbal. Blah blah specs, I don't care. Footage would've been nicer and more interesting to 100%  of audiences.
I know there'll be some "back in my day, cameras weighed 1000lbs" folks who will scoff, but you know what? Fuck large camera systems. Fuck them. 

I shoot a big variety of things but I tend to most enjoy doing dark stuff. I think this is, while not necessarily my favourite work due to the issues we had in the production, the most visually accomplished;
 
And on the flipside, this one was shot in one day, had a ton of fun and I'm extremely happy with it, even though it's not technically as accomplished:
 
 
Both are NSFW and contain violence.

Nice. Maybe add a little more sharpening?

Just hung this up in the living room.   A 4k Hdr tv that looks like a picture/art frame on the wall. It displays an image  as long as motion is detected and adjusts its brighness to the ambient light.   Extremely believable and love this feature.   The reason I mention it here is the 4k hdr.   Horrible.   I come from a panny plasma and a 65" 4k hdr lg oled.  I assumed a 4k hdr panel from samsung would look somewhat respectable.  Nope.   Turned off all the typical motion, sharpening,  contrast,  etc...  Still horrible. Oversharpened with terrible motion. If this is the type of image folks are used to viewing,  no wonder no can ever agree on what cameras look good. Drastic difference in the look of shows I know and you tube camera tests.  Shocking a $1400 panel can look this bad in comparison.  

Film looks good! nice shot.
I'd encourage you to take another look at the D850 and shoot it with the Flat profile designed for video. Add a simple gamma curve adjustment to that in post and you can leave the colour as it is - it's perfect.
Amazingly detailed, thick files, high-ish bitrate but nice balance between file size and image quality, super colour, easy to grade, Super 35mm mode is MEGA detailed oversampled stuff and full frame looks better than I ever thought possible from 46MP. It is superbly impressive. Peaking, good audio options, high internal mic quality, plenty of manual controls, great high ISO, flippy screen, huge choice of lenses, great auto white balance and more. Definitely more a stills powerhouse than a video-orientated camera like A7S or GH5 but the image in both modes delivers like hell, believe me.

Check your bitrate privilege.

I shot another video with the GH5 and SLR Magic 50mm 2x anamorphic prime. Calling it Chicago II. Here is one frame that is my favorite.
 

full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy.
the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.

I don't understand why the OP considers an FS5, an A7sII, an 6300 and an RX100 a match made in heaven. I haven't great experience with Sony cameras, but most of the times we are trying to mix and match different Sony cameras it is quite challenging. Even their APS-C cameras seem to have different color science.
A s35 camera, a full frame one, an APS-C one and a 1" one. A couple of different mounts and a compact.
It seems to me that Canon has more reliable and similar -to different products - color science than Sony. Sony will try to evolve their color science, so most of their future cameras will be different, as they aren't there yet.
C200 and C200B, I am wondering what the "B" stands for. Could it be "B" cam?

I hear you. However, the Sony FS5 costs $4750. The Sony A7sII costs $2600. Total for both: $7350. Those cameras are simply not in the same price bracket as the $7500 C200 (and that price doesn't include CFast cards for shooting raw). There's presumably a big quality difference between shooting on the FS5 at 4K 8-bit 4:2:0 and shooting on the C200 at 4K 12-bit raw. And if you're not going to shoot raw on the C200 because CFast cards are expensive, then why get it in the first place?
Then there's the A7sII, which will require lots of rigging and peripherals (and different batteries than the FS5) to turn it into a usable video camera, and even then you can only shoot with it for a while before it overheats. That may be fine for some types of shoots, but when I'm on a job I need the camera to run 100% for the entire event non-stop.
I'm all for people getting whatever cameras help them achieve their goals. If an FS5 and an A7SII works for your type of shooting, then great! I just think that picking a C200 as the A-cam means you've jumped into a much higher price bracket, and the B-cam is also going to have to be more expensive (unless you don't care about the difference in image quality and usability).  A C200 + a C200B (with monitor) = approx. $14,000. That seems entirely reasonable for that level of camera. If you really want to go low, get a 5Dmk4 for $3300 as the B-cam, but then you're once again dealing with all the hassles of a camera that wasn't designed primarily for shooting video. Again, if it works for you, then go for it. But the C200 + 5Dmk4 = almost $11,000. At that point, you're probably better off spending a bit more money and getting the C200B + monitor as a B-cam and then you have two full-fledged video cameras that use the same accessories, batteries and peripherals, and none of the compromises of shooting on DSLRs.
Exactly. Use whatever you can afford and deliver the content your client wants.
The B-camera has absolutely nothing to do with cost. It has everything to do with shooting an alternate angle or B-roll while the A-cam is shooting the principal action.
You can use whatever camera you want as a B-camera. It doesn't have to be less expensive than the A-cam. Right now, I shoot theatrical events with two C100 cameras. One is labeled A and the other one B. I get footage from both that match each other seamlessly and use all the same accessories. That's the ideal scenario. If you don't have the budget for two of the same camera, that doesn't mean the camera company did something wrong. It just means that camera is out of your budget. I'd love to shoot everything on two Panavision Millenium DXLs with Primo Artiste anamorphic lenses, but they're not in my budget, so I don't use them. Saying that Canon hasn't made a B-camera for the C200 makes no sense, especially because they did make it. It's called the C200B. If you can't afford it, that's perfectly fine. There are other cameras that are less expensive that would fit in your budget. Use those.

Finally got a chance to fool around with my secondhand 5D mkIII. I also recently (last night, actually) modded a set of Contax-Zeiss lenses with fixed 2x oval apertures. These were shot with a 28mm.


oval bokeh and a full frame sensor is a great combo for faux anamorphic. not only do you get the unique defocus characteristics from the oval aperture, but full frame gives you the increased field of view you'd expect from using a real anamorphic lens. 

Time to bring out the Salmiakki.