DPC

Cinema P3 beats Filmic Pro and the Blackmagic app hands down! It is a mystery to me why it doesn't get more publicity.

Just a small comment on the Huawei / Leica thing : I have a P20 Pro and the 40 mpx raw files can be wonderful but you need to do absolutely massive post production work to eliminate the severe vignetting and color casts from the "Leica" lens. 

Stupidly I formatted an SD card in camera and partially wrote over data I need (and, more important, that my client needs).

I have tried various data recovery applications (EaseUS, Stellar) but none has worked so far.

Is Sony in camera formatting particularly thorough in some way, making data recovery impossible or is there a tool I have overlooked that might work?

Thanks in advance!

www.leeminglutone.com/ Just follow Paul Leeming's advice.

On reflection, I can see exactly where this would be useful : when you know that a smartphone is the right tool for the job but it's hard to justify using exactly what your client and everyone else on the shoot has in their pocket. This way you can use a similar tool but differentiate yourself as a "pro" because it's Red and expensive.

5 hours ago, Django said:

Isn't that the whole point? Rig an Osmo & an app like Filmic Pro and  these latest-gen 4K phones can be used in a pro environment.. and open up new creative possibilities like the DSLR revolution did a decade ago..

 

Except that when you have rigged up the phone you loose all the advantages linked to its size. I mean, if I'm going to add a Beastgrip Pro + DOF adapter + a Canon DSLR lens, why not just use a "real" camera? 

If they get this right (and "right" for me would include ND filters, a stable pro filming app on Android, memory management that lets you easily get footage off the device) there's a huge market. Look at all the TV stations and newspapers using iPhones to make content now, for example....

9 hours ago, Django said:

Interesting. Apple France is currently promoting here a film done by academy award winning director Michel Gondry, shot entirely on a iPhone 7 Plus..

https://www.apple.com/fr/detour/

But have you seen how that iPhone was kitted out and the amount of people involved ?

Interesting post. I would have missed this otherwise. That said, on the clips I watched there are actually two C300s (or equivalent, it's hard to tell) on the interviewer and interviewee. Locked off and constantly running so nothing is missed. The whole thing could be edited with just footage from just these two and the image is very classic, very  clean. The cheaper cameras are only there, I suspect, to inject an element of spontaneity and dynamism, conveying an impression of intimacy and sincerity associated with (apparently) lower production values. It's very well done propaganda.

Does anyone know if it is possible to use a bluetooth audio transmitter plugged into the headphone socket of a camera to monitor audio via bluetooth headphones? I'm looking to have fewer cables to trip over... Thanks!

Stumbled on this -

http://www.newsshooter.com/2014/11/26/rte-video-journalist-philip-bromwell-shoots-the-news-on-his-iphone-6/

And then his Vimeo, blog, twitter... 

@BTM_Pix Thanks, useful link !

Haven't looked in here for a while. Heads up :anyone interested in this thread might do well to check out #mojocon (the conference, the facebook group, the YouTube videos and live streaming...). 

3 hours ago, silvertonesx24 said:

I just can't move to Resolve for editing until they figure out another way around database-based project management. For those with multiple systems or offices, it's a complete non-starter

That's exactly what I thought. Then I wondered if I simply hadn't understood how Resolve works. What I like a lot about FCPX is being able to just create a new library for each job and know exactly where it, and the backups are.

Obviously the RX 10 II. Unless you think you can work with one focal length.

I can find problems with Sony cameras all day long but the fact is that I've been working exclusively with an A7R II, RX10 II and RX 100 IV for the last 18 months and still got the job(s) done. It's just that I wouldn't trust any of them (especially the RX 100 IV) to survive very long in Guyana (for example).

2 hours ago, GroundtruthGeo said:

Roger that. Follow-up question. f2.8 seems slow to me... coming from a Panasonic with a f1.7 at the wide end. Am I missing something? How are these cameras in low light, and shallow DOF?

These are one inch sensor cameras. DOF and low light performance are determined by this. My experience would rate Panasonic higher than Sony for reliability and value for money. If I were you, I would think hard about sticking to a kitted-out iPhone (gimbal, Filmic Pro / Mavis, additional lenses).

I have both the RX10 II and the R100 IV. The RX10 II is far more solid and the extra zoom range is useful. Also you can record for longer in 4K. I think the manual focus implementation on the RX10 II is better than the RX100 IV. You can add the Sony XLR adaptor to the hot shoe of the RX10 II. The RX10 II will be more robust than the RX100 IV but I don't think I would trust either of them for long in an extreme environment. Unless you need the extra zoom range, the constant aperture of the RX10 II vs the RX10 III is an advantage.

This thread, from the top. Nobody seemed particularly interested. You are right to be.

On 15/02/2017 at 0:22 PM, streetstreet said:

 

I actually have the smaller Crane M for my RX100 V, took it on a 2-week trip to Japan just last month, and while I loved the results I got, it was a huge PITA to travel with.

 

Could you say some more about why this was a "huge PITA" ? I was thinking about getting a gimbal for my RX100 IV as an alternative to an Osmo + ( to have a larger sensor for shooting in low light). Thanks !

1 hour ago, liork said:

From the video description in Vimeo:

"Handheld shots, Olympus E-M1 II
Static wide-angle shot, Sony A7S II"

Point taken. Should have been more attentive. Trying to do too much at the same time. Neither looks particularly good... 

1 hour ago, sgreszcz said:

Offtopic but any tips on how to manage audio with slowing down and playing with the speed of 50fps video?

Separate audio and video tracks

I'm not sure the video supports the writing here. There's not much movement to show the virtues of the in camera stabilisation. It'a a long low wide shot with a few cutaways inserted. There is a colour difference between camera angles (magenta vs green). At times the focus is significantly off. I don't see the image quality described at all.  Sorry.

You can't compare MFT with APS-C or FF without factoring in the depth of field difference between the sensor sizes. MFT needs 2 stops less light to achieve the same DOF as FF. So a strict ISO to ISO comparison isn't very useful. 

Also, if your footage is interesting enough, nobody will look at noise or noise reduction.

And who needs high ISOs ? Me, regularly, shooting for clients who work on the basis that if they can see it, I should be able to record it.

That's great! This is a trailer for something not yet made, right? What I particularly liked was being pulled into the story and no longer looking at the colours. Very unusual for EOSHD ;-)

If you want a job done, do it yourself... Here's more although I'm very reluctant to encourage watching anything where the presenters say "Ignite",  "Here's what happened" or "Sneak peek". And then there's the absurdity of starting a video by asking "What's up guys?" when you'll never get a reply. But everyone seems to do that :