andy lee

Day 3 of massive spam attacks .....I've just banned 6 spam accounts that filled the forum with 100s of posts today . Andrew we need to alter the new members procedure as all these spammers are joining then instantly bot posting spam .

just banned another spammer - I think these might be from a bot as they are now everyday posting the same stuff ....We had this about 3 years ago a similar thing .

and 5 mins later - just banned another one ! we are under spam attack this week !

I have deleted and blocked 4 spammers in the last 2 days ! They do seem to be trying it on !

I'm sure they will , the Arri became industry standard due to the look , work flow and ease of use , with Codex Vault you are a great work flow from set to edit , so a 2.5 K camera with less resolution than some of the cameras here on this forum produced cinematic images in the right cinematographers hands , so resolution and 4k are not essential , its the lenses lighting composition and story ...is it entertaining ! That makes it cinematic . anyone on this forum can produce wonderful cinematic images with a bit of care and thought

Nick Driftwood has built a 360 rig from 6 x gx7 and another rig from 6 x gh4s , making a 12k stitched image , I was talking with him last week about this , checkout his site dirftwood 360 , you dont need 4k cameras as you can stitch 6 x 1080p cameras

Yes jcs lens choose is essential for a cinematic look, most movies are shot digital now unless you are Christopher Nolan or Tarentino , the fact that all these films shot digital look cinematic shows its the cinematographers craft not the camera , also note the Arri Alexa is not a 4k camera yet its become the industry standard over the past 5 years , delivery and acquisition over the past year has altered for platforms like Netflix who now require 4k acquisition and work flow ,so some of these shows are now shot on RED Epic Dragon and Weapon cameras giving RED a new share of the market share from the Arri 

6 hours ago, Matt Kieley said:

This is exactly what I've been feeling. Thank you, Andy. And welcome back? I feel like I haven't seen you post in a while.

 

Im back

 

 

Been busy working on another feature film .

 

 

 

For me its all about the lenses and the lighting , lens focal length choose for the scene and also they type of lenses you use gives the cinematic look I run 24p and as flat a color profile as I can , but the camera is not making it cinematic it's the lenses - using selective focus and depth of field to draw your eyes to the subject in the fame is standard cinematic style film making , just get any 4 back issues of American Cinematographer from the past five years read them and you will see a pattern emerging of lens choice and lighting that define the cinematic look and you will see its the  cinematographers craft that make it cinematic not the camera .

All my Pannys are permanently rigged up and the front shutter release button just works for me.... from the GH2 way back I always did this .

I always just use the shutter release button on the front , never the small red video button

You may like to see these pics of the new Fujinon 50-135mm Cabrio in E Mount - yes E mount !! - WHY OH WHY  !!!!

This lens is causing quite a stir since it was announced , Fujinons legendary Cabrio quality in an affordable lens - Mathew Ducclos is going to mod it and hack an inch off the back and add a Canon mount - now that is interesting now its usable by the masses !

I did speak with Tadashi Sasaki of Fujinon who said they MAY offer this lens in Micro 4/3 as it is possible to make without a huge retool - Now this lens with a GH5 would be a killer indie feature film makers dream !

Also the SLR Magic 8mm was at the show on the Holden stand on a GH5 - see pics ....approx £300 - available now

internal 8 bit 420 like the g7 , external via hdmi out 422 8 bit

personalview.com has a thread on this camera too

3 hours ago, Inazuma said:

When/how did you become a Panasonic ambassador? And can you confirm its internal recording specs?

I shot a feature film with 6 Panasonic G7s earlier this year , Panasonic UK supported the movie and provided the cameras and asked me to become an Panasonic Ambassador as they like my work as a DP / cinematographer , and asked me to tec meetings with the Japanese Engineers for Cameras and Lenses etc I'm not alowed to talk about this at all ...yet , The G80 is 422 external for sure via HDMI out  , I will have one to test for a week in 10 days time so watch this space.

this camera is superb , I've had to keep off the forum for a few months as a Panasonic Ambassador as I was not alowed to talk about it , But I tried the G80 3 months ago and was very very impressed especially with the Image stabalisation ! rolling shutter is also massivlly better its a huge leap forward and improvement , I'm shooting my whole next feature film with 6 of these new G80s they are that good .  buy it!!

Ebrahim Saadawi contact James and make a payment , its beyond time now.

a nikon 35mm lens will blow this away , get the Nikon

James Drum has messaged me saying the following :

JamesDrum 14

Just keeping you informed...again. 

It is officially past the deadline that I gave Ebrahim Saawadi for repayment, and I was not paid at all. He hasn't responded to my emails in the last two weeks and I can't imagine he would again. 

So it is very disapointing Ebrahim Saawadi has not kept to his word and even responded to James emails let alone trying to repay him in full.

I have 4 Canon EF to m4/3 Metbones XLs and they are the ones I use the most to adapt other lenses to , EF mount is the most versatile mount to use .

same thing the Asian G7s or Japanese have no recording limit , Vitaliy at Personal View.com sells them via dealer in Hong Kong

http://www.personal-view.com/deals/cameras/panasonic

Yes I would sell them all and get 3 x G7s , its a great camera

 buy  a Hong Kong G7 they have no limit on them , I have 2 they work great

I use manfrotto RC2 style off ebay on my rigs for that reason I can leave the matte box on the lens and just take the rear of the camera upwards to change battery fast and easily , no sliding plates needed

https://www.calphoto.co.uk/product/Manfrotto-RC2-Compact-Rapid-Connect-Adapter-with-3157N-Plate/MN323?gclid=CjwKEAjw26C9BRCOrKeYgJH17kcSJACb-HNAH8-4ixdml7XQ

its a totally different camera to the GH4 which is why I chose it to shoot the movie on - its a totally different sensor in the G7 , alot cleaner in low light and very usable at 800 iso

1 hour ago, bunk said:

There are a lot of macroblocks, both in top and to a lesser degree in the middle picture. How are you going to hide them or are they just not visible enough.

all the footage I shot for the movie is owned by the film production company , they have released some low res saved for web images to me so I can share them on EOSHD . Film companies dont relase any hi res stuff until after the film is released  ,

So look at the lighting grade composition low light levels etc etc but remember these are lo res saved for web pictures you are seeing not UHD 4K uncompressed frame grabs. there is no micoblocking on the actual footage I shot .

1 hour ago, sanveer said:

What ISO has this been shot at? 

 

 I shot most of the movie at 800 iso f2.5 I lit the sets for that stop and ISO , I did shoot some scenes at 640 and 400 maybe 20% of the movie but most was at 800 iso

the G7 is very clean and usable at 800iso       PS the entire film is shot at night there are no daylight scenes in the movie

Panasonic G7 superb in low light