Matt Kieley

That’s the main reason I want the VA; the manageable files sizes and editing of braw. It’s so smooth in premiere on my MacBook Air M1. Reminds me of working with R3D a bit.

So I've been using a bmpcc 4k for nearly 4 months now, and while I love the image from it, the braw codec, and the UI, it definitely has some limitations as a camera with a 5 year old sensor and lacks things I've missed from the GH5 and G9 like IBIS and the ergonomics (I'm not a fan of the P4K body/ergonomics). With the new S5 cameras being released, the used prices of the original have already gone down to tempting prices, so I've been thinking about getting the original S5 and using it with the BM Video Assist 12G. I figured that could be sort of the best of both worlds between mirrorless and cameras the p4k: ibis, braw, prores, bm touch screen UI, less processed/sharpened looking image, an XLR audio interface, options to use SSDs or SD cards, high quality monitor, false color. I was actually thinking maybe the Video Assist would be a worthy investment because I can always use it with different cameras if I decide to switch to something else later. It's almost like a cine cam brain but without being limited to one sensor or lens mount, you can basically use any camera (though not all offer raw, you could still record prores). It turns the S5 into a FF 6K braw cine camera/audio interface it ibis for around $2K. The only tradeoff is rigging and powering a separate device. I was hoping to hear of the user experience from anyone who has used this setup, or if there are caveats I'n not aware of, etc.

It depends on your project/needs, and if you already own any of the cameras mentioned. As someone who has owned the original Pocket, Micro, and currently the P4K, I would take the P4K with the 2.6K Super 16 crop over the original Pocket and Micro. You get color, dynamic range and image quality every bit as good as the older cameras (people like to wax poetic about the old sensors but any of these cameras can be treated in post to match seamlessly), plus you're gaining a dual native iso/better lowlight performance, better rolling shutter performance, more compression options (up to 12:1), better UI (the touch screen and physical buttons for ISO, WB, etc is a godsend compared to the fiddly little buttons and menu of the Micro), more media options (I can shoot up to 8:1 on a Sandisk extreme Pro sd card, plus there's cfast and SSD), frame rates up to 120fps, no moire/no need for the rawlite filter, and the braw codec is very edit friendly. The only thing you'd lose is ProRes. You can only shoot Braw with the s16mm crop. All that said, if you already have the Micro and it's your only camera, shoot with what you have. It still produces a great image and is a perfectly usable camera, even if it is a bit fiddly. I'm actually planning on using it as a first person POV camera on a helmet for a project I'm working on.

Trying a low light shoot with Ilford Delta 3200, 35mm, all available light:

Testing my Canon AE-1 + Canon FD 28mm f2. Fujifilm Superia X-Tra 400, 35mm:

Another recent shoot on Kodak Potra 400 in 120 format: Focusing on the ground glass of my Yaschica Rookie can be difficult so I missed focus a few times. Oh well...

I reunited with the model from my Demonic Housewife shoot to do this retro pinup style shoot. Shot on Kodak Portra 400 in 120 format.

I got my 6D today and tested stills, video, and even ML raw a bit. The video is the typical mushy Canon 1080p, and the only continuous shooting for ML raw adds a 1.42 crop, nearly the same crop factor of the P4K with a .71 focal reducer with a much a worse workflow, so I won't be using that. But the stills are very nice and I'm excited to go out and shoot more. As much as I'n enjoying shooting film again, the cost can add up, so I don't want to go out and shoot casually much. So any camera that makes me want to shoot is always good. Here's a little self portrait I shot on the 6D: Color version: And my heavy-handed attempt at an expired film/cross-processed look:

thanks!

Just a casual little 120 shoot with my Yashica Rookie and Ilford Delta 400. I've really fallen in love with the 6x6 square format. Nailing focus at f3.5 with this camera is hard sometimes. I still kind alike the photo anyway. FRaming with the ground glass is something I'm still getting used to. It bugs me that the guy's knee snd toe are framed out but otherwise I like the photo.

I decided to keep my P4K for video but get a cheap old DSLR for stills (and maybe to toy around with video). I just purchased a "heavily used" Canon 6D with 64k shutter count from mpb for $214. I was gifted $200 for Christmas so I figured "why not?"

Thanks. I've been leaning more toward the Fuji XT3 and will probably get that. Based on other peoples' examples it seems to have a more pleasing image quality, to me, for stills and video.

Good ol' Kodak TriX 400 35mm. I learned to shoot/process/print film on this stock. There was no additional lighting or bounce, all available light.

CineStill 800T 35mm:

Finally tested out my Yashica Rookie TLR medium format camera and I'm in love. Shot on CineStill 800T 120:

Did a few shoots recently. Kodak Extachrome E100 35mm:

Many times I've considered the original A7S or the Fuji XT3, and since I've gotten back into still photography, I'm thinking about them again for stills/video.

I actually recorded a ton of ADR for it, and I dumped it. Ive always loathed it ever since I made my first feature film, which also has a lot of ADR. You lose so much of the performance with ADR. I don't like bad location sound, but I'll take that over ADR. It's really more like prioritizing performance over technical perfection. I've been thinking for some time about remastering the soundtrack of my feature to include the original location sound. I've had much better success just doing the sound myself, even if it is kinda difficult juggling many tasks. Here's a short where I had zero help besides two actors (who are both in Chicken): There's even an exterior tracking dialog scene where I was having to hand hold the blimp below frame. I would use lavs for a scene/shot like that now, but I didn't have a wireless system at the time. There's one little audio goof that bothers me a bit, but I again had chosen the best performance take over the best sound take.

Better sound. It was a no-budget movie and while we had good equipment, we didn't have people who knew what they were doing. I don't fault them for messed up sound since they are just friends we handed the gear off to. I've been paid to do sound on other people's projects so I know what I'm doing there, but I was focused on directing and shooting. The best sound was from the times where I just put the mic on a stand and monitored the audio myself. I should have just done that the entire time. Script-wise there were things I wish I had kept in the script, but what's int he final film isn't bad. The original ending was more climactic and scary I think. There are a lot of little things that annoy me, like some of the sign replacement VFX shots, but they were done for free, so I can't complain too much, and it's better than what I could have done myself.

I finally finished and released this film yesterday. 5 years late is better than never, right? I was dissatisfied with it for a while, and there's a lot I would still change, but I've come to appreciate it. Now. So here it is, at last: The film has been given a makeover with FilmConvert Nitrate. I'm pretty shocked at how good this a6300 short looks and how much I could recover from overexposed shots. There are only a couple of shots with sorta mushy compression.

I just got back into film photography. Last month I did an Evil Dead inspired horror photo shoot. This is the first time I've done a conceptual photo shoot with a model. I resurrected my old 35mm Canon Rebel and bought a couple of lenses. This is shot with the Canon 28mm 1.8 (all wide open) on 35mm with Kodak Portra 800. I have some more horror themed photo shoots set up, and some pinup style shoots as well. I also recently got a Yashica Rookie TLR camera and some 120 film.

One of my favorite filmmakers is John Carpenter, so I watch a lot of his films during the month of October, and of course watch the first 3 Halloween films on Halloween night (the original Halloween is one of the films that made me want to be a filmmaker). My "costume" this year is actually the Silver Shamrock Jack O Lantern mask from Halloween III Season of the Witch. I also like watching classic Simpsons Treehouse of Horror episodes, and anthology films like the original Creepshow and Trick R Treat. The Evil Dead trilogy is always rewatched around this time as well.

The test videos from the still-unreleased Octopus Cinema Camera looked very natural and organic to me. Who knows if it'll ever materialize though.

I decided to play around with ML raw on the EOS M again, and test out my Angeniuex 8-64mm 1.9 Super 8 zoom lens.

I didn't use resolve except to convert some old cineform AVI files to prores for editing in Premiere. The blooming is from the lens I used, I believe it was a (correction) Canon FD 50mm f1.4 (the old chrome ring version) with an Optivision XW 5000 Anamorphic lens. Or maybe a Bushnell 35mm f.2.8 It probably wouldn't be as blown out if I actually had a bright light or at least a bounce on the subject, but it's just the natural light and nothing else.