Jonesy Jones

Hey Jonesy, I'm a Linux user primarily. Since the death of IRIX, most post production and vfx software that used to run on SG workstations has long since been ported over.
commercial post software includes:
Maya, Houdini, Flame, Lustre, Nuke, Shake, PF* apps, MochaPro, Mari, Mudbox, Arnold, Renderman, Lightworks
useful free software:
Gimp, inkscape, ffmpeg, mplayer, mencoder, dvdauthor (for screeners), VLC, OpenColorIO, and tons of vfx utility apps, see a list here: http://opensource.mikrosimage.eu/index.html
free communication and f-off related:
LibreOffice, Steam, Pidgin, Thunderbird, Chrome, Banshee, Rhythmbox, Spotify, Renoise, Bacula (for project/footage backups)
and of course more programming tools than you could list, I prefer to use GNU/Linux emacs. 
Still need a dual boot option though for certain things like taxes, incoming photoshop files, certain games, commercial audio like Ableton and Max.. listening to my old DRM files (thanks Apple).

Price is one thing.  But I think some people are attracted to the idea of not being chained by the corporate monopolies of Apple or Microsoft.  The idea of never ending rent for  adobe products grinds with me as well.  But as you say, It seems as if we don't have all the same options available with linux, which is why most of us stick with Windows or Os X.  Though I am very interested to hear about any potential alternatives.

Super simple.  4pm-ish sunlight key  through a silk umbrella.  No fill.

Looks nice. But no 4K is a deal breaker for me. The NLE options in Resolve 12 (free) are looking very promising.
 
 

Dear EOSHD community,
I am an independent french graphic designer and I regularly work in photo and video.
Over the years, I created a collection of 3D LUT files to ease the color grading of my projects.
Recently I created a pack with my 38 original LUTs.
They are profiled on high-resolution color matrix and were built to preserve skin tones as best as possible.
I had the chance to work with many different cameras and I spent a lot of time creating these looks and testing on raw footages, from 5DMKII and 7D with Magic Lantern, GH4, A7S, BMPC 4K, and stills from RED EPIC.
About HDSLR, these LUTs are calibrated on CineStyle/Cinelike profiles.
Also in my pack is included a LUT to properly « flat » a footage and get a good working basis before grading.
Website for more infos : http://luts.iwltbap.com
Instagram with short video samples : https://instagram.com/luts
At the end of this post you will find some sample images before-after.
My LUTs pack is for sale $20, but I created a discount code of -25% for EOSHD community.
So you can get it for $15 instead of $20 via : https://sellfy.com/p/Ainy/-EOSHD
My pack is regularly updated with new LUTs and all updates are free.
On my website you can download a free LUT with the famous teal-orange look.
Also, I offer for free a 4K film grain based on 35mm film scans (10sec video encoded in Apple ProRes 422 at 25fps).
Hope you will like my LUTs.
Best,
Benjamin

5TO for 190€ http://www.ldlc.com/fiche/PB00185401.html
You have to duplicate it to call it archive.
10TO is in sight, just wait a little for the price.
http://www.hgst.com/hard-drives/enterprise-hard-drives/enterprise-sata-drives/ultrastar-archive-ha10
 
JBOD is cheap solution for clustering disks. Duplication is necessary for backup.
 
 

​Yeah mac has cheap and powerful hardware and free software doesn't it.

​Its 24-200 full frame equivalent.   Whenever they say 35mm they mean "full frame". What they should be saying is "135 format equivalent feild of view".  People usually say "super 35mm" if they are refering to the cinema standard. Although that could be anything from crop factor of 1.4 to 1.7 depending on how loose you are with the definition. So it wouldn't have much meaning or make much sense to gives equivalents in super 35 for a stills camera.  And I have never seen such an equivalent given.
DPReview gives the "Macro focus range" as 3cm.  I asume this is the minimum focus range from the front of the lens as opposed to the sensor.  And I would guess that would be at the widest angle.
The 135 format maximum depth of feild equivalent is about f7.5.  The APS-C maximum depth of field equivalent is f5.   Don't worry.  200mm f8 on 135 and 135mm f5 on apsc and 73.3 on " "one inch" type" will give you a blurred background.
 

Wow, my bad. I see enough shitty footage on here that sometimes it's hard to tell who's doing it on purpose and who doesn't know any better. Now that I know you're in the former group, I'll be sure to leave you to your own devices from now on.

Sigma ART lenses built into a cinema housing, electronic and manual aperture. Made by Sigma and not a third party to keep costs down (like GL Optics).
"Party Trick" lens collection, built from the ground-up to include internal special FX. Distortions, strange bokeh, light leaks, bending, tilt-shift, lens whacking, other weird stuff. Has AF for photography. 

It would be so much easier to be a painter or a writer. You don't have to have equipment. You don't have to do all the things. You're not at the mercy of gear. You're not here and you're not there. It's a terrible pain to be a filmmaker, because you not only have the creative problems, but you have financial problems that they don't have. You have technical problems that they don't have. You have machines that are breaking down in a way that paintbrushes don't break down. It's just a terrible thing to be a filmmaker. And if you are a filmmaker, it's because there is something in the sheer medium that seems to be able to make some sort of statement that you particularly want to make, and which no other medium to you seems capable of making in the same way.
Not my words, but I do like them.  As much as I go on about it's only about what you do with the equipment, not what equipment you have, filmmakers are tethered to the technology.  It's the blessing/curse.
If you're curious about from where and whom the above sentiment comes from:  https://www.youtube.com/watch?v=sH8FvTjESvU 

Dear Ed David, Domestic Abuse (accused domestic abuse) is not on the same level as rape. Not even close. Also bringing this thread back to the top does not bring down the forum, it brings to light your horrific comments, accusations, and topics. They show that you are not here primarily as a filmmaker but as a grandstanding attention seeker, that would rather attack others for their opinions than discuss them.
What do I think of the tape? That Emma is using her rape for personal, political, and financial gain. In that way I suppose she is the voice of her generation. Is rape horrific and terrible, yes it is. Should it be penalized more severely? YES. Should accused parties still be innocent until proven guilty and have the right to their livelihood not being ruined purely on a accusation? YES. Will I watch the video. NO.

​With Sony, you can't really base ideas of how any of their cameras work on one camera in particular. THe menu systems are sometimes drastically different between cameras, and the images you can get - with/without ease can be quite different. IMO, the A7s gives a much better image out of the box than the unsharp, muddiness you get out of the FS700. I was utterly horrified when I saw stuff I saw that I'd shot on the FS700 projected on a big screen. If nothing else, the A7s is miles sharper. You can now get quite decent images out of the FS700, but it can take a bit of work.
IMO, the A7s is quite different, and has a pretty different gamma curve, and even slightly different colours. To me, that A7s looks much more like what you get out of an F3 - and the external Slog2 looks very much like what you get out of an F3 in Slog2 (albeit on the F3 you can get 10-bit output in Slog2).
Personally, I find I tended to dislike the colours out of my Canon. The A7s certainly has a look about it, but I wouldn't go as far as saying it's bad, or has bad colour. You can get bad colour out of an Alexa if you only have a minimal idea of what you're doing (as I said up above). I've seen noisy, ugly, unsharp, muddy, green looking footage straight out of a RED Epic, which by all means shouldn't be too hard to at least get a decently exposed, nice looking image (I mean, all you really need to do is look at the Histogram).
I find Canon colours to generally be way too warm. The skin tones end up almost orange, rather than a nice pinky-red colour. I've found the colours out of my A7s tend to be a little bit more 'true to life' than the Canons which can look like you've put a warming filter over the lens.
I've done a lot of shooting with the A7s and I find it relatively easy to get quite a nice look and colours. I've never seen green skin tones on my footage. I have seen people using green tinted ND filters.

great work,  I waiting to see

I would say one of the smartest things you did, was to make lemonade. By making new trailers/teasers as you progressed was a spot on move. 

From the DP. Alot of great information.
https://vimeo.com/127381179

It don't really matter how you got there, by making comercials, music videos or even any kind of shitty movies. You can "cut to the chase" and do right now what matters to you. So, congrats!! And thanks for sharing your experince. this all the forum is about!!
Let us know when your film will be available online.
René

Put yourself out there.  You could easily get noticed for this and people will come to you for the next movie.  Congratulations in advance!

Please do so. Thats the whole point of art. You get inspiration then you do it with your style. its a cycle. thats how we all grow.

​Well apparently it's from a series: 'Delve - video essays'.
So... that leads to http://delve.tv/essays/ which leads to http://delve.tv/the-long-game-part-one/ where it says ' Watch Part Two here '. Which leads to http://delve.tv/the-long-game-part-two . Which tells you 'Oops! That page has disappeared...'. But given the Vimeo style video, you just search it up at Vimeo, https://vimeo.com/search?q=the+long+game , et voilá:

Being that the BMD Ursa and Mini have been such a hot topic here, specifically the cost of their media, I'd just thought I'd make mention of a decent price drop on Lexar CFast 2.0 cards at Adorama.  Discount is currently between $200-300, depending on the card size.  Hopefully this is helpful to someone who's just waiting for CFast 2.0 prices to  come down before they pull the trigger on a new URSA model... or XC10.  =]
Here's a link:  http://www.adorama.com/searchsite/default.aspx?searchinfo=Cfast+2.0&category=4294962920
(*I'm not sure if this post violates any community rules, but if it does, please politely let me know and I'll delete it. I'm not affiliated with Adorama or Lexar.)

Jonesy have fixed the storage space bug, you will now be able to upload images.

I disagree, - even blockbusters were alot more grounded before, look at the original Jurassic Park for example, - aside from the cloning the dinosaurs the film was strongly grounded in reality..not a single human in that film ever challenged a dinosaur and lived...whereas in the new Jurassic World reboot I fully expect the main character to uppercut the T-Rex at some point...I mean..look at the poster...

...he already tamed the damn Velociraptors. Its just bizarre.

​These adapters should work, and they both control the aperture of the Nikon G type lenses.
You cannot go wrong with Novoflex, made in Germany with very high precision, very high quality materials.
Fotodiox should be ok, if you can buy it and try it with the option of returning it then why not.
But my experience with various low cost adapers is not so good, the problem is with the lenses not reaching infinity or going past infinity, they are usualy too thick or too thin (fraction of a milimeter counts here) and in my experience wide focal lenght lenses require even more high quality precise adapters.

Just pointed my A7S + Sigma 18-35mm F1.8 at a plain white wall. Shot in 1080P at 24FPS in full-frame mode.